Sundaze 1326

Hello, so tonight The Rolling Stones finally got their Ya Ya's out at Glastobury, it was an impressive display by the senior rockers. Mick Jagger looked like his 20 something selve, apart from his well grooved face showing his age, he'll be 70 next month, same goes for his partner in crime, Keith Richards who'll have to wait 5 months longer for his seventh cross. I wonder how those of their generation who watched tonight felt, how this was possible whilst looking at themselves. Still i suppose they must have felt proud seeing their generation represented like this. "They still can't get no Satisfaction" !


We had Richard Barbieri, Steve Jansen, Mick Karn and I won't deny you the man in the foreground, the singer and poet noire for whom keeping his cool is a lifestyle. David Sylvian (David Batt, 23 February 1958) came to prominence in the late 1970s as the lead vocalist and main songwriter in the group Japan. His subsequent solo work encompasses not only solo projects but also a series of fascinating collaborative efforts in a variety of musical styles and genres, including jazz, avant-garde, ambient, electronic, and progressive rock.

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Japan became an alternative glam rock outfit in the mould of David Bowie, T.Rex, and The New York Dolls. Over a period of a few years their music became more sophisticated, drawing initially on the art rock stylings of Roxy Music. Their visual image also evolved and the band was tagged with the New Romantic label. Indeed, it could be argued that Japan was at the forefront of the entire New Romantic movement, even though the band never associated itself with it.

Japan recorded five studio albums between March 1978 and November 1981. In 1980, the band signed with Virgin Records, where Sylvian remained as a recording artist for the next twenty years. The band suffered from personal and creative clashes, particularly between Sylvian and Karn, with tensions springing from Sylvian's relationship with Yuka Fujii, a photographer, artist and designer, and Karn's former girlfriend. Fujii quickly became an influential figure in Sylvian's life. She was the first person to introduce Sylvian seriously to jazz, which in turn inspired him to follow musical avenues not otherwise open to him. She also encouraged Sylvian to incorporate spiritual discipline into his daily routine. Throughout his solo career, Fujii maintained a large role in the design of artwork for his albums.

In 1982, Sylvian released his first collaborative effort with Ryuichi Sakamoto, entitled "Bamboo Houses/Bamboo Music". Followed by the UK Top 20 song "Forbidden Colours" (Merry Christmas, Mr. Lawrence). Sylvian's debut solo album, Brilliant Trees (1984), met with critical acclaim. The album included contributions from Ryuichi Sakamoto, trumpeter Jon Hassell, and former Can bassist Holger Czukay. In 1985, Sylvian released an instrumental mini-album Alchemy: An Index of Possibilities, in collaboration with Jansen, Hassell and Czukay. The next release was the ambitious two-record set Gone to Earth (1986),  featuring one record of atmospheric vocal tracks and a second record consisting of ambient instrumentals. The album contained significant contributions from noted guitarists Bill Nelson and Robert Fripp .

Secrets of the Beehive (1987) made greater use of acoustic instruments and was musically oriented towards sombre, emotive ballads laced with shimmering string arrangements. The album yielded one of Sylvian's most well-received songs, "Orpheus," and was later supported by his first solo tour, 1988's 'In Praise of Shamans.' Sylvian then collaborated with Holger Czukay. Plight and Premonition, issued in 1988, and Flux and Mutability, recorded and released the following year, also included contributions from Can members Jaki Liebezeit and Michael Karoli.

Sylvian reunited with the former members of Japan for a new project, Rain Tree Cow. Unlike their past work, Sylvian decided to use methods of improvisation like those he explored in his work with Czukay. Ingrid Chavez, an artist signed to Prince's Paisley Park Records, sent Sylvian a copy of her first album. He liked what he heard and thought her voice would fit well with some material that both Ryuichi Sakamoto and he were working on for a new Sakamoto release. Chavez and Sylvian quickly developed a bond and decided to travel together throughout the UK and the USA, where they eventually settled after marrying in 1992.

In the early 1990s, guitarist Robert Fripp invited Sylvian to join a new version of King Crimson. Sylvian declined the invitation, but he and Fripp recorded the album The First Day released in July 1993. To capitalize on the album's success, the musicians went back out on the road in the autumn of 1993. A live recording, called Damage and released in 1994.

A period of relative musical inactivity followed, during which Sylvian and Ingrid Chavez moved from Minnesota to the Napa Valley. Chavez had given birth to two daughters, Ameera-Daya (born 1993) and Isobel (born 1997), and pursued her interest in photography and music. In 1999, Sylvian released Dead Bees on a Cake, it gathered together the most eclectic influences of all his recordings, ranging from soul music to jazz fusion to blues to Eastern-inflected spiritual chants, and most of the songs' lyrics reflected the now 41-year-old Sylvian's inner peace resulting from his marriage, family, and beliefs.

Next Sylvian released a pair of compilation albums, a two-disc retrospective, Everything and Nothing, and an instrumental collection, Camphor. Both albums contained previously released material, some remixes, and several new or previously unreleased tracks which Sylvian finished especially for the projects. Sylvian parted ways with Virgin and launched his own independent label, Samadhi Sound. He released the album Blemish. A fusion of styles, including jazz and electronica, the tour enabled Sylvian to perform music from the Nine Horses project, as well as various selections from his back catalogue.

A new solo album entitled Manafon was released on September 14, 2009 the a;lbum features contributions from leading figures in electroacoustic improvisation such as saxophonist Evan Parker, multi-instrumentalist Otomo Yoshihide, Christian Fennesz, Sachiko M and AMM alumnists guitarist Keith Rowe, percussionist Eddie Prévost and pianist John Tilbury.

In 2010, Sylvian's Samadhisound imprint released Sleepwalkers, a 16-track compilation of his collaborations from the 2000s, including his Nine Horses project and World Citizen with Sakamoto. It also included one new song, "Five Lines," a collaboration with Dai Fujikura. In 2011, Sylvian released Died in the Wool (Manafon Variations). It featured reworkings -- more than remixes -- of some tracks from Manafon, and included six new cuts. The double digipack also included the cd for Sylvian's audio installation, when we return you won’t recognise us.

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"Brilliant Trees" is a brave and exciting album. Like his work with his previous band, Sylvian is prepared to turn his back on his previous accomplishments-- gone are the pseudo-Eastern trappings of "Tin Drum", replaced with a jazz sensibility. Gone is the slithering bass and wailing sax of Mick Karn, instead an atmospheric swirl, or a funky backdrop (depending on the song), carefully constructed by Sylvian and collaborator Holger Czukay, and brass leads (provided ably by Czukay, Kenny Wheeler, Jon Hassell or Mark Isham) dominate the record. And yet, it feels like the followup to "Tin Drum" in it's own way-- certainly Sylvian's voice, while it has gained a depth to it, maintains its distinctive smokey baritone that he was developing, and the presence of brother Steve Jansen on drums, whose subtle and tasteful playing so delicately worked on "Tin Drum", works here as well. And with appearances by Japan keyboardist Richard Barbieri, frequent collaborator Ryuichi Sakamoto, and producer Steve Nye, there's a sense of continuity.

David Sylvian - Brilliant Trees (230mb)

01 Pulling Punches 5:02
02 The Ink In The Well 4:30
03 Nostalgia 5:41
04 Red Guitar 5:09
05 Weathered Wall 5:44
06 Backwaters 4:52
07 Brilliant Trees 8:39

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Streamlining the muted, organic atmospheres of the previous Gone to Earth to forge a more cohesive listening experience, Secrets of the Beehive is arguably David Sylvian's most accessible record, a delicate, jazz-inflected work boasting elegant string arrangements courtesy of Ryuichi Sakamoto. This album is breathtaking in its power. Sylvian, with an array of talented musicians (including frequent collaborator Ryuichi Sakamoto who arranged string and horns, guitarist David Torn, trumpeter Mark Isham, bassist Danny Thompson, and drummer as well as ex-Japan bandmate and Sylvian's brother, Steve Jansen), constructed a record of such stunning and fragile beauty that it really must be heard to be appreciated. Impeccably produced by Steve Nye, the songs are stripped to their bare essentials, making judicious use of the synths, tape loops, and treated pianos which bring them to life; Sylvian's evocative vocals are instead front and center, rendering standouts like "The Boy With the Gun" and the near-hit "Orpheus" -- both among the most conventional yet penetrating songs he's ever written -- with soothing strength and assurance.

David Sylvian - Secrets Of The Beehive (205mb)

01 September 1:18
02 The Boy With The Gun 5:18
03 Maria 2:50
04 Orpheus 4:51
05 The Devil's Own 3:12
06 When Poets Dreamed Of Angels 4:47
07 Mother And Child 3:15
08 Let The Happiness In 5:37
09 Waterfront 3:36
10 Promise (The Cult Of Eurydice) 3:28

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Fans of David Sylvian may consider some of his earlier releases to have been autumnal spectacles filled with intoxicating arrangements and some of the most beautifully heartbreaking songs ever composed. Dead Bees on a Cake is some of the cleanest and sharpest recording he's ever done. His voice envelops you and takes over your senses. Lyrics are pensive, provoking and rich. One can admire the impeccable instrumental performances by Talvin Singh, Steve Jansen, Ryuichi Sakamoto, and Marc Ribot, among others; however, for David Sylvian, even beautiful tracks like "The Shining of Things" are the sonic equivalent of running on a treadmill. One song makes this worth the price of admission: "Midnight Sun"; while the vocals are classic Sylvian, the bluesy, swampy sound of this track is completely new to him. It would have been fantastic if other songs on the album had followed in a similarly inventive vein.

David Sylvian - Dead Bees On A Cake (522mb)

01 I Surrender 9:24
02 Dobro #1 1:29
03 Midnight Sun 4:01
04 Thalhiem 6:09
05 God Man 4:02
06 Alphabet Angel 2:07
07 Krishna Blue 8:12
08 The Shining Of Things 3:10
09 Café Europa 7:01
10 Pollen Path 3:25
11 All Of My Mother's Names 6:10
12 Wanderlust 6:45
13 Praise 4:02
14 Darkest Dreaming 4:01
Xtra I Surrender EP
15 Les Fleurs Du Mal 6:51
16 Starred And Dreaming 2:01
17 I Surrender (Single Edit) 4:50
18 Whose Trip Is This? 7:19
19 Remembering Julia 4:46


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earlier, Sundaze 1106

David Sylvian - Camphor (473mb) not-upped

David Sylvian - Damage (reissue) (393mb) not-upped

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RhoDeo 1325 Beats

Hello,  as Glastonbury blasted off fridayafternoon amidst happy expectations even the rain gave way and isn't expected to come back this weekend. Pity I like a good mudbath, it does away with all previously held vanities. Don't mind I'm not there. I don't like large crowds. Meanwhile Wimbledon has been robbed of most of its top ten seeds male and female, the Tour De France favourites better watch out this first week.

Meanwhile we're here for some beats, we've been getting serious and clinical and it should hardly be a surprise we turned to Germans for that, the coming Beats we remain in Berlin as it is such a cosmopolitan city where creativity /art is highly regarded, it's evident that there's much more to be explored and we just follow the beats. When she returned from a year (89) London, her Berlin was no more, it was no longer an island, surrounded by intimidating Vopo's. The fall of the wall, the unification and liberation of Berlin inspired her to build on her London experiences, the time of techno was dawning  and she became a successful electronic musician, music producer and music label owner. She lives in Berlin, that is between DJ globetrotting. ....... N'joy

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Ellen Fraatz was born 1969 in Berlin. Her father played guitar and piano. During 1989, she lived in London where she first came into contact with electronic music, at the height of the acid house phenomenon. When she later returned to Berlin, electronic music had become increasingly popular in Germany. Shortly after she got into DJing and Allien was 'born', and by 1993 she had spun at Fischlabor, Tresor, and a number of other significant clubs. Throughout the remainder of the '90s, she hosted programs on Berlin's Kiss FM, worked at the Delirium record shop, operated a label called Braincandy, and threw a number of parties called BPitch Control, which led to her label of the same name.

Due to discrepancies with disk sales, she gave Braincandy up in 1997 and instead, organized parties with the name, "B Pitch". Allien created the label BPitch Control in 1999. The label's releases from Sascha Funke and Tok Tok were particularly successful. Allien released her first album, Stadtkind ("city child"), in 2001, and Berlinette in 2003, After releasing Thrills, Allien created a BPitch sub-label for minimal tech and minimal house, called "Memo Musik", in 2005. Orchestra of Bubbles, in collaboration with Apparat, featurings songs like "Way Out" and "Jet", was released in 2006. During the same year, Ellen Allien launched her own fashion line, which can be seen as "an extension of her philosophy of life“. After the minimalistic Sool in 2008, she released her fifth solo album Dust (BPC217) in May 2010.

During her career she released a number (8) of mix albums; Flieg Mit Ellen Allien (2001), Weiss Mix (2002), My Parade and Remix Collection (2004) , Fabric 34 and The Other Side - Berlin (2007), Boogybytes, Vol. 4 (2008), and Watergate 05 (2010).

After the release of Dust RMX in 2011, Allien expanded the music she'd been commissioned to write for a dance production staged at Paris' Pompidou Centre into 2013's free-flowing album LISm. Throughout the years, the sound of Allien's productions took on subtle changes, ingested new inspirations, and gravitated toward full-blown songs while remaining pared down all along. Allien’s romantic views and undiluted enthusiasm about techno and electro are major reasons why she is such a captivating and popular figure inside and outside her Bpitch Control community.

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Released on her own label, the increasingly high-profile Bpitch Control, Ellen Allien's second full-length album is more than just an abandoned fairground of Teutonic rhythms, elastic snares, icy synths, and digital sculpture. Demonstrating her mastery of subtle twitch and unconventional nuance, Allien differentiates herself from the rest of the crystalline microhouse mob with playful, humanist touches and on-a-dime midsong reappraisals. Lead track "Alles Sehen" begins with a throbbing electro beat and a gush of warm house swirls before folding into a twinkling vocal pop coda worthy of Lali Puna; "Push" shifts without notice from a grubby, scampering rhythm to a throbbing industrial lockstep; and "Augenblick" wrings form out of a ball of crinkled textures, machine-spat beats, and tremulous Factory Records guitars. But it's the conceptual overlap and idea overflow of the bittersweet "Wish" that resonate strongest -- over a mournful synth line, a quadruple-timed beatbox, and heavily processed acoustic guitar chugs, Allien daydreams herself out of postwar Berlin: "Need a planet without cars and wars...I wish it could be true." Bitingly fierce, technologically adroit, and curiously poppy, Berlinette marks yet another high point in an already superb year for Germanic techno.

Ellen Allien - Berlinette ( flac 306mb)

01 Alles Sehen 3:50
02 Sehnsucht 6:18
03 Trash Scapes Voc 0:58
04 Push 4:17
05 Trash Scapes 4:40
06 Augenblick 4:39
07 Wish 4:47
08 Abstract Pictures 4:55
09 Erdbeermund 4:13
10 Secret 4:07
11 Open 6:10

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On 2003's Berlinette, Ellen Allien reveled in the stops and starts, in pinching her already-precision percussion stabs into tetchy bunches of sharp black commas and apostrophes. It made for music that was futuristic, excitingly tense, and, well, totally German. Allien's back after an EP and a remix album with the sleeker but no less fun Thrills. It's more concise than Berlinette, beginning with the insistent layering and chopped reverb guitar of "Come," a track that's Berlin's ultimate answer to Achtung Baby if there ever was one. And it continues. The churning "Your Body Is My Body," "Ghost Train"'s gentle clockwise cascade, and "Naked Rain"'s brittle, almost synth pop feel -- these are songs that move feet and stroke chins. Allien is a world-class DJ, so the dancing part is no surprise. But blending those consistent beats with synthetic detachment and left-field moments? Thrills puts "experimental" and "techno" on balance.

Ellen Allien - Thrills ( flac 291mb)

01 Come 6:36
02 The Brain Is Lost 5:17
03 Your Body Is My Body 5:19
04 Naked Rain 4:53
05 Washing Machine Is Speaking 5:24
06 Down 4:35
07 Ghost Train 3:05
08 Cloudy City 6:19
09 She Is With Me 4:59
10 Magma 5:55

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The collaboration between DJs Ellen Allien (of the BPitch Control label) and Apparat (Sascha Ring of the Shitkatapult imprint) is far from a natural match. Both are iconoclastic with different approaches to electronic music in general and dance music in particular, though it should be noted from the outset that Orchestra of Bubbles is not their first collaboration. They've worked on remix projects together, and done one another's remixes for a few years now. Allien has worked tirelessly to engage the club dancefloor with her albums and 12"s, whereas Ring has taken a more aesthetic and strategic approach. Allien and Ring both share a sense of humor, though the latter's is a bit more wry, and both are applied here. To call this is a 50/50 split between the two would be unfair and inaccurate. Individual identities don't play that much a role, though Allien's trademark vocals and floor-central modality anchor the project clearly. Ring, as Apparat, adds dimensionality, off-kilter beats, and dynamic ambient spaces to offer the technocratic solidity some room to breathe and open out onto different vistas. For anyone sincerely interested in the open territory of electronic music and its possible futures, this is not only a microscope to examine the new bacteria with, it's the pulsing life form beneath it.

Ellen Allien and Apparat - Orchestra of Bubbles ( flac 344mb)

01 Turbo Dreams 4:11
02 Way Out 3:43
03 Retina 4:03
04 Rotary 4:24
05 Jet 6:34
06 Sleepless 3:36
07 Metric 3:31
08 Floating Points 5:13
09 Under 4:54
10 Do Not Break 5:13
11 Leave Me Alone 3:17
12 Edison 3:48
13 Bubbles 4:57

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RhoDeo 1325 Goldy Rhox 114

Hello, today the 114th post of GoldyRhox, classic rock pop.  Today's focus is on a rock band founded in London 1968. Most remarkable about the birth of the band was the young age of the band members who first came together to rehearse and play their first gig that same evening at the Nag's Head pub in Battersea, London, on 19 April 1968. Bass player Andy Fraser was 15 years old, lead guitarist Paul Kossoff was 17, and both lead singer Paul Rodgers and drummer Simon Kirke were 18. They disbanded in 1973 and lead singer Paul Rodgers went on to become a frontman of the band Bad Company along with Simon Kirke on drums. Lead guitarist Paul Kossoff formed Back Street Crawler and died from a drug-induced heart failure at the age of 25 in 1976. Bassist Andy Fraser formed Sharks.

The band was famed for its sensational live shows and nonstop touring. However, early studio albums did not sell very well – until the release of today's mystery album which featured the massive hit "All Right Now". The song helped secure them a place at the huge Isle of Wight Festival 1970 where they played to 600,000 people.

By the early 1970s, they were one of the biggest-selling British blues-rock groups; by the time the band dissolved in 1973, they had sold more than 20 million albums around the world and had played more than 700 arena and festival concerts. "All Right Now," remains a rock staple, and had been entered into ASCAP's "One Million" airplay singles club.

Rolling Stone has referred to the band as "British hard rock pioneers". The magazine ranked Rodgers No. 55 in its list of the "100 Greatest Singers of All Time", while Kossoff was ranked No. 51 in its list of the "100 Greatest Guitarists of All Time".

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Most of the albums i 'll post made many millions for the music industry and a lot of what i intend to post still gets repackaged and remastered decades later, squeezing the last drop of profit out of bands that for the most part have ceased to exist long ago, although sometimes they get lured out of the mothballs to do a big bucks gig or tour. Now i'm not as naive to post this kinda music for all to see and have deleted, these will be a black box posts, i'm sorry for those on limited bandwidth but for most of you a gamble will get you a quality rip don't like it, deleting is just 2 clicks...That said i will try to accommodate somewhat and produce some cryptic info on the artist and or album.

Today's mystery album is the group's the third studio album. It became the band's breakthrough hit, reaching #2 in the UK charts and #17 in the US, making it their most successful album. Conceptually fresh, with a great, roots-oriented, Band-like feel, the group distinguished itself with the public like Black Sabbath and Deep Purple did (in terms of impact, only) in 1970. They presented itself to the world as a complete band, in every sense of the word. From Paul Kossoff's exquisite and tasteful guitar work, to Paul Rodgers' soulful vocals, this was a group that was easily worthy of the mantle worn by Cream, Blind Faith, or Derek & the Dominos....



Goldy Rhox 114  (flac 206mb)

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Goldy Rhox 114   (ogg 75mb)

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RhoDeo 1325 Aetix

Hello, as mr Snowden is still hold up in a Moscow transit hotel, which is defacto accessable to anyone in transit I'm beginning to wonder if mr Putin is luring in the cat (US) to go after the mouse (mr Snowden) so he can snare the cat and he can score some big global points, obviously he doesn't care much if the mouse lives or dies, but embarrasing the US will lift his status at home and abroad.

Todays artists are all easy on the ears yet no Sundaze material two of the bands presented here were shortlived not because of lack of attention or quality but internal strive drained the will to go on together. The third solo artist had already split from the group that had carried her name she only needed to add her christian name to carry on a solocareer, which started with todays post.  ...N'Joy

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Based in Shepherds Bush, West London, The Passions' music was grounded mainly in Barbara Gogan's voice, and Clive Timperley's delicate echoplex guitar work. Before forming in 1978, most of the members had spent time in other groups. Timperley was an ex-101ers, whilst drummer Richard Williams and singer/guitarist Barbara Gogan were in the punk rock outfit, The Derelicts. The Passions' first single, issued in March 1979, was "Needles and Pills", which helped them gain a recording contract with Fiction Records, home of The Cure.

A year passed between the release of the "Needles and Pills" single, and Michael and Miranda, the band's first album. Singles "Hunted", and "Swimmer" followed, and then their major charting song, "I'm in Love with a German Film Star". Before "The Swimmer" Bidwell and Barker left the band, the former to join The Wall. David Agar took over on bass guitar. The band's second album, 30,000 Feet Over China, was released in August 1981. It included previously released A-sides and several brand new recordings. Clive Timperley left the band in Verona in December 1981, during the Italian leg of their prophetically named "Tour Till We Crack" tour, as a result of "serious political differences".

The follow-up single release "Africa Mine" was recorded with a new line-up. Kevin Armstrong (a contributor to a Thomas Dolby album), who had previously been with Local Heroes joined, and the group added a keyboard player, Jeff Smith, perhaps best known for his past work with Lene Lovich. Armstrong and Smith took part in the recording of the band's third and final album, Sanctuary. It appeared in the autumn of 1982, Stephen Wright joined replacing Armstrong. The band toured Europe and the U.S., but dissolved for good in the summer of 1983, after playing their last ever live show at London's Marquee Club on 12 August that year. Gogan popped up again in 1998 when she released Made on Earth, a record made with experimentalist Hector Zazou.

The members of the Passions had done time in various punk and post-punk outfits, and their edgy debut album, Michael & Miranda, reflected that influence. The 1981 follow-up, Thirty Thousand Feet Over China, was a much more melodic, atmospheric outing, with a fuller production and a moody, shimmering quality. The mix of evocative new wave stylings, Barbara Gogan's hypnotic vocals, and a left-of-center lyrical outlook on songs like “I'm In Love With a German Film Star” make the album a winning proposition.

The Passions - Thirty Thousand Feet Over China  (flac 335mb)

01 I'm In Love With A German Film Star 4:01
02 Someone Special 4:07
03 The Swimmer 3:32
04 Strange Affair 3:29
05 Small Stones 5:37
06 Runaway 3:04
07 The Square 3:30
08 Alice's Song 3:12
09 Bachelor Girls 2:21
10 Skin Deep 4:19
Bonus Tracks
11 I Radiate (7" Version) 2:56
12 Some Fun (7" Version) 3:42
13 War Song (7" Version) 3:28
14 Don't Talk To Me (I'm Shy) (7" Version) 2:18
15 The Square (Live) 3:26

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Before Tracey Thorn established herself with Everything but the Girl, she produced mellow, spare indie pop with the all-female act the Marine Girls. Inspired by the Raincoats and the Young Marble Giants, Thorn formed the Marine Girls with her schoolmate Gina and Jane Fox in Hatfield, Hertfordshire, England, in 1980. At first, Thorn played guitar with Gina on vocals and Fox on bass. Since they knew no drummers, the group decided to focus on a minimalist approach to music. After Gina kept missing rehearsals, she was replaced by Jane Fox's younger sister, Alice Fox, on vocals; Thorn would eventually sing as well. The trio recorded a tape called A Day by the Sea and sold it to their acquaintances. The Marine Girls eventually released two albums in the U.K., 1982's Beach Party and 1983's Lazy Ways. Lazy Ways was produced by one of the band's influences, Stuart Moxham of the Young Marble Giants. While attending Hull University, Thorn began writing songs for herself; she was only able to gig with the Marine Girls during holidays. The Marine Girls broke up after Thorn and Alice Fox had an argument following a concert in Glasgow, Scotland, in 1983. Thorn then recorded her solo album A Distant Shore before joining Ben Watt in Everything but the Girl. In 1997, Cherry Red Records combined both of the Marine Girls' albums onto one CD; spinART reissued the albums in the US four years later.

The debut album by the Marine Girls is one of the most willfully amateurish releases of its era, which is not necessarily a bad thing. When it was first released on Daniel Treacy's Whaam! label in 1981, it undoubtedly sounded impossibly shoddy and nearly inept, filled with deliberately out-of-tune vocals, extremely minimal guitar and bass, and almost no percussion. However, its place as one of the pillars of the twee pop scene, along with the Young Marble Giants' Colossal Youth, is now incontestable, and what once might have seemed haphazard instead sounds refreshingly artless and slyly provocative. Tracey Thorn, whose vocals would gain much more technical polish during her years in Everything But the Girl, sings with a sort of offhand grace, while Alice Fox' more tuneless yelp sounds like a precursor to Kathleen Hanna or Sleater-Kinney. The songs are monochromatic, though a few, particularly the opening "In Love," manage to marry memorable tunes to the group's deliberate minimalism.

The Marine Girls' second and final album -- the group had already split by the time of its release, with Tracey Thorn pursuing a solo career before forming Everything But the Girl and the Fox sisters forming the even more minimalist Grab Grab the Haddock -- is far more polished than their 1981 debut, at times almost approaching professionalism. The clangorous clatter of the debut is largely absent here. Instead, producer Stuart Moxham (formerly of Young Marble Giants, whose sole album, Colossal Youth, is perhaps the pinnacle of this type of minimal indie pop) gives the album a soft, intimate sound. Singer Alice Fox has a much more tuneful voice this time out, and songwriter and secondary singer Thorn is clearly inching toward the jazz-influenced prettiness of early Everything But the Girl, especially on the downright lovely "Love to Know." Her guitar playing and Jane Fox' bass work are also considerably more refined. Purists might miss the noisiness of Beach Party, but Lazy Ways is in every way a far better record, and one of the best U.K. indie albums of 1983.

Marine Girls - Lazy Ways,Beach Party  (flac 275mb)

Lazy Ways
01 A Place In The Sun 2:31
02 Leave Me With The Boy 1:50
03 Falling Away 1:46
04 Love To Know 2:52
05 A Different Light 2:22
06 Sunshine Blue 2:05
07 Second Sight 2:58
08 Don't Come Back 2:01
09 That Fink.Jazz-Me-Blues Boy 1:32
10 Fever 2:14
11 Shell Island 2:27
12 Lazy Ways 2:42
13 Such A Thing.. 2:22
14 You Must Be Mad 2:02
Beach Party
15 In Love 1:53
16 Fridays 2:03
17 Tonight? 1:19
18 Times We Used To Spend 1:41
19 Flying Over Russia 2:05
20 Tutti Lo Sanno 2:21
21 All Dressed Up 1:46
22 Honey 2:02
23 Holiday Song 2:12
24 He Got The Girl 1:24
25 Day/Night Dreams 1:10
26 Promises 1:29
27 Silent Red 1:33
28 Dishonesty 2:16
29 20,000 Leagues 2:23
30 Marine Girls 1:39

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The first solo release by Isabella Antena but essentially a continuation of her work from the days of the Antena trio (then duo), En Cavalle, produced excellently by Martin Hayles and a crack studio band under his direction, is an immediate, enjoyable release. That Antena didn't make a bigger splash at the time (especially after Sade had popularized bossa nova grooves as modern pop) is downright remarkable -- she's in excellent voice throughout and her backing players, including earlier bandmate Sylvain Fasy on guitar, both perform and are recorded brilliantly. But such are the vagaries of the market, though at least those who listen in now will be well rewarded. Starting with the sassy-yet-cool kick of "Play Back," a great showcase for flautist Philip Todd, En Cavalle is also a showcase for Antena's songwriting ability, with six out of nine songs written solely by her. Her singing is confident, sly and straightforward throughout -- there's no being lost in the mix here, more a perfect sympathy with the musicians, from the rollicking punch of "How Can They Tell" to the more modern shock of "Life Is Too Short," an almost industrial-pop brawler at the start. "Seaside Weekend" in particular is a winner, the busy tropical beats set against soft, reflective piano work, then topped off by Antena's sweet singing and gentle scat work. There's also an inspired cover of the Sister Sledge's "Easy Street," interpolating hints of Antena's other musical obsessions into the steady disco punch of the original to create a winning tribute.

Isabelle Antena - En Cavale (flac 469mb)

01 Playback 3:48
02 Easy Street 4:48
03 Seaside Weekend 3:53
04 Ten Minutes 5:42
05 How Can They Tell 3:17
06 Be Pop 3:58
07 Magic Words 4:30
08 Booby Trap 3:28
09 Life Is Too Short 5:33
10 Don't Think About It 4:32
11 Time To Work 5:00
12 Blow The World Away 3:30
13 Mummy's Not At Home 6:41
14 Be Pop (12") 6:25
15 Life Is Too Short (12") 5:10
16 Behind The Door 5:05

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RhoDeo 1325 Roots

Hello, these past 2 years there has been a weekly dose of reggae here, I estimate about 250 reggae/dub albums have been highlighted, for me the choices have eroded, admittedly there is still a lively reggae scene on Jamaica and beyond but it's output is more drowned out by todays cacophony and it has become a niche once again. Besides, I don't post new work. I'm sure that there will be more from the reggae/dub scene here but on a more occasional basis. For now i will end the series with a number of sampler albums

Last week we returned to the place where it all started, Jamaica, over the years there have been countless sampler albums, it was the quickest and cheapest way for an artist to reach a bigger public and to create a name not just among peers. An excellent DJ tool aswell (in the old days) More sunshine music into the state of feeling great.  .....N'joy

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VA - Irie Irie I (flac  420mb)

01 Black Uhuru - Great Train Robbery 3:55
02 Culture - Soon Come 3:21
03 Freddie McGregor - Push Come Shove 3:40
04 Papa San - The Sistem 3:32
05 Linton Kwesi Johnson - Sense Outa Nonsense 5:03
06 Gregory Isaacs - Love Is Overdue 5:20
07 Bob Marley & The Wailers - Soul Rebel 3:23
08 Shabba Ranks & June Lodge - Hardcore Loving 2:10
09 Shabba Ranks & June Lodge - Hardcore Loving (Part 2) 3:58
10 Prince Far I - Coming In From The Rock 3:40
11 Israel Vibration - Give I Grace 3:58
12 Wailing Souls - Firehouse Rock 4:14
13 Yellowman - Boys just wanna have fun 4:05
14 Mighty Diamonds & Gregory Isaacs - Idlers Corner 3:47
15 Lee Perry - Colt The Game 4:16
16 Hugh Mundell - Arise And Shine 5:53
17 Burning Spear - Queen Of The Mountain 4:52

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VA - Irie Irie II  (flac  384mb)

01 Freddie McGregor - Somewhere 4:27
02 Dennis Brown - Hold Tight 3:33
03 Wailing Souls - Cherry Ripe 4:13
04 Yellowman - Gaze 3:52
05 Israel Vibration - Try Again 4:18
06 Eek A Mouse - Glamity 3:11
07 Black Uhuru - Brutal 4:08
08 Culture - Righteous Loving 3:59
09 Don Carlos - Front Line 3:36
10 Inner Circle - Massive 3:54
11 U-Roy - King Tubby's Skank 2:53
12 Tiger - Rough 'N' Cool 3:29
13 Sugar Minott - Save Your Love For Me 4:03
14 Gregory Isaacs - Blouse And Skirt 3:53
15 Mad Cobra - Mr. Wicked In Bed 3:48
16 Charlie Chaplin - Mad Chaplin 4:43

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VA - Reggae Refreshers (flac  344mb)

01 Gregory Isaacs - Night Nurse 4:05
02 Ijahman - Moulding 4:58
03 Linton Kwesi Johnson - Street '66 3:44
04 Scotty - Draw Your Brakes 1:04
05 Steel Pulse - Babylon Makes 4:15
06 Jimmy Cliff - Hard Road To Travel 2:35
07 The Wailers - Burnin' And Lootin' 4:14
08 Third World - Tribal War 3:48
09 The Heptones - Fatty Fatty 3:33
10 Toots & The Maytals - Funky Kingston 3:28
11 Lee Perry - Roast Fish & Cornbread 3:46
12 Augustus Pablo - King Tubby Meets The Rockers Uptown 2:32
13 Dillinger - Cokane In My Brain 5:10
14 Black Uhuru - Push Push 4:10
15 Max Romeo - War Ina Babylon 4:45
16 Burning Spear - Door Deep 2:36

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RhoDeo 1325 Falcon 08

Hello, as Snowden's revelations still dominate the media > The news that UK was even worse in their efforts to control their populace didn't surprise me as that country has been ruled through an elite system ever since the Normans invaded in 1066, a deeply ingrained class system, that maneged to subdue the people time and again- they give out titles to the biggest traitors, ruthless incompetent generals waisted countless lives and they were honoured for it. Now they gained access to anything their subjects do and say, it will be much easier to exploit them in any way they see fit. That said, now the fight is on now to gain access to the spysystem, in the US the multinationals will undoubtely pay their man inside handsomely to spy on the competition, look for weaknesses. Meanwhile the savy terrorists won't be bothered, there's plenty of ways to evade notice. Interestingly you'll find that skillset all over the security services who will have no problem creating scapegoats for their nasty work. What bright future awaites us .....


Sci-fi fans can prepare themselves for 3 more weeks of Falcon Banner excitement   ... NJoy

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The Falcon Banner
By the twenty-second century, mankind had stretched forth its hand to command the stars. Other races were discovered, and, as the human sphere of influence expanded, they were happy to live in peaceful coexistence, and humanity was on the verge of an evolutionary leap.

The Terran emperor was the first to ascend to the next step of human evolution. His advisors, who now styled themselves holy clerics, sought to force the other races to see the light of their religion. They began to subjugate the other races to the will of the empire. The Amsus, who saw the Empire as decadent, illogical and chaotic, waged war upon it. Admiral VonGrippen, the brightest military mind in centuries, betrayed the empire, and removed the entire home fleet, collapsing the jump gate after them, leaving Earth and the Empire to be squashed under the heel of Amsus oppression.

Now, three hundred years after the fall of the Terran Empire, humans find themselves the subject race, Stagnating on their own world unable to evolve either technologically or otherwise. It is into this oppressive world, that the most unlikely of men are thrust into the roles of heros.

Based on The Falcon Banner, a novel by Christopher Patrick Lydon
Original music composed and performed by Kai Hartwig, Kevin MacLeod and Phil Craigie

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The Falcon Banner 08 - The Stuff of Legends and Other Histories, Part 1 ( 55mb)

08 - The Stuff of Legends and Other Histories, Part 1 55:46 Featuring the voice talents of:

Seth Adam Sher as Darien Taine
Linda Townsend as Captain Tyrana
Laura Post as Lauren
Brandon Cole as Commander Kit Durnham
Eric Busby as Nazzien
Mark Kalita as Kendrick
John Lipsey as Doctor Kyr
Chris Snyder as Matt Elias
Josh De Lioncourt as the Guard
Perry Whittle as Orion Guard
Elie Hirschman as Kurgel
Clym Angus as Tempus 1
Bill Hollweg as Tempus 2
Jack Scrimshaw as Major Mayfair
Steve Anderson as Major Rousseau
Shane Harris as Colonel Ramsey
Mike Dent as Katz
Mark Bruzee as Shale
Shire Smith as Masconi
Chip Joel as the Air Boss
Matt McLaren as Tempus Marine

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previously

The Falcon Banner 01 - Freedom's Spark
The Falcon Banner 02 - New Friends, Old Enemies ( 55mb)
The Falcon Banner 03 - For Duty and Crew ( 50mb)
The Falcon Banner 04 - The Future Remembered, Part 1 ( 51mb)
The Falcon Banner 05 - The Future Remembered, Part 2 ( 55mb)
The Falcon Banner 06 - Foundations ( 58mb)
The Falcon Banner 07 - Of Ships and Stars ( 50mb)

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Sundaze 1325

Hello,  I watched the 4 part series Rise Of The Continents this week and i was surprised how much hard evidence there was for the break up and drifting around of the earths continents. To think that the scientist who came up with the theory in 1912, Alfred Wegener was laughed away until his heroic death in 1930-trying to save others from his expedition- It took another 2 decades before his peers got around to the whole idea, this despite all the hard evidence. Perhaps then i shouldn't be to harsh on todays idiots that commented how absurd it was- they likely didn't watch the program, it's a well made BBC documentairy series well worth the time compared to the usual nonsense that is broadcast, it should be essential secondairy school tv everywhere. Apart from christian taliban country where concieving in 10's even hundred's of millions of years is 'verboten' after all keeping the subjects dumb and dumber is viagra to the priests, that recipe worked 1200 years for the roman catholics.

Today the second post on the man who wanted to be able to slide and bend notes as I'd learnt to do with the violin and so decided to take all the frets off the bass guitar. He brought the ultimate background instrument to the foreground in a wide range   . .... N'Joy

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Born Anthony Michelides, July 24 1958, Mick Karn emigrated to London as a Greek Cypriot when he was 3 years old and from an early age was looking for ways to express himself. He began with the chromatic mouth organ at the age of 7 and then the violin when 11, both lasted just 3 years before he was offered the chance to take up the bassoon with the school orchestra and later chosen as a member of the London School Symphony Orchestra. After a big concert, which was broadcast on Radio 4, the bassoon was stolen from him on the way home. His school refused to buy him another, and in anger at their decision, he bought a bass guitar for £5 from a school friend.. And so ended Mick's career in classical music.

By this time, he had already made friends with like-minded teenagers David Sylvian and younger brother, Steve Jansen who were coincidentally both learning their own instruments, David an acoustic guitar and Steve, bongos. It seemed a natural progression that David move on to an electric guitar, and if Steve were then to progress to drums, they could form a band together and escape the confines of south London. That was the plan and a month later they performed for the first time as Japan on June 1st 1974 when Mick was 15. Over the next two years, they each concentrated on developing their own styles, rehearsing their own music together every day.

MK: "I wanted to be able to slide and bend notes as I'd learnt to do with the violin and so decided to take all the frets off the bass guitar. I also began playing bass directly after the bassoon which, although a bass instrument, often plays lead melodies, both of these factors were major influences in shaping the way I play.

Mick bumped into Richard Barbieri one morning (another school friend) who he invited to one of their daily rehearsals. Richard instantly wanted to join the band. They needed a keyboard player and weren't too worried that Richard had no experience with music because more importantly, he had a steady job working at a bank, and so became our main source of income for the band's equipment. Japan were now a four piece and ready to advertise for another guitarist (Rob Dean) and management, which led on to their first record contract with Ariola/Hansa in 1977 and subsequently, their first album release.

Punk rock was at it's peak and as a reaction to it, Japan decided to not be seen as part of the fashion and so went in the opposite direction, creating their own look with long dyed hair and make up. Tours in Europe and the U.S. saw them playing to hostile audience, they were not well received, with the exception of one territory, Japan, where they instantly became the number one foreign act and remain to this day a lasting influence, both musically and visually. By the time of their third album release Quiet Life in 1979, punk was no longer dominant and Japan's sound had altered drastically. Mick brought saxophones and clarinets into the arrangements, and there seemed to be a string of lookalike/soundalike bands emerging in the U.K. Japan were heralded as innovators of a new sound and era in music, the New Romantics. For Japan, this simply meant it was time to, once again, move on leaving the others behind. No-one could have foreseen the direction they would take with their fifth album Tin Drum in 1981, a blend of Chinese pop music with their own distinctive mood making it a truly outstanding and original work. Nor could anyone have predicted it would be Japan's last studio album.

By now, Mick Karn had most certainly been heard and released his first solo album Titles on Virgin in 1982. His unique style had musicians from all types of genres wanting his contribution to their own work, from Jeff Beck to Gary Numan. That same year, he was chosen by Pete Townshend to be part of a supergroup to perform for Prince Charles and Lady Diana in celebration of their engagement. Mick left a marked impression at the event, which later led onto collaborative work with Midge Ure and recordings with Kate Bush and Joan Armatrading.

Karn had also surprised the art world by holding his first sculpture exhibition in 1981 to outstanding critical acclaim, with many reviews and features in columns and magazines not usually frequented by musicians. Proving himself as an accomplished artist with his often disturbing works of art, he has held 5 exhibitions in London, Japan and Italy. The next project was to be a trio with vocalist Pete Murphy (Bauhaus) and drummer Paul Lawford. Dali's Car released The Waking Hour in 1984, with all instrumentation written and played by Mick, an experiment in stripping music down to it's bare minimum, whilst retaining a strong mood and Middle Eastern flavour. A taste from which he'd picked up from his mother who used to listen to it.

1987 saw Karn's 2nd solo release Dreams of Reason Produce Monsters. Relying heavily on his classical beginnings, using woodwind and brass more extensively as well as harmonica, accordion and even choirs to complete it's haunting themes, as well as Steve Jansen on drums and in the producer's chair. Truly a step away from the expected rock genre and into a field of it's own. By now, Mick's bass guitar had reached the world of Jazz and the next few years saw him working with some remarkable players. An experimental project, Polytown, saw Karn work with David Torn and drummer Terry Bozzio. There then came another surprise decision and a sojourn from solo work as Japan reformed for a one off album under the new name of Rain Tree Crow in 1991. The recording held no reference at all to where Japan had left off, but rather showed a distinct maturity amongst the members. Mick decided to play an unfamiliar five string bass to differentiate his playing from the style listeners had become accustomed to, and in some cases left the bass out altogether, concentrating on bass clarinet as the lead instrument.

Through the associations he'd made within the Jazz world, Karn recorded his next album Bestial Cluster in 1993 for German Jazz label CMP . Co-produced with David Torn, who also played the guitars, Steve Jansen on drums and Richard Barbieri on Keyboards, a Bestial Cluster tour with the same line-up of Europe and dates in Japan followed. CMP also signed Polytown to their label. The album Polytown was written recorded and mixed in three weeks and released in 1994. A staggering feat for any group of musicians, improvised, heavy and far from Jazz. Karn recorded another album for CMP in 1995 - The Tooth Mother, with Natasha Atlas on Middle Eastern vocals. This was to be Karn's most ethnic CD to date and, curiously, also his most funky, drawing on both of those early influences to enhance the ever present dark moods.

Mick's work with Steve Jansen and Richard Barbieri decided to form their own record label Medium Productions as an outlet for collaborative work independent of limitations set by major labels. Forming their own unit JBK, they recorded several CDs together (Beginning To Melt, Seed, _ism ) including a live recording "Playing in a Room With People" taken from some rare shows in Tokyo and London . Included on Mick"s discography for Medium is a collaboration with Japanese Drum and Bass artist Yoshihiro Hanno, Liquid Glass released in 1998. Mick's next solo recording was to be for the Medium Productions label in 2000 and took a distinct step away from the last two CMP albums. Eye a Path was to be Karn's most introspective and personal of albums, drawing on troubled past experiences as it's source of inspiration. However, he was delighted to see the response from fellow musicians lead to an eventual remix album in 2002 entitled: Each Path a Remix, the contributors being Ryuichi Sakamoto, David Torn, Richard Barbieri, Paul Wong and Claudio Chianuro.

Mick then shifted gear again, this time towards what can only be described as instrumental pop. More Better Different was released in 2004 by Invisible Hands Music and reviews certainly agree with the sentiments in the title. 2005 Karn released a EP called Love's Glove and  released his 7th solo studio recording, Three Part Species as well as going on an own extensive tour later that year. In 2007 he released Selected a compilation from his own hand. Karn had left London in 2004 to live in Cyprus with his wife and son, financially enabling himself to keep working as a musician/artist.

In 2009, Karn also released his autobiography, titled Japan & Self Existence, available through his website and Lulu, which details his music career, his interests in sculpture and painting, his childhood, relationships, and family. The next year he released The Concrete Twin, basicly a soloalbum , he renewed contact with Peter Murphy his former Dalis Car partner and it was agreed to do another Dalis Car album. The project was cut short, however, as Karn had recently been diagnosed with cancer. He died on 4 January 2011. Five of the tracks they did record were released on 5 April 2012 as an EP entitled InGladAloneness.

In June 2010, Karn announced on his website that he had been diagnosed with advanced-stage cancer, though the specific type of cancer was not mentioned. According to David Torn, Karn's cancer had apparently already spread and he was undergoing chemotherapy. The website announcement stated that Karn had been struggling financially for some time, and appealed for donations to help pay for his medical care and provide financial assistance for his family. In addition, several people Karn has worked with, in particular Midge Ure, Porcupine Tree, and Masami Tsuchiya, announced concerts in support of the appeal. According to a website update dated 3 September 2010, the funds raised by the appeal enabled Karn and family to move back to London where Karn received treatment. However, the cancer had spread beyond the possibility of treatment, and Karn died at home in London on 4 January 2011.

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Released on a few labels over a short period of time, Liquid Glass first appeared in 1998 on Flavor of Sound (Japan) and Medium Productions (U.K.). The album is the result of a collaboration between Mick Karn and Yoshihiro Hanno. If the British bassist's signature fretless sound dominates throughout, this is nonetheless the Japanese techno artist's project first and foremost. Hanno composed the pieces and programmed the tracks, and added keyboards, guitars, and samples. Then Karn put in his riffs and solos, played extra clarinet and bass clarinet, and recited a few words that were later embedded in the final mix. This ranks among Hanno's most mainstream releases (he would do much more avant-gardist music just a few months later, starting with April). Rhythms alternate between dreamy ambient techno and driving drum'n'bass. The fast-paced tracks remain tasteful, thanks to varied arrangements, a flair in keeping the mixes crystal-clear, and of course Karn's bass, seductive as ever. The softer numbers, such as "Seafall" and "Lunette," provide the best moments, simply because both artists benefit from having more room to stretch. Kosei Yamamoto adds a touch of soprano sax on these two titles, too. The album is tied up with a marine theme reflected in the track titles, but it hardly makes an impact on the music itself (with the exception of a fog horn in "Sail and Wind").

Mick Karn & Yoshihiro Hanno - Liquid Glass (flac  245mb)

01 Traveler's Diary 7:11
02 Seafall 6:20
03 Primitive Water 5:48
04 A Boy With Wings 6:17
05 Dialogue I, II, III 8:37
06 Stereoscope 2:11
07 Lunette 5:32
08 Sail And Wind 5:25

Mick Karn & Yoshihiro Hanno - Liquid Glass ( ogg 99mb)

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Karn's fifth keeps things basic, yet thanks to some accomplished technology, complex. After the travelogues of Japan, Latin America, Arabesque and Greek treatments of past works, this is an English album - and very much a solo one (he never works with more than two people on the same track). Each Eye examines both the funky elements of Tooth Mother and simple bass, synth and clarinet notepads of Titles and Dreams of Reason. Up To Nil at first sounds like an out-take from Jean Michel Jarre's Zoolook. Nil has some brilliant lyrics (I must be vile with a girlproof smile) but Karn uses them as a mumble but for its funky hand clap chorus Karn not intentionally sounds Bowiesque while Maya adds some finesse with a simple 'Yeah.' The most memorable pieces are the ones resembling art film soundtracks. Two examples are The Night We Never Met and The Forgotten Puppeteer - a beautiful piece of twinkling keys and clarinet. Among the slow there are a couple of contemporary grooves in Angel's Got A Lotus adding a dash a cool amid drum programming and murmuring bass, and Venus Monkey. Both Latin Mastock and My Mrs T look to the electronics of Hector Zazou and jazzier shades of Ryuichi Sakamoto. The washed out Serves You Rice continues the Oriental iconographies of old. Good for a rainy day, in a good way.

Mick Karn - Each Eye A Path + Remixes ( flac 375mb)

01 Up To Nil 3:53
02 The Salmon Of Knowledge 2:46
03 Latin Mastock 5:41
04 The Forgotten Puppeteer 3:00
05 My Mrs T 3:32
06 Angel's Got A Lotus 2:49
07 Serves You Rice 4:18
08 The Night We Never Met 6:17
09 Venus Monkey 6:10
10 Left Big 4:01
Bonus Rmxs
11 TFP (Rmx Yoshihiro Hanno) 3:27
12 Hong Kong Mastock (Rmx Paul Wong) 6:46
13 Knowledge Suspended (Rmx Claudio Chianura) 4:02
14 Re-Nil  (Rmx Yoshihiro Hanno) 6:16
15 Big Left (Rmx Ryuichi Sakamoto) 5:40

Mick Karn - Each Eye A Path + Remixes  ( ogg 155mb)

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Three Part Species is a rich delight of ethnic beats and ambient swirls perfect for enjoying chill-out cocktails as you lie back and savour the musical and sartorial debt we owe him. It’s no less an achievement than his previous efforts but it is clear that he doesn’t particularly need to push the envelope any more.

The result is lush and rich, relaxed and confident. Opening track Of & About delivers haunting swirls over a slow percussion that gets trancier as it goes along, backed by a steady beat that holds everything together in a warm embrace. This is followed by Twitchy Hand Mover, one of the dancier tracks, and like the other gems you’ll find here, it’s mostly instrumental. The remaining eight vary from repetitive beats and resonating bass to the deep, sinking down under woodwinds of I’ll Be Here Dreaming.

There’s haunting strings and piano melodies on tracks such as Chocolate Was a Boy and economically rationed vocals throughout the album, used sparingly and to great effect. Female whispers echo in and out of All You Have, while a male counterpart booms out with gravelly horror narration on The Wrong Truth, by far the album’s best track. With its paranoid, sinking and trancy feel and incongruous cymbals, it comes across like an imagined score to a gloriously shot film noir, dubbed into a language you don’t quite understand but like to look at nonetheless. Beautiful.

Mick Karn - Three Part Species ( flac 296mb)

01 Of & About 6:25
02 Twitchy Hand Mover 6:58
03 Floating Home 3:43
04 All You Have (Voc.Becky Collins) 6:05
05 I'll Be Here, Dreaming 4:10
06 Red Film 4:13
07 Chocolate Was A Boy 4:28
08 Pitta Pop 5:05
09 The Wrong Truth 5:45
10 Regretted 5:21

Mick Karn - Three Part Species (ogg 115mb)

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previously, Rhotation 49

Mick Karn - Titles (ogg 91mb)
Mick Karn - Titles (flac  ^ 251mb)

Dalis Car - The Waking Hour (ogg 180mb)
Dalis Car - The Waking Hour (flac 185mb)

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RhoDeo 1324 Beats

Hello,  winter started today in the Southern Hemisphere brrr, that is if you are one of those 800 million living there, even then it 's hardly ever cold in Brazil, South Africa or Australia, let alone Indonesia in fact the bizarre fact is that the number of people possibly freezing in the Southern Hemisphere is no more then a few million (if at all)- no use starting an isolation business there.. But then, we at the other end can look forward to summer, that is if the normal weather patterns will comply, after the torrential downpoor these last weeks in middle Europe and the subsequent floods, it was Alberta-Canada's turn to see the water rising beyond belief yesterday. Two days ago it was 30 C in my room well past midnight, next week forecast is about 16 C max. Confused ? Don't be it's just another episode in the never ending weather soap.

Meanwhile we're here for some beats, we've been getting serious and clinical and it should hardly be a surprise we turned to Germans for that, the coming Beats we remain in Berlin as it is such a cosmopolitan city where creativity /art is highly regarded, it's evident that there's much more to be explored and we just follow the beats. The fall of the wall meant reunification, but above all, a sense of no holds barred. The eastern part of the city became the anarchic, creative playground for a euphoric youth, now freed from bureaucracy. The early 90s were formative years for today's artist as well....... N'joy

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The early 90s after the Berlin Wall fell were formative years for Kalkbrenner, and after spending many long and sleepless nights on the dancefloors of E-Werk, Planet and Whale, the dream was born to make music himself. A job as TV editor got him through the mid-90s and financed his first music gear. By this point Kalkbrenner had already decided that he did not want to be a typical DJ playing other people's records, but rather to play only his own music, live in a club setting. His first tracks as Paul Kalkbrenner were released in 1999 on Berlin-based BPitch Control (the newly founded label from Ellen Allien) as the Friedrichshain EP, titled after his home district in the city's east. A series of further singles and two full-lengths (Superimpose and Time) followed, plus continuous live performances.

Together with Paul Kalkbrenner, BPitch Control gained a strong momentum. Kalkbrenner's third album Self (2004) would mark the beginning of a new era. His melodic sound, with its affinity for grand emotional gestures, obeyed the logic of the dancefloor, but Self introduced a narrative aesthetic, serving as a soundtrack to a film that did not exist (at least, not yet). "Gebrünn Gebrünn", released one year later, became a crossover hit.

In early 2006, German director Hannes Stöhr, an avid fan of Self, decided to get in contact with Kalkbrenner. His idea was to produce a film about a Berlin techno musician during the new millennium, and Kalkbrenner would compose the soundtrack. The two met, traded ideas and experiences, and soon after began working on the screenplay's first draft. In the course of their exchange, Stöhr had the realization that Kalkbrenner should not just contribute the music, but that he would be the perfect choice as the film's star. Without hesitation, Kalkbrenner accepted the offer. They decided to title the film Berlin Calling.

For the soundtrack's production, Kalkbrenner and his friend (and Bpitch colleague) Sascha Funke spent half a year in Aix-En-Provence in southern France. One song already had a title: Sky and Sand with vocals by brother Fritz. Upon Kalkbrenner's return to Berlin in 2007, the filming began, and the finished work was brought to German theaters in October 2008. Berlin Calling and Kalkbrenner's debut acting performance received positive reviews, and the film, thanks to its authentic depiction of the Berlin club scene and drug culture, became a cult classic.

The soundtrack and especially the single "Sky and Sand" broke many sales records. That track in particular went gold in Belgium where it remained in the charts' Top Ten for weeks. The 2009 DVD release of the film brought Kalkbrenner to a new, much larger audience around the world. By the end of the year, he separated with BPitch Control after a decade-long relationship to take the next steps of his career alone. In early 2010 Kalkbrenner completed a twelve-city live concert tour throughout Europe (with over 50,000 tickets sold within just a few weeks), followed by many headlining appearances at summer festivals.

Kalkbrenner uses software-synthesizers, sequencer (Ableton Live) in combination with midi-controllers, hardware-synthesizers and -drummachines for his live shows. On April 12, 2011, Kalkbrenner announced the album Icke Wieder, which was released on June 3, 2011 via his own new label Paul Kalkbrenner Musik. About the album, he stated: "There won't be any singing on the album, no music of tomorrow either, it feels generally more like... well, old times". On 25 August 2012 he married Simina Grigoriu. His latest album, Guten Tag, was released on November 30, 2012.

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The early 90s were formative years for a young Paul Kalkbrenner as well. Eventually, in one of many long and sleepless nights on the dancefloors of E-Werk, Planet and Whale, the dream was born to make music himself, and anything less important would be put aside. A job as TV editor got him through the mid-90s and financed his first music gear. By this point Paul had already decided that he did not want to be a typical DJ playing other people’s records, but rather to play only his own music, live in a club setting. His first tracks were released in 1999 on Berlin-based BPitch Control (the newly founded label from Ellen Allien) as the Friedrichshain EP, titled after his home district in the city’s east. A series of further singles and a full-length Superimpose followed. His music is ass-moving and hypnotic at the same time. As one of the most inspired Tech-artists, Paul is releasing this debut album, even though he only is 23 years young. Minimal melodic Techtracks and melancholic slowbeat creations will delight the enthusiasts of electronic music.

Paul's debut album "Superimpose" on Ellen Aliens capital label BPitch Control is a bit different than, for example, the colleagues from the vault: gentle, diverse, without losing sight of the party from the eyes - as you would already have always been of the U.S. parent city with the could learn a great D.  With a lofty poem by Erich Fried over the decline of society ("who are still not sick feeling at this time in which we must live is sick.") Is the whole thing to start shortly with - Charged critical theory - pretty simple .  Then simply run the party from Metroplex, from moody tech-house and minimal slender models on schnarzenden Knurspel-Electro and currently yes modern breakbeat tracks to sometimes small Acidschleifen - all of course executed with enough oomph.  So here is each and every docking points and identification possibilities.  In any case, more than just a collection of tools, and also more than just back "Berlin Techno", as so often gets him on the ear.

With Erich Fried's 'sick' as an intro positioned 'Superimpose' perhaps too bold in the genre of 'intellectual techno', but that does not matter.  Experimenting with creaking times, sometimes swirling sounds give the other twelve tracks; beautiful and the occasional breakbeats, which are only partly extremely scarce, and the 4 / 4th  Very Berlin.

Paul Kalkbrenner - Superimpose ( flac 329mb)

01 Krank (Spoken By Peggy Laubinger) 1:31
02 Feature Me 5:38
03 La Force 4:01
04 Seaquest 5:26
05 Accès Rapide 5:52
06 Wasser 4:20
07 Mono Play 6:13
08 Far Away 6:06
09 Radius 3:49
10 Tag 407 5:17
11 Rubin 6:07
12 Kurz 3:41
13 Gia 2000 5:08

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Paul Kalkbrenner's new, third, album is called "self", and the title fits perfectly.  What has always been applied in the predecessors, for me, but then often became very sound technically perfect swallowed by Greater trance now determined the tracks that are still broad, but much more introverted sound much more personal.  The whole album, with all its loving Interludes and downtempo tracks seems so harmonious, so homogeneous and yet so calmly that the tracks seem to flow into each other like short stories.  A soundtrack of crystalline melancholy, although it is still in the club head but the dictates of the dancefloor replaced by a dance at übereinandergetürmter areas and melodies.  Trance is here among others, shall we say intimate, conditions instead.  His melodic sound, with its affinity for grand emotional gestures, obeyed the logic of the dancefloor, but Self introduced a narrative aesthetic, serving as a soundtrack to a film that didn’t exist (at least, not yet…). It was Paul’s most musical and mature album to date, although still taking cues from the dancefloor and rave culture, offering a first glimpse of what was yet to come. “Gebrünn Gebrünn”, released one year later, became a crossover hit found in every DJ’s record bag and finally cemented Paul’s status as a Techno MVP.

Paul Kalkbrenner - Self ( flac 248mb)

01 Page One 0:26
02 Press On 5:51
03 Castanets 5:30
04 Queer Fellow 4:16
05 Since 77 5:09
06 Page Two 0:25
07 Marbles 4:17
08 Dockyard 5:39
09 The Grouch 6:08
10 The Palisades 3:46
11 Page Three 2:31

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In early 2006, German director Hannes Stöhr, an avid fan of Self, decided to get in contact with Kalkbrenner. His idea was to produce a film about a musician in Techno City during the new millennium, and Paul would compose the soundtrack. The two met, traded ideas and experiences, and soon after began working on the screenplay’s first draft. In the course of their exchange, Hannes had the realization that Paul should not just contribute the music, but that he would be the perfect choice as the film’s star. Without hesitation, Paul accepted the offer. They decided to title the film Berlin Calling. For the soundtrack’s production, Paul and his friend (and BPitch colleague) Sascha Funke spent half a year in Cézanne’s hometown of Aix-En-Provence in southern France.

Unencumbered by the cold, gray Berlin winter, Paul devoted himself entirely to the musical aspect of the project. One song already had a title: “Sky and Sand” with vocals by Paul’s brother Fritz. Upon Paul’s return to Berlin in 2007, the filming began, and the finished work was brought to German theaters in October 2008. Berlin Calling and Paul’s debut acting performance received positive reviews, and the film, thanks to its authentic depiction of the Berlin club scene and drug culture, became, slowly but surely, a cult classic. The soundtrack and especially the single “Sky and Sand” broke all sales records. That track in particular went gold in Belgium where it remained in the charts’ Top Ten for weeks. The 2009 DVD release of the film brought Paul to a new, much larger audience around the world. A good idea to check it out (it's available in many languages in torrent world)

Paul Kalkbrenner - Berlin Calling OST ( flac 372mb)

01 Aaron 6:01
02 Queer Fellow 4:17
03 Azure 6:11
04 Sky And Sand (Voc. Fritz Kalkbrenner) 3:59
05 Square 1 6:43
06 Altes Kamuffel (Berlin Calling Edit) 4:35
07 Torted 5:30
08 Sascha Funke - Mango (Berlin Calling Edit) 4:33
09 QSA 5:25
10 Castenets (Berlin Calling Edit) 5:04
11 Bengang 5:37
12 Peet 3:34
13 Train 2:48
14 Gebrünn Gebrünn (Berlin Calling Edit) 7:14

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