RhoDeo 1804 Aetix

Hello,


Today's artists  are an Australian rock music band formed in 1981. Fronted by founding mainstay, singer-songwriter and guitarist Mark Seymour, they developed a blend of pub rock and art-funk. Other mainstays are John Archer on bass guitar, Doug Falconer on drums and percussion. Soon after forming they were joined by Jack Howard on trumpet and keyboards, Jeremy Smith on French horn, guitars and keyboards, and Michael Waters on trombone and keyboards. Also acknowledged as a founder was engineer and art designer Robert Miles. Joining in 1988, Barry Palmer, on lead guitar, remained until they disbanded in 1998. The group reformed in 2013 with the 1998 line-up........N'Joy

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Hunters & Collectors' founding mainstays are John Archer (bass guitar), Doug Falconer (drums) and Mark Seymour (guitar and lead vocals). They met as residential students of Ormond College at the University of Melbourne in the late 1970s. Seymour is the older brother of Nick Seymour, the bass guitarist for Crowded House. In 1978 with Robert Miles (sound engineer) Archer, Falconer and Seymour formed a casual band, The Schnorts They played cover versions of 1960s songs, including "To Sir, with Love". Their lead singer, Margot O'Neill, was a journalist on radio 3RRR program, Talking Headlines.

A more ambitious band, The Jetsonnes, followed in September 1979, with the addition of Ray Tosti-Gueira on guitar and backing vocals. According to music journalist, Clinton Walker, The Jetsonnes had a "clever post-punk pop sound was lighter, bouncier (rather than funkier) and more infectious than other like-minded bands". Their only released track is "Newspaper" which was one side of a gig give away split single in June 1980 with "Miniskirts in Moscow" by fellow pop group, International Exiles, as the other. By September that year The Jetsonnes had disbanded but Archer, Falconer, Miles, Seymour and Tosti-Gueira decided to continue with new members, Geoff Crosby on keyboards and Greg Perano (ex-True Wheels) on percussion to form a new band

Hunters & Collectors formed in Melbourne in early 1981 with the initial line-up of Archer, Crosby, Falconer, Miles, Perano, Seymour and Tosti-Gueira. Miles was credited as an equal part of the band's output and stayed throughout their main career. Perano provided the band's name from "Hunters and Collectors", a track on 1975's Landed album by German group Can. Originally Hunters & Collectors were influenced by the Krautrock genre and the productions of Conny Plank, featuring strong percussive influences, noisy guitar, and driving bass lines. As lead singer and guitarist, Seymour became the principal lyricist and the linchpin of the group. The core of Hunters & Collectors was expanded by a brass section, later dubbed Horns of Contempt, consisting of Nigel Crocker and Michael Waters both on trombone; Jack Howard, Andy Lynn and Chris Malherbe each on trumpet; and Jeremy Smith on French horn.

Mushroom Records specifically formed a new alternative label, White Label Records, when they signed Hunters & Collectors. Their first release was World of Stone, a three-track extended play in January 1982. It reached the Australian top 50. Their debut self-titled album followed in July and was produced by the band with engineering by Sydney-based Tony Cohen. It peaked at No. 21 on the Australian Kent Music Report Albums Chart, and No. 14 on the New Zealand Albums Chart. The album's lead single, "Talking to a Stranger", also released in July, was accompanied by a music video directed by film maker Richard Lowenstein, but it did not peak into the Top 50. By that time, Tosti-Gueira was replaced by Martin Lubran (ex-Spiny Norman) on guitar and the Horns of Contempt were reduced to three: Howard, Smith and Waters.

Another EP, Payload, was released in November, its four tracks were co-produced by Mike Howlett (ex-Gong) and the band. In 1983 the band toured the United Kingdom for six months and signed with Virgin Records. The label recompiled three tracks from the Australian version of Hunters & Collectors and all four tracks from Payload into the international version of Hunters & Collectors, which was released in April. While in the UK and attempting to enter the local market, the group's members "were doing odd jobs, illegally, to keep afloat and getting steadily more miserable in the process".

By mid-year the band had decamped to Conny's Studio in Germany, where they recorded their second album, The Fireman's Curse, co-produced by Plank (Can, Cluster, Kraftwerk), with Dave Hutchins engineering, and released by White Label and Virgin Records on 5 September 1983. The album did not reach the top 50 in Australia but did so in New Zealand. A three-record deal with Virgin was broken when band members insulted the label's executive, Simon Draper, by telling him that he was "a poncy little blueblood" with no faith in them. Its lead single, "Judas Sheep" (August), reached the top 40 in New Zealand but did not chart in Australia. After November's single, "Sway", failed to chart in both markets, they disbanded briefly.

Late in 1983, Hunters & Collectors had briefly disbanded, but soon reformed without Lubran and Perano. The 1984 line-up now featured greater use of keyboards by Crosby, as well as more emphasis on work by Howard, Smith and Waters. The band began to pare back their art rock pretensions of their earliest albums, although they retained a muscular, bass-driven sound, rounded off by the band's distinctive horn section. Seymour's lyrics became less abstruse and focused on the twin themes of the fraught personal relationships and the politics of the day.

The first album featuring the new line up was The Jaws of Life which appeared on 6 August 1984. McFarlane described it as having "a stripped-down rock sound, a driving rhythm, more concise arrangements and stronger songs".The album reached the top 100 in Australia and top 40 in New Zealand. Again co-produced with Plank, it was recorded at the old Can studio by René Tinner. The title, cover art and opening track, "42 Wheels", all refer to the murder of five people by an intoxicated, outback trucker, Douglas Crabbe.

The Jaws of Life provided a single, "The Slab" (also in August), which did not chart. However relentless touring, airplay on radio station Triple J plus their music videos screening on Countdown and other music video shows, fostered a devoted following on the pub rock scene. On 24 and 25 August 1984 Hunters & Collectors performed two gigs at The Venue in Melbourne, the performances were recorded and filmed. For the gigs Smith and Waters also played organs. The band issued their first live album, The Way to Go Out, on 1 April 1985, which was recorded and mixed live by Miles. The album reached the top 100 in Australia and No. 21 in New Zealand. It "captured all the ferocious power and muscular energy that characterised the band's pub gigs" according to McFarlane.

Greater Australian commercial success came in April 1986, with their fourth studio album, Human Frailty, which McFarlane found was "a further refinement of the sinewy and dynamic approach established" previously. It was co-produced by the group with Gavin MacKillop. It became their first Australian Top Ten album and reached No. 5 in New Zealand. In 2008 Human Frailty, was featured by SBS TV on the Great Australian Albums second series. Creswell presented the series and noted that "the album documents, in the most candid terms, the course of a doomed love affair that [Seymour] was then going through. A parallel narrative is also running through the album, which is of a group adjusting to life on the road and an exploration of what it means to be Australian in the 1980s".

After Human Frailty appeared in Australia Hunters & Collectors toured the US twice and then released their third EP, Living Daylight. It was followed by their fifth studio album, What's a Few Men?, also co-produced with Edward and released in November. It peaked at No. 16 in Australia and No. 9 in New Zealand.

The album provided the singles "Do You See What I See" (October) and "Still Hangin' Round" (February 1988) "Do You See What I See" reached the top 40 in Australia and in New Zealand it became their highest charting single at No. 13. "Still Hangin' Round" was deemed to be too "Australian": it was cut from the US configuration of the album, which was retitled Fate, and released in September 1988. Three new tracks were recorded for the US CD version, including "Back on the Breadline", which was issued as a single and charted at No. 6 on the Billboard Modern Rock Tracks. In August 2003 a re-issue of What's a Few Men? by the Liberation Blue label featured all 15 tracks from the two versions.

Early in 1988 Barry Palmer joined the group on guitar. Ghost Nation, co-produced with Clive Martin and released in November 1989, was their second Australian Top Ten, it appeared on the ARIA Albums Chart.  It provided four singles, beginning with "When the River Runs Dry", appearing in September and peaking at No. 23 in Australia in December and No. 5 on Billboard Modern Rock Tracks in 1990.

Hunters & Collectors supported Midnight Oil's North American tour of 1990 and, although the band struggled to find further chart success in the US, they maintained their status in Australia and New Zealand as local favourites. During that year Rolling Stone (Australia) named them Australian Band of the Year. At the ARIA Music Awards of 1990 the group were nominated in six categories and Ghost Nation won Best Cover Art for Miles' work. A compilation album, Collected Works, was released on 19 November 1990, and was another Top Ten album in Australia. It contained a fourth version of "Throw Your Arms Around Me" which was released as a single for a third time by December that year.


On 6 October 1992 Hunters & Collectors released their seventh studio album, Cut, co-produced by Don Gehman (Jimmy Barnes), Sansano and the band. Although relationships were strained due to Gehman's aggressive working methods, the band almost broke up during recording sessions, Cut peaked at No. 6 in Australia and No. 17 in New Zealand. It retained a balance between the band's artistic core and its commercial ambitions. The album provided six singles, all charted on the ARIA Singles Chart Top 100.

Demon Flower, their eighth studio album, followed on 16 May 1994, which was co-produced with Nick Mainsbridge (The Triffids, Martha's Vineyard, Ratcat). It peaked at No. 2 in Australia – their highest charting album – and No. 9 in New Zealand. Demon Flower provided "Easy", which reached the top 40 in both countries, and three other singles, which did not chart. Demon Flower was dominated by themes relating to the politics in the state of Victoria, particularly the economic rationalist policies of Premier Jeff Kennett.

A double live album, Living ... In Large Rooms and Lounges, was released in November 1995, with one disc consisting of an acoustic set at the now-defunct Continental Cafe in Prahran, and the other was a typical pub performance. Juggernaut, their ninth studio album, was co-produced with Kalju Tonuma (The Mavis's, Boom Crash Opera) and Mark Opitz (Hoodoo Gurus, Jimmy Barnes, INXS). The album was recorded in 1997 and released in January 1998, and featured the single "True Believers". With its release, Hunters & Collectors announced that they would disband after the Juggernaut Say Goodbye tour.

Hunters & Collectors embarked on their final tour of Australia in 1998, with a concert performed at Selina's, Coogee Bay Hotel, Sydney being recorded and released on CD and DVD as Under One Roof. The group's last public show was on 22 March 1998 in Melbourne.

On 14 July 2005 Hunters & Collectors were inducted into the ARIA Hall of Fame at the Plaza Ballroom alongside Split Enz, Renée Geyer, Normie Rowe, Smoky Dawson, and The Easybeats. They were inducted into the Hall of Fame by Peter Garrett, former lead singer of tour mates, Midnight Oil, At the ceremony Hunters & Collectors provided a one-off performance of "Say Goodbye" and "Throw Your Arms Around Me".

In 2008 Seymour published his memoirs, Thirteen Tonne Theory: Life Inside Hunters and Collectors, detailing his experiences with the group. He described the difficulty in writing tracks for the band with all members involved, "the thing that ultimately made things more difficult was the sheer size of the band".

Hunters & Collectors played at the Melbourne Cricket Ground on 14 March 2009 for Sound Relief, which was a multi-venue rock music concert in support of victims of the Victorian Bushfire Crisis.[34][35] The event was held simultaneously with a concert at the Sydney Cricket Ground.[34] All the proceeds from the Melbourne Concert went to the Red Cross Victorian Bushfire relief.

A tribute album, Crucible - The Songs of Hunters & Collectors, was released in September 2013, including contributions by Birds of Tokyo, Eddie Vedder and Neil Finn (of Crowded House), Cloud Control, Something For Kate, and The Rubens, as well as a remix of the original "Talking to a Stranger" by The Avalanches.

The band reunited in their 1998 line-up of Archer, Falconer, Howard, Palmer, Seymour, Smith and Waters, at the 2013 AFL Grand Final playing "Do You See What I See" and "The Holy Grail". They headlined a series of A Day on the Green outdoor concerts in early 2014, and supported Bruce Springsteen and the E Street Band during their tour of Australia on 15 and 16 February 2014 at Melbourne Rectangular Stadium. On 12 April 2014 they performed their last concert for the reunion series at the Palais Theatre in St. Kilda. The band subsequently won the 2014 Helpmann Award for Best Australian Contemporary Concert.


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Hunters & Collectors' self-titled debut is seething art funk comparable to a harder-edged Shriekback or less political Gang of Four. The latter two bands were built on the bedrock of Dave Allen's bass, and H&C's sound is likewise often dominated by formidable bassist John Archer. At this stage of H&C's career they were still working to develop an identity. The lyrics on Hunters & Collectors are stream-of-consciousness poetics that range from the merely incomprehensible to the downright silly, and singer Mark Seymour does not sound entirely comfortable delivering them. This would change in later years; Hunters & Collectors, meanwhile, is all about the muscular rhythms provided by Archer and drummer Doug Falconer. When they get hold of a good one, they motor right over the young band's shortcomings. This album's best moments are "Tow Truck," "Talking to a Stranger," and, especially, "Run Run Run," an epic song that begins on a relentless beat, then shifts midway through to a hypnotic groove that builds to a towering crescendo

Hunters and Collectors - Hunters and Collectors   (flac  486mb)

01 Talking To A Stranger 7:31
02 Alligator Engine 5:57
03 Skin Of Our Teeth 8:07
04 Scream Who 4:13
05 Junket Head 5:19
06 Boo Boo Kiss 5:52
07 Tender Kinder Baby 4:51
08 Run Run Run 9:12
World Of Stone E.P.
09 World Of Stone 7:31
10 Watcher 4:42
11 Loinclothing 5:29

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The Fireman's Curse was recorded in June and July 1983, Hunters & Collectors had decamped from United Kingdom, where they had been based while touring Europe for six months, to Neunkirchen, West Germany. There they recorded their second album, which was co-produced with Konrad 'Conny' Plank (Can, Cluster, Kraftwerk), at Conny’s Studio, with Dave Hutchins engineering.

The industrial epic funk-rock "The Fireman's Curse" brings to mind a fusion between the Simple Minds and Cabaret Voltaire, while the grotesque industrial music-hall "Fish Roar" brings to mind Foetus' orgies. "Blind Snake Sundae" veers into atmospherics and utilizes a more minimal approach, although the tortured wails of the singer echo Nick Cave and The Pop Group at their most desperate. Staying on this path, "Mr Right" sounds like The Birthday Party trying their hand at playing pop music.

The album gets slightly more ambitious from this point onwards. "Slave, Moan & Sway" shows how they can build an elaborate, multi-layered industrial-funk, until they reach a genuinely menacing atmosphere; this isn't dissimilar at all to how Shriekback and Yello operate. Further applause can go to the anarchic disco/ funk/ jazz crossover "Judas Sheep", worthy of Rip Rig + Panic, while "Eggheart", perhaps the most impressive, is a metallic jazz-funk huff, deviating towards a deformed chant, succeeding in evoking dystopian futuristic images. This is some dense, bewildering and often violently noisy stuff that's still definitely funky post-punk.

Hunters and Collectors - Fireman's Curse (flac  256mb)
 
01 Prologue 0:33
02 Curse 5:46
03 Fish Roar 3:18
04 Blind Snake Sundae 6:10
05 Mr. Right 3:38
06 Sway 5:54
07 Judas Sheep 4:05
08 Eggheart 5:02
09 Drinking Bomb 4:49
10 Epilogue 0:55

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The Jaws of Life represented a breakthrough for Hunters & Collectors where their more ambitious artistic impulses were harnessed to melodic, concise, and structured songs. Less pretentious than Hunters & Collectors and less anarchic than The Fireman's Curse, The Jaws of Life took a strategic step toward accessibility without sacrificing any of the band's powerful intensity. While still predominantly dark, H&C's music in this period showed a growing humanity that could even be called soulful. Who would have guessed that they were capable of such a convincing take on Ray Charles' "I Believe to My Soul"? While Mark Seymour's words on The Jaws of Life can hardly be called linear or narrative, they are considerably less random and more evocative than on previous albums, and his vocals benefit from increased restraint. H&C's sound still rests squarely on the solid foundation of the Archer/Falconer rhythm section, with Seymour's slashing rhythm guitar and The Horns of Contempt working in and around the grooves. A couple of ballads -- "Hayley's Doorstep" and "Carry Me" -- and the anthemic "It's Early Days Yet" show off the band's increased range. On the whole, a superior and highly recommended record.

Hunters and Collectors - The Jaws of Life (flac  415mb)
 
01 42 Wheels 3:21
02 Holding Down A D 3:42
03 The Way To Go Out 3:23
04 I Couldn't Give It To You 3:32
05 It's Early Days Yet 3:40
06 I Believe 2:57
07 Betty's Worry Or The Slab 3:59
08 Hayley's Doorstep 5:38
09 Red Lane 3:47
10 Carry Me 4:13
11 Little Chalkie 3:27
12 Towtruck 4:58
13 Droptank 4:56
14 Mouthtrap 4:10
15 Lumps Of Lead 4:10

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RhoDeo 1804 Roots

Hello,

Today’s artists are Chilean rockers who became the most influential local band during the 1980s and one of the most popular Latin rock acts ever. Singer and bassist Jorge González, guitarist Claudio Narea, and drummer Miguel Tapia decided to start their own band while still high school students. Inexperienced but enthusiastic, they were able to reach a new generation of rock fanatics with their message.....N'Joy

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Los Prisioneros ("The prisoners") were a Chilean rock / pop band formed in San Miguel, Santiago, Chile in 1979. They are considered one of the most important Chilean bands, and arguably the strongest musical influences that Chile has made to Latin American music. In addition, they are considered by Latin American media and musicians pioneers of Rock en español (Rock in Spanish) and the band with strongest socio-political impact in Chile.

Their roots date back to March 1979, when their core members entered high school. From their beginnings in 1983 at the Festival de la Canción del Colegio Miguel León Prado (Miguel Leon Prado High School Song festival) to their first limited release album in Chile under the record label "Fusión Producciones", they struggled to make themselves known until they were able to sign with EMI Records in 1985, re-releasing their first album on LP record and cassette. From that point on, they reached mainstream success in Chile, then in Peru. Los Prisioneros created a simple Punk sound with a mix of Nueva ola, Techno, Synthpop, and Reggae.

Musically, Los Prisioneros marked the beginning of a new musical era in Chile, leaving behind the 1960s folk-inspired music of Víctor Jara and Violeta Parra, and starting the new era of Nuevo Pop Chileno (New Chilean Pop). Their legacy has been recognised by bands such as Glup!, Javiera y Los Imposibles, Lucybell, Los Tetas and La Ley, who together made the tribute album Tributo a Los Prisioneros. They made themselves known for having controversial songs that criticized socio-economic structures, education, economic policies, as well as societal attitudes of Chile and Latin America. Their songs were used by Chilean young people to protest the military dictatorship of Augusto Pinochet. Because of this, Chilean mainstream media banned the group's music between 1985 and 1990, but their music continued to spread in Chile, aided in part by word of mouth and by shared homemade cassette copies. Many Los Prisoneros compositions are among the most important and musically influential songs of Latin America, and Rock en español, particularly the songs "We Are Sudamerican Rockers" and Tren al Sur, and especially El Baile De Los Que Sobran.

The band went through several cast configurations and through several phases and cycles of playing together, dissolving and later reuniting. In their first phase, 1983 to 1991, Los Prisioneros released four albums; three of them are included in the fifty best Chilean records according to Rolling Stone's Los 50 mejores discos chilenos según Rolling Stone. Placing third is La Voz De Los '80, ninth is Corazones and 15th is Pateando Piedras. In early 1990, when Claudio Narea left the band, two new members were added: Robert Rodriguez, guitarist and vocalist from Arequipa, Peru (the only non-Chilean member of the band) and Cecilia Aguayo (keyboard and chorus). By the end of 1991, they decided to dissolve resulting in a 10-year hiatus.

In 2001, their second phase began with a hits album titled Antologia, Su Historia, Y Sus Exitos, and a reunion concert at the Estadio Nacional Julio Martínez Prádanos performing for a total of almost 150,000 people (a feat which no other Chilean band has ever accomplished). In 2003, after they recorded their album titled Los Prisioneros, Jorge González and Claudio Narea had a falling out, resulting in Narea bitterly leaving the band. González and Tapia continued performing, and recorded a cover album titled Los Prisioneros En Las Raras Tocatas Nuevas De la Rock & Pop(The Prisoners In The Strange New Playings of Rock & Pop) with Alvaro Henríquez from Los Tres band. In 2004, the band recorded Manzana (Apple) with new members Sergio "Coty" Badilla and Gonzalo Yáñez; and they go on tour of Canada, The United States, Mexico, Ecuador, Peru, Bolivia, Colombia, and Chile. On February 18, 2006, in Caracas, Venezuela the band performed their last concert. Jorge González moved to Mexico, leaving Tapia and Badilla in Chile. Although they're no longer active, their music continues to be relevant and popular in Latin America.


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The voice of the '80's is the first studio album by the Chilean band Los Prisioneros, released independently under the label Fusión, on December 13, 1984. It was produced by the leader, vocalist, and composer of the songs,  Jorge González, although he credited it on behalf of the band. A thousand copies were released in cassette format at the time of its release, nowadays these cassettes are considered relics and rock legends of Chile. In August 1985,  The voice of the 8'0 was reissued by EMI Odeón Chilena at a national level and with a Latin American projection, managing to sell in Chile around 100,000 copies.

The album was initially recorded and mostly in the studies of Francisco Straub, but it was finished and mixed in the studios of Caco Lyon.  It was characterized by combining the simple sound of guitar, bass and drums;  In addition, some of the tracks use a keyboard as an accompaniment and an electric drum.  In Pateando piedras, the second album by Los Prisioneros, the sequencers would be more present.6 7 The songs expose critics of the world during the 1980s, achieving in the song "Latin America is a town in the South of the United States" to capture the  environment of American imperialism and the Cold War omnipresent in the subcontinent.

It is considered the most important rock album in Chile and also the most important youth album in Chilean music, since the members of the band were not over twenty years of age when they started recording. EMOL included the album inside  from his selection of 35 fundamental albums of Chilean popular music. The voice of the '80s was chosen as the third best Chilean album of all time, according to Rolling Stone Chile magazine, surpassed by Machu Picchu Heights, Los Jaivas, in the second place, and The last compositions, by Violeta Parra, in the first place (been there done that)

Los Prisioneros - La Voz De Los '80-'84   (flac  282mb)

01 Doble Opuesto 4:27
02 Placer 4:25
03 En Lugares 4:04
04 Desiertos 5:19
05 Que Va A Suceder 4:22
06 Prisioneros De La Piel 3:21
07 A Veces 4:41
08 Angie 4:33
09 Sasha 3:48
10 Solo Ideales 4:56

Los Prisioneros - La Voz De Los '80-84 (ogg   95mb)

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Pateando piedras (Kicking stones) is the second album by Chilean rock band Los Prisioneros. Pateando piedras is a conceptual album (and second studio album) of the Chilean group Los Prisioneros.  It was released on September 15, 1986 in a cassette format in Chile and a 12-inch vinyl in other countries in South America. It was the group's first album to be edited by a multinational company.  It sold five thousand copies in its anticipated sale, and reached ten thousand units sold in a short time.  The album was preceded by the hit single, "Move Industries," which showed the group acquiring influences from European techno bands like Depeche Mode, and abandoning the simple sound of guitar, bass and drums that had characterized their debut album, La voz  of the '80, in 1984.

Pateando piedras receives its title from one of the most emblematic songs of the band, "The dance of those who are left over", a theme that presents a strong social criticism on the part of its main composer, Jorge González, which he defines as a "song  to marginalized young people after leaving formal education, "2 and that has become one of the most important songs in the history of Chilean popular music.

Kicking stones meant the band's leap to mass and defeat the censorship imposed by the ruling party, by vetoing them on television and in the media controlled by the dictatorship.2 On November 1, 1986 the group promoted the album with  Two recitals to the board returned at the Estadio Chile.  The album became famous for its lyrics focused on social themes, danceable sound with electronic components and the personality of the band, as well as highly successful radio songs such as «Move the industries», «Want money», «Why the rich»  or "Why do not they leave?"

 Los Prisioneros - Pateando Piedras   (flac  268mb)

01 Muevan Las Industrias 4:46
02 Por Que No Se Van 2:59
03 El Baile De Los Que Sobran 5:44
04 Estar Solo 4:31
05 Exijo Ser Un Héroe 5:40
06 Quieren Dinero 5:08
07 Por Favor 3:29
08 Por Que Los Ricos 4:54
09 Una Mujer Que No Llame La Atención 3:21
10 Independencia Cultural 4:32

Los Prisioneros - Pateando Piedras (ogg  109mb)

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La cultura de la basura (Spanish for "The culture of Garbage" or "Junk Culture") is the third album by Chilean rock band Los Prisioneros. Due to the heavy censorship of the military regime in Chile, Los Prisioneros focused in promoting the album outside Chile in other Latin American countries; for this purpose, a special Latin American edition was made. Trash Culture is the third album of the Chilean musical group Los Prisioneros, released on December 3, 1987. There are two versions of this album: the Chilean one, which has 14 songs and which was originally only released in cassette, vinyl and  in the 90's it was reissued on CD.  The second is the Latin American edition, released in 1988 and includes the single "We are South American rockers" and has 10 songs, most of them are remixed or are new versions of the Chilean edition.

The name of the disc makes reference to the neoliberal culture that had been imposed in Chile during the 1980s in the hand of the discourse of economic success presented by the military dictatorship of the time.  The title, however, is not explicit if it is an open criticism or if, on the contrary, it is a portrait of this culture considered "garbage".  This last idea gains force when the vocalista Jorge González, in an interview realized in Peru, assured that many parts of the song "the culture of the garbage" are not ironic and that, in fact, it likes Raphael and other popular artists that it mentions.

A year after the success of his previous album, Pateando piedras , the group gained even more popularity in Chile.  Jorge González decided that the next album was going to be called La cultura de la basura and, starting with the title, the ideas that would materialize in the first demos or demos of the album began.

This album incorporates songs created by Claudio Narea (guitarist) and Miguel Tapia (drummer) -as in the previous album Jorge González was the only composer and lyricist-, of which "We are having a great time", composed and  sung in its original version by Narea.

Perhaps the most important of the culture of garbage was its theme, completely critical and direct towards the Chilean military dictatorship, which by those years was already coming to an end.  Thus, the song «Power to choose» marks this area precisely.  Due to this position, the Prisoners were vetoed and censored by the military, thus closing the doors to them to carry out events in a large part of the country.  Also, the media highlighted the Prisoners as "harmful to youth."

 In spite of its censorship and the few presentations of diffusion of the disc, several of its songs were very well-known and reached to be true classics of the group. It was recorded in the Fusión studios belonging to his friend and manager Carlos Fonseca.  The recording and mixing of the music was in charge of Alejandro Lyon and Antonio Gildemeister, the general coordination was Máximo Quiroz, the producers were the same members of the band and the graphic design was the responsibility of Jacqueline Fresard.

 Due to the great censorship that affected the group, it focused almost entirely on spreading its music to the rest of Latin America, becoming internationalized in some way.  Thus, the Prisoners created a Hispanic-American edition of the album La cultura de la basura, changing the structures of some songs, and incorporating what would be one of their greatest hits: the song "We are South American rockers".  The videoclip of this last song would become the first one broadcast by the MTV Latin America network.

Los Prisioneros - La Cultura De La Basura   (flac  353mb)

01 Somos Solo Ruido 1:23
02 De La Cultura De La Basura 3:09
03 Que No Destrocen Tu Vida 4:14
04 Usted Y Su Ambicion 3:48
05 Cuando Te Vayas 4:53
06 Jugar A La Guerra 4:39
07 Algo Tan Moderno 4:48
08 Maldito Sudaca 2:17
09 Lo Estamos Pasando Muy Bien 5:49
10 El Es Mi Idolo 4:20
11 El Vals 3:09
12 Otro Dia 4:37
13 Pa Pa Pa 3:32
14 Poder Elegir 8:02

Los Prisioneros - La Cultura De La Basura (ogg  139mb)

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Corazones ([Hearts] is the fourth album by the Chilean new-wave band Los Prisioneros. First released in 1990, it was produced by Gustavo Santaolalla (with Anibal Kerpel's collaboration) for EMI Odeon Chilena. The album was recorded, mixed and mastered in Los Angeles, California. The lyrics are not related to the band's usual social criticism, but they took a more romantic, electronic oriented direction, with the support of Cecilia Aguayo on keyboards and Robert Rodríguez on guitars. With this work, the band practically left aside social criticism to start a new, much more sentimental and electronic stage.  The romantic, intimate and melancholic lyrics that predominate in the album were influenced by the relationship that until then maintained Jorge González with Claudia Carvajal, the wife of the guitarist of the band, Claudio Narea. Although Narea was aware of the affair since February 1989, she remained in the band for financial reasons.  However, during a rehearsal conducted in January 1990, Narea would have been forced by Gonzalez to listen repeatedly to the songs of the new album, obviously dedicated to his wife, which motivated his departure from the band two months before the publication of Corazones. For this reason, this was the first album by Los Prisioneros without Narea, who had contributed to the initial recordings of Beaucheff 1435 and continued to be a member of the band while González recorded the album, but did not appear as an interpreter in the finished work. He was replaced by keyboardist Cecilia Aguayo and guitarist Robert Rodríguez. After finishing the promotion tour -which included two performances on the International Music Festival at Viña del Mar (1991) The band split up and would eventually reunite for a brief period in 2001.

According to Rolling Stone Chile magazine, "Corazones" stands #9 on the best Chilean album of all times ranking, while "La voz de los 80" stands #3, and "Pateando piedras", #15.

Los Prisioneros - Corazones   (flac  294mb)

01 Tren Al Sur 5:36
02 Amiga Mía 4:02
03 Con Suavidad 5:04
04 Corzones Rojos 3:31
05 Cuentame Una Historia Original 3:49
06 Estrechez De Corazón 6:23
07 Por Amarte 6:03
08 Noche En La Ciudad (Fiesta!) 6:10
09 Es Demasiado Triste 4:51

Los Prisioneros - Corazones (ogg   105mb )

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RhoDeo 1804 Neverwhere 5

Hello, did you notice Roger won his 20th grandslam in his 30th final no? You might be forgiven to think this tennis must be a boring game. But you'd be wrong there, specially when Federer is playing, these days he plays chess-tennis using his fast experience to outwit his younger opponents and whilst there are many that rave about Nadal's power tennis, it is not nearly as entertaining as Federer's chess-tennis, Roger respects the game and his opponents and the viewers that want to be entertained...

Today i added the first 2 Neverwhere comicbooks , as i added his


 Confused ? Why not delve into London's underbelly......'N Joy

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Neil Richard MacKinnon Gaiman born 10 November 1960 is an English author of short fiction, novels, comic books, graphic novels, audio theatre, and films. His notable works include the comic book series The Sandman and novels Stardust, American Gods, Coraline, and The Graveyard Book. He has won numerous awards, including the Hugo, Nebula, and Bram Stoker awards, as well as the Newbery and Carnegie medals. He is the first author to win both the Newbery and the Carnegie medals for the same work, The Graveyard Book (2008). In 2013, The Ocean at the End of the Lane was voted Book of the Year in the British National Book Awards

...continued from last week

After forming a friendship with comic-book writer Alan Moore, Gaiman started writing comic-books, picking up Miracleman after Moore finished his run on the series. Gaiman and artist Mark Buckingham collaborated on several issues of the series before its publisher, Eclipse Comics, collapsed, leaving the series unfinished. His first published comic strips were four short Future Shocks for 2000 AD in 1986–87. He wrote three graphic novels with his favourite collaborator and long-time friend Dave McKean: Violent Cases, Signal to Noise, and The Tragical Comedy or Comical Tragedy of Mr. Punch. Impressed with his work, DC Comics hired him in February 1987, and he wrote the limited series Black Orchid. Karen Berger, who later became head of DC Comics's Vertigo, read Black Orchid and offered Gaiman a job: to re-write an old character, The Sandman, but to put his own spin on him.

The Sandman tells the tale of the ageless, anthropomorphic personification of Dream that is known by many names, including Morpheus. The series began in January 1989 and concluded in March 1996. In the eighth issue of The Sandman, Gaiman and artist Mike Dringenberg introduced Death, the older sister of Dream, who would become as popular as the series' title character. The limited series Death: The High Cost of Living launched DC's Vertigo line in 1993. The 75 issues of the regular series, along with an illustrated prose text and a special containing seven short stories, have been collected into 12 volumes that remain in print, 14 if the Death: The High Cost of Living and Death: The Time of Your Life spin-offs are included. Artists include Sam Kieth, Mike Dringenberg, Jill Thompson, Shawn McManus, Marc Hempel and Michael Zulli, lettering by Todd Klein, colours by Daniel Vozzo, and covers by Dave McKean. The series became one of DC's top selling titles, eclipsing even Batman and Superman. Comics historian Les Daniels called Gaiman's work "astonishing" and noted that The Sandman was "a mixture of fantasy, horror, and ironic humor such as comic books had never seen before". DC Comics writer and executive Paul Levitz observed that "The Sandman became the first extraordinary success as a series of graphic novel collections, reaching out and converting new readers to the medium, particularly young women on college campuses, and making Gaiman himself into an iconic cultural figure."

Gaiman and Jamie Delano were to become co-writers of the Swamp Thing series following Rick Veitch. An editorial decision by DC to censor Veitch's final storyline caused both Gaiman and Delano to withdraw from the title. Gaiman produced two stories for DC's Secret Origins series in 1989. A Poison Ivy tale drawn by Mark Buckingham and a Riddler story illustrated by Bernie Mireault and Matt Wagner. A story which Gaiman originally wrote for Action Comics Weekly in 1989 was shelved due to editorial concerns but it was finally published in 2000 as Green Lantern/Superman: Legend of the Green Flame.

In 1990, Gaiman wrote The Books of Magic, a four-part mini-series that provided a tour of the mythological and magical parts of the DC Universe through a frame story about an English teenager who discovers that he is destined to be the world's greatest wizard. The miniseries was popular, and sired an ongoing series written by John Ney Rieber. Gaiman's adaptation of Sweeney Todd, illustrated by Michael Zulli for Stephen R. Bissette's publication Taboo, was stopped when the anthology itself was discontinued.

In the mid-1990s, he also created a number of new characters and a setting that was to be featured in a title published by Tekno Comix. The concepts were then altered and split between three titles set in the same continuity: Lady Justice, Mr. Hero the Newmatic Man, and Teknophage. They were later featured in Phage: Shadow Death and Wheel of Worlds. Although Gaiman's name appeared prominently on all titles, he was not involved in writing any of the above-mentioned books.

Gaiman wrote a semi-autobiographical story about a boy's fascination with Michael Moorcock's anti-hero Elric of Melniboné for Ed Kramer's anthology Tales of the White Wolf. In 1996, Gaiman and Ed Kramer co-edited The Sandman: Book of Dreams. Nominated for the British Fantasy Award, the original fiction anthology featured stories and contributions by Tori Amos, Clive Barker, Gene Wolfe, Tad Williams, and others.

Asked why he likes comics more than other forms of storytelling, Gaiman said: "One of the joys of comics has always been the knowledge that it was, in many ways, untouched ground. It was virgin territory. When I was working on Sandman, I felt a lot of the time that I was actually picking up a machete and heading out into the jungle. I got to write in places and do things that nobody had ever done before. When I’m writing novels I’m painfully aware that I’m working in a medium that people have been writing absolutely jaw-droppingly brilliant things for, you know, three-four thousand years now. You know, you can go back. We have things like The Golden Ass. And you go, well, I don’t know that I’m as good as that and that's two and a half thousand years old. But with comics I felt like – I can do stuff nobody has ever done. I can do stuff nobody has ever thought of. And I could and it was enormously fun."

Gaiman wrote two series for Marvel Comics. Marvel 1602 was an eight-issue limited series published from November 2003 to June 2004 with art by Andy Kubert and Richard Isanove. The Eternals was a seven-issue limited series drawn by John Romita Jr. which was published from August 2006 to March 2007.

In 2009, Gaiman wrote a two-part Batman story for DC Comics to follow Batman R.I.P. titled "Whatever Happened to the Caped Crusader?" a play-off of the classic Superman story "Whatever Happened to the Man of Tomorrow?" by Alan Moore. He contributed a twelve-part Metamorpho serial drawn by Mike Allred for Wednesday Comics, a weekly newspaper-style series. Gaiman and Paul Cornell co-wrote Action Comics #894 (Dec. 2010) which featured an appearance by Death. In October 2013, DC Comics releasedThe Sandman: Overture with art by J. H. Williams III. Gaiman's Angela character was introduced into the Marvel Universe in the last issue of the Age of Ultron miniseries in 2013.

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Neverwhere is a radio drama based on the novel Neverwhere by Neil Gaiman. It was dramatised by Dirk Maggs.

Created by Neil Gaiman
Written by Neil Gaiman, Dirk Maggs
Directed by Dirk Maggs, Heather Larmour
Produced by Heather Larmour

Broadcast

On Saturday 16 March 2013, BBC Radio 4 and BBC Radio 4 Extra broadcast the first, hour-long, episode of Neverwhere. The subsequent five half-hour episodes were broadcast throughout the following week on Radio 4 Extra and made available worldwide after broadcast on BBC iPlayer. It was rebroadcast on BBC Radio 4 starting on Dec 25th 2013 and continuing for 6 days.

Beneath the streets of London there is another London. A subterranean labyrinth of sewers and abandoned tube stations. A somewhere that is Neverwhere.

An act of kindness sees Richard Mayhew catapulted from his ordinary life into a subterranean world under the streets of London. Stopping to help an injured girl on a London street, Richard is thrust from his workaday existence into the strange world of London Below.

So begins a curious and mysterious adventure deep beneath the streets of London, a London of shadows where the tube cry of 'Mind the Gap' takes on new meaning; for the inhabitants of this murky domain are those who have fallen through the gaps in society, the dispossessed, the homeless. Here Richard meets the Earl of Earl's Court, Old Bailey and Hammersmith, faces a life-threatening ordeal at the hands of the Black Friars, comes face to face with Great Beast of London, and encounters an Angel. Called Islington.

Joining the mysterious girl named Door and her companions, the Marquis de Carabas and the bodyguard, Hunter, Richard embarks on an extraordinary quest to escape from the clutches of the fiendish assassins Croup and Vandemar and to discover who ordered them to murder her family. All the while trying to work out how to get back to his old life in London Above.

A six part adaption of Neil Gaiman's novel adapted by Dirk Maggs, sees James McAvoy as Richard lead a stellar cast

Cast

Richard Mayhew - James McAvoy
Lady Door - Natalie Dormer
The Marquis de Carabas - David Harewood
Hunter - Sophie Okonedo
The Angel Islington - Benedict Cumberbatch
Mr. Croup - Anthony Head
Mr. Vandemar - David Schofield
Old Bailey - Bernard Cribbins
Lamia - Lucy Cohu
The Abbott - George Harris
The Earl - Sir Christopher Lee
Jessica - Romola Garai
Figgis/The Fop With No Name - Neil Gaiman
Tooley - Andrew Sachs
Fuliginous/Ruislip/Blackfriar - Don Gilet
Sable/Sump/Clarence/Homeless man - Abdul Salis
Gary/Second Guard - Paul Chequer
Anaesthesia/Female Tenant/Match Girl - Yasmin Paige
Lord Ratspeaker - Johnny Vegas
Varney/Homeless man/Letting Agent/First Guard - Stephen Marcus
Sylvia/Old woman/Dream Hawker/Mother - Karen Archer
Lord Portico/Stockton - Jon Glover
Iliaster - Paul Stonehouse



Neil Gaiman - Neverwhere part 5 (mp3  26+ 96mb)


05 Market Afloat 28:29

Now with...

A nine-issue comic book limited Neverwhere series began in June 2005, written by Mike Carey (of the Vertigo Comics series Lucifer), with art by Glenn Fabry. The comic is an adaptation inspired by the novel, rather than the original TV series, though apart from certain scenes in certain locations, the dialogue and plot of both novel and television series is identical.

Neverwhere 1 . pdf   48mb
Neverwhere 2 . pdf 48mb

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previously

Neil Gaiman - Neverwhere part 1 (mp3  53mb)
Neil Gaiman - Neverwhere part 2 (mp3  26mb)
Neil Gaiman - Neverwhere part 3 (mp3  26mb)
Neil Gaiman - Neverwhere part 4 (mp3  26mb)


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  (flac mb)

Sundaze 1804

Hello,

Today's Artist is an independent experimental musician based in Düsseldorf, Germany internationally recognized as a 21st century exponent of prepared piano technique, a tradition dating back to late 19th and early 20th century French composer Erik Satie. The piano is prepared when "preparations" (consisting of nearly any conceivably applicable object or material) are inserted between the strings or onto the hammers of the instrument; a wider application of the term takes in all manner of additional modifications that expand the sonic and operative possibilities of the piano. Hauschka has successfully combined the chamber music aspect of prepared piano (see composers Henry Cowell, John Cage, Christian Wolff, Max Richter, Maurice Delage, and Arvo Pärt) with pop, rock, and electronic sensibilities ........N'Joy

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Volker Bertelmann was born in Kreuztal. He grew up in the village of Ferndorf in the district of Siegen-Wittgenstein, North Rhine-Westphalia. The fifth of six children, he discovered piano playing at the age of nine at church service. He first began to study the piano when he was nine after an epiphany while attending a Chopin performance in his hometown near Düsseldorf, Germany. Despite seven years of classical training at school, and then a further two years with a private tutor, his interests were never as pure as the tutelage he received. Soon he was employing his new musical skills to play along with his favourite records on keyboards and synthesisers – he had a particular fondness for Jeff Wayne’s War Of The Worlds – and, later, to perform with covers bands. After coming of age, he redirected his attention towards a medicine and economic education, but soon turned his back on this to study Popular Music in Hamburg.

By the age of 18, Bertelmann had already composed his first film score, and having picked up a deal with Sony Music in 1994, he spent much of the next few years rapping and playing keyboards with God’s Favourite Dog before forming Nonex, with whom he released two albums in 1997 and 1999. As the 21st Century got underway, he hooked up with Torsten Mauss to form Tonetraeger – who blended post-rock and electronica with significant panache – and also with Luke Sutherland (Long Fin Killie) and Stefan Schneider (To Rococo Rot) to work under the name Music A.M.

It was during this period that he became more and more fascinated with electronic music, developing a particular interest in stripping back anything that he considered redundant within his compositions, until the obsession led to him trying to achieve a similar effect without the use of electricity at all. He discovered that placing material within a piano opened the doors to a whole new sonic world in which he could transform his instrument so that it loosely replicated the sounds of all sorts of others, whether bass guitar, gamelan or the hi-hat cymbal of a drumkit.

The first fruits of this work were released by Karaoke Kalk, with Substantial dropping in 2004 and The Prepared Piano a year later. The combination of Hauschka's classicist training, chamber music sensibilities and pop-cultural interests ensured that the often playful – but never disposable – results were far more than an academic exercise in experimentalism. Critical acclaim was matched by respect from his contemporaries: a second version of the album – Versions Of The Prepared Piano – was released later that year, featuring new interpretations and mixes by the likes of Barbara Morgenstern, Mira Calix and Tarwater.

Hauschka's music might be said to reference (inadvertently perhaps) all of these aspects of the prepared piano equation, and he could even be regarded as a conceptual cousin of Denman Maroney, Erik Griswold, Sylvain Chaveau, and Anthony Pateras. His playfully repetitive constructs, which certainly reflect the influence of Satie, are also at times reminiscent of early keyboard works by Philip Glass or something from out of the minds of Terry Riley and Steve Reich. His best work suggests the achievements of Frank Pahl, Pascal Comelade, Yann Tiersen, and Henry Brant as well as the self-perpetuating modalities associated with gamelan.

In 2007, Hauschka signed with 130701, an imprint of Fat Cat Records, who provided an early home to Sigur Rós and who have also championed artists with a similarly adventurous spirit to Bertelmann’s own, including Max Richter and Sylvian Chameau. He has remained with the label ever since for his solo work, releasing a series of increasingly high profile albums and never afraid to explore beyond his initial parameters. Since 2007’s Room To Expand, he’s integrated both electronic and more traditional instrumentation into his work, with 2010’s Foreign Landscapes finding him working with the Magik Magik Orchestra, and his most recent solo release – 2011’s Salon Des Amateurs – inspired by his experience of Düsseldorf’s club music scene. Collaborators include drummer Samuli Kosminen (from Iceland’s Múm), Calexico’s Joey Burns and John Convertino, and celebrated violinist Hilary Hahn, while the project’s success was underlined in 2012 with the release of remixes by prominent names including techno legend Ricardo Villalobos and Michael Mayer, co-founder of Cologne’s highly influential electronic label, Kompakt.

Bertelmann’s taste for collaboration is again revealed by his next two projects, the first of which features Hilary Hahn in a more high profile role. Silfra, released by Deutsche Grammophon under the artist name Hilary Hahn and Hauschka, is a remarkable album borne of improvisation and recorded in eminent producer Valgeir Sigurðsson’s Iceland studio. A new album is also in the pipeline, with Bertelmann having recently spent time recording with local musicians in Kenya.

Ever prolific, Bertelmann has continued to work on numerous other projects throughout the last decade, most notably in the fields of film, theatre, dance and art. As well as various short film soundtracks (including one for the winner of the 2007 Akira Kurosawa Short Film Award, Blotsky, in which he also starred) and four film scores – including Doris Dörrie’s Glück, nominated for Best Film Score at the German Film Prize in 2012 – he has also composed for the stage. There his work has included 2006’s remix of Wagner’s Parcifal (in collaboration with Stefan Schneider) for Berlin’s Hebbel Theatre, while in 2011 he composed an 18 minute overture for Rittberger’s Puppen, part of the 2011/2012 theatrical season at Düsseldorf’s Schauspielhaus. He also founded Düsseldorf ‘s Annual Piano Approximation Festival, which features an always-imposing line-up of internationally renowned experimental artists.

Hauschka collaborated with San Francisco's Magik Magik Orchestra on 2010's full-length Foreign Landscapes, while 2011's Salon des Amateurs featured members of Calexico and Múm. Bertelmann returned the following year with Silfra, a collaboration with violinist Hilary Hahn that was inspired by Iceland's Silfra rift. That year, he also composed the score for Doris Dörrie's film Glück. For his 2014 solo album Abandoned City, Hauschka used some of the world's most famous ghost towns as a metaphor for the "sense of hope and sadness" he feels when composing music.

2015 saw the release of A NDO C Y, a collection of Abandoned City outtakes and remixes, as well as the live album 2.11.14. Bertelmann then focused on scoring work, providing music for dance performances such as Swan of Tuonela, which found him collaborating with Finnish circus performer Ville Walo. His film music included scores for 2015's The Boy and 2016's In Dubious Battle and Lion, a collaboration with Dustin O'Halloran that earned Golden Globe and Academy Award nominations. The eighth Hauschka album, What If, arrived in 2017. Inspired by Bertelmann's speculation on what life could be like in the future, it featured a Roland Jupiter synth, an Eventide H3000 Harmonizer and player piano alongside prepared piano for a sci-fi-influenced sound.

Always unpredictable, Hauschka continues to offer only one certainty: that the next step he takes will no doubt be as unexpected as the direction from which he has come.

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It is not so common to hear albums where the piano is the main instrument.  It is the risk that took Volker Bertelmann (Music A.M.) accompanied on some pieces by the bass of Stefan Schneider (To Rococo Rot, Mapstation, Music A.M.).  "Substantial" is the type of disc that requires total concentration to be able to perceive all the subtleties of the compositions.  When we say piano we often think of Wim Mertens, Michael Nyman or at worst George Winston.  The comparison stops here because Hauschka is certainly not one of those who make recipes for them.  Besides, we feel it right away.  From the first moment we know which way we are going but we also know that the trip is likely to be interesting.  Hauschka's music has this little post-rock side mixed with bits of jazz sounds unheard of with a piano in this way.

 It is therefore on a sweet melancholy that evolves this "Substantial".  At the same time melancholy is not something necessarily unknown on the other side of the Rhine.  There is this kind of romantic German tradition that emerges from this record.  Yes "Substantial" is a really beautiful album, which is self-sufficient and hardly needs explanation.  Everything is obvious.  Yet this evidence does not necessarily jump to the ears.  You have to be able to absorb the moods and subtleties of each title.  When this step is accomplished all the barriers fall, we come to forget everything else and think that the piano is really one of the most beautiful instruments.  Did you doubt it?

Hauschka - Substantial (flac 144mb)

01 Orange I 4:09
02 Vielleicht (maybe) 2:54
03 Golden 4:38
04 Dark I 3:46
05 Sequence I 3:17
06 Fragile 3:28
07 Wait 2:10
08 Sequence II 3:59
09 Cardiff 2:07
10 Dark II 3:05
11 Orange II 3:19

   (ogg   mb)

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Hauschka's The Prepared Piano is the distillation of Erik Satie's stripped-down languor, John Cage's innovations, and Klimperei's toy pop. Or in other words: the prepared piano technique applied to simple tunes that have a childlike quality to them. Cage had desecrated and reinvented the bourgeois instrument par excellence in the 1940s, taping, screwing, and placing almost every small object possible on its strings to conjure up new sounds. Since then, the prepared piano has mostly remained a tool of the avant-garde. Few artists have tried to use it outside that niche. Homemade instrument aficionados like Frank Pahl, Pascal Comelade, and the French duo Klimperei have occasionally turned to it, but generally preferred to "prepare" guitars and toy instruments. Hauschka, aka Volker Bertelmann, conceived a series of short tunes that sound like delicate piano melodies backed by a gamelan orchestra with small toys added to its ranks, except it's all solo piano (plus a touch of bass and electronic drums in "Morning"). The writing is graceful, accessible, maybe a tad too repetitive. The preparations never sound like a disposable add-on; Bertelmann uses specific regions of the keyboard to create rhythm, introduce a metallic overtone, or simply create a larger-than-life persona for his piano. The result is a charming feel-good album, slightly inconsequential despite its cleverness, but enjoyable and fresh-sounding.

Hauschka - The Prepared Piano (flac  225mb)

01 La Seine 4:02
02 Traffic 4:11
03 Fernpunkt 3:03
04 Where Were You 4:45
05 Ginkgo Tree 3:26
06 Firn 3:21
07 Twins 4:44
08 Two Stones 2:47
09 Kein Wort 3:04
10 Long Walk 4:35
11 Kreuzung 3:59
12 Morning 2:22

Hauschka - The Prepared Piano  (ogg  108mb)

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This here pits a selection of artists against Bertelmann in a somewhat inspired skit on the traditional 'remix album' concept. You might be pretty burnt out on remixes alltogether, I know I struggle sometimes, but where Bertelmann excels is in his ability to choose artists that will do his work justice. Picking tracks from his 2005 album 'The Prepared Piano' the artists lend their stylistic advances to pieces of music that were just stripped down enough for a 'remix' to actually do the tracks justice, and the album is kicked off in style by French lady Eglantine Gouzy. Gouzy instantly shows a masterful restraint, lending her lovely vocals to Bertelmann's instrumental work 'Two Stones', this is a perfect example of a remix that can enhance the power of the original, and Gouzy's romantic delivery sounds totally at home pitted against Bertelmann's piano work. Elsewhere we have German chanteuse extraordinaire Barbara Morgenstern coming straight from the commercial and critical success of last year's 'The Grass is Always Greener' and producing an equally addictive slice of electronic pop, using haunting motif's of Bertelmann's 'Where Were You?' as a guide. It's not all pop music though, Japanese experimental deity Nobukazu Takemura jumps straight in with his glitchy and chopped up version of 'Kein Wort', melting it beyond all recognition, and the album's surprise highlight comes from 12k/Mille Plateaux/Raster Noton stalwart Frank Bretschneider - adding his distinctive rhythm and electronic grind to the track, resulting in an intense soup of dreamy post-shoegazer electronics. The album draws effortlessly to a close with Tarwater's simply gorgeous take on 'Two Stones', a track which ended up dropping into the band's recent Morr Music album in revised form, and you suddenly realise you've just listened to a remix album without having to skip a track or remove the cd altogether. It's quite an achievement really, and with a keen ear for picking very differing artists who are all respectful to the source material Bertelmann has managed to put together yet another hugely enjoyable album. It seems there's life in the old piano yet - highly recommended!

Hauschka - Versions Of The Prepared Piano (flac  245mb)

01 Èglantine Gouzy - Mr. Spoon (Two Stones) 2:58
02 Barbara Morgenstern - Im Schlaf (Where Were You?) 3:02
03 Nobukazu Takemura - Assembler's Mix (Kein Wort) 6:41
04 Wechsel Garland - Es Waren Einmal (Two Stones) 2:08
05 Takeo Toyama - Kotoba Naku (Kein Wort) 4:01
06 TG Mauss - Things (Twins) 4:18
07 Vert - Rocket Man (Traffic) 3:22
08 Frank Bretschneider - Stumm (Kein Wort) 4:45
09 Mira Calix - Without Morning Mix (Morning) 3:27
10 Chica And The Folder - Para Bien (Ginko Tree) 3:30
11 Hauschka - Flying Horses (Traffic) 3:43
12 Tarwater - World Of Things To Touch (Two Stones) 2:50

Hauschka - Versions Of The Prepared Piano  (ogg  99mb)

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German composer Volker Bertelmann--aka Hauschka--writes imaginative, pop-derived experimental pieces for piano that truly sound like nothing else out there. Compositionally, he works in a mode similar to that of Harold Budd, alternating between subtle melodic movement and rhythm-focused circularity, but his piano--which is often chopped and jerry-rigged and tampered with--possesses a unique timbre. Unlike many modern artists who use the recording studio to mess with sound, Bertelmann messes with sound and then records it in stunningly clear audio verite. The results are hypnotic.

Hauschka - Room To Expand (flac  207mb)

01 La Dilettante 4:06
02 Paddington 3:57
03 One Wish 5:20
04 Chicago Morning 4:56
05 Kleine Dinge 4:04
06 Belgrade 3:33
07 Sweet Spring Come 3:53
08 Femmeassise 4:03
09 Watercolour Milk 4:29
10 Zahnluecke 3:44
11 Fjorde 3:37
12 Old Man Playing Boules 3:21

Hauschka - Room To Expand  (ogg  110mb)

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The Prepared Piano and Room to Expand summed up their purposes in their titles, with the former demonstrating Hauschka's finesse with the prepared piano (a piano with objects placed between its strings or on its dampers and hammers) and the latter, prepared piano expanded with strings and electronics. In its own way, Ferndorf also conveys its purpose with its title; named after Hauschka (aka Volker Bertelmann)'s hometown, this set of pieces goes beyond the cleverness of his previous albums, digging into childhood nostalgia and other more complex emotions while retaining Hauschka's essentially playful approach. Unlike The Prepared Piano and Room to Expand, only about half of Ferndorf's tracks were improvised -- but even these tracks show how much Hauschka's range has expanded. "Blue Bicycle" is as delicately lovely as anything else in Hauschka's repertoire, but there is a unique urgency in its rippling piano that suggests spinning spokes and rushing air; "Neuschnee," on the other hand, has a languid, end-of-the-day calm. Insa Schirmer and Donsa Djember's cellos add richness to "Morgenrot," a piece inspired by the red dawn peeking through Bertelmann's window when he was a boy, and intertwine lazily on "Alma." As good as the improvised tracks are, the composed tracks make Ferndorf some of Hauschka's most accomplished music. "Rode Null" showcases the album's propulsive, percussive sound with Schirmer's driving playing and Sabine Baron's brisk violin. The prepared piano's sounds come to the fore on "Freibad," its metallic rattling underscoring the chilly quality of the strings and Bernhard Voelz's trombone, and on the excellent "Barfuss Durch Gras," melding its rustling with electronics into a taut, sparkling mesh of sound. "Heimat" and "Eltern"'s hesitant beauty exemplify how happily technique and emotion reside together on this album -- though the influences of Michael Nyman, Philip Glass and Steve Reich still loom large in Hauschka's music, Ferndorf's appeal is closest to the work of Bertelmann's FatCat labelmate Max Richter: Richter and Hauschka both have a remarkable talent for honing in on the sweet spot where classical, avant-garde, electronic and pop music meet.

Hauschka - Ferndorf (flac  234mb)

01 Blue Bicycle 5:37
02 Morgenrot 3:29
03 Rode Null 4:01
04 Freibad 4:30
05 Barfuss Durch Gras 4:19
06 Heimat 3:40
07 Nadelwald 3:34
08 Schönes Mädchen 3:40
09 Eltern 4:21
10 Alma 2:40
11 Neuschnee 3:42
12 Weeks Of Rain 2:38

Hauschka - Ferndorf  (ogg  114mb)

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RhoDeo 1803 Grooves

Hello,

Todays Artist is an American pianist, keyboardist, bandleader, composer and actor. Starting his career with Donald Byrd, he shortly thereafter joined the Miles Davis Quintet where he helped to redefine the role of a jazz rhythm section and was one of the primary architects of the post-bop sound. Having studied engineering and professing to love gadgets and buttons, Hancock was perfectly suited for the electronic age; he was one of the earliest champions of the Rhodes electric piano and Hohner clavinet, and would field an ever-growing collection of synthesizers and computers on his electric dates. Yet his love for the grand piano never waned, and despite his peripatetic activities all over the musical map, his piano style continued to evolve into tougher, ever more complex forms. He is as much at home trading riffs with a smoking funk band as he is communing with a world-class post-bop rhythm section -- and that drives purists on both sides of the fence up the wall. Ultimately his music is often melodic and accessible; he has had many songs "cross over" and achieve success among pop audiences. ........ N'joy

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Hancock was born in Chicago, Illinois, the son of Winnie Belle (Griffin), a secretary, and Wayman Edward Hancock, a government meat inspector. His parents named him after the singer and actor Herb Jeffries. He attended the Hyde Park Academy. Like many jazz pianists, Hancock started with a classical music education. He studied from age seven, and his talent was recognized early. Considered a child prodigy, he played the first movement of Mozart's Piano Concerto No. 26 in D Major, K. 537 (Coronation) at a young people's concert on February 5, 1952, with the Chicago Symphony Orchestra (led by CSO assistant conductor George Schick) at the age of 11. Through his teens, Hancock never had a jazz teacher, but developed his ear and sense of harmony. He was also influenced by records of the vocal group the Hi-Lo's.

In 1960, he heard Chris Anderson play just once, and begged him to accept him as a student. Hancock often mentions Anderson as his harmonic guru. Hancock left Grinnell College, moved to Chicago and began working with Donald Byrd and Coleman Hawkins, during which period he also took courses at Roosevelt University (he later graduated from Grinnell with degrees in electrical engineering and music. Grinnell also awarded him an honorary Doctor of Fine Arts degree in 1972). Byrd was attending the Manhattan School of Music in New York at the time and suggested that Hancock study composition with Vittorio Giannini, which he did for a short time in 1960. The pianist quickly earned a reputation, and played subsequent sessions with Oliver Nelson and Phil Woods. He recorded his first solo album Takin' Off for Blue Note Records in 1962. "Watermelon Man" (from Takin' Off) was to provide Mongo Santamaría with a hit single, but more importantly for Hancock, Takin' Off caught the attention of Miles Davis, who was at that time assembling a new band. Hancock was introduced to Davis by the young drummer Tony Williams, a member of the new band.

Hancock received considerable attention when, in May 1963, he joined Davis's Second Great Quintet.
Davis personally sought out Hancock, whom he saw as one of the most promising talents in jazz. The rhythm section Davis organized was young but effective, comprising bassist Ron Carter, 17-year-old drummer Williams, and Hancock on piano. After George Coleman and Sam Rivers each took a turn at the saxophone spot, the quintet gelled with Wayne Shorter on tenor saxophone. This quintet is often regarded as one of the finest jazz ensembles as of yet.

The second great quintet was where Hancock found his own voice as a pianist. Not only did he find new ways to use common chords, but he also popularized chords that had not previously been used in jazz. Hancock also developed a unique taste for "orchestral" accompaniment – using quartal harmony and Debussy-like harmonies, with stark contrasts then unheard of in jazz. With Williams and Carter he wove a labyrinth of rhythmic intricacy on, around and over existing melodic and chordal schemes. In the latter half of the 1960s their approach became so sophisticated and unorthodox that conventional chord changes would hardly be discernible; hence their improvisational concept would become known as "Time, No Changes".

While in Davis's band, Hancock also found time to record dozens of sessions for the Blue Note label, both under his own name and as a sideman with other musicians such as Shorter, Williams, Grant Green, Bobby Hutcherson, Rivers, Byrd, Kenny Dorham, Hank Mobley, Lee Morgan and Freddie Hubbard.

His albums Empyrean Isles (1964) and Maiden Voyage (1965) were to be two of the most famous and influential jazz LPs of the 1960s, winning praise for both their innovation and accessibility (the latter demonstrated by the subsequent enormous popularity of the Maiden Voyage title track as a jazz standard, and by the jazz rap group US3 having a hit single with "Cantaloop" (derived from "Cantaloupe Island" on Empyrean Isles) some twenty nine years later). Empyrean Isles featured the Davis rhythm section of Hancock, Carter and Williams with the addition of Hubbard on cornet, while Maiden Voyage also added former Davis saxophonist Coleman (with Hubbard remaining on trumpet). Both albums are regarded as among the principal foundations of the post-bop style. Hancock also recorded several less-well-known but still critically acclaimed albums with larger ensembles – My Point of View (1963), Speak Like a Child (1968) and The Prisoner (1969) featured flugelhorn, alto flute and bass trombone. 1963's Inventions and Dimensions was an album of almost entirely improvised music, teaming Hancock with bassist Paul Chambers and two Latin percussionists, Willie Bobo and Osvaldo "Chihuahua" Martinez.

During this period, Hancock also composed the score to Michelangelo Antonioni's film Blowup (1966), the first of many film soundtracks he recorded in his career. As well as feature film soundtracks, Hancock recorded a number of musical themes used on American television commercials for such then well known products as Pillsbury's Space Food Sticks, Standard Oil, Tab diet cola and Virginia Slims cigarettes. Hancock also wrote, arranged and conducted a spy type theme for a series of F. William Free commercials for Silva Thins cigarettes. Hancock liked it so much he wished to record it as a song but the ad agency would not let him. He rewrote the harmony, tempo and tone and recorded the piece as the track "He Who Lives in Fear" from his The Prisoner album of 1969.

Davis had begun incorporating elements of rock and popular music into his recordings by the end of Hancock's tenure with the band. Despite some initial reluctance, Hancock began doubling on electric keyboards including the Fender Rhodes electric piano at Davis's insistence. Hancock adapted quickly to the new instruments, which proved to be important in his future artistic endeavors.

Under the pretext that he had returned late from a honeymoon in Brazil, Hancock was dismissed from Davis's band. In the summer of 1968 Hancock formed his own sextet. However, although Davis soon disbanded his quintet to search for a new sound, Hancock, despite his departure from the working band, continued to appear on Davis records for the next few years. Appearances included In a Silent Way, A Tribute to Jack Johnson and On the Corner.  ...to be continued

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Herbie Hancock's debut as a leader, Takin' Off, revealed a composer and pianist able to balance sophistication and accessibility, somewhat in the vein of Blue Note's prototype hard bopper Horace Silver. Yet while Hancock could be just as funky and blues-rooted as Silver, their overall styles diverged in several ways: Hancock was lighter and more cerebral, a bit more adventurous in his harmonies, and more apt to break his solos out of a groove (instead of using them to create one). So even if, in retrospect, Takin' Off is among Hancock's most conventional albums, it shows a young stylist already strikingly mature for his age, and one who can interpret established forms with spirit and imagination. Case in point: the simple, catchy "Watermelon Man," which became a Hancock signature tune and a jazz standard in the wake of a hit cover by Latin jazz star Mongo Santamaria. Hancock's original version is classic Blue Note hard bop: spare, funky piano riffing and tight, focused solo statements. The other compositions are memorable and well-constructed too (if not quite hit material); all have their moments, but particular highlights include the ruminative ballad "Alone and I," the minor-key "The Maze" (which features a little bit of free improvisation in the rhythm section), and the bluesy "Empty Pockets." The backing group includes then up-and-coming trumpeter Freddie Hubbard, tenor saxophonist Dexter Gordon, bassist Butch Warren, and drummer Billy Higgins. All in all, Takin' Off is an exceptional first effort, laying the groundwork for Hancock to begin pushing the boundaries of hard bop on his next several records.

Herbie Hancock - Takin' Off    (flac  257mb)

1 Watermelon Man 7:05
2 Three Bags Full 5:22
3 Empty Pockets 6:08
4 The Maze 6:45
5 Driftin' 6:53
6 Alone And I 6:25

Herbie Hancock - Takin' Off  (ogg  97mb)

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Takin' Off was an impressive debut effort from Herbie Hancock, and his second record, My Point of View, proved that it was no fluke. Hancock took two risks with the album -- his five original compositions covered more diverse stylistic ground than his debut, and he assembled a large septet for the sessions; the band features such stellar musicians as trumpeter Donald Byrd, tenor saxophonist Hank Mobley, drummer Tony Williams, guitarist Grant Green, bassist Chuck Israels, and trombonist Grachan Moncur III. It's a rare occasion that all seven musicians appear on the same track, which speaks well for the pianist's arranging capabilities. Hancock knows how to get the best out of his songs and musicians, which is one of the reasons why My Point of View is a captivating listen. The other is the sheer musicality of the record. Hard bop remains the foundation for Hancock's music, but he explores its limitations, finding its soulful side (the successful "Watermelon Man" rewrite "Blind Man, Blind Man"), its probing, adventurous leanings (the edgy "King Cobra"), and its ballad side. "The Pleasure Is Mine" is a lovely, simple ballad, while "A Tribute to Someone" takes the form to more challenging territory -- it's lyrical, but it takes chances. The closer "And What if I Don't" finds the band working a relaxed, bluesy groove that gives them opportunities to spin out rich, tasteful solos. It's a little more relaxed than Takin' Off, but in its own way My Point of View is nearly as stunning.

Herbie Hancock - My Point Of View   (flac 214mb)

01 Blind Man, Blind Man 8:15
02 A Tribute To Someone 8:40
03 King Cobra 6:51
04 The Pleasure Is Mine 8:00
05 And What If I Don't 6:30
06 Blind Man, Blind Man (Alternate Take) 8:21

.Herbie Hancock - My Point Of View  (ogg  78mb)

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For his third album, Inventions and Dimensions, Herbie Hancock changed course dramatically. Instead of recording another multifaceted album like My Point of View, he explored a Latin-inflected variation of post-bop with a small quartet. Hancock is the main harmonic focus of the music -- his three colleagues are bassist Paul Chambers, drummer Willie Bobo, and percussionist Osvaldo "Chihuahua" Martinez, who plays conga and bongo. It is true that the music is rhythm-intensive, but that doesn't mean it's dance music. Hancock has created an improvisational atmosphere where the rhythms are fluid and the chords, harmonies, and melodies are unexpected. On every song but one, the melodies and chords were improvised, with Hancock's harmonic ideas arising from the rhythms during the recording. The result is risky, unpredictable music that is intensely cerebral and quite satisfying. Inventions and Dimensions displays his willingness to experiment and illustrates that his playing is reaching new, idiosyncratic heights. Listening to this, the subsequent developments of Miles Davis' invitation to join his quartet and the challenging Empyrean Isles come as no surprise.

Herbie Hancock - Inventions & Dimensions    (flac 374mb)

01 Succotash 7:37
02 Triangle 10:59
03 Jack Rabbit 5:57
04 Mimosa 8:37
05 A Jump Ahead 6:34

Herbie Hancock - Inventions & Dimensions  (ogg  94mb )

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My Point of View and Inventions and Dimensions found Herbie Hancock exploring the fringes of hard bop, working with a big band and a Latin-flavored percussion section, respectively. On Empyrean Isles, he returns to hard bop, but the results are anything but conventional. Working with cornetist Freddie Hubbard, bassist Ron Carter, and drummer Tony Williams -- a trio just as young and adventurous as he was -- Hancock pushes at the borders of hard bop, finding a brilliantly evocative balance between traditional bop, soul-injected grooves, and experimental, post-modal jazz. Hancock's four original concepts are loosely based on the myths of the Empyrean Isles, and they are designed to push the limits of the band and of hard bop. Even "Cantaloupe Island," well-known for its funky piano riff, takes chances and doesn't just ride the groove. "The Egg," with its minimal melody and extended solo improvisations, is the riskiest number on the record, but it works because each musician spins inventive, challenging solos that defy convention. In comparison, "One Finger Snap" and "Oliloqui Valley" adhere to hard bop conventions, but each song finds the quartet vigorously searching for new sonic territory with convincing fire. That passion informs all of Empyrean Isles, a record that officially established Hancock as a major artist in his own right.

Herbie Hancock - Empyrean Isles   (flac 278mb)

01 One Finger Snap 7:17
02 Oliloqui Valley 8:27
03 Cantaloupe Island 5:30
04 The Egg 13:57
05 One Finger Snap (Alternate Take) 7:33
06 Oliloqui Valley (Alternate Take) 10:45

. Herbie Hancock - Empyrean Isles  (ogg  105mb)

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