Sundaze 1839

Hello, as we'll stay longer around Bristol here at Sundaze a word on the city....

Bristol's modern economy is built on the creative media, electronics and aerospace industries, and the city-centre docks have been redeveloped as centres of heritage and culture. The city has the largest circulating community currency in the U.K.—the Bristol pound, which is pegged to the Pound sterling. The city has two universities, the University of Bristol and the University of the West of England, and a variety of artistic and sporting organisations and venues. One of the UK's most popular tourist destinations, Bristol was selected in 2009 as one of the world's top ten cities by international travel publishers Dorling Kindersley in their Eyewitness series of travel guides. The Sunday Times named it as the best city in Britain in which to live in 2014 and 2017, and Bristol also won the EU's European Green Capital Award in 2015.

The music scene is thriving and significant. In 2010, PRS for Music announced that Bristol is the 'most musical' city in the UK, based on the number of PRS members born in Bristol relative to its population. From the late 1970s onwards it was home to a crop of cultish bands combining punk, funk, dub and political consciousness, including The Pop Group, close friends of The Cortinas, who led the City's punk scene from 1976. Bristol's premier fanzine from this time through until early 1978 was Loaded. It featured all of the Bristol bands as well as those who visited the city, some of whom were promoted by the magazine.

Bristol is home to many live music venues including the 2000-seat Colston Hall, named after Colston Street and the Colston School that once occupied the site, which can attract big names, the Trinity Centre (a community-run converted Church in the Old Market area of Bristol), the O2 Academy which is part of the national touring circuit for rock bands, the Anson Rooms (part of the University of Bristol Union), the Mothers Ruin, The Thekla, Fiddler's, the Bristol Folk House, Start the Bus, the Hatchet, the Fleece, the Croft, the Cooler and the Louisiana. Plenty to go on...



Today's Artist is  an English guitarist and singer, originally from Bristol, England and now based in France, who plays dark folk music. He also produced and recorded electronic music under the name The Third Eye Foundation.  .....N'Joy

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Matt Elliott's work as the Third Eye Foundation melds layers of droning noise with clattering drums and harrowing samples, resulting in disturbing yet captivating reflections of a life plagued by fear and hopelessness. Elliott originated from Bristol, England, and his work has combined influences from the city's space rock, drum'n'bass, and trip-hop scenes. He'll often combine supremely fast, chopped-to-smithereens breaks with other drums or samples that are heavily slowed down or stretched out, producing an extremely disorienting effect. Following a burst of activity resulting in several acclaimed albums, singles, and remixes from 1996 to the beginning of the 21st century, Elliott put the Foundation on hold and focused on writing downcast, experimental folk-influenced songs under his own name, but he's revived the project on occasion.

During the early '90s, Elliott played in a group called the Secret Garden along with Richard Walker, who left in 1992 and founded the experimental group Amp. Elliott contributed to early releases by Amp and Flying Saucer Attack, two groups from Bristol that blended harsh noise with ethereal elements, and were often referred to as space rock. Semtex, the Third Eye Foundation's debut full-length, appeared on Linda's Strange Vacation in 1996, and pushed these elements further, with vocals and guitars by Debbie Parsons (aka Foehn) trapped under a maelstrom of relentless distorted drums. Three other singles appeared during the same year, including an unrelated EP on Domino that also bore the title Semtex, and featured overdriven breakbeats similar to the work Alec Empire was producing at the time. Another release, In Version, featured remixes of tracks by Amp, Flying Saucer Attack, and Crescent.

In 1997, 3EF shared a split 12" with V/Vm, kicking off FatCat Records' split series. The Foundation remained with Domino in the U.K., while signing to Merge in the United States for second full-length Ghost, which appeared in 1997, as did the Sound of Violence EP. Pan Odyssey, a collaborative EP with Bump & Grind, was released by Sub Rosa in 1998. Shortly following the Fear of a Wack Planet single, the full-length You Guys Kill Me appeared by the end of the year. Little Lost Soul, a slightly more restrained full-length, was released in 2000, and 3EF's remixes for artists including Yann Tiersen, Tarwater, and Blonde Redhead were rounded up on 2001's I Poo Poo on Your Juju.

In 2003, Elliott began releasing music under his own name, drifting away from electronic music and closer to dark, dreamlike experimental indie folk. He also moved to France and began recording for the Ici d'Ailleurs label. A 2004 mix CD, OuMuPo 1, was credited to the Third Eye Foundation, but the project was put on ice until the politically motivated full-length The Dark was released in 2010. Following three more albums credited to Matt Elliott, the Third Eye Foundation returned in 2018 with the dub-influenced full-length Wake the Dead.

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Semtex is the debut studio album by Matt Elliott, released under the moniker The Third Eye Foundation.[1] It was originally released on Linda's Strange Vacation in 1996. The album was recorded on a 4-track recorder. Along with a mix of guitars, drum machines and noise samples, it features the voice of Debbie Parsons. Excellent sociopathic electronics but it's not all thrash and bash, "Dreams On His Fingers" and "Next Of Kin" are surprisingly soothingly ambient. In fact, the album slows down as it goes along. Entropy? Ultimate dispersion of energy? And then it blips out on the end track. In 2015, Fact placed it at number 22 on their "50 Best Trip-Hop Albums of All Time" list.

The Third Eye Foundation - Semtex (flac  319mb)

01 Sleep 7:05
02 Still-Life 11:27
03 Dreams On His Fingers 5:47
04 Next Of Kin 6:09
05 Once When I Was An Indian 12:31
06 Rain 5:23

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In Version is the second album released by Matt Elliott under the name The Third Eye Foundation. It was released in 1996 on Matt Elliott's record label, Linda's Strange Vacation. It is composed of remixes of songs originally by other artists. It features remixes of the songs of artists AMP, Crescent, Hood and Flying Saucer Attack. All collaborations with like-minded artists, two of whom actually counted Matt Elliott among their ranks at some point. The results are more varied than what was found on the debut, but really this is a remix album. The difference is easily audible on the first of 2 tracks by Amp and 3EF, when a harsh jungle rhythm comes bursting out of the speaker backing a track that wouldn't have been out of place on Semtex. Amp's second contribution is more subdued, but still would fit well on the last release without the percussion. Crescent's "Superconstellation" is probably my favorite thing on the CD, mainly because it actually sounds like both Crescent and 3EF playing different, complimentary songs over top of each other rather than a 3EF remix of a track by Crescent. But then comes Hood's "Eyes", which brings a darker edge to the proceedings. It really sounds like a grunge band trapped in a cage of feedback surrounded by ambient sounds, and damn is it ever powerful. Suffice to say that this is not as easy a listen as Semtex, but it has it's own set of charms that make it as good, if not better.
.

The Third Eye Foundation - In Version  (flac 308mb)

01 Eternit feat. Amp (I And I And Eye And Eye And Eye Version) 4:33
02 Short Wave Dub feat. Amp 7:57
03 Superconstellation feat. Crescent 13:09
04 Eyes feat. Hood 5:21
05 Way Out Like David Bowman feat. Flying Saucer Attack 17:34

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A focus on warped guitar noise and the odd, untraceable samples place Ghost in similar territory to earlier Third Eye material, and hardly easy listening, but apparently that's the idea. Excellent moody, ethereal yet monolithic experimental electronic music from the mind of Matt Elliot. Brilliant tunes that shift from ethereal (What To Do But Cry), to atmospheric (Corpses As Bedmates, Ghosts...) to dark monolithic textures (The Star's Gone Out) to sorrowful (Donald Crowhurst). 'Ghost' remains deliciously spooky stuff and the precursor of hopefully stranger things to come. Enter at your peril. One to remember come November..(Halloween)

The Third Eye Foundation - Ghost    (flac 419mb)

01 What To Do But Cry? 6:59
02 Corpses As Bedmates 8:52
03 The Star's Gone Out 6:05
04 The Out Sound From Way In 5:57
05 I've Seen The Light And It's Dark 8:01
06 Ghosts... 7:21
07 Donald Crowhurst 4:19
bonus
08 Semtex (Edit) 5:11
09 Science Fiction (Edit) 5:21
10 The Sound Of Violence 7:05
11 A Name For My Pain 7:39

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If it's not the samples themselves but what you do with them, You Guys Kill Me gets extra points for effort. The beats and effects Matt Elliott concocted aren't incredibly original (there's the sewing-machine Brazilian bossa shuffle and the downbeat from Boogie Down Productions' "Bridge Is Over," along with various effects including howling dogs, dark crackly strings and metallic), but the slice-and-dice production, along with creative processing, transforms them into revelatory darkside symphonies. Elliott sounds as though he's Ed Rush's indie-rockin' sibling, fooling around with big brother's equipment and crafting a very twisted version of post-rock tech-step reminiscent of Amon Tobin as well as Rome. Strangely, it works.

The Third Eye Foundation - You Guys Kill Me (flac  378mb)

01 A Galaxy Of Scars 6:55
02 For All The Brothers And Sisters 4:14
03 There's A Fight At The End Of The Tunnel 4:39
04 An Even Harder Shade Of Dark 8:35
05 Lions Writing The Bible 1:59
06 No Dove No Covenant 4:55
07 I'm Sick And Tired Of Being Sick And Tired 4:39
08 That Would Be Exhibiting The Same Weak Traits 6:06
09 In Bristol With A Pistol 3:03
bonus
10 Fear Of A Wack Planet 7:18
11 A Galaxy Of Scars (Version) 9:00
12 In Bristol With A Pistol (The Full 9mm) 4:18

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RhoDeo 1838 Grooves

Hello,


Today's artists are a Dutch-Belgian jazz band, originally consisting of Doc (Ferdi Lancee) and Inca (Barend Fransen). Doc played guitar and Inca played saxophone, while both performed vocal duties. After the pair split in 2013, the band continues working and touring with a different lineup. .  ....N'Joy

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Founders Ferdi Lancee and saxophonist Barend Fransen started their collaboration in 2001 in response to a soundtrack for a one-off lounge evening in Belgium.  The music comes in the hands of the great independent Play It Again Sam in Brussels which leads to the albums (In Search Of) Excellounge (2001) and Kind Of Cool (2002).  Some songs end up on the soundtrack of the series Six Feet Under and the feature film Ghost Rider (released in 2007).  In 2003, Gare du Nord will tour the Netherlands and Russia with a nine-strong band.  The third album, Club Gare du Nord (2005), will be recorded in its own Cell4-Studio in the Netherlands.  On that record, the duo is supported by, among others, the French jazz trumpet player Erik Truffaz and the gospel singers from the American Imani Fellowship Choir.

Dutch guitarist Ferdi Lancee (real name: Ferdy Dousenbach, born October 21, 1953 in Tilburg) and saxophone player Barend Fransen (born January 4, 1959 in Helmond) started working together in 2001, when they started writing lounge music in Belgium. The music comes in the hands of the great independent Play It Again Sam in Brussels which leads to the albums (In Search Of) Excellounge (2001) and Kind Of Cool (2002).  Some songs end up on the soundtrack of the series Six Feet Under and the feature film Ghost Rider (released in 2007). In 2003, Gare du Nord toured the Netherlands and Russia with a newly formed band containing nine musicians. Their third album Club Gare du Nord (2005) was recorded in their own Cell4-Studio in the Netherlands. French Jazz trumpet player Erik Truffaz and the gospel singers of the American Imani Fellowship Choir contributed to the album. Around that date (2005), Barend Fransen left his job as president of Dutch record store chain "Van Leest" to spend more time on the band

On January 12, 2006, during Eurosonic in Groningen, the Underground Station Tour 2006 of Gare du Nord started. The jazz duo made the soundtrack for Stout, a book by Heleen van Royen and Marlies Dekkers.
2007–2008

Gare du Nord recorded the single "Ride On" with British singer Paul Carrack. This song appears on their fourth album, Sex 'n' Jazz (2007). The album is the first part of a so-called love trilogy. In addition to Carrack, the album is vocally supported by Dutch singer Dorona Alberti, as well as soul singer Marvin Gaye in the song "You're My Medicine". The song can be heard in Sexual Healing, an American biographical movie from director Lauren Goodman about the last years of Marvin Gaye's life. The song was also released as a single. On April 28, Gare du Nord received a golden record for their debut album (In Search Of) Excellounge. In late 2007, Gare du Nord went on the Theatre Tour Sex 'n' Jazz. Sales of Sex 'n' Jazz earned the duo a second golden record in October 2007, handed out by fashion designer Marlies Dekkers. On October 15, a Gold Edition of Sex 'n' Jazz was released containing six newly recorded tracks.

Gare du Nord is now an established name on Dutch stages;  founders Fransen and Lancee perform about sixty shows in theaters and pop clubs every year with their seven-piece band.  A contract is signed with the Blue Note Records label.  First comes the mix album Jazz In The City with the hit Beautiful Day that can be heard for months on Dutch radio in 2008.  The album achieves the gold status.  Fransen and Lancee write the song Come To The Ball for Grace Jones.  In 2009 the new album Love For Lunch is released with a cover design by Marlies Dekkers.  Also for this album the duo receives a gold record and later a platinum record.

The band Gare du Nord is now separated from the project Gare du Nord. The band will perform on stage without Ferdi or Barend who are going to focus on the new album and a movie. In 2010, the duo makes a second mix album for Blue Note with tracks by, among others, Marvin Gaye and Isaac Hayes (Let's Have A Ball).  In the autumn Gare du Nord undertakes a first big club tour with twenty shows in the larger pop rooms of the Netherlands, On October 3, 2011, the new album Lilywhite Soul was presented in Amsterdam, again on the Blue Note label. This album contains a cover of Lou Reed's Perfect Day.

Two songs (a remake of Pablo's Blues and a new song Tarantino's Tango) are submitted for the new Quentin Tarantino movie Django Unchained. These songs are also present on a new soundtrack album, called Rendezvous 8:02 released on June 4.. In October 2012 the first live album is released, entitled Lifesexy. The release turns out to be the very last album Barend and Ferdi work on as a creative team.

Barend and Ferdi split and go separate ways; Ferdi quit the public music business and Barend set up a completely new live band together with singer Dorona Alberti and guitarist Aron Raams. By the end of 2013 Universal Music releases the 3-cd box Collected. The new Gare du Nord band tours the Netherlands for the 35 City Live Tour. The shows feature guest appearances by classical harpist Lavinia Meijer. In January 2014 Lavinia Meijer presents a multi platinum award for the Sex 'n' Jazz album, a platinum award for Love For Lunch and a gold award for Lilywhite Soul to the band in a fully packed Muziekgebouw Eindhoven. Songwriter Barend Fransen starts writing new songs with several contemporary composers for a new 10-song songcycle to be premiered live on stage as Gare du Nord:

The band is touring in the new line-up of 30 Dutch theaters for the Undressed tour.  Barend Fransen writes together with Aron Raams and Lennaart Raams repertoire for a completely new album that will be released on October 30, 2015.  The album is called "Stronger!"  and testifies to the changes that the band has undergone in recent years.  The album also contains two French-Lancee compositions.  Key composition on Stronger!  is the 23-minute suite La Dolce Vita, which covers the whole of the album on the vinyl version of the album.  La Dolce Vita emerged as the soundtrack of the book Iglo In de Sahara by Barend Fransen.  In the novel Fransen describes the ten years that he had contact with Guus van Hove, former director of the Tilburg pop stage 013. A contact that ended in 2011 when Van Hove and his girlfriend were mysteriously killed in Joshua Tree National  Park during a three-week round trip through the United States.  The book will be published in 2017, more than five years after the unclear events.  At the end of 2015, Gare du Nord started the Stronger! Club tour that will bring the band back to the Dutch clubs.

With a new keyboardist, Ferry Lagendijk, the band dives into the theater and clubs for the 15th Anniversary Live Tour.  During the tour it is known that the album Stronger!  has been nominated for the Edison Audience Award 2016. In the spring of 2017, the Dutch tour will be continued in another 25 theaters, with the band collaborating with trumpet player Eric Vloeimans as special guest.  The year 2017 will be dominated by A Decade Of Sex 'n' Jazz: the ten-year jubilee of the Netherlands' most successful popular jazz album of all time: Sex 'n' Jazz.


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On their debut, In Search of Excellounge, Ferdi Lancee and Barend Fransen slip elegantly through several easy listening styles as Gare du Nord. The focus lays mainly on jazz and downtempo, but the majority of the tracks have some good ways to distinguish themselves. Opener "How Was It For You" has a bright and sunny feel to it due to the addition of the smooth keys and the latinesque guitar and ditto percussion. "Taxi Au Moulin" goes more to the jazz side with its cool saxophone and smokey hihat ticks, while the poppy "Tune Up" switches impressively between gentle funk and dreamy beauty. "Pablo's Blues", probably the best-known track, brings down the tempo of the beat drastically and shoots fascinating hard-to-understand blues lyrics into the air, while the soulful acoustic guitar fills up the gaps skillfully. The strike goes on with "Excellounge Bar" of which the airy feeling and the stunning synths in the middle part are notable. Unfortunately, the second half is not as strong as the first one. "Disco-Tèk" is fairly standard disco house, and the ultra slow "Room 69... Moi?" hardly offers anything to be enjoyable. The nice and dramatic melody on "Serge Gainsbourg" is almost screwed up by some dumb French voice samples. But that's nothing compared to "Poem Rouge", which almost entirely consists of weird spoken-word nonsense. Still, this shouldn't keep you from adding the excellent first half to your excellounge collection.

 Gare du Nord - In Search of Excellounge   (flac  245mb)

01 How Was It For You 5:17
02 Taxi Au Moulin 4:31
03 Tune Up 5:14
04 Pablo's Blues 5:01
05 Excellounge Bar 4:34
06 Disco-Tèk (Boogie All Night Long) 4:49
07 Room 69... Moi? 4:42
08 Searching Gainsbourg 3:38
09 Poem Rouge 4:16

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One year after their - quite surprisingly - successful first album, Gare du Nord serves another cocktail of their jazzy easy listening formula. Opening with "Kind Of Cool 1", a lightly groovy rhode-shuffler with smart and catchy muted trumpets and a brilliant vocal sample, the album appears to be promising. However, on the tracks that follow, the band go on using much more vocals. A part of them succeed, like on their mysterious cover of "Sold My Soul" (note that they made two versions of this track). The guitar-driven "I'm Not A Woman..." stays on the good side of tastefulness too, although the vocals occasionally are a little over the top. Some of the  tracks go for original ideas. "Dark Chill" sets bluesy guitars in front of haunting samples of the 9/11 disaster, with thrilling effect. "Kind Of Cool 2" approaches the first track in a comfortingly latin way. The most beautiful moment on the album - and possibly of Gare du Nord's whole discography - comes with "¿Yo... Que Pasa?". Here, a wonderfully played acoustic guitar guides the listener over smooth latin rhythms. The sensitive keys inbetween create a very pretty melancholy mood, a real gem .

Gare du Nord - Kind of Cool (flac  339mb)

01 Kind Of Cool 1 (Inner City Groove) 5:07
02 Sold My Soul 5:50
03 L'Hotel Beat 4:15
04 Panchira (Rasa Clinic, 1962) 6:09
05 Profondo Blu 5:30
06 Dark Chill 4:12
07 Kind Of Cool 2 (Miles Et Juliette) 4:58
08 Chinese Whispers, Japanese Strings 4:36
09 You're So Tight 3:37
10 ¿Yo... Que Pasa? 4:45
11 I'm Not A Woman, I'm Not A Man (Berlin Beat) 4:27
12 Tres Cool 1:13

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Although it can be described as 'lounge', it has little to do with the boring and repetitive tracks that make up the bulk of the music in this genre. Gare du Nord is different. A blend of warm, jazzy grooves and bluesy samples. Electronics are used sparingly and altogether they create some beautiful and all in all very suave tracks. Now, as to Club Gare du Nord: It's an album needs to grow on you. Especially after the amazing Kind of Cool album (which didn't contain one single less-than-perfect track) you cannot expect this to sink in very easily. The influences of world music seem to be gone, for a large part. So what's new? The delta blues, Tom Waits, Steely Dan, and Erik Truffaz on the trumpet. An altogether balanced album, with some good and some not so good tracks. But definitely worth picking up.

Gare du Nord - Club Gare du Nord (flac  230mb)

01 Are You Coming With Me? 3:42
02 What's Up? 4:37
03 It's In The Mind, Not In The Eye 3:19
04 Poor Boy's Blues (For Nick Drake) 3:59
05 Exquis-it, Baby 3:46
06 Somethin' Like That... 4:18
07 Tom's Song 3:50
08 (Watch Your Step) Mind The Gap 2:56
09 Go Back, Jack! 3:15
10 Ou Est Ton Singe? / Where Is Your Monkey 3:04
11 We Still Grow 5:58

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Gare Du Nord, together with St Germain, have been the French King Class of the lounge / triphop scene for years.  They always deliver (just like now) class products, where you especially in the summer can dream away in your lazy chair, hammock or bed.

On the album, Barend Fransen (Inca) and Ferdi Lancee (Doc) combined elements of jazz, soul, a unique piece of Motown sound, delta blues and of course the chill style shot from lounge jazz in a warm melting pot of carnal and spiritual well-being.  Singer Dorona Alberti turned out to be a hit for the sultry - but by no means banal - vocal atmosphere and the guest list was expanded with Paul Carrack (on the track Ride On) and trumpeter Erik Truffaz (Hey, Mr Glider)  .

Still unique is the 'duet' that Dorona was allowed to sing together with Marvin Gaye.  A tape with the bare vocals of his well-known track Sexual Healing, written by Gaye in his former home in Ostend, found its way to Gare du Nord.  Even before the very valuable rights for the use and bastering of the song were obtained, the track You're My Medicine was recorded, on which the originally Italian singer got the - until now - unique opportunity to work with the late Marvin Gaye to sing. State of the art remastered, this landmark edition of Sex 'n' Jazz sounds as crispy as ever.

Gare du Nord - Sex 'N' Jazz (Blue Note Remaster) (flac  304mb)

01 Marvin & Miles 3:49
02 Somethin' In My Mouth (Sex 'N' Jazz 1) 3:48
03 Ride On 3:47
04 Summer Breeze 0:28
05 Beautiful Day 3:43
06 You're My Medicine 4:15
07 More Medicine 2:11
08 Chet's Chat 4:16
09 Quiet Storm 0:48
10 I Want Love 4:24
11 Lobster For Love (Sex 'N' Jazz 2) 3:41
12 Hey, Mr Glider 4:21
13 Hot Glue 5:56

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RhoDeo 1838 Roots

Hello,


Today's artist was a Mexican band leader, pianist, and composer for television and films. He is recognized today as one of the foremost exponents of a sophisticated style of largely instrumental music that combines elements of lounge music and jazz with Latin flavors. He is sometimes called "The King of Space Age Pop" and "The Busby Berkeley of Cocktail Music." He is considered one of the foremost exponents of a style of late 1950s-early 1960s quirky instrumental pop that became known (in retrospect) as "Space Age Bachelor Pad Music".  .....N'Joy

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Juan García Esquivel was born January 20, 1918 in Tampico, Tamaulipas, and his family moved to Mexico City in 1928 where he became a self-taught musician from an early age. In interviews, Esquivel's family members have stated that the young boy started playing piano when he was around 6 years old, to the amazement of older musicians who would gather around him in disbelief and to his own delight exhibiting his musical gifts. They have also stated that Esquivel continued to eschew formal musical training as he grew older, preferring to learn from books and by listening to and playing music instead.

Esquivel is considered the king of a style of late 1950s-early 1960s quirky instrumental pop known today as lounge music. Esquivel's musical style was highly idiosyncratic, and although elements sound like his contemporaries, many stylistic traits distinguished his music and made it instantly recognizable, including exotic percussion, wordless vocals, virtuoso piano runs, and exaggerated dynamic shifts. He used many jazz-like elements; however, other than his piano solos, there is no improvisation, and the works are tightly, meticulously arranged by Esquivel himself, who considered himself a perfectionist as a composer, performer, and recording artist.

His orchestration tended toward the very lush, employing novel instrumental combinations, such as Chinese bells, mariachi bands, whistling, and numerous percussion instruments, blended with orchestra, mixed chorus, and his own heavily-ornamented piano style. The chorus was often called upon to sing only nonsense syllables, most famously "zu-zu" and "pow!" A survey of Esquivel's recordings reveals a fondness for glissando,[citation needed] sometimes on a half-valved trumpet, sometimes on a kettle drum, but most frequently on pitched percussion instruments and slide guitars.

Esquivel's use of stereo recording was legendary, occasionally featuring two bands recording simultaneously in separate studios, such as on his album Latin-Esque (1962). The song "Mucha Muchacha" makes particularly mind-bending use of the separation, with the chorus and brass rapidly alternating stereo sides.

He arranged many traditional Mexican songs like "Bésame Mucho", "La Bamba", "El Manisero" (Cuban/Mexican) and "La Bikina"; covered Brazilian songs like "Aquarela do Brasil" (also known simply as "Brazil") by Ary Barroso, "Surfboard" and "Agua de Beber" by Tom Jobim, and composed spicy lounge-like novelties such as "Mini Skirt", "Yeyo", "Latin-Esque", "Mucha Muchacha" and "Whatchamacallit". He was commissioned to compose the music of a Mexican children's TV show Odisea Burbujas.

The pinnacle of Esquivel's extravagant approach to stereo can be heard on "Latin-esque," his entry in RCA's great Stereo Action series. For this album, he went to the extreme of placing his musicians in two separate studios, coordinating over an closed circuit with Stanley Wilson, who conducted the second group.

In 1963, Esquivel switched from studio work to live performance, creating a stage show featuring four svelte female singers, flashing lights, and choreographed routines and playing the Vegas-Tahoe circuit. His show was a favorite among Vegas insiders, and celebrities like Frank Sinatra regularly dropped in to listen. He liked to party in the fast lane, too. "I have had many loves in my life: music, cars, women and the piano, not necessarily in that order," he once told an interviewer.

He recorded his last U.S. release in 1967 and his last RCA album was released only in Latin American markets in 1968. By then, Vegas had become the focus of his activities.

Esquivel also wrote for TV during and after his studio period. He composed theme songs and soundtracks for several TV series, including "The Bob Cummings Show," but his greatest legacy has been a huge library of incidental music written mostly for Universal Studios (under Stanley Wilson's leadership) that's been sampled on over 100 different series, from "McHale's Navy" to "Kojak." Generations of television viewers have heard Esquivel's most enduring piece of library music--the three-second bombastic fanfare that accompanies the Universal Studios emblem at the end of its productions.

He led the live band for 12 years, but by the end, his audience had begun to dwindle, and his indulgence in drink and drugs led to the end of his contract. His belongings, including many of his compositions, were hauled off when he fell in arrears on his rent. In 1979, he returned to Mexio and composed for a children's series called "Burbujas." An album of songs and instrumentals from the series sold more than a million copies.

Beginning with his interview in Incredibly Strange Music, Vol. 1 in 1993, Esquivel enjoyed a tremendous revival in the last decade of his life. Indeed, it could be argued that he was more famous after he was "rediscovered" than when he was at the height of his creativity. Several compilations of Esquivel's music were issued starting with Space Age Bachelor Pad Music in 1994. The apparent success of these releases led to reissues of several of Esquivel's albums. The first reissues were compiled by Irwin Chusid, who also produced the first CD reissues of Raymond Scott and The Langley Schools

The last recording on which Esquivel worked was Merry Xmas from the Space-Age Bachelor Pad in 1996, for which he did a voiceover on a track by the band Combustible Edison. This album also included several obscure tracks from his past sessions. The last CD released during his lifetime, See It In Sound, was actually recorded in 1960, but was not released at the time because the record company believed it would not be commercially successful. When released in 1998, it exhibited very unusual and introspective stylings absent from his other works, including a version of "Brazil", played as a musical soundscape of a man bar-hopping where the band plays different renditions of "Brazil" at each bar.

Confined to a wheelchair in the last years of his life and weakened by heavy hardcore partying during his time in Hollywood, Esquivel was still strong enough to marry what he claimed was his sixth wife in May, 2001. He died from the effects of a stroke on 3 January 2002. It's fitting that he lived to see the new century in, since his music was often well ahead of its time

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Other Worlds Other Sounds may be the best known Esquivel album because of its sensational jacket art portraying a red-caped woman prancing across a green planetary landscape. Its real significance is as the moment where Esquivel takes control of his production and develops his signature sound. The chorus (the Randy Van Horne Singers) begins the "zu zu zu" nonsense beloved by Esquivel fans, and the playfulness with stereophonic separation begins here. But the material is not his best. "Ballerina" and "Night and Day" are cheesy, while most of the album seem like slow song outtakes from To Love Again. It is a different mood, one that never really hits its stride until the closing track: the astounding arrangement of "It Had to Be You." This is the promise of the future.

Esquivel - Other Worlds Other Sounds   (flac  215mb)
 
01 Granada 4:10
02 Begin The Beguine 3:12
03 Night And Day 2:40
04 Poinciana 3:05
05 Playfully 2:57
06 Adios 3:08
07 That Old Black Magic 2:36
08 Nature Boy 2:42
09 Magic Is The Moonlight 2:37
10 Speak Low 2:42
11 Ballerina 3:04
12 It Had To Be You 3:10

Esquivel - Other Worlds Other Sounds (ogg  96mb)

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Exploring New Sounds in Stereo is the first of the typical Esquivel albums from which the CD compilations draw heavily. There is a lot to recommend it. "Whatchamacallit" is probably his second best-loved tune (released also as a single backed with the non-LP track, "I Feel Merely Marvelous"). The track features the ondioline, an electronic-organ-like instrument often associated with the theremin. And on Exploring New Sounds in Stereo, there is indeed theremin in Esquivel's spacy treatment of "Spellbound" (from the movie of the same name). Other highlights include the exotic "Bella Mora," the cheesy "My Number One Love," and "The 3rd Man Theme." The album also has slightly different arrangements than the monaural Exploring New Sounds in Hi-Fi.

   Esquivel - Exploring New Sounds In Hi-Fi ( flac  152mb)

01 My Blue Heaven 2:53
02 Bella Mora 2:25
03 Boulevard Of Broken Dreams 2:55
04 Lazy Bones 2:42
05 Spellbound 3:26
06 All Of Me 2:18
07 Watchamacallit 2:25
08 La Ronde 2:27
09 My Number One Love 2:53
10 The 3rd Man Theme 2:24

    (ogg   mb)

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Strings Aflame is one of the easier Esquivel records to find, no doubt because many people were turned off by the material. As with Four Corners of the World, Esquivel seems to be proving his chops (this time with arrangements of popular string pieces), rather than doing what he does best or what his fans want most. Nevertheless, it is a fine album, well worth having in stereo. "Turkish March," "Parade of the Wooden Soldiers," "Gypsy Lament," "Guadalajara," and "Misirlou" all receive semi-exotic, unusual treatments. About four or so tunes feature the chorus's patented "zu zu zu" wordless vocal.

 Esquivel - Strings Aflame     (flac  215mb)

01 Guadalajara 2:36
02 Scheherazade 3:50
03 Parade Of The Wooden Soldiers 2:29
04 Andalusian Sky 2:41
05 Misirlou 3:08
06 Sun Valley Ski Run 2:14
07 Malagueña 3:12
08 Fantasy 3:13
09 Foolin' Around 2:45
10 Gypsy Lament 3:35
11 I Love Paris 3:17
12 Turkish March 3:05

Esquivel - Strings Aflame   (ogg 104mb)

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Traditionally the most sought after and highest valued Esquivel record, More of Other Sounds Other Worlds should be considered in context. First, it is not a sequel to the RCA record of three years earlier. The title only reflects Stanley Wilson's desire to record Esquivel since having heard the earlier LP. Second, the label switch is significant. Reprise, a division of Warner Bros., started out giving old masters a fresh shot (hence the name). While the dual 35mm film recording process is played up, it is more important that new people are involved after hi-fi and stereo have become old hat. (Another great, similar "Reprise" from this period is Les Baxter's return to exotica in The Primitive and the Passionate.) The album begins with "The Breeze and I (Andalucia)," a brassy bullfighting number. "Street Scene" and "One for My Baby (And One More for the Road)" belong to the bluesy urban crime jazz idiom. The rest of the album is typical of the style of Esquivel's later U.S. RCA work. While not his quirkiest or most sensational, it is among his best and most interesting.

 Esquivel - More of Other Worlds Other Sounds   (flac  187mb)

01 The Breeze And I (Andalucia) 2:38
02 Chant To The Night 2:35
03 Canadian Sunset 3:21
04 Street Scene 3:25
05 I Get A Kick Out Of You 2:38
06 Primavera 2:37
07 Street Of Dreams 2:13
08 La Mantilla 2:11
09 One For My Baby (And One More For The Road) 3:52
10 Dancing In The Dark 1:59
11 Snowfall 3:42
12 Travellin' 2:45

  (ogg  mb)

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The relative popularity of Space-Age Bachelor Pad Music led to a handful of additional reissues (even including a Christmas themed album. Cherry-picked from albums released by RCA between 1958 and 1967 and produced by longtime WFMU DJ and Songs in the Key of Z author Irwin Chusid (he also penned the disc’s informative notes), Space-Age’s 14 tracks stand tall not only through the bluntly oddball yet brilliantly controlled and grandly conceived nature of Esquivel’s creation, but also due to the shrewd, expert guidance of selection and sequencing.

It all opens with a truly zonked rendering of Les Brown’s big-band standard “Sentimental Journey” replete with low-register horn grumbling, dapper whistling, truly bent Hawaiian steel guitar, overblown explosions of brass, slinky and kooky vocalizing, abrupt yet non-dissonant clanks, and a complete abandonment of the standards of highbrow taste. Yes, this stuff is kitsch, but it’s built with such obvious care and delivered so deliriously that it overpowers any temptation to dismiss the music as shallow or trite.

And his original compositions display a warmly warped sensibility that matches his gift for twisted arranging, the two coming together exquisitely on “Whatchamacallit,” the cut strategically placed right at the end of side one. That tune made appearances on at least a dozen of my homemade mix-tapes (remember those?) from between ’94 and ’97, and if forced to explain the appeal of the whole exotica phenomenon through non-verbal or unwritten means it might just be the one song I’d pick for the exercise; everything I’d detail in words is there in spades.

It’s true that Space-Age Bachelor Pad Music is solidly on the “single man with a Hi-Fi” end of the exotica spectrum, with the “animal sounds and Tiki-torch ambiance” being more the specialty of one Martin Denny. And I’ll add that Bar/None didn’t screw the pooch by skimping on vinyl pressings of either this record or its follow-up, Music From a Sparkling Planet. Stereo separation is a big part of the equation with Esquivel’s work, as is a tweaked take on the lush large-band pop arranging (Nelson Riddle, Billy May, Neal Hefti) that was so commercially successful in the 1950s. So it’ll sound magnificent coming from the speakers of your deluxe system whilst hopefully snuggling with a special someone on that snazzy bearskin rug

 Esquivel! - Space-Age Bachelor Pad Music   (flac  224mb)
 
01 Ella Fue - She Was The One 3:41
02 En Orbita 4:54
03 Awake 5:22
04 Peanuts - The Peanut Vendor 4:55
05 Jubileo 6:28
06 Verao Vermelho 6:20
07 Steady - Fijo 2:47
08 Juan Pachanga 6:10

 Esquivel! - Space-Age Bachelor Pad Music (ogg  95 mb)

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RhoDeo 1838 Aetix

Hello,


Today's Artists  were from the South of the Netherlands, Nuenen, near Philips's researchlabs and headquarters (at the time) they were interested in repetitive structures, but their music was less harsh and mechanical, more fluid and danceable. Initially in 78 they sang in dutch and were called Nasmaak (after taste) They dropped the dutch and an a and so Nasmak came about. Their first record (on Plurex) Nasmak Plus Instruments/Instruments Plus Nasmak(1980), was hailed by John Peel as the best continental record of the year. ......N'Joy

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1980 in Nuenen Brabant  there's quite a lot of musical experimenting going on.  In a converted barn the members of the Nasmak band, founded in 1978 as Nasmaak, make music for hours every day.  The band was already present in 1979 on the collective LP Overdwars, from the Pop Music Foundation Netherlands and has already gained the necessary live experience, both at home and abroad.  Two things stand out: the concerts differ greatly from each other and the band knows how to surprise with the use of a squat box, played by singer Truus de Groot.  The squat box is a 'musical instrument', developed in the seventies by, among others, Michel Waisvisz from STEIM, the studio for electro-instrumental music from Amsterdam.  A wooden box with metal strips with which you can influence sound with the fingers.  The device is based on the concept that the human body, by its touch, becomes part of the electronics.

 Nasmak is in this period: Joop van Brakel (vocals / guitar), Henk Janssen (guitar), Toon Bressers (drums), Theo van Eenbergen (bass guitar) and Truus de Groot (vocals / squat box).  The band is full of creativity and the many hours in the rehearsal space lead in 1980 to the debut album Nasmak Plus Instruments / Instruments Plus Nasmak.  The album appears on Plurex and the production is in the hands of Plurex boss Wally van Middendorp.  The work on the first album side at times sound quite stubborn and original music.  New wave, but more daring than those of most contemporaries.  The voice of Truus de Groot is remarkably expressive.  The A-side of the record is still quite common, although it is soon clear that a band with a broad horizon is at work here.  On the B-side, the squat box pops up more prominently, which draws the music even further away from the mainstream and produces an idiosyncratic sound.  It is not rock, no punk, no synthesizer wave, it is Nasmak.

The debut album from Nasmak intrigues and convinces.  In OOR, Alfred Bos concludes that the record "strikes the new Siouxsie with a few lengths".  Partly thanks to the 'Instruments side' on which 'the band shows its most adventurous side'.  From England, there is even interest from BBC DJ John Peel who has found Nasmak Plus Instruments / Instruments Plus Nasmak the best record of the European mainland for ages.
 Cross the border

 With the well-known electro duo Deutsch Amerikanische Freundschaft (D.A.F.) a tour is being undertaken by the Netherlands and Germany at the end of 1980. For the magazine Vinyl the band keeps a diary:

 "Only on the way to Berlin did I discover that Berlin was not on the border at all, half in West Germany and half in East Germany, but a few hundred kilometers in East Germany.  An important difference, which means that, in order to reach West Berlin, you have to cross twice an East German border crossing.  This means double checking by West German Customs and six times by the GDR Customs.  During the long wait at the border you have a view of the signs where the political creeds of the GDR stand.  Everything about Wohl des Volkes. "

 West Berlin itself evokes rather repulsion than excitement: "A big boastful cry against the omnipresent East Germany.  The largest concentration of junkies from West Germany, completely floating on foreign labor, for the eyes only focused on consumption. "

After the German tour Truus de Groot leaves for New York.  Under the name Plus Instruments, she collaborates with percussionist David Linton and guitarist Lee Ranaldo, who also performs with composer Glenn Branca and later with Sonic Youth will break through.  Truus de Groot in OOR: "I was so cheeky to go.  If you do not do it yourself, no one else will do it for you.  You just have to be brutal, otherwise you become a victim. "According to OOR, the New York - Eindhoven combination can be characterized as" DAF meets the B-52s ".  In the meantime Toon Bressers and Theo van Eenbergen have developed basic material for a second Nasmak-elpee.  Because it turns out that both Nasmak and Truus de Groot have taken interesting new paths, there is definitely a point behind the cooperation.

 Nasmak offers a look into their own kitchen through the double cassettes Indecent Exposure 1 & 2 (Music For Brass, Woodwinds, Drums & Violins) and Indecent Exposure 3 & 4 (The Smell Remains).  The tapes, which also come out on Plurex, are full of ideas, incitement, unconventional percussion and seem to be a sort of musical diary from Nasmak in the early 1980s.  The band can also be heard on the ep Vaseline Des Artistes, which is released on the leading Hamburg label ZickZack.

In the meantime, the band is also considering a possible agreement with the English Mute label from Daniel Miller.  Miller is looking for D.A.F. after the departure of his showpiece.  to Virgin a new continental band for his label.  Mute was founded in 1978 with the aim to offer a platform for innovative, electronic music.  Daniel Miller himself debuted as The Normal in October 1978 on Mute.  Not without merit, because the cold electro of Warm Leatherette / T.V.O.D.  turns out to be particularly influential later on.  After the call from Miller, Nasmak sends a cassette to England.  Show Bressers about this in Vinyl: "The strap contained only new material.  The repertoire for performances also consists exclusively of new material. "The search for a personal, fixed style is not something that Nasmak is interested in.  The band wants to keep changing.  Bressers studied political science for five years.  "I am glad that politics is not in our texts.  It is too limited and just like in music, we want to exclude limitation. "Ultimately, the collaboration with Mute does not get off the ground because Miller decides to put his energy into a new English synthesizer group.  A group that debuts on Mute in 1981 with the single Dreaming Of Me: Depeche Mode.
 4our Clicks

 Nasmak-4ourClicksAt the end of the year Nasmak starts with the recordings for a new album.  Joop van Brakel is responsible for most of the vocals.  The music develops in a different direction.  The band uses a synthesizer and emphasizes angular rhythm.  The new album, 4our Clicks, is released on Plurex in 1982 and is full of quirky and original music.  The contrarian rhythms, the creative vocal lines and the right synthesizer injections create a new kind of dance music.  Opener Pilot In Charge pops firmly with a driving bass line and cries that keep popping up the entire track.  The well-kept vocal line, in the style of David Sylvian and Brian Ferry, ensures a perfect balance.  The hypnotic I Hope I 'm Gonna Rain Today shows controlled guitar noises and on Take A Look it is not only the strong drum tempo but especially the combination bass / vocals that carries the song.

 Although somewhat transverse, monotonous and less accessible than the debut album, Nasmak delivers a great business card with 4our Clicks.  Despite the strong look of Nasmak on the stage, much attention has been paid to the design of the plate.  "Separate ideas could be realized by doing a lot yourself," Wally van Middendorp would later explain in the publication Hollandse Hoezen, from Poparchief Nederland.  Rob van Middendorp, graphic design student at the Rietveld Academy, designed the cover of 4our Clicks.  'It was a very laborious cover, with punching and blind printing.  Normally this is very expensive, but we had discovered that our record press CBS hardly charged any additional costs for such matters. "

 As far as the music on 4our Clicks is concerned, the band itself is not entirely positive, as is evident from the interview with Alfred Bos of OOR in 1982. Guitarist / singer Joop van Brakel lacks the hypnotic effect of live performances.  Nasmak is - and all band members agree - a live band.  The band does not want to repeat the album again and again because according to Joop van Brakel that is "sleep-inducing".  Then there is no longer any question of "a process".  It is therefore about the process and not about the product.  4our Clicks is actually only a snapshot.  A snapshot that, however, builds up a cult status over the years and is increasingly seen as a Dutch post-punk classic.

 Nasmak is very active at the release front in 1982 because next to 4our Clicks the band releases the third cassette album: Only This Day & 77 Others.  "Music, you are in love with that," Toon Bressers said in OOR.  "Nasmak has that infatuation, which you also encounter at Wire of Birthday Party." Other groups that Nasmak associates with are This Heat and T.C.  Matic, the latter mainly because of the open image to the public.  Later in 1982, Nasmak released the 12 inch Heartache Blowup with on the A-side the straight lines for Nasmak-concepts, a number that matches the new sound on the alternative dance floors of 1982. With this number Nasmak is definitely pioneering in the Netherlands  .

After a period of reflection, which, to the dissatisfaction of the band members, does not give any ideas but friction, the work drive returns in January 1983.  In the end, Nasmak quickly arrived with the successor of 4our Clicks: Duel.  Without Joop van Brakel, incidentally - who still worked on the record - and with newcomer Milco Bogard.

 When the test press of the new Nasmak album is finished, Vinyl moves at home with the band.  According to Toon Bressers this time the melody has been discussed more.  Furthermore, Henk Janssen indicates to be influenced by the Japanese spheres that in recent pop music have been crawled by bands such as Japan.  The Roland synthesizer that the band has recently acquired plays a useful role in all of this.

 "Performance has an immediate result," says Toon Bressers, "together you stand at the same time to create a work of art without being able to manipulate.  And if you realize that you play for people who want a night out, then you try to do a performance as well as possible. "Duel's test-press is still on the table during the interview.  Toon picks him up and says: "Actually, this is a bit of mustard after the meal, eh."

 Duel sounds somewhat more atmospheric and opener than 4our Clicks but does not strike surprising new roads.  The familiar angular and repetitive rhythm also dominates on Duel.  Because of the detail in the drum parts, the subtle noise and the small sounds that are present everywhere, Duel sounds a bit more exotic, more 'out of the stranger'.

 Nasmak-SilhouetteIllustration of Nasmak's regained working desire is that in 1983 another new album appears: Silhouette.  Again put in a nice cover, like 4our Clicks and Duel, but with a different sound.  Nasmak works less with repetition and more with song structures.  In addition, a synthesizer has been added to the instrument arsenal and background vocalists have also been used.  This, with a few exceptions, like the title track, is not always convincing.  However, the record can count on more interest from the companies.  However, this has never been the goal of Nasmak and the band members do not accept the new interest.  In fact, it is decided that it has been nice.  Toon Bressers later on KindaMuzik: "The argument internally was always:" we want to continuously create something new ".  Duel did not add much to the oeuvre of the band in 1983, despite some good songs. The changes in course on Silhouette did not provide sufficient leads either.  Nasmak undertakes a final, fifth, club tour in 1984 and in May of that year the curtain is final.



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Debut LP from a New Wave formation from Nuenen with "two interspersed plate sides." On the first, the classical guitar bass drums concept serves as a starting point, while the back mainly plays experiments with sound, with a striking role for the squat box.  The LP, which sounds like a crazy variation on The B-52s, is welcomed by a large number of insiders, and the authoritative English disc jockey John Peel even calls it the best album from the continent in years and is so enthusiastic that Nasmak is the first  Dutch band doing a John Peel session in London. "

 Nasmak - Nasmak Plus Iinstruments (flac  337mb)

01 (Song To A) Dummy 3:57
02 Notions 2:29
03 Food For Thought 2:22
04 Stratego 3:10
05 Neckermann 2:59
06 Pig Problems 3:13
07 Eyes 4:42
08 So 2:26
09 Big Man (The Soundtrack) 3:16
10 Spy 1:01
11 Special Agreement 3:46
12 Heartbeat 2:48
13 Eleven 2:46
Bonus split EP
14 Bo Dance 5L27
15 Vaseline Des Artistes (Oh, Up My Asstronomical Bankaccount) 3:21
16 Special (by –+ Instruments) 5:25
17 Things (by –+ Instruments) 3:16

Nasmak - Nasmak Plus Iinstruments     (ogg  136mb)

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Nasmak was a rhythmic bomb that did what nobody had done until then in the Netherlands.  A bit like TC Matic hit in Belgium or Gang of Four in Brittain, so knew 'Olland Nasmak. Pilot in Charge is incredibly strong and should return to every Wave Compilation!  And the song Nosedive should be shown next to the best of Remain in Light.

Very typical of the high-energy eclectism of NYC at this time. Truus de Groot is the leader Plus Instruments,and at the occasion of a trip to NYC, she was looking fro some people to work with. Two buddies came by, and it was Lee Ranaldo and David Linton. Here, in this context, we would find a Lee Ranaldo playing the guitar in a much more minimal punk way than the crazy carillon-like way he would develeopp with Sonic Youth, and also something that would become very rare with Sonic Youth, we can here him sing & shout on some of the best tracks of this short LP. In a really excellent way i assume ! All this music is fantastic minimal no-wave-electro-punk-shit with metronomic synth patterns, nasty guitars and motoric rythms. This David Linton is amazingly great here, just as a human beatbox with this crazy groove he had

Nasmak - 4our Clicks + Plus Iinstruments    (flac  379mb)
 
01 Pilot In Charge 2:49
02 Waiting Room 4:30
03 I Hope I Am Gonna Rain Today 4:03
04 Nothing But The Lyrics 3:29
05 Sade M De 3:21
06 Origins And Whereabouts 2:06
07 No Touch And Go 4:35
08 Take A Look 2:47
09 Not Your Living Doll 3:12
10 Nosedive 4:08
11 4our Clicks 0:17
Bonus Plus Instruments

12 Big Man 6:02
13 Things 3:19
14 Freundschaft 3:19
15 Rush Hour 3:28
16 Cannot 3:40
17 Vom Ertrunkenen Mädchen 3:34
18 Between The Wars 5:13
19 Manhattan 4:19



Nasmak - 4our Clicks + Plus Iinstruments     (ogg  149mb)

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By 1983, the new-wave era was practically over, yet some bands persisted with the ideal, like the Netherlands' Nasmak. Duel contained industrial cold-funk with lite oriental touches ("Plaster", "Me Rex") that recalled the Talking Heads, as well as the neo-ethnic of Japan. The most striking moment from the first-side was "Matter", based on an evolving electronic loop, minimal drums/ bass accompaniment and anthemic vocals. The result was once again reminiscent of the Talking Heads (echoes of "Once In A Lifetime").

The second side started unassumingly with the robotic-funk of "Duel With Unequal Arms", but soon things got more ambitious with the tormented minimal electro-ethnic "Sunk In Sight Of The Harbour" and the minor coldwave classic "Pride Of Soul". Again, the most striking comes at the end with "Mutal Repulsion", that arranges the instruments in such a way so that it juxtaposes them to present a riddle of an alien environment.

Nasmak - Duel (flac  201mb)

01 Plaster 3:45
02 Me Rex 4:32
03 Matter 4:56
04 This Spot 5:21
05 Duel With Unequal Arms 3:24
06 Sunk In Sight Of The Harbour 5:09
07 Pride Of Soul 3:26
08 Mutual Repulsion 3:38

Nasmak - Duel  (ogg   76mb)

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Things finally came to ahead for Nasmak’s fourth, “proper” album. Cutting loose of the members who wanted to still go down the overtly experimental end of the musical spectrum, the remaining trio tried to explore concise Pop music. For a crew that always prided itself on sounding entirely different on each album, this new and (what would in turn be) final change was unique. On Silhouette, very overt influences heard in the tonality of Japanese synth instruments and in the scales of Eastern music had started to infiltrate their creative space. Deliberately more airy and open, less dense and claustrophobic, all of the songs created by this smaller crew appeared to actually tread a wonderful new kind of minimal wave.

At times when you hear songs like “Crystal Clear” one can’t not but try to make fanciful connections. What would Japan had sounded if they tried to introduce some of that wayward Italian minimalism? Even they wouldn’t have sought to take attention away from David Sylvian’s voice with female backup vocals — but should they have tried it? That song makes its statement that there were other, alternate angles yet to be explored. The opener “Visions” somehow meets New Order at their own game, in the same year of our Lord, to comprehend the higher fun quotient in upping the “dance” of dance-punk. “Air” likewise inches gorgeous Eastern ambient pop into a harder edge that only a wayward group like Nasmak could introduce. “Believe In Woman” treads a glorious Balearic line, in a wonderfully cutting way. Imagine “Electric Avenue” laced with Interior’s heady New Age Pop, intercut with some ingenious lyricism. They had come a long way in just 6 years and after the promotour in 84 it was all over for Nasmak.

Nasmak - Silhouette (flac  216mb)

01 Visions 3:36
02 Walk Away 3:41
03 Air 4:38
04 Disturbance 3:53
05 Silhouette 3:59
06 Crystal Clear 3:46
07 Don't Be Anxious 4:08
08 Below 3:44
09 Believe In Woman 4:16
10 Womb 3:45

 Nasmak - Silhouette   (ogg   86mb)

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"This CD offers a remixed version of their second [...] album, '4our Clicks', originally released on Dutch independent Plurex in February 1982. Dissatisfied with the original mix (in which half of the recorded multi-tracks were lost), this updated version reveals '4our Clicks' as it was intended." Re-mixed by Henk Jansssen at The Tango Studio, 1988, The Netherlands

In 1988 the CD was released from this album on Eksakt Records, with 14 songs on it: First dishhunt, Roger bill iceberg and The smell remains no.1 have been added.  The songs sound quite different, in the CD-booklet it is explained that, in 1982, "half of the recording tracks were lost", and that they are now added again.  It now sounds like "as it was intended". Just before the album was released, the Exakt label ceased to exist.  The first edition of the cd was pressed, but  didn't reach the stores, nobody knows where the first print run came in. No coordinated release then it dripped into the stores in years to come. A pity, 4 our clicks remixed deserved much better.

Nasmak - 4our Clicks Remix   (flac  286mb)

01 Pilot In Charge 3:51
02 Waiting Room 5:15
03 First Dishhunt 3:26
04 I Hope I'm Gonna Rain Today 4:15
05 Nothing But The Lyrics 3:19
06 Sade, M De 3:27
07 Origins And Whereabouts 2:06
08 Roger, Bill Iceberg 6:15
09 No Touch And Go 4:28
10 Take A Look 2:56
11 Not Your Living Doll 3:22
12 Nodedive 3:37
13 The Smell Remains No. 1 1:57

Nasmak - 4our Clicks Remix (ogg  111mb)

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RhoDeo 1838 Ixtlan 6

Hello,


Essential reading for any deep thinker and open-minded person who has experienced "non-ordinary realities.".

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Journey to Ixtlan is the third book by Carlos Castaneda. The title of this book is taken from an allegory that is recounted to Castaneda by his "benefactor" who is known to Carlos as Don Genaro ( Genaro Flores ), a close friend of his teacher don Juan Matus. "Ixtlan" turns out to be a metaphorical hometown ( or Place / Position of Being ) to which the "sorcerer" or warrior or man of knowledge is drawn to return, trying to get home. After the work of "stopping", his changed perspective leaves him little in common with ordinary people, who now seem no more substantial to him than "phantoms." The point of the story is that a man of knowledge, or sorcerer, is a changed being, or a Human closer to his true state of Being, and for that reason he can never truly go "home" to his old lifestyle again.

In Journey to Ixtlan Castaneda essentially reevaluates the teachings up to that point. He discusses information that was apparently missing from the first two books regarding stopping the world which previously he had only regarded as a metaphor. He also finds that psychotropic plants, knowledge of which was a significant part of his apprenticeship to Yaqui shaman don Juan Matus, are not as important in the world view as he had previously thought. In the introduction he writes:

    My basic assumption in both books has been that the articulation points in learning to be a sorcerer were the states of nonordinary reality produced by the ingestion of psychotropic plants...    My perception of the world through the effects of those psychotropics had been so bizarre and impressive that I was forced to assume that such states were the only avenue to communicating and learning what Don Juan was attempting to teach me.

    That assumption was erroneous.

In the book don Juan takes Carlos on these various degrees of apprenticeship, in response to what he believes are signals from the phenomenological world, "The decision as to who can be a warrior and who can only be a hunter is not up to us. That decision is in the realm of the powers that guide men."

The book shows a progression between different states of learning, from hunter, to warrior, to man of knowledge or sorcerer, the difference said to be one of skill level and the type of thing hunted, "...a warrior is an impeccable hunter that hunts power. If he succeeds in his hunting he becomes a man of knowledge."

Throughout the book Castaneda portrays himself as skeptical and reserved in his explanations of the phenomena at hand, but by the end of the book Castaneda's rationalist worldview is seen to be breaking down in the face of an onslaught of experiences that he is unable to explain logically...... N Joy

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"Anything is one of a million paths. Therefore you must always keep in mind that a path is only a path; if you feel you should not follow it, you must not stay with it under any conditions. To have such clarity you must lead a disciplined life. Only then will you know that any path is only a path and there is no affront, to oneself or to others, in dropping it if that is what your heart tells you to do. But your decision to keep on the path or to leave it must be free of fear or ambition. Before you embark on any path ask the question: Does this path have a heart? If the answer is no, you will know it, and then you must choose another path. The trouble is nobody asks the question; and when a man finally realizes that he has taken a path without a heart, the path is ready to kill him. At that point very few men can stop to deliberate, and leave the path. A path without a heart is never enjoyable. You have to work hard even to take it. On the other hand, a path with heart is easy; it does not make you work at liking it."




Carlos Castaneda - Journey To Ixtlan 6 (mp3  80mb)

14 - Journey to Ixtlan The Lessons of Don Juan 61:00
15 - Journey to Ixtlan The Lessons of Don Juan 45:30

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previously

Carlos Castaneda - The Teachings of Don Juan 1 (mp3  46mb)
Carlos Castaneda - The Teachings of Don Juan 2 (mp3  55mb)
Carlos Castaneda - The Teachings of Don Juan 3 (mp3  55mb)


Carlos Castaneda - A Separate Reality 1 (mp3  42mb)
Carlos Castaneda - A Separate Reality 2 (mp3  57mb)
Carlos Castaneda - A Separate Reality 3 (mp3  40mb)

Carlos Castaneda - Journey To Ixtlan (mp3  58mb)
Carlos Castaneda - Journey To Ixtlan 2 (mp3  59mb)
Carlos Castaneda - Journey To Ixtlan 3 (mp3  51mb)
Carlos Castaneda - Journey To Ixtlan 4 (mp3  58mb)
Carlos Castaneda - Journey To Ixtlan 5 (mp3  62mb)

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RhoDeo 1838 Re-Ups 156

Hello,


11 correct requests for this week and three not so comprehensive readers, it seems to be to much of an ask for some here, whatever another batch of 36 re-ups (10. gig)

These days i'm making an effort to re-up, it will satisfy a smaller number of people which means its likely the update will  expire relatively quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section at the page where the expired link resides, or it will be discarded by me. ....requests are satisfied on a first come first go basis. ...updates will be posted here remember to request from the page where the link died! To keep re-ups interesting to my regular visitors i will only re-up files that are at least 12 months old (the older the better as far as i am concerned), and please check the previous update request if it's less then a year old i won't re-up either.

Looka here , requests fulfilled up to September 23th... N'Joy

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3x Roots Back in Flac (Alpha & Omega ‎- Dub Magic, Alpha & Omega - Mystical Things, Alpha & Omega - Serious Joke)


3x Aetix Back In Flac (The Gun Club - Fire of Lover, The Gun Club - Miami, The Gun Club - The Las Vegas Story)


3x Aetix Back in Flac (Throwing Muses - Throwing Muses, Throwing Muses - House Tornado,  Throwing Muses - Hunkpapa)


3x Aetix Back In Flac (Martha and The Muffins - Metro +,  Martha And The Muffins - The Ice Age, Martha And The Muffins - Danseparc )


4x Sundaze Back in Flac (Virginia Astley - From Gardens Where We Feel Secure, Virginia Astley - Hope In A Darkened Heart,  Virginia Astley - All Shall Be Well , Virginia Astley - Had I The Heavens)


2x Sundaze Back In Flac ( Reload - A Collection Of Short Stories, Global Communcation - 76:14)


2x Sundaze Back in Flac (Gas - Königsforst, Gas - Pop )


3x Aetix Back in Flac (John Foxx - Metamatic bonus, John Foxx - The Garden bonus, John Foxx - The Golden Section Bonus )


3x Sundaze NOW in Flac (Orb - Adventures Beyond The Ultraworld I+II, Orb - Orbus Terrarum, Orb - Okie Dokie, The Orb On Kompakt)


4x Sundaze Back in Flac (Ash Ra Tempel - Ash Ra Tempel, AshRa Temple - Schwingungen, Ash Ra Tempel - Seven Up, Ashra Temple - Join In)



5x Sundaze Back in Flac   (Tuu - One Thousand Years, Tuu - All Our Ancestors, Tuu - Invocation-Archive, Tuu - Mesh, Tuu and Nick Parkin - Terma)



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Sundaze 1838

Hello, as we'll stay longer around Bristol here at Sundaze a word on the city....

Bristol's modern economy is built on the creative media, electronics and aerospace industries, and the city-centre docks have been redeveloped as centres of heritage and culture. The city has the largest circulating community currency in the U.K.—the Bristol pound, which is pegged to the Pound sterling. The city has two universities, the University of Bristol and the University of the West of England, and a variety of artistic and sporting organisations and venues. One of the UK's most popular tourist destinations, Bristol was selected in 2009 as one of the world's top ten cities by international travel publishers Dorling Kindersley in their Eyewitness series of travel guides. The Sunday Times named it as the best city in Britain in which to live in 2014 and 2017, and Bristol also won the EU's European Green Capital Award in 2015.

The music scene is thriving and significant. In 2010, PRS for Music announced that Bristol is the 'most musical' city in the UK, based on the number of PRS members born in Bristol relative to its population. From the late 1970s onwards it was home to a crop of cultish bands combining punk, funk, dub and political consciousness, including The Pop Group, close friends of The Cortinas, who led the City's punk scene from 1976. Bristol's premier fanzine from this time through until early 1978 was Loaded. It featured all of the Bristol bands as well as those who visited the city, some of whom were promoted by the magazine.

Bristol is home to many live music venues including the 2000-seat Colston Hall, named after Colston Street and the Colston School that once occupied the site, which can attract big names, the Trinity Centre (a community-run converted Church in the Old Market area of Bristol), the O2 Academy which is part of the national touring circuit for rock bands, the Anson Rooms (part of the University of Bristol Union), the Mothers Ruin, The Thekla, Fiddler's, the Bristol Folk House, Start the Bus, the Hatchet, the Fleece, the Croft, the Cooler and the Louisiana. Plenty to go on...


Today's Artists  are an English post-rock band. They formed in Bristol, England in 1994. Core members are Kate Wright and Rachel Brook (now Rachel Coe). Brook was also a member of Flying Saucer Attack during the first few years of the band's existence, and Wright is also currently the bass player for Crescent. Other musicians have included Matt and Sam Jones (both of Crescent), Matt Elliott (The Third Eye Foundation), Chris Cole, Florence Lovegrove, Ros Walford and Clare Ring.  .....N'Joy

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Formed in Bristol, England in 1994, Movietone displayed its quiet, sensual songs on a number of releases in the mid '90s for the Planet, Domino, and Drag City labels. Band members Florence Lovegrove, Matt Elliott, Rachel Brook, Kate Wright, and Matt Jones issued two 7"s with Planet before their self-titled full-length debut came out in 1996 -- two more 7's would follow before their Drag City debut, Day and Night, in 1997. The band then went on a three-year hiatus before producing their next full-length, The Blossom Filled Streets, in the summer of 2000. Like their previous releases, The Blossom Filled Streets is gentle and complex, with a light touch that shows how much the band has grown.

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The first Movietone album came out at the height of hype and attention for Flying Saucer Attack, but what's intriguing is how clearly Rachel Brook and her compatriots readily found their own particular approach rather than simply being an extension of said band. If not yet fully achieving the stripped-down, delicate synthesis later records demonstrated, Movietone is still well on its way, as "3AM Walking Smoking Talking," with its blend of buried drums, spoken words, soft guitar, and droning clarinet shows. Acoustic arrangements take the lead more than once, and if the effect is more fragile than late-night moody as Day & Night would show, songs like "Late July" still make for an entrancing listen. "Darkness-Blue Glow," with Matt Wright's dramatic but not overly so piano parts and a hushed, reflective atmosphere is especially wonderful, easily the album's high point. Lead singer/guitarist Kate Wright has an understated voice, sometimes very hard to catch in softer moments (on "Green Ray," Florence Lovegrove's viola eventually completely obscures it). It's not the expected gentle cooing from earlier shoegaze groups, though, but more of a restrained calm à la Moe Tucker or a deeper Alison Statton. More than once, the noise kicks in -- "Orange Zero" starts out as a quiet, folkish chime before suddenly erupting into an orgy of feedback squalling, a pattern that repeats itself for the rest of the song. "Chance Is Her Opera," meanwhile, betrays a definite Spacemen 3 influence in its steady, obsessive pace, strung-out guitar, and rough but effective drums the background. The experimental home-recording roots become readily apparent more than once, whether it's the stop-start taping of the half-spoken vocal on "Heatwave Pavement" or the clattering glass and crashes on "Mono Valley," another unsettled high point and a good showcase for all the bandmembers.

Movietone - Movietone (flac  307mb)

01 Chance Is Her Opera 4:53
02 Heatwave Pavement 3:47
03 Green Ray 1:53
04 Orange Zero 4:53
05 Late July 3:35
06 Darkness-Blue Glow 5:15
07 Mono Valley 5:05
08 Coastal Lagoon 2:03
09 Alkaline Eye 5:15
10 3AM Walking Smoking Talking 3:37
11 Three Fires 1:04
bonus
12 She Smiled Mandarine Like 2:29
13 Under The 3000ft Red Ceiling 3:14
14 Orange Zero (Single) 4:52
15 Chance Is Her Opera (Demo) 4:03

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Movietone's second full album found the band specifically set on low-key performances throughout; no sudden shifts to crushing volume here, more a continued, extended dream of darkly attractive (but not dour) full-band mood-outs. Unlike, say, Mazzy Star or Low, Movietone's interpretation of smoky post-psychedelic jams relies on a definite briskness offset by Kate Wright's cool vocals, softly husked but not drowsy, combined with subtle arrangements, tweaks, and experiments to add variety. Whether it's the sudden appearance of piano leads on the opening "Sun Drawing" or the snaky cool of the rhythm on "Night of the Acacias," calling to mind a moody '60s spy movie sequence, often the simplest addition transforms each song into more than the sum of its parts. Rachel Brook's clarinet work is often the secret touch that lends the songs a little something extra or unexpected, as counterbalance to the low-feedback hyperactivity shown on "Useless Landscape." The arrangements are sometimes as stripped down as possible -- nothing but guitar, bass, and piano appears on "Noche Marina," one of the most intensely beautiful moments on a lovely album. Electricity isn't needed to carry the flow of Day & Night or a song's individual power; a buried cymbal fill or two aside, "Blank Like Snow" consists of nothing but Kate Wright and acoustic guitar, her obsessive focus suggesting a more deliberate Nick Drake circa Pink Moon. Slow solo piano, meanwhile, stands front and center on "Summer," with viola-produced drones and Matt Jones' subtle, barely there percussion creating a most unseasonal chill before a sudden uplift of gentle activity reminiscent of Talk Talk's late-period bursts takes the fore. The longest track on Day & Night concludes it, with "The Crystallization of Salt at Night" finding all the members adding just about everything (including Jones on prepared piano) to create an involving ending for a striking, unique album.
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Movietone - Day And Night  (flac 182mb)

01 Sun Drawing 3:57
02 Blank Like Snow 2:40
03 Useless Landscape 5:01
04 Summer 7:14
05 Night Of The Acacias 5:45
06 Noche Marina 4:47
07 The Crystallisation Of Salt At Night 9:47

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Introspective, delicate, and atmospheric, the music of Movietone envelops the listener like a warm bath. Vocalist Kate Wright's poetic lyrics offer up vignettes that twist themselves inextricably amongst the layers of sound, surfacing occasionally to bloom in honey tones. The richness of the band's composition and instrumentation make this music almost impossible to categorize. They use strings and prepared piano like art rock auteurs, cruise sonic landscapes like Bluetile Lounge or Galaxie 500, and the ends of their songs often tumble into extended improvisations that rival free jazz. It may be overly simplistic to say that a band called Movietone makes music that sounds like the soundtrack to melancholy film scenes under gaslight and stars, but they do make that music, and its filmic richness makes this album a most unique treat.

Movietone - The Blossom Filled Streets    (flac 178mb)

01 Hydra 4:56
02 Star Ruby 2:06
03 1930's Beach House 6:10
04 Year Ending 6:35
05 The Blossom Filled Streets 4:11
06 Porthcurno 4:46
07 Seagulls / Bass 1:53
08 In A Marine Light 5:40
09 Night In These Rooms 4:13

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The Sand and the Stars, the fourth full-length release by Bristol's Movietone, is literally a musical journey, taking the players from the beach to the city and finally ending up "on a coast path, illuminated by a lighthouse." Movietone continue with their intensely delicate music, but this time around the shimmering music seems to be more intimate, more organic, and closer to the listener in sonic space than the atmospherics of Day & Night and Blossom Filled Streets -- elements that may be due to the locations of recording. The production by Matt Jones is a bit more aggressive than Movietone's other works, but still captures that heart-wrenching quality of Movietone through the instrumentation and wonderful vocal work. Melancholy like all of their records, Kate Wright's wonderful vocals haunt against the acoustic instruments playing off one another. A communal, dark campfire vibe shines through on "Pale Tracks," where Sam Jones, Matt Jones, Kate Wright, and Rachel Coe all have vocal duties and sing with the swirling nature of the music. "We Rode On" and "Snow Is Falling" are Movietone at their best, using various instruments like clarinet, cello, banjo, bass saxophone, trumpet, double bass, drums, and guitar set against wave samples in the background, creating a chilling environment. "Near Marconi's Hut" rounds out the record, leaving the listener with a sadness that The Sand and the Stars is over and a longing for more from Movietone. The Sand and the Stars is another wonderful release from Movietone, keeping you in the imagery of a movie you saw a long time ago or a dream that you cannot shake from your memory.

Movietone - The Sand And The Stars (flac  188mb)

01 The Sand And The Stars 2:44
02 Ocean Song 5:03
03 In Mexico 5:01
04 Pale Tracks 4:06
05 Let Night In 3:52
06 We Rode On 3:49
07 Snow Is Falling 4:25
08 Not Even Close 1:48
09 Red Earth 4:08
10 Beach Samba 2:57
11 Near Marconi's Hut 1:25

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