Sundaze (50)

Hello Sundazers, as the final Rhotation unwinds some of the best parts, that had been kept, show. This Autechre special had been waiting in the wings for some time. There's 260 min for those that never got around to something they should have..listen to Autechre, choice in versions, in short no reason to forgo here. Admittedly it''s not regular Sundaze..some intense music there...

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Brown and Booth formed the group in 1987 when they both lived in Rochdale. They began their career making and trading mixtapes between each other, and gradually moved on to their own compositions while collecting a handful of cheap equipment, most notably a Casio SK-1 sampler and a Roland TR-606 drum machine. Since then they have employed a wide variety of electronic instruments to create an evolving style.

Booth and Brown pronounce the name Autechre with a Rochdale accent ( "awe-teh-ker"). However, they have explained that the name can be pronounced in any way one sees fit. Booth explains: "The first two letters were intentional, because there was an 'au' sound in the track, and the rest of the letters were bashed randomly on the keyboard. We had this track title for ages, and we had written it on a cassette, with some graphics. It looked good, and we began using it as our name." They are also commonly referred to by the abbreviation "Ae".

Autechre have also recorded under various pseudonyms. One of the duo's earliest recordings was a 12" under the alias "Lego Feet", released in 1991 on Skam Records. The majority of Gescom releases, most of them on Skam, have been attributed to Booth and Brown, among other artists. Autechre helped initiate the All Tomorrow's Parties music festival in 2000, and were responsible for curating the 2003 festival.

Many describe Autechre's music as cold and austere, whereas others perceive a warmth and sentimentality that touches even the most cerebral pieces. Much of Autechre's music has a strong focus on complex rhythm, driving percussion, and meticulous sequencing. Often unusual rhythmic loops repeat and change incrementally, with the music constantly in transition. Sometimes patterns are set against one another, implying several time signatures at once. .Autechre's music creates a sonic environment that massages and stimulates our cortex directly In that sense, Autechrian communication takes place on two levels: sounds collide in a non- linear and anticyclical way within the piece (the first level), always maintaining a high amount of activity. This in part is transferred simultaneously to the listeners

Reactions to their music have varied. Many of their tracks contain complex or chaotic rhythms and close harmonies which some hear as random and noisy. Fans of their recent work tend to find the value of their music to lie in its unique fusion of rhythmic and melodic elements, percussive noises being tweaked to sound like they have pitches, and clustered, often enharmonic synthesizer patches implying numerous melodic lines and chord structures simultaneously. A recurring element in Autechre's work is the use of extremely short snippets of sound to create a fragmented, grainy effect.

Earlier this year they've released their ninth album Quaristice where Sean Booth and Rob Brown have definitely managed to harness the power of the neuron.

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Autechre - Incunabula (93, 78min ^ 471mb)

Incunabula, released by Warp Records in 1993, is the debut album by the electronic music group Autechre, and the seventh album in the Artificial Intelligence series. The album's title isformed of two Latin words meaning literally "in the cradle" or "in swaddling clothes". , the plural of incunabulum, the term used for printed books published prior to 1501, or more generally for something in its infancy or early stages or development.

Although Autechre's debut release doesn't totally display the full experimentation which would dominate their future albums and singles, it is still striking nonetheless. Lumped in with the "intelligent dance music" semi-genre popular at the time, Autechre doesn't hit the same levels as Orbital or labelmate Aphex Twin, but Incunabula still stands out as being both good dancefloor material and equally pleasant listening, and not simply new-age hash with a backbeat. "Kalpol Introl" sets the overall mood for the rest of the record, with a sharp blend of minimal but effective beats and bass combined with a variety of keyboard textures and understated melodies. From there Incunabula follows the same general tone; tracks often experiment with ghostly keyboard backing and mostly clinical beats combined with odd, individual touches.



01 - Kalpol Introl (3:18)
02 - Bike (7:57)
03 - Autriche (6:56)
04 - Bronchus 2 (3:33)
05 - Basscadet (5:23)
06 - Eggshell (9:01)
07 - Doctrine (7:48)
08 - Maetl (6:32)
09 - Windwind (11:15)
10 - Lowride (7:15)
11 - 444 (8:55)

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Autechre - Amber (94, 74min ^ 395mb)

Amber is fossil tree resin, which is appreciated for its slightly orangish yellow color and beauty. In small but noticeable ways on this, their sophomore release, Autechre begin to break from the clean, if at times obvious, artistic techno from their debut record, and reach instead toward something far more distinct. Sean Booth and Rob Brown weren't quite there yet, but their self-production is even more accomplished than before, and their instincts to steer away from overly polite electronic dance music come ever more to the fore at various points throughout Amber. Things are clearly starting to gel a little more here than on previous releases; the great leap forward becomes all the more logical in retrospect.
The sleeve is designed by Sheffield based design agency The Designers Republic. The cover photograph depicts mountain formations from Cappadocia in Turkey.



01 - Foil (6:04)
02 - Montreal (7:15)
03 - Silverside (5:31)
04 - Slip (6:21)
05 - Glitch (6:15)
06 - Piezo (8:00)
07 - Nine (3:40)
08 - Further (10:07)
09 - Yulquen (6:37)
10 - Nil (7:48)
11 - Teartear (6:45)

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Autechre - Tri Repetae (95, 72 min ^ 425mb)

Starting with the snarling, slow machine-funk of "Dael," Tri Repetae fully confirms Autechre's evolution into electronic noise kings. If not as immediately experimental as the fractured work by the likes of Merzbow, Tri Repetae expertly harnesses the need for a beat to perfectly balance out the resolutely fierce, crunching samples and busy arrangements, turning from being inspired by Aphex Twin to being equally inspiring in itself. "Rotar" does a particularly fine job on this front, with high-pitched sounds against low, distorted bass blasts -- and this only forms part of the percussion arrangement. The basic combination of soft melody and harsh beats are here as well, coming fully to the fore and resulting in such fine songs as the synth-string/organ wheeze laden "Leterel" and the quirky, sweet "Gnit." Nearly every track has a particular edge or element to it, making it eminently listenable and distinct. Tri Repetae stands as a varied, accomplished album, clear evidence of Autechre's unique genius around sound.



Autechre - Tri Repetae ( ^ 424mb)

01 - Dael (6:39)
02 - Clipper (8:34)
03 - Leterel (7:08)
04 - Rotar (8:04)
05 - Stud (9:40)
06 - Eutow (4:15)
07 - C/Pach (4:39)
08 - Gnit (5:49)
09 - Overand (7:33)
10 - Rsdio (10:08)

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The Anvil Vapre EP starts out with the absolute classic song of "Second Bad Viibel." Not only did the track feature a video by Chris Cunningham but it's nearly impossible to listen to the clunking, fuzzed-out epic without images of demented robots coming to mind. The EP also contains the amazing "Second Peng," which might be one of the creepier ambient/IDM tracks you'lll ever hear.

 Autreche - Anvil Vapre (flac   215mb)

1 - Second Bad Vilbel (9:45)
2 - Second Scepe (7:44)
3 - Second Scout (7:21)
4 - Second Peng (10:53)

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Rhotation (50) Into BPM

Hello, some mixed feelings as the 50th Rhotation is coming up, it will be the last aswell. The format has run it's cause for a year and it's time for a rethink. Personally i need to scale back aswell, as it has become too timeconsuming.. the audiobookseries will keep running ( still another 15 episodes of Canadia 2056) and more in the pipeline. As to how and what i will do, time will tell, but certainly not the 16-20 titles that came by everyweek over the last year.

I've been working towards this final and 50th Rhotation and today it's Into (the ultimate) BPM or Detroit Techno and how this uncompromising minimalist music inspired todays acts to different outcomes, whilst mainitaining the minimalist discipline....First up the godfathers as it where, Underground Resistance, their Revolution For Change compiles their pre 93 work after which the group split...Second up an artists that lived closeby but had a different background, i've posted several of his titles under divers monikers before (see Rhotation 34 and 46) but had kept his first and most minimalist Plastikman work, Sheet One, for last..at the last instant, as a festive bonus, i've added the Recycled Plastik EP aswell. Which btw compiles his earliest work under that moniker....I started with a compilation album and my final is one aswell. Basic Channel are Techno purists that took the deconstruction to the limit and with German precsion and discpline constructed a whole new world, one that came to the fore on vinyls they themselves pressed, the vinyl groove was sculpted as it where. After nine long 12" releases, the demand to create a cd to accomodate dj's and a wider audience had them compile this 80 min cd, BCD , of edited versions of their extended vinyl tracks. Btw earlier this year a BCD II saw the light, again compiled from their previous 12"


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Underground Resistance - Revolution For Change (92 now in Flac 464mb)

Begun in the late 1980s by Jeff Mills and "Mad" Mike Banks, UR related the aesthetics of early Detroit Techno to the complex social, political, and economic circumstances which followed on from Reagan-era inner-city economic recession, producing uncompromising music geared toward promoting awareness and facilitating political change. Later Robert "Noise" Hood joined the collective.The early UR catalog is defined by a typically Detroit combination of Motown and Chicago soul, and ruthless, at times caustic lo-fi techno, acid, and electro (Mills' background is in, among other things, Chicago industrial and EBM-style electro-techno, with Banks and Hood both coming from a solid house and techno base). Much of the label's early output was the product of various permutations of Banks, Mills, and Hood, both solo and in combination, before Mills and Hood left UR in 1992 to pursue (and achieve) international success. The Revolution For Change album compiled these early days of the trio.

Mike Banks continued to lead UR in the wake of the split, releasing EPs during the mid-1990s such as "Return of Acid Rain," "Message to the Majors," and "Galaxy to Galaxy" under the UR name, as well as 12-inches by increasingly renowned artists such as Drexciya.
UR tracks have occasionally been released on other labels (usually in what UR metaphorically describe as "reconnaissance" or "infiltration"). 1998's "Interstellar Fugitives", was the first full album credited to Underground Resistance, it saw Mike Banks redefining the collective's sound as "High-Tech Funk", reflecting a shift in emphasis from hard, minimal club Techno to breakbeats, Electro and even occasionally Drum and Bass and down-tempo Hip-Hop. In 1999, newcomer DJ Rolando released UR's most commercially successful EP, "The Knights of The Jaguar". In 2000, Kraftwerk released a remix single of their theme composed for the Expo 2000 in Hanover, featuring contributions from Rolando and Banks, making them two of only a handful of producers ever to be given the privilege of remixing Kraftwerk. From 2002 onwards, Kraftwerk's live shows featured the group performing UR's remixes compiled in the song now called "Planet of Visions".



01 - Riot (4:56)
02 - Punisher (5:37)
03 - Elimination (4:44)
04 - Adrenalin (4:59)
05 - Predator (6:18)
06 - Quadrasonic (6:57)
07 - Sonic Destroyer (5:00)
08 - Eye Of The Storm (6:43)
09 - Sometimes I Feel Like (6:25)
10 - The Theory (6:08)
11 - Beauty Of Decay (3:14)
12 - Killer Whale (5:16)
13 - Code Of Honor (4:02)


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Plastikman - Sheet One (93 now in Flac 317mb)

While original Detroit technocrats like Juan Atkins and Derrick May were changing the face of electronic music in the mid-'80s, Richie Hawtin was growing up across the river in Windsor, Ontario. A British native born in 1970, he moved to Canada with his family at the age of nine. Introduced to '70s electronic/minimalist pioneers Kraftwerk and Tangerine Dream by his father (who was a robotics engineer for General Motors), Hawtin began DJing at the age of 17 -- as DJ Richie Rich -- and soon landed gigs at Detroit hot-spots like the Shelter and the famed Music Institute, home to all-night club sessions by May and Kevin Saunderson.

Hawtin and +8's co-founder, John Acquaviva, began working together in 1989, originally to make a Derrick May megamix for use on the radio; they later emerged from Acquaviva's studio with several original recordings. The duo issued one single, "Elements of Tone" as the first release on +8 Records (credited to States of Mind), and sat back while many in the techno world puzzled over who was responsible. The label's later releases in addition to various Hawtin/Acquaviva projects -- made the label famous for laboratory-precise techno based on slowly evolving and shifting acid lines. The aggressive sound matched the work of the label/artist collective Underground Resistance as the best techno to come out of Detroit in the early '90s. Hawtin's style formed by a fusion of the barest acid house and straitjacket-tight Detroit techno, and he became one of the most influential artists in the world of techno during the 1990s, even while sticking to out-of-date synth dinosaurs like the Roland TB-303 and TR-808. Hawtin combined lean percussion and equally spare acid lines into haunting techno anthems that kicked with more than enough power for the dancefloor while diverting headphone listeners as well.

The Plastikman project debuted in 1993 with two releases for +8: the seminal "Spastik" single and an album, Sheet One, which was one of the first records to turn the 303 acid box upside down from glorious high to isolationist low, dis[laying laser-precise minimalist rhythms to drive a series of echo-box acid lines that gradually acquire power over the course of lengthy album tracks . Hawtin's first wide release Dimension Intrusion, however, came with the alter-ego F.U.S.E. (short for Further Underground Subsonic Experiments). A more varied and melodic project than Plastikman. the album was released by Warp Records in late 1993, as part of the label's Artificial Intelligence series, Dimension Intrusion was also licensed to Wax Trax!/TVT for release in America. (Hawtin joined such ambient-techno heroes as the Aphex Twin, Black Dog, Autechre and B12, all receiving their wide-issue debuts.) Later, NovaMute signed an agreement with +8 and another Hawtin-founded label, Probe; Sheet One was reissued in 1994, followed by the second Plastikman LP, Musik. Much more restrained than Sheet One, the album fit in well with the growing ambient-techno movement. All told, Hawtin was responsible for the release of three albums and a good-sized EP in the span of just one year.

In early 1998, he released his third Plastikman LP, Consumed, which proved to be just as brutally shadowed as the Concept 1 material. The continued experimentalist direction showed Hawtin coming full circle, back to his position on the leading edge of intelligent techno. In May 2000, Hawtin performed at the first Detroit Electronic Festival alongside Derrick May, Juan Atkins and other techno masterminds. More than 200,000 people attended from all over the world.



01 - Drp (1:45)
02 - Plasticity (11:00)
03 - Gak (5:38)
04 - Okx (0:34)
05 - Helikopter (6:30)
06 - Glob (8:20)
07 - Plasticine (11:19)
08 - Koma (4:10)
09 - Vokx (2:07)
10 - Smak (6:42)
11 - Ovokx (2:14)


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Plastikman - Recycled Plastik (93/94 Now in Flac 444mb)

This maxi EP compiling (recycling) previous singles turned out to become the seminal minimal acid album which introduced a huge amount of people to the underground techno phenomenon.


01 Krakpot 11:13
02 Freek 6:44
03 Kiropraktor 4:30
04 OldSkool 5:05
05 Spaz 7:41
06 Naturalistik 4:39
07 Elektrostatik 9:53
08 Elektrix 5:57
09 Gak (Remix) 6:52
10 Sickness 7:51
11 Panikattack 8:41

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Basic Channel - BCD I (95 ^ now in Flac 321mb)

Basic Channel is a minimal techno production team and record label, composed of Moritz Von Oswald and Mark Ernestus, that originated in Berlin, Germany in 1993. They've become synonymous with a brand of stripped-down, ultra-minimal techno almost devoid of musical substance or intent. The duo set up a studio in Berlin on Paul-Lincke-Ufer, in a building which was eventually to house Mark Ernestus’ distributing company and shop Hard Wax, and the label's mastering studio Dubplates & Mastering, set up to ensure a desired dynamic quality for the vinyl.

The duo released a number of vinyl-only tracks under various aliases, each of which employed their signature brand of dissonant dub techno. The nine original releases were each primarily identified as Basic Channel productions by their catalogue numbers, as the Basic Channel logo on the label became more distorted and unreadable with each subsequent release. Basic Channel’s first nine releases total about 4,5 hours of music BC-01 Cyrus “Enforcement” , BC-02 Phylyps “Trak” , BC-03 Vainqueur, “Lyot (Reshape)” , BC-04 Quadrant “Q 1.1” , BC-05 Cyrus “Inversion” , BC-06 Quadrant “Dub” , BC-07 Basic Channel “Octagon / Octaedre” , BC-08 Radiance “I / II / III” , BC-09 Phylyps “Trak II” . The Basic Channel record label released only a single CD, BCD, a self-titled compilation of edited versions of their extended vinyl tracks. After which the Basic Channel imprint ceased business in 1995

However, Basic Channel is just one in a network of artists and labels also including Thomas Koner/Porter Ricks. Among the most important were Chain Reaction, which released non-Von Oswald/Ernestus productions and helped launch the careers of dub-influenced minimal techno producers such as Monolake and Porter Ricks; Basic Replay, which specialises in reggae and dancehall re-issues; Main Street, for house-related releases; and Burial Mix and Rhythm & Sound, which saw the duo's sound move away from the Detroit blueprint and closer to vocal-lead dub and reggae.



01 - Q Loop (5:28)
02 - e2e4 Basic Reshape (6:08)
03 - Mutism (5:57)
04 - Quadrant Dub I (Edit) (6:57)
05 - Radiance II (Edit) (9:21)
06 - Lyot Remix (Edit) (6:28)
07 - Presence (Edit) (8:17)
08 - Q1.1 (Edit) (1:03)
09 - Q1.2 (4:58)
10 - Radiance I (7:57)
11 - Radiance III (Edit) (3:48)


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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Into The Groove (49)

Hello, Into The Groove presents a bit of a mixed bag her today, be it that all albums are largely electronic, voice based and contain big dancefloor hits....Starting with recent inductees into the Rock & Roll Hall of Fame, Grandmasters Flash, Melle Mel & The Furious Five , that i would think need little introduction after The Hweels of Steel let loose The Message Of With Lines in New York, New York, obviously they had more goodies..your chance to check some out....There's over 2 hours in dietversion available aswell as are the other picks...Lime, those covers really stood out and their music catered to the hedonistic dancefloor scene..so much so that the band, Denis and Denyse LePage, felt they'd better pick some goodlooking blondes to sing their music and stay happy together at home themselves...for 5 years they dominated the dancefloors with their hits and remixes...here's what got them started their first two albums, which completely got released on 12" aswell...get higher baby...Lill Louis isn't small, but he kept his nick from the days he started out in the dj scene and he was Lill...his French Kiss was only his second official single and became a stunning success, it gave him the opportunity to release From The Mind Of Lill Louis, with some great support (his father on drums) the album came out tops aswell Chicago House and then some...

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Flash was born Joseph Saddler in Barbados on January 1, 1958, his family immigrated to the United States from the West Indies, and he grew up in the Bronx. He became involved in the earliest New York DJ scene, attending parties set up by early luminaries, he began spinning records, performing live at area dances and block parties. By age 19, while attending technical school courses in electronics during the day, he was also spinning on the local disco circuit; over time, he developed a series of groundbreaking techniques including "cutting" (moving between tracks exactly on the beat), "back-spinning" (manually turning records to repeat brief snippets of sound), and "phasing" (manipulating turntable speeds) -- in short, creating the basic vocabulary which DJs continue to follow even today.

Flash did not begin collaborating with rappers until around 1977, first teaming with the legendary Kurtis Blow. He then began working with the Furious Five -- rappers Melle Mel (Melvin Glover), Cowboy (Keith Wiggins), Kid Creole (Nathaniel Glover), Mr. Ness aka Scorpio (Eddie Morris), and Rahiem (Guy Williams); the group quickly became legendary throughout New York City, attracting notice not only for Flash's unrivalled skills as a DJ but also for the Five's masterful rapping, most notable for their signature trading and blending of lyrics.

Grandmaster Flash and The Furious Five were signed to Bobby Robinson's Enjoy Records and in 1979 released the classic "Superrappin'". They later signed to Sugar Hill Records and released numerous singles, gaining a gold disc for "Freedom," and also toured. The classic "The Adventures of Grandmaster Flash on the Wheels of Steel," released in 1981 was the best display of Flash's skills (combining elements of Blondie's "Rapture," Michael Viner's Incredible Bongo Band's "Apache," Queen's "Another One Bites the Dust" and Chic's "Good Times." It also marked the first time that record scratching had been actually recorded on a record.

Flash and the Five's next effort, 1982's "The Message," was even more revelatory -- for the first time, hip-hop became a vehicle not merely for bragging and boasting but for trenchant social commentary, with Melle Mel delivering a blistering rap detailing the grim realities of life in the ghetto. The record was a major critical hit, and it was an enormous step in solidifying rap as an important and enduring form of musical expression. Other than Melle Mel, no members of the group actually appear on the record. "The Message" went platinum in less than a month. In 1982, Flash appeared in the movie "Wild Style" and sued Sugar Hill over the non-payment of royalties.

The group split between Flash and Mel before disintegrating entirely. Flash, Kid Creole and Rahiem signed to Elektra Records and continued on as simply "Grandmaster Flash" while Mel and the others continued on as "Grandmaster Melle Mel & the Furious Five. In 1984, Mel released a 12" single, "White Lines (Don't Don't Do It)" which went on to become one of his signature songs. Although frequently credited on the records, Flash doesn't actually appear on "The Message", "White Lines (Don't Do It)", or many of the other Furious Five songs (if you don't hear scratching on a track, then Flash isn't on it). Mel notably appeared on Chaka Khan's "I Feel for You" becoming the first rapper ever to win a Grammy award for "Record of the Year". He also appeared in the film "Beat Street" performing "Beat Street Breakdown" in the grand finale.

After a series of Grandmaster Flash solo albums including 1985's They Said It Couldn't Be Done, 1986's The Source, and 1987's Da Bop Boom Bang, he reformed the original Furious Five lineup for a charity concert at Madison Square Garden; soon after, the reconstituted group recorded a new LP, 1988's On the Strength, which earned a lukewarm reception from fans and critics alike. Melle Mel closed out the decade by winning two more Grammy awards for his work with Quincy Jones. There was another reunion, of a kind, in 1994, although Cowboy died in 1989. A year later, Flash and Melle Mel also appeared on Duran Duran's cover of "White Lines." Except for a few compilations during the late '90s, Flash was relatively quiet until 2002, when a pair of mix albums appeared: The Official Adventures of Grandmaster Flash on Strut and Essential Mix: Classic Edition on ffrr. Melle Mel released his first ever solo album "Muscles" on January 30, 2007. The first single and music video is "M3 (The New Message)", released on the 25th anniversary of "The Message". March 2007 Grandmaster Flash and the Furious Five became the first hip-hop/rap group ever inducted into the Rock & Roll Hall of Fame.

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Grandmaster Flash - White Lines and Other Messages ( ^ 416mb)

Seeing as the other grandmaster album here lacks some of the famous twelves, i compiled what i had chronologically and taken together you can start your own blockparty.

01 White Lines 4:31
02 World War III 7:50
03 Scorpio 4:59
04 Survival 6:42
05 New York New York 7:24
06 Freedom 8:08
07 Birthday Party 5:35
08 Flash To The Beat 4:22
09 It's Nasty (Genius Of Love) 4:12
10 Message 7:02

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Grandmaster Flash and The Furious Five - The Greatest Mixes (97 ^ 460mb)

 Greatest Mixes adds a new wrinkle in the tried-and-true greatest-hits sets by including some new mixes of Grandmaster Flash favorites, rare original extended mixes, and some unreleased tracks. Despite all of the offerings, not surprisingly the best songs here are the original extended mixes released in the early to mid-'80s. The brilliant "The Adventures of Grandmaster Flash on the Wheels of Steel" more than sustains its lasting properties and introduces the first instances of sampling and scratching. The overdone "New York New York" from 1983 seems to gain strength from the better stuff before and after it.. Remaining true to its title, Greatest Mixes has new mixes from DJs and in doing so makes this careen toward sacrilege. While Grandmaster Flash certainly has enough tracks to "tamper" with, the album also has 3 unreleased tracks, most notably 1989's great, testy, and spare "Freestyle."



01 - White Lines (Don't Don't Do It) (Cutrmaster Swift & Pogo Mix) (4:11)
02 - Stepp Off (Original 12 inch) (7:36)
03 - Drug Wars (Previously Unreleased) (4:46)
04 - Pump Me Up (Original 12 inch) (4:42)
05 - Message II (Survival) (Richie Rich Mix) (6:18)
06 - Freestyle (Previously Unreleased) (4:46)
07 - New York New York (Original 12 inch) (7:20)
08 - Beat Street Breakown (Original 12 inch) (5:10)
09 - The Message (Cutting Edge's Old School Mix) (9:02)
10 - The Adventures Of Grandmaster Flash On The Wheels Of Steel (Original 12 inch) (7:06)
11 - Black Man (Previously Unreleased) (3:59)
12 - White Lines (Don't Don't Do It) (Davidson Ospina Club Mix) (7:08)

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Lime - Your love, II (81/82 ^ 523mb)

Contrary to much information out and about...Lime was Denis and Denyse LePage...not the cutesy Joy Dorris and Chris March. Yes Chris and Joy toured the world as Lime, but the real voices and talent behind Lime were the Canadian husband and wife team of Denis, a longtime arranger and producer, and his songwriting wife Denyse. Their unlikely career began in 1980. Denis, already known in the Canadian music circles for his incredible horn and string arrangements on hits by Kat Mandu and France Joli, to name a few, decided it was time to branch out into a full fledged production.

By the summerl of 1980 Denis had compiled, with Denyse's help, a list of songs for them to record. With fellow studio wizards Joe La Greca (Carol Jiani's mentor and producer) and George Cucuzzella they entered Montreal Sound Studios for work on what would be the first of many albums. The first 12" single released was the now classic "Your Love." A snappy uptempo number that immediately started charting on it's original Matra Records pressing. After a strong showing it was remixed and re-released furthering it's chart life. The album, "Your Love," followed and eventually between Matra and Prism all the tracks were released on 12" singles. Garnering them hits with "You're My Magician," "(Baby) I'll Be Yours," "It's You" and "Agent 406." This album was also unique in that it was the only album to feature Denyse on the cover. All subsequent albums contained paintings or drawings.

After riding the crest of their first album to it's maximum, their second album "Lime 2" debuted in July of 1982. Once again on Matra Records, the formula was the same for writing, producing and mixing duties. And once again all the tracks appeared on 12" singles as either A or B sides. The 12" singles of "Babe We're Gonna Love Tonight," "Wake Dream" and "Come And Get Your Love" were all consumed by a ravenous high energy dance audience and immediately went top ten. This album also was the first to feature the artwork (cover) of Studio Graffiti, whom would do all of their remaining covers. The unusal paintings became one of the groups trademarks.

By 1983 Lime was at the pinnacle of their worldwide success. "Lime 3" released that spring would prove to be their most universal album. The success began with the first 12" single. "Guilty" with its somber and dark overtones, was a different release from their previous bubbly bouncy numbers. The album was their first to be completely recorded with Roland, Juno and Jupiter synthesizers, all programmed and played by Denis, he also assumed full producer status .

Sometime around 1982 or 1983 Lime had become so successful that demands for personal appearances was enormous. Denis and Denyse chose not to tour for several reasons. Their age was one factor, neither cared to schlep around the globe doing one-night stands. Another was that though both are attractive for their age group, their looks weren't exactly in-sync with their audiences. After lengthy auditions two attractive blondes with similar vocal ranges were recruited to tour as Lime. Joy Dorris and Chris Marsh fit the bill. The group toured the world during 1983 and 1984, receiving numerous awards. American fans were delighted by their personal club appearances. While appearing live the duo did sing live to prerecorded tracks and so many believed that they were in fact the original singers. Despite worldwide touring the groups 1984 album "Sensual Sensation" produced no blockbuster hits.

1985 was a year for the husband and wife team to reflect and and while putting new material together Matra hired New York whiz kids Morales and Munzibai (M & M) to remix the back catalogue of material for an album release, "Lime-The Greatest Hits."
The "Greatest Hits" album shot to the top of the charts and renewed interest in the group. 1985 brought a new album with a slightly new sound and a very different feel. "Unexpected Lovers" was the albums title and also it's first 12" single. The music did well on the club scene and helped the album go Gold. By 1986 the group was ready for their seventh release, "Take The Love" , it received mixed reaction

By 1989's release "Brand New Day" the husband and wife team had created an empire that had a life of it's own. Denis and Denyse did contribute to the album but had already distanced themselves from the whole scene and turned the production over to Richard Buck. Vocals were also split with Joy and Chris for the actual recordings. This was about to be the end of the road for Joy and Chris as well as Lime as hitmakers. Perhaps it was the lack of total commitment from LePage or the uneveness of the material and singers but in any event it slid into the cut-out bins quickly.

Denis and Denyse returned wholeheartedly in 1991 to write, perform and produce the groups nineth album "Caroline." This would be their last hit of any note. The oddley sounding "Caroline" was done in the current New-Jack sound and despite several versions it failed to capture the glory of their heyday. The album had other strong material as well, however tastes and styles had changed and Lime was no longer the group de jour. As of 2002 they have released a new album "Love Fury." Meanwhile Unidisc, has re-released their entire catalogue on compact disc. Denis still continues to arrange and work with other artists most notably Los Del Mar and Ouba.



01 - You're My Magician (7:32)
02 - Agent 406 (7:00)
03 - It's You (7:49)
04 - I'll Be Yours (7:19)
05 - Your Love (Remix) (7:14)
06 - Come And Get Your Love (8:07)
07 - Help Yourself (6:07)
08 - A Man And A Woman (6:45)
09 - Wake Dream (7:05)
10 - No Reply (5:20)
11 - Babe, We're Gonna Love Tonite (6:51)

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Lil Louis and The World - From The Mind Of Lil Louis ( 89 ^ 434mb)

Lil Louis is the stage name used by Chicago-born house music producer and DJ Louis Burns. He was the son of guitarist Bobby Sims, who recorded for Chess and appeared with the psychedelic-soul unit Rotary Connection. Louis grew up with nine siblings and played both drums and bass as a child, then began DJing in the mid-'70s (he earned his nickname after appearances at the club River's Edge while still in middle school). By the end of the decade he had his own club, the Future, where he began working on his editing techniques, thanks to a cassette deck and later a reel-to-reel recorder.

By the mideeifhties, Lil' Louis was hosting the biggest house parties in Chicago, and he began recording his productions around that time as well. His first single "How I Feel" appeared on his own label, and he began collaborating with Marshall Jefferson on several tracks. In 1987, his new single "French Kiss" became a local hit, then a platinum-selling international classic after being licensed to CBS and FFRR. The success triggered a major-label contract through Epic, and the release of his debut album From the Mind of Lil' Louis in 1989. Charting a course across jazz-fusion and R&B as well as house, the LP was one of the best produced by any of the Chicago figures. Pushing the album into another sphere however, are the great collaborations which occur. Larry Heard's input on tracks like "Blackout," "Tuch Me" and "6 A.M." is stellar, and uptown Wax Trax! industrialists Die Warzau even appear on production and mixing. From the album, the moody single "I Called U" became another club hit.

His follow-up LP, the more stylistically unified Journey with the Lonely, didn't fare as well and Lil' Louis retired from recording for over four years, preferring instead to set up his own studio in New York and work on production with Babyface and Me'Shell NdegeOcello. He returned by collaborating with "Little" Louie Vega of Masters at Work and also worked on production for Black Magic.



01 - I Called U (Original Mix) (6:24)
02 - Blackout - Original Mix (6:06)
03 - Tuch Me (5:09)
04 - French Kiss (6:03)
05 - Wargames (3:05)
06 - It's The Only Thing (5:18)
07 - 6 A.M. (3:48)
08 - Nyce & Slow (5:33)
09 - Insecure (6:24)
10 - The Luv U Wanted (4:38)
11 - Brittany (2:33)
12 - Lil Tanya (2:36)
13 - 6 A.M. (Reprise) (3:39)
14 - I Called U (Reprise) (2:59)
--Xs
15 - French Kiss (12 " mix) (9:55)

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Around The World (49)

Hello it's Around the Worldmusics, as the days grow shorter and colder and the festive season throws its first long shadows, staying amother week up north seemed a good idea. Santa has a hard time these days, with the melting polar icecap and now his investments have gone sour aswell, oh how he regrets trusting those brokers, if only he could take them and put them to work in his icepalace..still plenty of snow to shuffle...Ok what's on offer today.. a double bill, some cool Nordic Ethno Grooves compiling some of the most important new folk-rock-bands and -artists from Scandinavia...From the rural isolated Jämtland area come Triakel and they offer some insight into their winterseason music....

A few days ago i said all links were live...i was wrong..i missed the very first i had posted, not that this band didnt get any attention in the years that followed but here it is again Material - Seven Souls ^

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VA - Nordic Ethno Grooves 3 (02 ^ 133mb)

Nordic Ethno Grooves is a compilation of the most important new folk-rock-bands and -artists from Scandinavia. From the Land of the Midnight Sun comes a wave of new music rooted in traditional culture but infused with contemporary perspective. Across Scandinavia a new generation of musicians is discovering their own folk traditions and breathing new life and energy into tunes, dances and instruments handed down for centuries by their forefathers and foremothers. From Swedish fiddle tunes to Sami yoik, Finnish kantele to the Norwegian Hardanger tradition, young musicians throughout Scandinavia are taking musical traditions which can be traced back to medieval times and are playing and singing them in contemporary folk, rock, jazz and world music contexts. The results are spellbinding and tremendously diverse, making Scandinavia the single hottest region for interesting and exciting world music development.

This album samples the modern variety of Scandinavian roots music and includes mostly artists who have already made a name for themselves at least in other European countries if not further afield: Värttinä, Kimmo Pohjonen, Hulu Project, Wimme, Triakel and Hoven Droven are all represented. The list of names may give you an idea of the broad range of approaches to Scandinavian traditional music featured here, this sampler is a good first introduction to contemporary Scandinavian music... .



01 - Värttinä - Äijö (4:22)
02 - Kerstin Blodig / Valivann - Vallevan (4:13)
03 - Kimmo Pohjonen - Ohimo (4:22)
04 - Wimme - Texas (3:48)
05 - Hoven Droven - Malört (3:34)
06 - Plommon - Emma (5:49)
07 - Kalabra - Ymnig Mossa (3:41)
08 - Hulu Project - Osuokhai (Yakutian Dance) (4:31)
09 - Väsen - Ploska (5:01)
10 - Amanda - Mercy Street (Någonting Värmer) (4:42)
11 - Två Fisk Och En Fläsk - Jungfrun I Buren (3:42)
12 - Anders Hagberg - The Herd (4:36)
13 - Triakel - Innan Gryningen (3:29)

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Triakel - Vintervisor (01 ^ 99mb)

Triakel is a Swedish folk band. They mostly perform old Swedish folk songs, particularly those from the Jämtland area , a very thinly populated area the (3 people per square km !) , but also include songs by contemporary folk artists. Triakel was founded in 1995 by Emma Härdelin (Garmarna), Kjell-Erik Eriksson (Hoven Droven) and Janne Strömstedt (former Hoven Droven member); Eriksson and Strömstedt had to perform together using only the fiddle and harmonium at New Year's Eve 1994 following a lost bet, and the performance was so successful that they decided to continue with the project. Härdelin later on joined the newly-formed band as the singer, and the name "Triakel" (a kind of sweet, black liquorice in the Swedish dialect of Jämtland) was chosen after a long discussion

Triakel play songs. The group's repertoire covers everything from old music.hall numbers to hymns. Often the songs are rooted in the provinces of Jämtland and Hälsingland where the group's members grew up. The music is quiet but emotionally charged, and arrangements are built up around Emma's singing, which is the heart of the group's sound. It is an expression of its members' yearning to make simple, acoustic music, in contrast to the louder, amplified sounds they otherwise work with.

Shortly after the release of Triakel's epynomous debut in May 1998 it was decided that the follow-up should be a Christmas record - not of the usual Jingle Bells kind, but an alternative, nonetheless rich with the unmistakable flavour of a Swedish Christmas. The result was not just a Christmas record but a record of winter songs. .From traditional songs to Evert Taube, Dan Andersson and former ABBA member Benny Andersson. The line-up of vocals, harmonium and fiddle is ideal for this material, and those who have already heard and appreciated the group's simple, low-key music will not be disappointed. Whether serious or cheerful, these are stories delivered with straightforward clarity.

In 2004 they released Sånger från 63° N (Songs from the 63rd Latitude) and a year later Ten Years of Triakel. During the past few years the group has toured throughout Sweden and also played in about fifteen different European countries. They have also appeared in Japan and several times in the Unites States and Canada.



01 - Julvisa från Älvdalen (Christmas Carol from Älvdalen) (3:01)
02 - Bergslagsjul (Christmas In The Mining District) (2:13)
03 - Er framtid blive lyckelig (Good Fortune And Joy) (3:18)
04 - Staffansvisa från Orust (St Stephen’s Day Carol from Orust)" – 1:47
05 - Innan gryningen (Before Dawn) ( 3:28)
06 - Torspar-julaftas-våggvisa (The Crofter’s Christmas Eve Lullaby) (4:12)
07 - God morgon här kär fader vår (Good Morning To You, Master Dear) (2:19)
08 - Det blir en julhelg glad (A Joyful Christmas It Will Be) (3:52)
09 - Julvisa i Finnmarken/Isfärden (3:39)
10 - Staffansvisa från Jämtland (St Stephen’s Day Carol from Jämtland) (2:36)
11 - Adventspsalm (Advent Hymn) (3:17)
12 - Mormors julstjärna (Grandma’s Christmas Star) (2:35)
13 - Knalle Juls vals (The Christmas Tree Waltz) (2:32)
14 - Julgranspolska (The Christmas Tree Polska) (2:15)
15 - Tackvisan (4:16)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Canadia 2056 (8)

Hello, well the last re-updates are done ...sigh..as mentioned last week there now two pages with over 600 direct links HERE at my mirror blog..but then i would think just surfing this blog gives you much more to Njoy and discover...

but first.. the saga continues and i hope the number of fans will increase as the story unfolds more hilarious reasonings ..the coming 27 minutes

In the year 2056 the US has declared war on the Ipampilashians and has sent the American armada to destroy their planet. Canada has sent its only ship, The Canadia, in support of the American mission but the Canadia is not a warship. It's a maintenance ship (they change light bulbs and plunge toilets). Max Anderson is the first American ever to be stationed on the Canadia. He was put there by the American admiral (his mother) to toughen him up but keep him out of any real danger. The only thing that Max and the crew of the Canadia agree on is that no one wants him there..

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Episode 8:

Romance is in the air on the Canadia. Lewis finds something big in a pile of trash. The Captain invites the Captain of the USS Pickens over to the Canadia in order to present him with a gift. Anderson discovers a hidden talent and the computer explores her jealous side.

Canadia 2056 - 08 (020mb)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Sundaze (49)

Hello, today Sundaze focusses on Mick Karn who by the age of 24 had become a household name in the world of music, he released his first soloalbum that year..and had his first sculptures show..so much acclaim what would he do next, meanwhile he's seen his 50th birthday a few months ago and is still very much doing his thing..without the glaring spotlights.you can buy his work at his website http://www.mickkarn.net reasonably priced at 10 pounds each...here are.2 vinyls and one cd are up for grabs...Njoy

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

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

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

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

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

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

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

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

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

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

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

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Mick Karn - Titles    (flac 251mb)

Multi-instrumentalist Mick Karn's first album as a solo artist reveals the significant degree to which Japan's sound was shaped by his bass playing. The presence of Japan drummer Steve Jansen and keyboardist Richard Barbieri, combined with Karn's own singing style (which owes a heavy debt to former bandmate David Sylvian), only strengthens the impression that this is a Japan album in all but name. While Karn plays various woodwinds and keyboards as well as bass on Titles, it is his amazingly agile and creative fretless bass playing that holds center stage, even when he is singing.. Some tracks offer hints of reggae, North African modalism, and ambient experimentalism.



1 - Tribal Dawn (4:13)
2 - Lost Affections In A Room (4:18)
3 - Passion In Moisture (4:13)
4 - Weather The Windmill (3:53)

5 - Savior, Are You With Me? (4:06)
6 - Trust Me (4:58)
7 - Sensitive (4:34)
8 - Piper Blue (4:18)

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Dalis Car - The Waking Hour   (flac 185mb)

Dali's Car was doomed almost from the start. A seemingly good idea when it was first suggested to former Bauhaus vocalist/lyricist Pete Murphy that he collaborate with ex-Japan bassist/composer Mick Karn, the group nearly self-destructed before it was disbanded. Their sole album, The Waking Hour, released in 1984, came in more than 50% over the sixty thousand dollar (40,000 pounds) budget given them by Virgin and Beggars Banquet. While on the one hand Waking Hour is pretty much the sum of its parts -- Murphy's dramatic, edgy singing style and Karn's fluid, immediately recognizable fretless bass and other instruments, plus percussion from Paul Lawford -- there was enough variety going on to set it apart enough from the legacies of both Bauhaus and Japan. Murphy avoids the more torturous roars and screams of his most extreme work in Bauhaus, everything feels a touch gentler and more meditative. If nothing else, points for credit for the cover art: a lovely reproduction of the famed Maxfield Parrish painting that provided the title for the album.



1 - Dalis Car (5:15)
2 - His Box (4:44)
3 - Cornwall Stone (5:19)
4 - Artemis (4:37)
5 - Create And Melt (5:34)
6 - Moonlife (4:48)
7 - The Judgement Is The Mirror (4:35)

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Jansen/Barbieri/Karn - Beginning To Melt (93 ^ 351mb)

Having performed with the band No-Man, and in Barbieri's case nouveau prog rockers Porcupine Tree, JBK began exploring longer possibilities in their music, as demonstrated on their label debut, Beginning to Melt, a compilation of tracks by or featuring JBK that had no home elsewhere. Worth the price alone for the Karn/Torn composition "Shipwrecks," a perfect summation of how a piece called "Shipwrecks" should sound, other notable tracks include "The Wilderness" (Mr. & Mrs. B) and Robby Acceto's "Human Age."



01 Beginning To Melt (11:50)
02 The Wilderness (4:45)
03 March Of The Innocents (4:09)
04 Human Age (5:41)
05 Shipwrecks (6:21)
06 Ego Dance (7:39)
07 The Orange Asylum (6:11)
Seed EP
08 Beginning To Melt (Remix)
09 In The Black Of Desire
10 The Insect Tribe
11 Prey

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Rhotation (49) Into BPM

Hello, as noted in my previous post, all links are up again...had i know how many i had to revive i might not have started, but a half dead blog is no fun, i hope my main providers, Sharebee, Megaupload and zShare stay in business...That said, i was pointed to the fact that another provider ive used..Uploaded To isnt that available across the world, as a consequence i've decided to re-up those links, though still live, the coming days..as im still in the mood..

To the music for today plenty of rhytmic breakbeat electronic beats to go around...Kevin Yost was into the beats from a young age and with parents into Jazz he sort of naturally came to fuse the best of two worlds....Adam Freeland 's name has become synonymous breakbeat based electronic...Troubleman is a moniker that comes around, the man behind it has many moniker..not sure why he chose this one for this projekt..it's anything but trouble but fot the people that like to pigeonhole and label him, animpossible task as Mark Pritchard has released a great and diverse body of work the past 15 years, some of which have been posted in past Rhotations...The First Phase finds it's inspiration in remixing the latin grooves of Azymuth and subsequently his wish to record with real musicians..the result..outstanding

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Kevin Yost - Hypnotic Progressions (02 ^ 396mb)

Kevin Yost was a musical child, who at a very early age demonstrated a keen sense of rhythm. This quickly grew into a love of playing drums and soon after keys. Listening to his father's Chuck Mangione records, his love of music continued to grow throughout his youth. Yet his small rural farm town in Waynesboro, PA USA had no outlets to develop a child?s skill thus he turned to self-instruction over formal education. The spark of jazz music was lit inside Kevin at this young age; however growing up in the early 80's, he soon gathered an affinity for the burgeoning electronic music scene. At age eleven Kevin started DJing with a cheap set of turntables and a mixer he got for Christmas. His skills quickly refined as he met an older friend who introduced him to beat mixing. He began to play school dances and other partie. He saved money from his gigs and slowly put together a home studio. By the time he was fourteen years old he purchased a drum machine, a keyboard, and sequencer.

Propelled by this new ability to create, at the age of seventeen Kevin decided to attend Berkley College of Music. He later went on to Shenandoah Conservatory. His main areas of study were music composition and percussion. As a result of this formal training, his early childhood bonds with jazz were reaffirmed, but his love of DJing and electronic music still remained. By the time he left school he had all the tools needed to work in many different genres. His first concept was to combine all of his interests and create a jazz/electronic fusion that could be played by a DJ. At age 23 he took this on as his initial solo project and in 1995 eager to let others hear his first creations he sent out demo tapes to various independent labels. A contract with Chicago's Guidance label brought his first release, a 1996 EP titled Unprotected Sax. One year later, Yost signed a contract to begin working with the New Jersey acid-jazz-house label i! Records, and in 1998, the single "One Starry Night" became a big mover in progressive house circles. Yost released the mix album Small Town Underground through Twisted/MCA in 1999, with contributions from like-minds Euphonic and Fredrik Stark among others. Later that year, the album One Starry Night collected a few classic productions with newer material. Unlike anything ever done before it's percussive jazz electronic fusion was met with open arms as it went on to sell over 50,000 units worldwide. Road Less Traveled followed in 2001 2002 he released Hypnotic Progressions where contrasting deep bass notes and intricate percussion with an excellent sense for atmospheric melodies.

This caught the ear of many major labels, which enlisted Kevin to work with artists such as Eric Clapton, Everything but the Girl, the Kodo Drummers, and Cirque de Soleil. Over the past years Kevin has released over 70 vinyl records and a mixture of CDs. His success has flourished both as a producer and a DJ, traveling to many different countries and playing some of the world's most respected venues and festivals.



01 - Methods Of Melody ( 5 :10)) - Pt 7
02 - Sticky Situation (4:59) - Pt 8
03 - Touch (5:34) - Pt 9
04 - Reinvention (6:07) - Pt 4
05 - Illuminations (5:28) - Pt 6
06 - Motion (5:29) - Pt 5
07 - The Follow Up (4:34) - Prt 3
08 - The Birth (5:53) - Pt 1
09 - Transmission (6:25) - Pt 2
10 - Insight (5:11) - Pt 11
11 - Simple Ways (6:17) - Pt 10

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Freeland - Now and Them (03 ^ 305mb)

Adam Freeland, born "Hertfordshire, 1973 is a DJ and producer that's becomes synonymous with breakbeat based electronic music. Like his record label, Marine Parade, he is a resident of Brighton. As a producer, he formed half of Tsunami One with Kevin Beber, and released a solo album as Freeland; as a DJ he operates solo under his own full name.

"When I was a kid, I was a hi-fi geek. I was really into hi-fi and sound quality. From the age of 12 I had a paper round and worked for £7.50 a week so every 6 months I could go down Tottenham Court Road and buy a nice bit of separate hi-fi equipment. I played the guitar, like wanna-be-Hendrix-stylee Fender Strat, just in my bedroom. I didn't have lessons or play in a band. Music was always a passion for me, but I never considered it as a career path... When I went to college in London I became a mad clubber, go every night, went to the early Universe and Tribal Gathering raves, listening to Sasha and Grooverider, who was then playing house music."

Freeland got into DJing when he moved to London at 18, to study design . His flatmate had decks, which was in '92, and they'd play jungle - it was slower then though. He started collecting records around the same time, always mixing electro and hip house into his sets, and then he started getting into american stuff like Bassbin Twins and Uberzone ... Breakbeat took off and so did the avid traveller Freeland, meanwhile he's toured the US 45 times now.

In 1996, Adam Freeland's Coastal Breaks album heralded the beginning of something new - nu skool breaks. By 1997 Adam had earned the respect of fellow DJs Sasha, Carl Cox and the Chemical Brothers. In '98 he moved to Brighton and started Marine Parade from his flat without much planning, just putting out tunes... His DJing has always paid to put out music on the label. Never been much good at balancing the books, he spend loads of money on artwork and give the artists very generous deals. Hardly surprising then he's made hardly any money from Marine Parade, but sunk lots into it.

Since then Adam has released the Tectonics and On Tour mix albums, as well as a FabricLive mix, and groundbreaking Back To Mine. Freeland's debut artist album Now and Them, released in 2003, relied on influences from punk, hip hop, electro, dub, reggae and rock. It featured the hit record 'We Want Your Soul', with his remix of Sarah Vaughan's 'Fever' nominated for a Grammy and his personally requested mix of The Doors 'Hello, I Love You' receiving critical acclaim. He has just completed the latest in the Global Underground Series, which sees his style broaden further to span Drone rock, minimal, Electro punk , but all with a break beat backbone. Freeland describes the album's sound as 'E-drone'. Freeland's track Big Wednesday was used in the sound track of The Animatrix.



01 - We Want Your Soul (Voc.Damian Taylor , Georgia G , Victoria Titanium) (5:07)
02 - Mind Killer (Voc.Cage, Justin Griffiths) (3:28)
03 - Burn The Clock (5:52)
04 - Big Wednesday (5:33)
05 - Heel 'n' Toe (Voc.Juice Aleem, Toastie Edwards) (4:33)
06 - Physical World (1:17)
07 - Supernatural Thing (5:11)
08 - Reality 3D (4:59)
09 - L.I.F.E. ((Voc.Martin Fishley) 6:19)
10 - Nowism (Voc.Martin Fishley) (4:56)

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Troubleman - The First Phase (04 ^ 459mb)

Marks recorded under so many monikers that keeping a track on his productions is difficult unless youre a die-hard Pritchard fan. In 1991 Mark formed seminal techno label Evolution, on which he released a series of sought-after Detroit-influenced techno singles, reflecting his early love of the Motor City sound. The album 'A Collection of Short Storiesis released on the Creation label in 1993, after several releases on Evolution under the Reload alias. Warp released a compilation of the tracks Mark did for Evolution entitled 'The Theory of Evolution'. In the company of Tom Middleton, Mark forms the now-legendary ambient-house outfit Global Communication and releases two albums in 1994 - ‘Pentamorous Metamorphosis' (a remix album of UK indie band Chapterhouses album), followed by76:14 , Globals debut album.

In 1996 Mark and Tom take a new direction and a new name, and release the 'New School Science' album as the Jedi Knights: we decided to bring back the funk into dance music" says Mark. Welding electro into 4/4 house and breaks it was loved by DJs across both genres and initiated an electro breaks revival that continues today. In 1998 he produced the debut album from Kirsty Hawkshaw (formerly of rave act Opus 3), for East West records. Between 1999-2000 Mark collaborated on a project with ex-Kula Shaker frontman Crispian Mills.

Mark began the Troubleman project for Far Out in 2000 following some successful remixes he did of Azymuths tracks - as Global Communication with Tom Middleton for the track ‘Jazz Carnival (1995), and then later solo remixes of ‘Carambola (1999), and ‘Pieces Of Ipanema (2000). All three are among Far Outs biggest-selling 12"s. His first 12" as Troubleman (‘Messenger/The Essence) was released in 2000, followed in 2001 with ‘Where We Stand/Lullaby, and then the massive underground hit, ‘Strike Hard that firmly established the Troubleman name. 2003 saw the release of the even bigger follow-up ‘Change Is What We Need. One year later the Troubleman debut album The First Phase hits the shelves. This is not a club album, its all 4/5 minute songs with live musicians on all the tracks, its a journey. Its Marks ability to weld his unique music tastes together that makes him one of the most interesting and innovative producers of the moment.



01 - The First Phase (4:13)
02 - The Switch (7:32)
03 - The Messenger (Edit) (6:01)
04 - Lullaby (9:35)
05 - Intergalactic You, Intergalactic Me (4:14)
06 - Stereo (Mark Pritchard Remix) - Stereo People (8:01)
07 - Pieces Of Ipanema (Mark Pritchard Remix) - Azymuth (8:19)
08 - Where We Stand (7:48)
09 - The Otherness (7:33)
10 - Carambola (Mark Pritchard Remix) - Azymuth (9:52)

diet version
Troubleman - The First Phase (05 * 99mb)

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Eight-X (48)

Hello, midweek and that means more eighties music coming up, first up Tom Tom Club..i have to admit back then i was rather taken aback by these Talking Heads members coming up with such lighthearted commercial sounding music..even harder to swallow was that they had this tongue in cheek megahit Wordy Rappinghood, therefore (being a big TH fan) i never bought the album at the time..i picked it up sec hand some years ago..oh well it isnt that bad after all...partly because of the presence on it of Adrian Belew, who almost directly went on to join King Crimson and revived the Crimson glory in what was to be a trio of high quality albums on which he sang, wrote lyrics and guitar duelled with maestro Fripp..3 years ago i made an eighty minute show of these three albums, each had a unicolor cover, Red, Blue and Yellow....btw I mixed up those covers aswell....the result should be released on CD ( i wink)...finally another band from Rotterdam , after Kiem three weeks ago, Spasmodique are somewhere between postpunk and goth and were rather popular at the time...


If you hop over to my defunct mirror blog you will find a page with all 324 Rhotations (1--36) update links in one scroll...this weekend i will post the rest of the updates there aswell ...

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Tom Tom Club - I (81 ^ 378mb)

Originally established as a side project, the Tom Tom Club comprise a loose aggregate of musicians and artists that got together to record an album. This resulted in, a collection of funky, sprightly little tunes recorded in Barbados with Weymouth's sisters, hubbie and drummer Chris Frantz, and several of the members of the Remain in Light tour group: Adrian Belew, guitar, and Steven Stanley, percussion. Ironically, hoping to toss off a fun album under the radar, the group came out with an album, the best tracks of which, "Genius of Love" and "Wordy Rappinghood," became enormously influential throughout the '80s and '90s, eventually getting ripped off wholeheartedly by many artists.

The following year, the group released a follow-up, Close to the Bone, which was similar in style to its first album but didn't fare as well despite songs such as "Pleasure of Love" and "The Man With The Four Way Hips," but the former song was a minor hit on urban radio in the US. The album was released on vinyl but never reissued on CD. The original British vinyl was put out in six different colors.There was then a 4-year gap until the band's next album, the first version of Boom Boom Chi Boom Boom. On the album, the group adapted a more conventional rock style with a harder edged sound and a hint of menace in the lyrics of some songs. Whereas the previous two albums had been recorded by a loose collective of a dozen musicians, the Tom Tom Club was now reduced to the trio of Weymouth, Frantz and Weymouth's sister Laura Weymouth. There were, however, a number of prominent guest musicians on the record, including Lou Reed and Talking Heads' front man David Byrne on a cover of Reed's "Femme Fatale". The fourth member of Talking Heads, Jerry Harrison, also featured on some tracks. As with Close to the Bone, the album was not a commercial success. The following year, the group and Sire decided to issue a radically altered version of the album in the US, replacing four songs with four others, one of which, "I Confess," was a total overhaul of the original album's "Mighty Teardrop." The running order of the rest of the album was shuffled while the artwork was revamped. However, the changes had little effect on the album's US commercial success.

The group's next album, The Good the Bad and the Funky, was released in 2000 and featured cover versions of Donna Summer's "Love to Love You, Baby" and Lee Perry's "Soul Fire." Among the musicians on The Good the Bad and the Funky are Jamaican singer Mystic Bowie, Pettigrew and Toots of Toots & the Maytals. The album's release was followed by one European, and several American, tours.
In 2002, Frantz and Tina Weymouth, along with their former Talking Heads bandmates, were inducted at the Rock 'n' Roll Hall of Fame.
In 2007, the band released a special Christmas single called "Mistletunes," containing two specially recorded Christmas songs: "Il est Ne" and "Christmas in the Club," which features Mystic Bowie and scratcher/turntableist Kid Ginseng (Weymouth and Franz's son).



01 - Wordy Rappinghood (6:27)
02 - Genius Of Love (5:34)
03 - Tom Tom Theme (1:25)
04 - L'Elephant (4:50)

05 - As Above, So Below (5:23)
06 - Lorelei (Remix Version) (6:20)
07 - On, On, On, On... (Remix Version) (3:44)
08 - Under The Boardwalk (5:44)

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King Crimson - Red, Blue and Yellow ( 81- 84 ^ 453mb)

King Crimson have typically been categorised as a foundational progressive rock group, although they incorporate diverse influences ranging from jazz, classical and experimental music to psychedelic, New Wave, hard rock, gamelan and folk music. King Crimson have garnered little radio or music video airplay, but gained a large cult following. Their debut album, In the Court of the Crimson King, is widely regarded as a landmark in progressive rock. Their later excursions into even more unconventional territory have been influential on many contemporary musical artists. Bands such as Genesis and Yes were influenced by the band's initial style of symphonic mellotron rock.Tool are widely held to have been heavily influenced by King Crimson. Nirvana are known to have been influenced by King Crimson as a result of Kurt Cobain having mentioned the importance of the Red album to him. The band Porcupine Tree is influenced by King Crimson, and as with Tool, King Crimson (in the form of ProjeKct Six) has been the support band at their shows. The angular, dissonant guitar patterns associated with Fripp’s distinctive approach are also evident in the music of Alt-Metal pioneers, Voivod, Primus is heavily influenced by the King Crimson sound, and Iron Maiden members credit the band as a reference for them....

King Crimson's membership has fluctuated considerably throughout their existence, with eighteen musicians and two lyricists passing through the ranks as full band members. Fripp, the only constant member of King Crimson, has arranged several distinct lineups, but has stated that he does not necessarily consider himself the band's leader. The new King Crimson that evolved in July 1972 (again with some personnel changes) marks a turn toward a heavier progressive sound, with experimental and fusion overtones, that climaxes mostly on their unique semi-improvisatory live performances throughout the whole 1973 with the release of Starless and Bible Black, January 1974. Most of that album was recorded from live performances with the live factor dismissed.

David Cross left and so John Wetton, Bill Bruford and Robert Fripp were left to record the new album, Red, be it with the help of musicians from previous KC albums.(David Cross - violin, Mel Collins - soprano saxophone, Ian McDonald - alto saxophone, Robin Miller - oboe, Marc Charig - cornet). Red has been described as "an impressive achievement" for a group about to disband, with "intensely dynamic" musical chemistry between the band members that resulted in a record "aggressive and loud enough to strip the wallpaper off your living room wall". Fripp, increasingly disillusioned with the music business, was turning his attention to the writings of the mystic George Gurdjieff, and did not want to tour as he felt that the "world was coming to an end". The Red line-up never toured, and two months before the album's release Fripp announced that King Crimson had "ceased to exist" and the group disbanded on September 25, 1974

Early in 1981, Fripp considered forming a new group, with no intention of reforming King Crimson. However, a step that led to this was contacting Bill Bruford to ask if he wanted to join the new band.Bruford agreed and the pair recruited Tony Levin, he brought a new sound with the use of the Chapman Stick, described as an "utterly original style" created by "one of New York City's most sought-after studio musicians". Fripp also contacted guitarist Adrian Belew, who was on tour with Talking Heads Fripp had never been in a band with another guitarist before so the decision to seek a second guitarist was indicative of Fripp's desire to create a sound unlike previous incarnations of King Crimson. Belew, who also became the band's singer and lyricist, joined following his tour with Talking Heads. The four played live in the first half of 1981 using the name Discipline.

By October 1981, the band had begun using the name King Crimson. The group released a trilogy of albums: Discipline in 1981, Beat in 1982, and Three of a Perfect Pair in 1984. Beat marked the first King Crimson album to have been recorded with the exact same band members as the album preceding it. After Three of a Perfect Pair, King Crimson disbanded for around a decade, during which time Fripp formed the record label Discipline Global Mobile for King Crimson and related projects, besides starting the Guitar Craft music school in 1985.

Ten years after (May 1994), King Crimson start rehearsing again, this time as a double trio (added to the four above, are Pat Mastelotto on percussion, and Trey Gunn on stick). It is in this time that the Discipline Global Mobile label is started, enabling for the first time Mr. Fripp and associates to release their own music by their own (high) standards. This "double trio" formation released the EP VROOOM in 1994, followed by the studio album THRAK in 1995, and the challenging avantgarde live album THRaKaTTaK in 1996. The new King Crimson sound featured elements of the interlocking guitars on Discipline and the heavy rock feel of Red

The double trio scheme will only release two full albums and various ep’s, yet it will lead to its “fractalization” to groups of three (or four), thus forming the ProjeKcts. Five such ProjeKcts will live and flourish (One, Two, Three, Four, and X), and their live and studio sessions will be released by DGM, along with numerous other recordings from all periods of King Crimson (some under the King Crimson Collector’s Club; bi-monthly releases for members only). In the hands of DGM, the King Crimson back catalogue (most late additions only on FLAC/MP3 format) grows enormously, making it one of the biggest for any rock group ever. By the time the ProjeKcts were complete, Bruford and Levin had ceased to be involved with King Crimson, Belew, Fripp, Gunn, and Mastelotto remained, releasing the studio album The ConstruKction of Light (2000), accompanied by the album Heaven and Earth released under the name ProjeKct X in the same year.

The band continued their activity throughout the decade. In 2002 the EP Happy With What You Have to Be Happy With was released,[51] and in 2003 the studio album The Power to Believe came out with the band touring in support of it. November 2003, Trey Gunn announced his departure from the band. Levin would become the active bassist of King Crimson again, with the subsequent line-up scheduled for rehearsals in 2008 and consisting of Fripp, Belew, Mastelotto, Levin plus a second drummer, Gavin Harrison of Porcupine Tree, who joined King Crimson in November 2007. They began rehearsals in March 2008.

Sourced from my vinyls Red = Discipline, Blue = Beat, Y = Three of a perfect pair, compiled with continuity and respect for maximum enjoyment of 80 minutes of King Crimson in topform. Fripp and Bruford really get fired up by new entries Adrian Belew and Tony Levin and together they delivered a stunning run of three albums winning over many new fans in the early eighties. Njoy...



01 - Elephant Talk (Red) (4:45)
02 - Frame By Frame (Red) (5:08)
03 - Lark Tongues In Aspic (Yellow) (5:21)
04 - Heartbeat (Blue) (3:54)
05 - Matte Kudasai (Red) (3:49)
06 - Man With An Open Heart (Yellow) (3:05)
07 - Neal And Jack And Me (Blue) (4:24)
08 - Thela Hun Ginjeet (Red) (6:28)
09 - Nuages (Yellow) (4:51)
10 - Model Man (Yellow) (3:45)
11 - Neurotica (Blue) (4:32)
12 - Sartori In danger (Blue) (3:35)
13 - Sheltering Sky (Red) (8:26)
14 - Three Of A Perfect Pair (Yellow) (4:15)
15 - Sleepless (Yellow) (5:18)
16 - Two Hands (Blue) (3:23)
17 - Waiting Man (Blue) (4:23)

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Spasmodique - EP + North ( 89 * 499mb)

Spasmodique was formed in 1982 by singer/guitarist Mark Ritsema, guitarist Arjo Hijmans, bassist Martin Doctors van Leeuwen and drummer Reinier Rietveld (formerly of Quando Quango). They released a self-titled five-song ep in 1986. The same year, they recorded songs for an opera that were later released on their album North. In 1987 Spasmodique released their full-length debut From the Cellar of Roses and toured with Umberto di Bosso e Compadres. The next year they released another album with three new studio tracks and five live tracks, Start to Believe/Someone's Out There to Get You. In 1989 they finally debuted a single, "The Square", and released another full-length album, North. By the end of the decade, the band had grown more popular internationally, with growing audiences in Germany and Austria.

1990 would see the birth of Spasmodique's master work, the album Haven. Upon completion of the recording sessions, Hijmans left the band. The band prompltly replaced him with Niek den Brave and Hans Brusse and released the non-album single "Spilling". The next year saw more personnel changes when the two new members were replaced by guitarist Raymond Gerrits. Spasmodique almost came to an end then, and embarked on a farewell tour, but the public's enthusiastic response convinced them to stay together. They released Who's Afraid, a compilation of demos and outtakes. In 1992 the band took a break from live performances that would stretch over a decade.
Singer /guitarist Mark Ritsema got together with multi-instrumentalist Willem Cramer of East Meets West and eventually founded Cobraz to which former Spasmodique members, Willem Cramer (gitar) and Martin Docters van Leeuwen (bass) joined and released Sato Bar where they amalgamated the western music with African/Latin music. The well recieved album produced by Jean Marie Aerts(TC Matic) launched a series of great live shows in 93/94 but somewhere the energy disappated and by 96 Cobraz was no more.

The Spasmodique members decide to get bback together in 98 and by 2000 they began work on what would become a new album Villa Delirium. It was released in 2002. That same year the book 20 Jaar Spasmodique, From the Cellar of Roses was published, detailing the band's history and discography. In 2005 singer Ritsema left the band, effectively ending Spasmodique. Singer/songwriter/guitarist Mark Ritsema has continued to record and perform with his new band Raskolnikov.



01 - Kiss On Your Scars (3:25)
02 - The Small World (2:37)
03 - Your Boyfriend (3:48)
04 - Spirit Of A Stranger (5:01)
05 - He's On Fire ! (4:53)

06 - North (Intro) (2:16)
07 - You'll Be Mine (4:45)
08 - Marcus Was (5:23)
09 - Beating Up The Child (3:40)
10 - As You Wake Up (4:37)
11 - Retreat (In Anger) (4:22)
12 - Bloodbrothers (5:33)
13 - The Split Up (A Farce) (3:53)
14 - The Longest Day (7:17)
15 - Letter From An Asylum (4:10)
16 - Morning Dew (3:21)
17 - Town Of Failing Parties (3:20)
18 - Start To Believe (3:40)
19 - The Square (4:12)


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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Around The World (48)

Hello, no bail out yet for the Wallstreet crooks, and now the jewish Haneka holiday takes precedence, by the time the congress returns a couple of additional trillion dollars may have left the virtual books. Those banksters created a real mess and to keep talking about bad morgages is an outrage, these account-with the house value not taken into account just a draction of the costs, no its these CDO's and the virtual value of these go into the tens of trillions..hot air..but good enough to get those banksters their cash bonusses. And now the cat is out of the bag, and as the wallstreet banks have deseased banks and insurance companies all over the world with their poison deals, the banks have quarantined themselves..ergo the moneyflow has been arrested.

Ok, you're here today for Around the Worldmusic, well last week we were in the desert..of sand, this week we crossed over to the snow desert of Northern Canada where Tanya Tagaq Gillis was born and her grandmother provided her the genes to become a throat singer-songwriter. She came into contact with Bjork, these two clicked and Tanya got the chance to expose her skills to the world, this resulted in world tours with Bjork and the Kronow Quartet and the recording of an award winning album..Sinaa...

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Tagaq - Sinaa ( 05 ^ 95 mb)

Animalistic grunts, growls and gasps. Earth-rumbling groans. Ethereal whispers and euphoric wails. A lot of provocative things come out of Tagaq’s mouth. But something you won’t hear escape from the Inuk throat singer’s lips is any talk of representing her native traditions. Tanya Tagaq Gillis (Tagaq) is from Cambridge Bay (Ikaluktuutiak), Nunavut, Canada, on the south coast of Victoria Island. After attending school in Cambridge Bay she went, at age 15, to Yellowknife, Northwest Territories to attend high school where she first began to practice throat singing. She later studied visual arts at the Nova Scotia College of Art and Design University and while there developed her own solo form of Inuit throat singing, which is normally done by two women.

As Tagaq is quick to remind newcomers to the genre, Inuit throat singing is more of a competition than a musical practice. Two participants, usually women, stand face to face and produce a complex series of vocal sounds and rhythms, repeating motifs that often imitate the sounds of nature and wildlife. Each tries to trip up the other, and the game ends when one either cracks up or is out of breath. The songs that have evolved from it are some of Canada’s oldest compositions. Meanwhile, the material on Tagaq’s award-winning debut CD, Sinaa, qualifies easily as some of the freshest, featuring intense vocalizations in both English and Inuk, at times mixed with tribal beats.

Somewhat surprisingly, Tagaq’s exposure to throat singing came not in her hometown but while she was away at art school in Halifax. “When I was growing up in Cambridge Bay, it wasn’t happening,” she recalls. “Nobody spoke the language any more either.” But one day, a care package arrived at her college apartment from her mom, stuffed with “socks, Mr. Noodles and some cassette tapes and CDs of throat singing she had tucked away.” Suddenly, the girl whose first record purchase was Michael Jackson’s Thriller, who grew to love alternative rock and rave music, was grooving to a whole new sound. “I didn’t realize how homesick I was until I got those tapes,” she explains. “Those songs I had never heard, but I knew them, I understood them. It was the sound of home.”

Tagaq, whose grandmother was a singer-songwriter and who had always loved performing, was immediately inspired. She trained her singing voice, that quickly developed into a forceful tool for Tagaq to compose her own material. Eight of the 12 tracks on Sinaa are originals, improvisations based on throat-singing techniques but leaping forward into unknown territory, like the first spring step off the ice floe.

A fortuitous connection had Tagaq's singing at an art festival in Inuvik taped and land on Björk's desk. She enlisted Tagaq as part of a Northern chorus for her 2000 world tour, which brought the Canadian singer her first worldwide exposure. But the pairing may have had an even greater impact on Björk, whose 2004 disc Medulla was made (almost) entirely from vocalizations. She even brought Tagaq into the studio for back-ups, where the pair accidentally co-wrote the experimental lullaby “Ancestors.” The track appears on Sinaa, an album that was recorded in Spain over three days in 2004 and on which she attempted to produce and capture every noise she could imagine.

The disc, features txalaparta drumming by duo Ugarte Anaiak and has won three Aboriginal Music Awards, but, as Tagaq stresses, it is not traditional music. What I’m doing is following an emotion that drives me. I am not trying to represent the North. This is a completely selfish expression. I’m from Nunavut, so it’s a big part of me. But I’m also a very sexual person, I’m hedonistic, I like spicy food, hot baths, sweaty, intense sex. Her innovative, solo style of throat singing seeks to push the boundaries of emotion and to express the primitive instincts she believes still reside deep within our flesh. She describes her evolution over the past six years as a process of going deeper and deeper into her performance to the point where she virtually “leaves her body” and lets the expression take over.

In 2005, her CD entitled Sinaa (Inuktitut for "edge") was nominated for five awards at the Canadian Aboriginal Music Awards. At the ceremony on 25 October 2005, the CD won awards for Best Producer/Engineer, Best Album Design and Tagaq herself won the Best Female Artist award. Sinaa was nominated for the 2006 Juno Awards as the Best Aboriginal Recording.

She appeared live with the Kronos quartet at New York City’s famed Carnegie Hall and joined them this fall in Austria. Sadly, while she has toured across Europe and much of Canada, she rarely gets to perform in the North. Between gigs, plans for the follow-up to Sinaa are well on their way. The singer wants to take much more time with it, going “deeper in all directions” and incorporating new sounds, instruments and vocal styles along with the throat singing. Her upcoming album, Auk/Blood will feature collaborations with Mike Patton, among others.



01 - Sila (3:28)
02 - Still (3:11)
03 - Qimiruluapik (2:02)
04 - Qiujaviit (3:04)
05 - Surge (3:24)
06 - Ancestors (4:08)
07 - Uvinik (2:54)
08 - Ilunikavi (3:02)
09 - Seamless (3:01)
10 - Origin (2:42)
11- Suluk (3:50)
12 - Breather (5:27)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !