Sundaze 1332

Hello, time for another Sundaze as Obama takes a small step back towards a security state, but the African dictator proclaimed "It is not enough for me as president to have confidence in these programs. The American people need to have confidence in them as well,"  Dream on folks...

Today and next week a musical collective formed in the summer of 1996 by Glen Johnson, Dominic Chennell, and Dick Rance in London, England. Their sound has been described as ambient pop, post-rock, indietronica, coldwave, dark wave and ghostrock. While the most recent releases have seen them operating with a traditional band format, they originally started their career with the intention to base their recordings around their small nucleus and whoever else would like to contribute. ... N'Joy

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Due to a wide range of influences, restless/relentless creative energies, and a supporting cast that's too numerous to list in full, random peeks into the catalog of the Glen Johnson-helmed Piano Magic -- from super limited-edition singles on Spanish independents to full-length soundtracks -- rarely result in the same thing twice. Started in the mid-'90s by Johnson, Dominic Chennell, and Dick Rance with the intention to base their recordings around a small nucleus and whomever would like to contribute -- using 4AD founder Ivo Watts-Russell's This Mortal Coil as something of a template -- the material released by Piano Magic has ranged from arty baroque pop to childlike electronic knob-twiddling and whatever points you can and can't think of in between. The lone thread running through Piano Magic's records, aside from Johnson's presence, is a sense of wistfulness. Johnson has explained his desire to soundtrack memories, and with that, Piano Magic has found their niche.

 One early hope of Piano Magic was to avoid the live element. However, when their first single, 1996's Wrong French, was awarded Single of the Week in Melody Maker, the initial trio felt obligated to play out in support of it. Along with Paul Tornbohm, the group played their first gig and opted not to play any of the material found on their records. They also made no attempt whatsoever to sound anything like their records, so odds were pretty good that a few curious concert-goers were perplexed after returning from the shops and hearing the studio incarnation of the outfit.

 "Signed" to Che, the label that released Wrong French, the group kicked out two more singles (with one issued on Wurlitzer Jukebox) prior to releasing their first full record, Popular Mechanics, in November 1997. Including some of the additional personnel featured on the preceding singles, such as vocalists Raechel Leigh and Hazel Burfitt and instrumentalist Martin Cooper, the record threw together some previously released material along with a clutch of new songs. As uneven as the record is, its mysteriousness provokes replay after replay. The band left Che, having been frustrated with their lack of effort. Not surprisingly, the constant financial flux soon got the best of the label.

In 1999, a crazy slew of singles and EPs for labels like Staalplaat, Darla, and Bad Jazz -- including a split single with Matmos for Lissy's -- surrounded the release of the second album, Low Birth Weight (Rocket Girl). Thanks to just a little more focus and a higher level of quality from beginning to end, the record is often regarded by fans as their best work. In addition to most of the prior suspects, Caroline Potter, Alexander Perls, Matt Simpson, Jen Adam, Simon Rivers (Bitter Springs), David Sheppard (State River Widening), and Peter Astor (the Weather Prophets, the Wisdom of Harry) figured into the process of making it.

The following year was one of Piano Magic's least prolific, but it still spawned a remix EP for Germany's Morr Music and the rather conceptual full-length Artists' Rifles, which bases its subject matter in the first World War. It's the group's most consistent work in terms of sound. It features none of the electronics heard on prior releases, instead focusing on delicate interplay between drums, guitars, and the cello work of Adrienne Quartly. At some point prior to its recording, Miguel Marin was added to the group's lineup apparently as a permanent member.

In 2001, Piano Magic was commissioned to score Spanish director Bigas Luna's Son de Mar. The director had heard Low Birth Weight in a record shop and was impressed enough to ask them to provide music for the film. Peaceful, lulling, breezy, and completely instrumental, the score demonstrates Piano Magic's astonishing range. Released by 4AD, Son de Mar spawned a deal between the two, and the group began working on the proper follow-up to Low Birth Weight later in the year. To satiate fans and irritate hardcore vinyl collectors, Rocket Girl released Seasonally Affective, an exhaustive double-disc compilation of singles. Writers Without Homes was eventually completed and released in mid-2002. Piano Magic left 4AD soon after, releasing The Troubled Sleep of Piano Magic in 2004 on Spain's Green UFOs label.

Cedric Pin joined Piano Magic in time for the 2005 album, Disaffected with a melodic, nearly "pop" sound, featuring more guest vocal contributions from John Grant of The Czars and Angèle David-Guillou of Klima. It appeared to confirm a return to their 'exile' status gaining significant attention abroad (including, for example, full feature in the French daily Liberation[13]) but with no coverage at all in any UK broadsheet or music magazine. With the exception of a few brief stops in Russia, Portugal, and Belgium, the band spent the majority of the following year touring Italy. Another 12" vinyl record, Never It Will Be the Same Again (featuring contributions from conceptual artist Bojan Sarcevic), was released during this time. Piano Magic returned to the studio in late 2006, and their ninth full-length, Part Monster was released in 2007 produced by Guy Fixsen of Laika.

In 2008, Piano Magic moved to Make Mine Music, an artist-run, artist-owned label collective and released a new EP, Dark Horses, the last release to feature Cedric Pin. In 2009, Piano Magic released their 10th official album Ovations with contributions by Brendan Perry and Peter Ulrich of Dead Can Dance. In June 2012, the album Life Has Not Finished With Me Yet was released. Among the guests is Irons' Josh Hight - voice on The Animals, Judas and A Secret Never Told.
The band's last line-up was Franck Alba, Angèle David-Guillou, Glen Johnson, Alasdair Steer and Jerome Tcherneyan.
According to Glen Johnson, Piano Magic disbanded in Summer 2013 with a 2cd compilation "Heart Machinery - A Piano Magic Retrospective, 2001-2008".

Glen Johnson released a solo album, Details Not Recorded, under his own name in March 2009 on the Make Mine Music label. Cedric Pin and Glen Johnson have recorded as 'Future Conditional'. Glen Johnson has recorded as 'Textile Ranch'. Dominic Chennell has recorded as 'Dominic de Nebo' and with the group 'Carphology Collective'.

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With a formula that perks curiosity -- artless experimentation, revolving bandmembers, using old-tech toys in new-tech situations -- Popular Mechanics is less about what kind of music you really listened to as a kid and more about what you remember what you listened to. "Revolving Moth Cage" takes a painlessly childish keyboard melody and inserts it into a complex canvas of ambient trickery while the friendly Eraserhead interpretations on "Birth of an Object" are just on the right side of despondent, electronic reinvention. The self-proclaimed Kraftwerk and drum 'n' bass influences are disguised as well: to be sure, there's a certain antique thrust to the badly spoken word "Wrong French" or a Kid 606-like junkyard scream to the "Metal Coffee" red herring, but it's how mainman Glen Johnson strives to "aim for the heart" that really makes the album worthwhile. This is splayed-out Krautrock dub with a newly found sense of compassion. Piano Magic seem intent in rediscovering a childhood that never existed, reexamining those memories that never happened -- all with an innovative, electronic zeal.

Piano Magic - Popular Mechanics (238mb)

01 Metal Coffee 1:30
02 Wintersport / Cross-Country 8:34
03 Everything Works Beautifully 2:27
04 Untitled 0:54
05 Amongst Russian Lathes & Metal Curls 4:09
06 Birth Of An Object 2:16
07 Revolving Moth Cage 4:07
08 To Be Swished / Dream Of The UPS Driver 9:02
09 Freckled Robot 2:53
10 Soft Magnets 5:01
11 Wrong French 5:36
12 You've Lost Your Footing In This World 4:33

Piano Magic - Popular Mechanics (ogg 98mb)

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Glen Johnson is probably the most important figure to emerge from the British indie music scene since My Bloody Valentine's Kevin Shields. His gift for haunting lyricism, arrangement, and production is unparalleled in any area of music today. With Low Birth Weight, Johnson's Piano Magic, an ever-changing collective of musicians performing bits and pieces of his decadent vision, has crafted a stunning work of orchestral rock with the littlest (and cheapest) of gear. The beauty of the record lies specifically in its simple songcraft and production. Like Shields, Johnson spends inordinate amounts of time in the studio eliminating the smallest flaws that might compromise his otherworldly creations. Johnson melds the heavenly vocals of collaborators Caroline Potter, Simon Rivers, and Raechel Leigh with sparse, echoed guitar, subtle drum machine clicks, electronic scribbles, and chirpy children's toys. Low Birth Weight seems oddly English in that it romanticizes working class life so as to make it beautifully painful; listeners may get the feeling that the record's title is deeply rooted in one of Johnson's intensely painful experiences. Johnson illustrates a great deal of understanding and an ability to create a touching picture from the most undesirable occurrences. Also interesting is the fact that Johnson never mouths a word on the record; his involvement is strictly instrumental and that, in itself, reveals a certain detachment from the music. He maintains a great emotional distance while still weaving beautiful and depressing tales, as the musicians become Johnson's playthings, bringing his damaged emotions to life.

Piano Magic - Low Birth Weight (270mb)

01 Snowfall Soon 5:02
02 Crown Estate 4:34
03 Bad Patient 5:00
04 The Fun Of The Century 5:02
05 Birdy Machine 1:26
06 Not Fair 4:12
07 Dark Secrets Look For Light 4:52
08 Snow Drums 4:59
09 Shepherds Are Needed 5:21
10 I Am The Sub-Librarian 4:26
11 Waking Up 5:49

Piano Magic - Low Birth Weight (ogg 106mb)

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The notion of making a concept record seems antithetic to the standard operating procedure of Glen Johnson's Piano Magic, a collective who relies on revolving-door collaborations to materialize oft-scatterbrained pop experimentalism. When you think about it, staunchly adhering to that loose-natured principle can be as limiting as painting yourself into a corner. So ha -- here it is, a concept record from Piano Magic based on the first World War that whittles the number of instrumentalists down to six, opposed to the This Mortal Coil- or P-Funk All-Stars-like tally involved on prior records. Musically taught, conceptually focused, and a lot more open to interpretation than the memorial-depicting artwork implies, Artists' Rifles is Piano Magic at their most solemn and lulling, splitting what seems to be communication between a soldier and his lover (vocals are shared between Johnson and Caroline Potter), with a handful of brief instrumentals. Everything glides by at a funereal pace -- played by guitars, bass, drums, and cello -- implying the same inner violence that Joy Division songs like "The Eternal" or "I Remember Nothing" carry, but with less weight and more emphasis on resigned melodies than haunting production nuances and a troubled voice. The most significant -- or only other -- pop record to base itself on a World War is Pink Floyd's The Final Cut, one of the most stifling what-you-hear-is-what-you-get deals on such a subject; where Pink Floyd and movie directors like Oliver Stone practically tell you what to make of it, Piano Magic is more on the Stanley Kubrick end, leaving each moment open to interpretation. The most audibly violent aspect of the LP is the martial drumming that bookends it. Indeed, the listener is just as important as the players. A thoroughly spooked record and equally lovely.

Piano Magic - Artists' Rifles (239mb)

01 Saint Marie 5:40
02 The Unwritten Law 3:21
03 Speed The Road, Rush The Lights 7:44
04 Help Me Warm This Frozen Heart 4:32
05 I Am The Teacher's Son 6:30
06 The End Of A Dark, Tired Year 5:01
07 The Tollbooth Martyrs 5:18
08 When I'm Done, This Night Will Fear Me 5:06
09 Luxembourg Gardens 7:28
10 Comets 3:46

Piano Magic - Artists' Rifles  (ogg 92mb)

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RhoDeo 1331 Beats

Hello, as hi-summer continues The US's summer of fear was extended by adding Putin to the undesireable list, great move after all didn't those Boston bombers come from Russia (not really). Pity that new Iranian president talks sensible and those Syrian rebels look to dodgy to support. In fact soon it could necesairy to call in the Aliens to justify more financial support for the militairy industrial security industry.

Ok so these past months the beats came from Germany it's time to move on, the French have been waiting in the wings and even though these countries are neighbours their music scene differs quiet a lot. The French like to see some pretence they are art-ists after all, its French catholicism as opposed to German protestantism. The coming months frenchies rule the beats. Today's artist began DJ-ing in Manchester during the late 1980s. By the following decade, he was back in France and developped a broad stylistic range, able to span deep house, Detroit techno, trance and jazz. He added production work to his schedule in the early 1990s, and recorded several albums, he's one of the godfathers of the French beats scene........ N'joy

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Laurent Garnier (also known as Choice), was born 1 February 1966, Boulogne-sur-Seine, France. During the late 1970s, Laurent discovered clubbing with his brother in Paris, where his family lived. He loved disco but also listened to all other contemporary musical genres including reggae, funk, and punk. At the age of 16, Garnier had started recording and mixing music on tape recorders. In 1984, Garnier started working as a waiter for the French Embassy in London. He stayed there for a year and a half before moving to Manchester in 1986. Living in England he discovered the booming UK house scene and started DJing.

In 1987, Garnier discovered The Haçienda in Manchester, and met Mike Pickering the resident DJ. Chicago house and Detroit techno became popular, and Garnier started mixing there under the name of DJ Pedro. In 1988, he went back to France to fulfill his military obligations. He also spent some time in New York where he met Frankie Knuckles. Garnier shifted his attention back to France in the early 1990s, running the Wake Up parties at the Rex Club in Paris for three years, while in 1992 he played a three-night long Weekender set at the Cork venue, Sir Henry's. He also mixed in clubs such as le Palace or le Boy, DJing in rave parties and gradually moving into recording as well. For the FNAC label, Garnier released "French Connection" and the A Bout de Souffle EP. After that label went out of business, he formed the F Communications label with Eric Morand (a friend who had also worked for FNAC). He often also DJed at "Open all hours" at London's Ministry of Sound on Friday nights, in the early and mid 1990s, and was a resident at The End before its closure in January 2009.

His first album, Shot in the Dark, was released in 1995. His second, 30, appeared in 1997 and included one of Garnier's best selling singles, "Crispy Bacon". 30 was followed by the retrospective Early Works. After appearing worldwide with DJ appearances during the late 1990s, Garnier returned to production with Unreasonable Behaviour, released in early 2000, which featured one of his best known songs[citation needed], "The Man with the Red Face". In 2005, The Cloud Making Machine, was released, followed the next year by Retrospective. This was a best of compilation album, which had both his original work and remixes, including some released on vinyl-only, plus rare tracks. His latest album was Tales of a Kleptomaniac (2009). In 2010 he created the score of "Suivront Mille Ans De Calme", a contemporary dance ballet choreographed by Angelin Preljocaj. Last month Laurent surprised with a release French Dressing Mix

Garnier has collaborated with System 7, the Norwegian saxophnist Håkon Kornstad, and played several live shows with Bugge Wesseltoft (those recordings appeared on Public Outburst and Retrospective).

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Compiled nearly a decade after their initial creation, the nine songs from 1992-1993 captured on Early Works illustrate Garnier's onetime infatuation with dark acid techno epics. None of the songs conclude before the five-minute mark, as the renowned French producer weaves warped 303 acid lines across the busy landscape of his relaxed-tempo soundscapes. The resulting effect can be downright creepy bliss, such as during the opening moments of "Water Planet," or nightmarishly alarming at other times when he sacrifices any hint of colorful melody for bleak techno motifs. Of these nine songs, the listener will most likely fall under the hypnotizing spell of "Acid Eiffel." This 13-minute song builds slowly from one faint track of modulating sound to another, resulting in a giant, pulsing acid techno anthem in the ranks of Plastikman's best. Garnier may have grown out of his acid techno phase, but the previously hard to find songs on Early Works show just how masterful the French artist had become at constructing this picturesque style of tranquil electronic music.

Laurent Garnier - Early Works 1 ( flac 448mb)

01 Reese Project - I Believe (Laurent Garnier Frenchman In Stoke-On-Trent Ambient Chill Baseroom Mix) 7:26
02 Laurent Garnier - Wake Up 7:27
03 Laurent Garnier - Water Planet 6:45
04 Vernon's Wonderland - Vernon's Wonderland (Garnier Wake Up Mix) 8:39
05 Laurent Garnier - Join Hands (Minimalist Mix) 6:50
06 Choice(=Garnier) - Acid Eiffel 13:34
07 Laurent Garnier - Virtual Breakdown (Laboratoire Mix) 6:12
08 System 7 - Batukau (Laurent Garnier Mix) 7:45

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Laurent Garnier - Early Works 2  (flac 475mb)

01 Laurent Garnier - Moonbeam 7:20
02 Alaska - Lost In Alaska (The Eurotrancey Mix) 7:18
03 Moby - Hymn (Laurent's Wake Up Mix) 8:30
04 Laurent Garnier - The Dream (New Age Mix) 5:36
05 Laurent Garnier - Breathless 11:00
06 System 01 - Mind Sensations (Laurent Garnier's Wake Up Mix) 8:28
07 Laurent Garnier - Join Hands (It Could Be An American Mix) 6:25
08 Laurent Garnier - Go To Sleep 9:07

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30 is a seemingly effortless blend of classic Chicago jacking house with minimalistic acid funk and the occasional detour into trip-hop and ambient house. Enhanced by Laurent Garnier's longtime DJ work, the superb mix and feel for what should come next inform production skills to an incredible degree. The single "Crispy Bacon" is one of the seminal moments in the history of acid, while "Sweet Mellow D" and the mid-tempo "For Max" provide other highlights. The superb jacking theme "The Hoe" and "Flashback" (dedicated to the recently deceased Armando) are two of the more overtly Chicago-inspired tracks, but 30 is a stunning album throughout.

Laurent Garnier - 30 ( flac 421mb)

01 Deep Sea Diving 2:10
02 Sweet Mellow D 9:30
03 Crispy Bacon 5:49
04 For Max 5:53
05 The Hoe 6:00
06 Mid Summer Night 4:43
07 Kall It! 4:14
08 La Minute Du Répondeur Le Plus Casse-Couilles 1:34
09 Theme From Larry's Dub 5:55
10 Feel The Fire 7:14
11 Flashback 8:37
12 I Funk Up 5:00
13 *?* 0:18
14 Le Voyage De Simone 4:33
15 Last Winter In Alaska 4:00

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RhoDeo 1331 Goldy Rhox

Hello, today the 120th post of GoldyRhox, classic pop rock,  in the darklight a UK band who's roots and origins are as convoluted as its success -- especially between 1967 and 1973 -- was pronounced. Pianist Gary Brooker (b. May 29, 1945, Southend, Essex, England) had formed a group at school called the Paramounts at age 14, with guitarist Robin Trower (b. Mar. 9, 1945, Southend, Essex) and bassist Chris Copping (b. Aug. 29, 1945 Southend, Essex), with singer Bob Scott and drummer Mick Brownlee. After achieving a certain degree of success at local youth clubs and dances, covering established rock & roll hits, Brooker took over the vocalist spot from the departed Scott, and the group continued working after its members graduated -- by 1962, they were doing formidable (by British standards) covers of American R&B, and got a residency at the Shades Club in Southend.

With "A Whiter Shade of Pale" a monster hit right out of the box, the band evolved from a studio ensemble into a successful live act, their music built around an eclectic mix of blues-based rock riffs and grand classical themes. their music evolved in decidedly linear fashion, the only major surprises coming from the periodic lineup changes that added a new instrumental voice to the proceedings. At their most accessible, they were one of the most popular of progressive rock bands, their singles outselling all rivals, and their most ambitious album tracks still have a strong following.

Still, Procol Harum had faded from the consciousness of the music world by the end of the 1980s. The death of B.J. Wilson in 1990 went largely unreported. Then, in August of 1991, Brooker re-formed Procol Harum with Trower, Fisher, Reid, and drummer Mark Brzezicki. An album, Prodigal Stranger, was recorded and released, and an 11-city tour of North America took place in September of 1991.

Their latest album The Wells on Fire, was released in 2003, it was Matthew Fisher's last studio album with Procol Harum. Fisher's last live release with the band was Live at Union Chapel DVD and CD package, recorded in December 2003 and including many of the songs from the studio album.

In March/April 2013 Procol Harum played a series of five orchestral concerts in Denmark and two such events in Wuppertal in Germany. Four band-only concerts in Sweden & Finland have been announced for early October.

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

Today's mystery album is a self-titled, debut album bombed in England, appearing six months after "A Whiter Shade of Pale" and "Homburg" with neither hit song on it Smart A&R move from june 67. The LP was successful in America, where albums sold more easily, but especially since it did include "A Whiter Shade of Pale" and was reissued with a sticker emphasizing the presence of the original "Conquistador," a re-recording which became a hit in 1972. The music is an engaging meld of psychedelic rock, blues, and classical influences, filled with phantasmagorical lyrics, bold (but not flashy) organ by Matthew Fisher, and Robin Trower's most tasteful and restrained guitar. "Conquistador," "Kaleidoscope," "A Christmas Camel," and the Bach-influenced "Repent Walpurgis" are superb tracks, and "Good Captain Clack" is great, almost Kinks-like fun. Not everything here works, but it holds up better than most psychedelic or progressive rock.



Goldy Rhox 120  (flac 318mb)

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Goldy Rhox 120   (ogg 109mb)

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RhoDeo 1331 Aetix

Hello, as we continue the females in the eighties todays band  came about in the second half of the eighties and are still going strong (lesbian power) however the revival of folkrock musicscene this past decade has certainly revitalized them. Then we have an artist who went solo from last weeks Go Go's was she right find out now.  ......N'Joy

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While they came into prominence as part of the late-'80s folky singer/songwriter revival, the Indigo Girls had staying power where other artists from the same era quickly faded. Their two-women-with-guitars formula may not have seemed very revolutionary on paper, but the combination of two distinct personalities and songwriting styles provided tension and an interesting balance. Emily Saliers, hailing from the more traditional Joni Mitchell school, boasted a gentler sound, was more complex musically, and leaned toward the abstract and spiritual. Meanwhile, Amy Ray drew heavily from the singer/songwriter aspects of punk rock, citing influences such as the Jam, the Pretenders, and Hüsker Dü for her more abrasive and direct approach. Throughout two decades of music, they managed to garner respectable mainstream success and maintain their rabid core following.

Amy Ray and Emily Saliers first took the name Indigo Girls while living in Atlanta in 1985, although they had been performing together since the early '80s, at times under the name "the B-Band." In 1986, they recorded an independent self-titled EP and followed in 1987 with the full-length Strange Fire -- only 7,000 copies were pressed, however, and very little interest was generated. Things changed quickly in 1988 when, in the wake of the success of Suzanne Vega, Tracy Chapman, and 10,000 Maniacs, the duo seemed to fit nicely into "the next big thing." Appropriately, Epic Records was quick to sign them.

Indigo Girls, released in 1989, was an excellent national debut. A guest vocal by R.E.M.'s Michael Stipe ("Kid Fears") gave them initial college radio credibility, and the single "Closer to Fine" was a hit -- buoyed by those strengths, the album eventually broke the Top 30 and earned a Grammy for Best Folk Recording that year. By the end of 1991, it achieved platinum sales. Strange Fire was reissued in the fall, with a cover of "Get Together" replacing one of the original tracks. The follow-up, 1990's Nomads Indians Saints, didn't fare quite as well. Although it was nominated for a Grammy and eventually reached gold status, the material wasn't nearly as strong. A live EP, Back on the Bus, Y'All, was released in 1991 while the women regrouped; it, too, was certified gold and garnered a Grammy nomination.

In spring of 1992, the Indigo Girls made a comeback with Rites of Passage, which debuted at number 22 and went platinum by the year's end. The album showed an increasing diversity and some of their strongest songs to date. Almost exactly two years later, Swamp Ophelia was released and entered the charts at number nine; it went gold by the end of the year. A double live album, 1200 Curfews, was released in 1995 and the much awaited follow-up to Swamp Ophelia, Shaming of the Sun, followed in 1997. The duo's next effort, Come on Now Social, appeared two years later.

Released in 2002, Become You was stripped down in comparison to the orchestration of the Girls' more recent work, and 2004's All That We Let In was generally regarded as their strongest album in years. A rarities set appeared the following year, marking Saliers and Ray's 20-year anniversary as Indigo Girls, as well as their last release on the Epic roster. Shortly thereafter, Saliers and Ray signed a five-album deal with Hollywood Records, although the songwriters only released one record -- the Mitchell Froom-produced Despite Our Differences, issued in 2006 -- before Hollywood dropped them from its roster. the Indigo Girls took to their website to assure fans that the band would move onward, and 2009's Poseidon and the Bitter Bug marked their first independent release in over 20 years.

Released in 2010, the double-disc Staring Down the Brilliant Dream featured live performances from shows between 2006 and 2009, and the duo wrapped up the year by releasing a holiday-themed bluegrass album, Holly Happy Days. Issued in 2011, Beauty Queen Sister, the Indigo Girls’ 14th studio album and the fourth to be released on their own IG Recordings imprint for Vanguard Records, reunited them with producer Peter Collins, who helmed the duo’s earlier albums Rites of Passage and Swamp Ophelia.

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Strange Fire, the Indigo Girls' debut album, was re-released after their next album Indigo Girls hit big on college radio in 1989. The beautiful harmonies of college friends Amy Ray and Emily Saliers was immediately apparent on this album, the two-girls-with-guitars format felt like a breath of fresh air from a musical city (Athens, GA) known more for alternative acts such as the B-52's and R.E.M. Although most of the songs featured both women's voices complementing one another, it is clear that the songwriting came from two distinct sources. Emily Saliers, a talented guitarist, generally sings introspective songs in the tradition of folkies such as Joni Mitchell, whereas Amy Ray, whose influences include harder-edged acts such as Hüsker Dü, sings with a rare intensity only matched by the heavy strumming of her acoustic guitar. At this stage, the Indigo Girls are still developing and their lyrics suffer in comparison to their future efforts, which perhaps explains why the fiery, upbeat, and passionate songs of Amy Ray work better than the spare, mellow songs of Emily Saliers. They perform a cover of the Youngblood's "Get Together" that is every bit as good as the original, and their closing song "Land of Canaan" is a concert favorite. A must-own for fans, but casual listeners should start with their sophomore effort.

Indigo Girls - Strange Fire  (flac 269mb)

01 Strange Fire 5:28
02 Crazy Game 2:51
03 Left Me A Fool 4:52
04 I Don't Wanna Know 3:13
05 Hey Jesus 4:07
06 Get Together 3:30
07 Walk Away 5:27
08 Make It Easier 3:58
09 You Left It Up To Me 4:55
10 Land Of Canaan 4:08

Indigo Girls - Strange Fire  (ogg 111mb)

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With their first major label release, the Indigo Girls come on strong with an outstanding batch of tunes, watertight harmonies, impeccable musicianship, and flawless production. And entering the folk-rock music scene on the successful heels of R.E.M., Tracy Chapman, and 10,000 Maniacs pushed their sales over the million mark and earned the duo a Grammy for Best Folk Recording. The eponymous release kicks off with the upbeat jangle bounce of "Closer to Fine," a modest hit, all-time fan favorite written by Emily Saliers, and a tune the Girls still play at every concert. A particularly fascinating point is that the Indigo Girls never write songs together, but they compliment each other perfectly. The difference in styles becomes immediately apparent when the more dark and brooding Amy Ray steps up. Her remarkable contributions include "Secure Yourself," "Kid Fears," and "Blood and Fire," spiritual ruminations of life, love, pain, and faith which bury themselves deep inside your core whether invited or not. Weighting the opposite scales, Saliers offers a tender balance to Ray with two beautiful ballads, "Love's Recovery" and "History of Us." (Ray's "Land of Canaan" was once a ballad, but then she heard the Replacements and it became a bit of a rocker.) Chiming in with musical support are Hothouse Flowers, Luka Bloom, and fellow Georgians R.E.M. This self-titled release captures the passion of their youth with voices that are a little cloudy, untamed, and raw, but the power that surges through them suggests a maturity far beyond their years. The same can be said of the songwriting -- sheer poetry. To attempt examinations of these songs would not do them justice, for the layers of meaning and emotion unfold best upon repeated listening.

Indigo Girls - Indigo Girls  (flac 271mb)

01 Closer To Fine 3:59
02 Secure Yourself 3:34
03 Kid Fears 4:33
04 Prince Of Darkness 5:22
05 Blood And Fire 4:37
06 Tried To Be True 2:56
07 Love's Recovery 4:21
08 Land Of Canaan 3:55
09 Center Stage 4:46
10 History Of Us 5:20

Indigo Girls - Indigo Girls (ogg 106mb)

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Jane Wiedlin was born in Oconomowoc, Waukesha County, Wisconsin. Wiedlin spent her early childhood growing up in West Allis, a suburb of Milwaukee, Wisconsin. She is one of five children, with a sister and three brothers. When Jane was six, her father took a job with the United States Department of Veterans Affairs at a VA Hospital in Los Angeles, California and her family followed in tow. Soon after arriving in California, Wiedlin's mother cut Jane's waist-long hair to her signature pixie cut hairstyle, due to Wiedlin's becoming an active swimmer now that she lived in a warmer climate.

While attending college in the Los Angeles area, for fashion design, Wiedlin worked at a fashion design house where she created song lyrics by scribbling down ideas on the clothing patterns. "Jane Drano," as she came to be known, would later design punk-style clothing that she sold at Granny Takes a Trip, a store on Sunset Boulevard. She became part of the scene that spawned bands like X, The Germs and The Weirdos. She and Belinda Carlisle formed The Go-Go's as a punk band in 1978, with Margot Olaverra on bass, and Elissa Bello on drums. In 1981, Wiedlin and Terry Hall of the Fun Boy Three and The Specials co-wrote "Our Lips Are Sealed."

Wiedlin remained part of The Go-Go's (see last week) until October 1984, when she left to pursue a solo career. "Rush Hour" (1988) was her most successful single – having done well in both the American and British charts. The song was taken from her second album, Fur. After a series of reunions during the 1990s, Wiedlin, Carlisle, Caffey, Schock, and Valentine re-formed the band again in 2000 to record God Bless the Go-Go's, their first studio album in seventeen years. The album, originally titled Vision of Nowness, had a title and concept based on an idea from Wiedlin.

Her early acting credits include a one-line role in Star Trek IV: The Voyage Home (she is credited as Alien Communication Officer, but the script had her as Officer Trillya), Joan of Arc in Bill & Ted's Excellent Adventure, an ill-fated singing telegram girl in Clue, and the White Fairy in Golan-Globus's Sleeping Beauty. In April 2009, Jane reconnected with director Steve Balderson for Stuck!, an homage to film noir women in prison dramas. Co-starring Karen Black, Pleasant Gehman, Susan Traylor, Starina Johnson and cult icon Mink Stole, Stuck! was filmed in Macon, Georgia and was released in 2010. Wiedlin has also provided voices for several characters in television and film.

Wiedlin is a long-time animal rights activist, and has worked with PETA since at least 1989 when she performed as part of a "Rock Against Fur" concert in New York City. She is a close friend of PETA's Dan Mathews. Wiedlin has been married twice; once to Ged Malone (from 1987 to 1999) and once to David Trotter (from 2004 to 2005). Her first marriage was the subject of her 2000 song "The Good Wife." Her current domestic partner is musician Travis Kasperbauer, whom she met at a Wisconsin music festival. She has no children.

Wiedlin is an ordained minister of the Universal Life Church, a mail-order religious organization that offers anyone semi-immediate ordination as a ULC minister, free of charge. Wiedlin identifies herself as "Reverend Sister Go-Go", serving primarily in the capacity of officiating at weddings.

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Unlike Jane Wiedlin's superior solo debut, 1988's Fur spawned a hit single, the admittedly quite good "Rush Hour." Unfortunately, much of the rest of this album is disappointing. Stephen Hague's slickly synthesized production buries the songs in layers of MIDI keyboards, sequencers, and drum machines (courtesy of ex-Naked Eyes keyboardist Rob Fisher) that tend to obscure the songs themselves. Unfortunately, the other part of the problem is that the songs (all of them co-written by outside collaborators, including Hague and Bruce Woolley) aren't all up to snuff. "Rush Hour" and the haunting ballad "The End of Love" are the best of the lot, with "Song of the Factory" close behind. The title track gets points for addressing Wiedlin's deeply felt position on animal rights, and makes a fair point by addressing the uselessness of fur coats rather than the inherent cruelty. Fur largely sounds like Wiedlin was being led by EMI's A&R team instead of thinking for herself.

Jane Wiedlin - Fur (flac 229mb)

01 Inside A Dream 3:39
02 Rush Hour 4:05
03 One Heart One Way 3:51
04 Homeboy 4:00
05 The End Of Love 3:16
06 Lover's Night 3:27
07 Fur 3:13
08 Give! 3:17
09 Song Of The Factory 4:55
10 Whatever It Takes 3:57

Jane Wiedlin - Fur ( ogg 82mb)

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RhoDeo 1331 Roots

OOPS forgot to post it in time

Hello, we still find ourselves in an environment that gave rise to the worlds monotheistic religions be it on the Arabian peninsula, here we stay in the Saharan/Sahel band stretching from the West-Atlantic coast to the highlands of Ethiopia in the east of the continent, a vast area where fresh water tends to come at a premium , where the sun is burning down during daytime and nighttime can be cold, where the moon is the sole light source apart from the warming campfires. Is it any surprise then that singing and making music together lifted the spirits of those gathering in these desolate landscapes.

Today more from Mali, some of the bandmembers got arrested in August 2012, an Ansar Dine spokesman announced: "We do not want Satan's music. In its place will be Quranic verses. Sharia demands this. What God commands must be done." Well the French kicked these Taliban out so Tinariwen could continue. Same goes for todays other bands another Touareg band Toumast. Alkibar Gignor also stems from Northern Mali but their music is distincly differennt to the two Touareg bands.......N'joy


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In 1998, Tinariwen came to the attention of the French world music ensemble Lo'Jo, who traveled to a music festival in Bamako and met two members of the Tinariwen collective. Important was the then manager, Philippe Brix, today manager of Terakaft, a similar group. In 1999 some members of Tinariwen traveled to France and performed with Lo'Jo under the name Azawad. The two groups organized the January 2001 Festival of the Desert in Essaken, Mali with Tinariwen as the headliners, and in close cooperation with the Belgian Sfinks Festival. The festival brought much outside attention to Tinariwen. By the end of 2001, Tinariwen had performed at WOMAD, Roskilde, and the South Bank in London. Their debut CD, The Radio Tisdas Sessions, was recorded by Justin Adams and Jean-Paul Romann at the radio station of the same name (the only Tamashek-speaking station in Kidal, Mali) and released in 2001. It was Tinariwen's first recording to be released outside of northern Africa.

Since 2001 Tinariwen have played over 700 concerts in Europe, North America, Japan and Australia; including festivals such as Glastonbury, Coachella, Roskilde, Paleo, Les Vieilles Charrues, WOMAD, FMM Sines, and Printemps de Bourges. Their 2004 CD Amassakoul ("The Traveller" in Tamashek) and its 2007 follow-up Aman Iman ("Water Is Life" in Tamashek) were released worldwide and gained the notice of celebrity fans including Carlos Santana, Robert Plant, Bono and the Edge of U2, Thom Yorke of Radiohead, Chris Martin of Coldplay, Henry Rollins, Brian Eno, and TV On The Radio. In 2005 Tinariwen received a BBC Award for World Music, and in 2008 they received Germany’s prestigious Praetorius Music Prize.

Also since 2001, the Tinariwen collective has added several younger Tuareg musicians who did not live through the military conflicts experienced by the older members but have contributed to the collective's multi-generational evolution. New members include bassist Eyadou Ag Leche, percussionist Said Ag Ayad, guitarist Elaga Ag Hamid, guitarist Abdallah Ag Lamid, and vocalists Wonou Walet Sidati and the Walet Oumar sisters. The band's 2009 album Imidiwan (Tamashek for "Companions") was recorded in a mobile studio by Jean-Paul Romann in the village of Tessalit, Mali.

In 2010, Tinariwen represented Algeria in the opening ceremony of the 2010 FIFA World Cup in South Africa. In July 2011 the collective set out for a new world tour that will include performances at the End of the Road Festival in September and All Tomorrow's Parties in December. They completed 24 performances in the United States of America from September 30 until December 1, 2010. Three members of the group appeared on the The Colbert Report on November 29, 2011 with TV on the Radio to play "Tenere Taqqim Tossam" and "Imidiwan Ma Tenam" from their 2011 album Tassili The album later won the Award for Best World Music Album at the 54th Grammy Awards

Imidiwan Companions saw the band reunite with Jean-Paul Romann, the producer of their 2001 album The Radio Tisdas Sessions. The album received generally positive reviews. Imidiwan also won the 2009 Uncut Music Award for being "the most inspiring and richly rewarding album of the last 12 months"

Tinariwen - Imidiwan Companions (flac  366mb)

01 Imidiwan Afrik Tendam 3:32
02 Lulla 3:50
03 Tenhert 5:29
04 Enseqi Ehad Didagh 5:41
05 Tahult In 4:10
06 Tamodjerazt Assis 4:52
07 Intitlayaghen 4:49
08 Imazeghen N Adagh 3:46
09 Tenalle Chegret 5:44
10 Kel Tamashek 3:17
11 Assuf Ag Assuf 4:54
12 Chabiba 3:22
13 Ere Tasfata Adounia/Desert Wind 9:17

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From a Toumast biography, "The Touaregs occupy a huge territory that stretches from central Sahara – southern Libya to southern Algeria – to the North of Mali, Niger and Burkina Faso. During the past decades, their society underwent transformations that deeply modified their pastoral and trading economy as well as their political life. At the beginning of the 1960's, while the Touaregs expressed in vain their refusal to be attached to the states of Niger or Mali, the decolonization deprived them of true independence and their territory was parted between different states. The authoritative and repressive policy of the governments of Niger and Mali radicalized furthermore their positions.

In the 1970's and 80's the region was struck by several periods of drought, forcing the touareg population to exile to southern Algeria and southern Libya. It then became customary to call the young Touaregs looking for work, ishumar, a term borrowed from the French "chômeur", meaning unemployed. Going from city to city the Ishumar lived an itinerant life along with the tormented story of the Touareg Liberation Front that was growing clandestinely. Their particular culture is forged outside of the camps and the cities, far from their families. The Touareg Liberation Front launched an offensive in 1990 against the northern regions of Mali and Niger. The conflict officially ended in 1992 in Mali and 1995 in Niger when the regimes became more democratic.

The first ishumar band, founded in Libya and Algeria around Intiyeden and Ibrahim Abaraybone, is called Tinariwen. They draw their inspiration from traditional melody lines. Their militant lyrics describe their adventurous way of living and formulate vibrant calls to mobilize the younger generation that remains in the country. These itinerant musicians perform during night festivities in shantytowns. Their songs are then recorded on tapes, duplicated, exchanged or offered, spreading the word of the Ishumar in all of the touareg region, in camps as in cities. Toumast was founded in the 90's around Moussa Ag Keyna. In 1993, after years of combat and resistance, Moussa is severely wounded and evacuated to France, later joined by Aminatou Goumar. His encounter with composer, arranger and producer Dan Levy in Paris will be the starting point to the recording of the album." It is a testimony about the years of combat and disillusion experienced by the Touaregs. The songs contain topics precious to the Ishumar: the nostalgia of the nomadic life, love, the bitter taste of exile and the criticism of politics.

Toumast - Ishumar (flac 305mb)

01 Ikalane Walegh (These Countries That Are Not Mine) 5:00
02 Tallyatidagh (That Girl) 5:48
03 Innulamane (The Falcon) 4:47
04 Ammilana (O My God, O My Soul) 5:43
05 Ezeref (The Camel) 3:11
06 Dounia (Life) 6:38
07 Maraou Otan (For Twelve Moons) 5:31
08 Kik Ayittma (Hey! My Brothers!) 7:27
09 Amiddinine (Oh My Friend, Oh My Friend!) 6:05

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The war-torn and stupidity Mali has one of the richest cultural traditions in the world. Thus Djenne known for its clay architecture, while the masks of the Dogon insipiratie formed for elements in the work of Pablo Picasso. Timbuktu, for many known only from the Donald Duck, centuries ago housed the largest library in the world.

We are introduced to the new generation of Northern Mali, Alkibar Gignor. So named because they learnt their trade under the guidance of Afel Boucoum, juniors to the great musician and his band Alkibar. That was back in 2003. They got their major break in 2006 when they opened the now defunkt Ali Farka Toure Festival. Much to the amazement of the organisers, the young band took to the stage to play their "Hommage to Ali Farka Toure" communicating directly with his children, singing his praises and encouraging the children not to be too sad at his passing but to celebrate the life they enjoyed. By all accounts everyone was in tears at the end of their set including the town's marabout - "Hommage" is now a North Malian anthem and made available to an international audience through an earlier Sahel Sounds release,"Ishilan N-Tenere - Guitar Music form the Western Sahel".

Probably it is the Malian music, Ali Farka Touré to Tinariwen and Amadou & Mariam, for Westerners the clearest associations with the country calling. 's highly sympathetic Sahel Hounds, which specializes in music from the region, presents Alkibar Gignor a band that rocks harder than traditional Malian music, but has the same dancefloor. Stylistically Alkibar Gignor is somewhere between the Tuareg rock of Tinariwen and black music that Mali is known for. Continues moving on donkey carts loaded with instruments and amplifiers, the band members traveling the region by around Timbuktu. Impromptu performances are equally often paid in sacks of rice and money. Inevitably, this idyllic situation exotic images in Western music consumers, consisting of a mixture of interest and romance one could purchase. after another African curio

 "La Paix", unfortunately currently an ironic name in the region of Timbuktu, is at times meditative and danceable, with hypnotic guitars and endless rhythms. No longer the juniors, Alkibar Gignor are in great demand up and down the Niger River and were recently awarded Best Band in the Circle of Timbuctou. They know how to play the crowds and interestingly, Amma from the band recounts how Afel Bocoum told them that in order to "appeal to the whites they need to switch to acoustic guitar and calabash only". It is in this style that the album opens with a deliciously simple yet emotionally charged track "Adounia" . The fact that it is reminiscent of the stripped down blues sound of Ali Farka Toure is no coincidence, Alkibar Gignor were born in the same town of Niafunke, they are all "children of the same mother" the literal translation of the town's name. Everyone adores Ali Farke Toure and to play like him is to touch his genius and show their appreciation and inspiration.

The album is brought to us by Chris Kirkley who describes himself as Gentlemen explorer and rogue ethno-musicologist. Fearless leader of sahelsounds.  Anyone familiar with his blog, Sahel Sounds will know that he is constantly on the listen out for new sounds whether its on the memory cards of mobile phones in Kahlil's repair shop, the coffee vendors of Niamey Bus Station or various Saharan festivals. Kirkley recorded Alikbar Gignor during numerous visits from 2009 to 2011 and the album includes rehearsals, village performances under the stars aswell as acoustic sessions at Amma's house. Who would dream of summer nights of endless desert, but also want to dance, doing quite well to this record .

Alkibar Gignor - La Paix   (flac  257mb)

01 Adounia 4:44
02 Djougal Nangho 5:53
03 Adibara 6:01
04 Aniya 2:48
05 Lahidou 5:15
06 Souka Selenam 4:23
07 Dakou 2:47
08 Gotofou 4:45
09 Zeinabou 3:35
10 Tamala 3:50

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previously sept 08 Rhotation 44 re-rip

Tinariwen - Aman Iman (Water Is Life) (re-rip 131mb)

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RhoDeo 1331 Lexxxx

Hello,  not much sports news today the US mens swimming relay team scored a DNF but the girls had no such error and got the gold, as did Dutch swimming babe Ranomi as did a china man who collected another after the 400, 800 now the 1500 m freestyle totally dominance, he must be a demi-god in China.

Japan lauched talking robot,Kirobo today destined for International Space Station, it is designed to be companion for astronaut Koichi Wakata. They are the.  one country in the world that takes creating humanoid robots very seriously. Although Kirobo stands just 34cm tall, weighs slightly less than a kilo, and is modelled on a beloved Japanese cartoon figure, Astro Boy, it would be quite wrong, indeed grossly offensive, to describe it as a toy. It will also relay messages and commands from the control centre to Wakata, and keep records of all their conversations.

Summertime, and something special to keep you cool, 4 weeks of the lead in movies of what must be some of the craziest, campy and creepy Sci-Fi, death everywhere, you won't see Hollywood dare something like this, seriously it's great fun. Hailed as "the most imaginative Sci-Fi since The Hitchhiker's Guide to the Galaxy" (New York Daily News), Lexx follows the nomadic existence of four misfit characters who have inadvertently stolen the most powerful weapon of destruction ever made: a Manhattan-sized, genetically-modified insect-ship. Filled with eccentric stowaways, outrageous planets and more, a must-see mix of laughs and sci-fi action. Today the final episode of season 1 with death looming everywhere, Malcolm McDowell joins the action  ... NJoy

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The Lexx is a rather fantastic organic space warship using technology derived from the Insect Wars. Lexx is `the most destructive force in the two known universes'. The excellent TV series runs to three seasons and beyond, although in many respects the spin-off TV series never quite re-captures the startlingly stark and surreal world shown in the original `films'. These films are now on offer here numbered 1.1 to 1.4. To some extent the films have an `ending' .

Lexx presents a dystopia created by the insect wars of the Light Universe that carried on for millennia until the human race destroyed the insects. Under the totalitarian rule of His Shadow (Walter Borden), all humans are assigned a place in the Universe. Difficulties are ironed out through reassignment, banishment, or death. Xev, an enormously fat and homely woman raised to be a wife, is sent for reassignment by her rejecting adolescent husband. She is to be molecularly transformed into a love slave, but rebels against His Shadow break in. Just as she is put into the reassignment machine, a Cluster lizard falls in as well, imbuing the suddenly beautiful and hypersexed Xev with a lizard’s personality and physical agility. A domestic robot model 790 (the voice of Jeffrey Hirshfield)—or rather, just his head—gets the full love slave treatment and falls deeply and exclusively in love with Xev.

Stanley is a pretty disgusting human being, a menial in a red jumpsuit and pillbox cap who basically only wants to get laid. By misadventure, he ends up getting from the rebels the key to The Lexx, a powerful insect/machine created by His Shadow to blow up troublesome planets. Because the key is biologically coded to Stanley’s DNA, he is the only person who can command The Lexx.

Kai, last of the Brunnen-G, resisters who were destroyed by His Shadow’s forces, was killed 2,000 years before and enlisted into the Cluster’s army of assassins. He is kept animated by protoblood and is awakened from cryostasis to retrieve The Lexx. The entire first season is devoted to uncovering the plots underlying the insect wars, the shifting alliances that put Kai in league with Stanley, Xev, and 790, and lead them to destroy the Light Universe and travel into the even more dreaded Dark Universe.

"Lexx" is SF that is funny, sexy and deranged. It has a different type of humour and is far funnier than "Red Dwarf". "Lexx" is a Canadian-German (Series 1-3) and Canadian-UK (Series 4) co-production, so stands in contrast to te usual formulised Hollywood product. In fact life is cheap throughout the whole series, deaths run in the billions but thats mostly background, yet many of the characters crossing the path of our crew don't live to tell the tale. Great art work and graphics.

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The cleansing of the Cluster is complete and the birth of the Giga Shadow is progressing. These events are unknown to the crew of Lexx when they decide to journey to the Cluster for one last attempt to get the proto-blood Kai needs to continue his existence. However the Giga Shadow Priesthood led by Malcolm McDowell have their own ideas ....


Lexx 1-4-Giga Shadow pt 1 (rar 350mb)

Lexx 1-4-Giga Shadow pt 2 (rar 293mb)


Lexx 104 - Giga Shadow  85:05 Featuring

Brian Downey Stanley H. Tweedle
Eva Habermann Zev Bellringer
Michael McManus  Kai
Jeffrey Hirschfield  Robothead 790 (voice)
Malcolm McDowell - Yottskry
Michael Habeck - Feppo

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previously

Lexx 1-1-I Worship His Shadow- 1 (rar-1 350mb)
Lexx 1-1-I Worship His Shadow- 2 (rar-2 331mb)

Lexx 1-2-Super Nova 1 (rar-1 350mb)
Lexx 1-2-Super Nova 2 (rar-2 297mb)

Lexx 1-3-Eating Pattern 1 (rar 350mb)
Lexx 1-3-Eating Pattern 2 (rar 322mb)



Lexx @ Wiki

Lexx complete 19 disc set @ Amazon.uk

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Sundaze 1331

Hello, time for another Sundaze and with all that hot weather around some chilling is called for combined with some good grass a decent night sleep awaits..but first

Some of the more prominent motifs in The Orb's work are outer space and science fiction, including alien visitations, space flight, and mind control. These have included their use of samples from serious sources such as NASA transmissions to comedic clips from films like Woody Allen's Sleeper. U.F.Orb especially expressed a fascination with alien life with its bizarre sound samples and in the album's title itself. Here today, the set the Peel set that ignited their career, as well as two trippy   remix albums... N'Joy

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Alex Paterson began his music career in the early 1980s as a roadie for the post-punk rock band Killing Joke, for whom his childhood friend Martin "Youth" Glover played bass. After leaving Killing Joke in 1986, Paterson met future KLF member Jimmy Cauty and the duo began DJ-ing and producing music together under the name The Orb. Paterson and Cauty's first release was a 1988 acid house anthem track, "Tripping on Sunshine". Paterson and Cauty began DJ-ing in London and landed a deal for The Orb to play the chill out room at London nightclub Heaven. Resident DJ Paul Oakenfold brought in the duo specifically as ambient DJs for his "The Land of Oz" event at Heaven. Their "Chill Out Room" act grew popular over the course of their six month stay to the point that the small room was often packed with around 100 people(weary DJs and clubbers seeking solace from the loud, rhythmic music of the dancefloor).

Throughout 1989, The Orb, along with Martin Glover, developed the musical genre of ambient house through the use of a diverse array of samples and recordings. The culmination of their musical work came towards the end of the year when The Orb recorded a session for John Peel on BBC Radio 1. The track, then known as "Loving You", was largely improvisational and featured a wealth of sound effects and samples from science fiction radio plays, nature sounds, and Minnie Riperton's "Lovin' You". For its release as a single on record label Big Life, The Orb changed the title to "A Huge Ever Growing Pulsating Brain That Rules from the Centre of the Ultraworld".

In 1990, Paterson and Cauty held several recording sessions at Cauty's studio, Trancentral. When offered an album deal by Big Life, The Orb found themselves at a crossroads: Cauty preferred that The Orb release their music through his KLF Communications label, whereas Paterson wanted to ensure that The Orb did not become a side-project of The KLF.[Due to these issues, Cauty and Paterson split in April 1990, with Paterson keeping the name The Orb. As a result of the break-up, Cauty removed Paterson's contributions from the in-progress recordings and released the album as Space on KLF Communications. Also out of these sessions came The KLF album Chill Out, on which Paterson appeared in an uncredited role. Following the split, Paterson began working with Youth on the track "Little Fluffy Clouds". They incorporated samples from Steve Reich's Electric Counterpoint and vocal clips from an interview with Rickie Lee Jones in which she recalls picturesque images from her childhood.While Reich was flattered by The Orb's use of his work, Jones pursued the issue in the legal system.

In 1991, Paterson invited energetic studio engineer Kris "Thrash" Weston to join The Orb. Steve Hillage, whom Patterson had met while DJ-ing in London, also joined as a contributing guitarist. Along with producer Thomas Fehlmann and audio engineer Andy Falconer, The Orb completed several additional tracks for their first album. The Orb's Adventures Beyond The Ultraworld sold well in the UK and received praise for its balance of ambient music, house music, and sampling. In late 1991 and early 1992, Paterson and Weston wrote their next single, "Blue Room". Assisting with the recording was bassist Jah Wobble, keyboardist Miquette Giraudy, and guitarist Hillage. Despite its playing time of almost 40 minutes, "Blue Room" entered the UK charts at #12 and peaked at #8, making it the longest track to reach the UK singles chart. In July 1992, U.F.Orb was released featuring "Blue Room", it reached #1 on the UK Albums Chart to the shock of critics, who were surprised that fans had embraced what journalists, noticing Steve Hillage, considered to be progressive rock.

Disagreements with their label , Big Life, led to signing to Island where they released a life album,  Live 93, which gathered highlights from The Orb's recent performances in Europe and Asia. The Orb's first studio production on Island Records was Pomme Fritz, a chaotic EP noted for its heavy use of strange samples and its lack of conventional harmonies, the critics panned it as "doodling". Soon after, Paterson, Weston, and Thomas Fehlmann joined with Robert Fripp to form the group FFWD as a side project. FFWD released a single self-titled album on Paterson's Inter-Modo label, which Fehlmann later described as "an Orb track which became so long that it became a whole album!". Following Weston's departure from The Orb, Thomas Fehlmann joined as a full-time studio member, though he would not always participate in live performances. Paterson, Hughes, and Fehlmann then finished producing the album Orbus Terrarum, on which Paterson and Weston had been working. Orbus Terrarum, released in 1995, featured more "earthbound" and "organic" sounds than their previous trippy science fiction themed music.

After a long world tour, The Orb, with Andy Hughes and Steve Hillage, settled down to produce their next album, Orblivion—the process of which saw a return to their spacy sounds. Though Orblivion was recorded in May 1996, it was not released until almost a year later, the first single, "Toxygene", was the highest charting single by The Orb, reaching #4 in the UK. Paterson and Fehlmann,  wrote and produced Cydonia for a planned 1999 release.  Paterson felt that this new direction of songwriting for The Orb was more similar to the experimental work of Orbus Terrarum than to the techno-pop of Orblivion. As Island Records was in a period of restructuring due to its recent purchase by Universal Music Group, Cydonia was not released until 2001. It was not well recieved,  the UK press regarded them as past their prime and an "ambient dinosaur" out of place in the current dance music environment.

Paterson and Fehlmann chose to make their next releases a series of several low-key EPs for German label Kompakt in 2002.these were were well recieved and released later, slightly remixed on the 2005 Okie Dokie album . The Orb continued to use their odd synthetic sounds on 2004's Bicycles & Tricycles, to mixed reviews. Like Cydonia, Bicycles & Tricycles featured vocals, including female rapper MC Soom-T who added a hip hop twist to the album.The Orb left Island Records and released the album on Cooking Vinyl . After two more EPs on Kompakt, The Orb (now composed of only Paterson and Fehlmann) released Okie Dokie It's The Orb on Kompakt, which featured new material in addition to tweaked versions of their previous Kompakt output. In August 2006, the founders of The Orb - Paterson and Cauty - released Living in a Giant Candle Winking at God, their debut album as the Transit Kings with Guy Pratt and Pratt's associate, Dom Beken. Living had been in production since 2001, but due to members' other obligations, it was delayed for several years. The album received mix critical reactions, soon after the album's release, Cauty left the Transit Kings on "extended leave", leaving the project in indefinite limbo.

The Orb's next studio album, The Dream was released in Japan in 2007 and the following year in the United States and United Kingdom. Fehlmann is absent on The Dream and Paterson was instead reunited with Martin Glover and joined by Tim Bran of Dreadzone. The album features more of a return to The Orb's sounds of the early 1990s, with peculiar vocals and playful samples. In May 2009, the British Malicious Damage Records (run by the members of Killing Joke) announced the release of The Orb's ninth regular studio album Baghdad Batteries (Orbsessions Volume III) on 11 September 2009. A reunification of Paterson and his long-term collaborator Thomas Fehlmann. In the summer of 2010 Alex Paterson teamed up with Youth aka Martin Glover to compile a retrospective compilation album of tracks from the WAU! Mr Modo label. Released on CD and double Vinyl on 25 October 2010 via Year Zero records, the same month The Orb released the Metallic Spheres album, featuring David Gilmour (Pink Floyd). In 2012, The Orb teamed with award-winning dub musician, Lee "Scratch" Perry to produce a reggae-infused album titled "The Observer In The Star House", which was recorded in Berlin over a period of several months and features the single "Golden Clouds", it was followed one year later with another Lee Perry co production  More Tales From The Orbservatory.

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It's fair to say that the Orb never would have reached the British pop Top 40 without the influence and promotion of John Peel, who sponsored three sessions between 1989 and 1995. (There have also been two additional dates for other presenters.) Peel, a veteran of the late-'60s British music scene, appreciated the Orb's blend of futurism and folky traditionalism, seeing them not just as dance saviors but another dot in the line that connected pixilated popsters like T. Rex and the Incredible String Band (both of which Peel had been closely associated with). the Orb's first session was recorded in 1989, well before they had released an album, and it boosted the popularity of both the group and the ambient house phenomenon immeasurably. Although Peel's attention helped, a lot of excitement surrounded the music itself, a gorgeous tableau of music laced with samples taken from Dr. Alex Paterson's immense kit bag of records, including sound effects and obscure instructional records. The only "track" recorded at the first session was the 20-minute "A Huge Ever Growing Pulsating Brain That Rules from the Centre of the Underworld" (mixed live on the fly in the studio by then-Orbster Jimmy Cauty), and it became one of the most requested Peel Sessions of the time as well as reaching the Top Ten of Peel's annual Festive 50 countdown. the Orb were back several times, including one year later with versions of debut LP material like "Back Side of the Moon" and "Into the 4th Dimension."

The Orb - Peel Sessions (259mb)

01 A Huge Ever Growing Pulsating Brain That Rules From The Centre Of The Ultraworld (Loving You)  (Mixed By – Jimi Cauty) 20:15
02 Back Side Of The Moon (Tranquility Lunar Orbit) 11:25
03 Into The Fourth Dimension (Essenes In Starlight) 10:59

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Pomme Fritz is a 1994 EP by The Orb. It was The Orb's first studio production released on Island Records. Pomme Fritz is a chaotic EP which Rolling Stone described as an "aural feast" despite its "lack of cohesion" and direction. Though Pomme Fritz reached as high as #6 on the UK charts, UK critics panned it as "doodling" and noted its absence of focus.

The commercial and artistic peak of the ambient-house movement, U.F.Orb strides past the debut with more periods of free-form ambience and less reliance on a standard 4/4 beat. From the opening "O.O.B.E." through the bass-heavy gait of "Blue Room" and "Towers of Dub," the flow is more natural and ranges farther than most would have expected. The bevy of contributors (including Steve Hillage, Jah Wobble, Youth, Thomas Fehlmann, and Slam) never threatens to overload the proceedings, though the minimalist sampling of Ultraworld is replaced by a production focus much more dense and busy, especially on the "rain forest on Saturn" ethno-ambience of "Close Encounters." Elsewhere, Paterson maintains his fascination with the earthy dub basslines of Mad Professor and Lee Perry, even while he's indulging in flights of fancy indebted to Sun Ra.

The Orb - U.F.Orbit Two: Remixes (429mb)

01 O.O.B.E. (Andy Hughes Mix) 11:58
02 Towers Of Dub (Ambient Mix) 10:14
03 Blue Room (Ambient At Mark Angelo's Mix) 8:57
04 Close Encounters (Ambient Mix 1) 12:49
05 Majestic (Mix 1) 11:52
06 Assassin (Chocolate Hills Of Bohol Mix) 14:37

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Pomme Fritz The Remixes are absolutely fantastic. It really makes you understand and appreciate what the Orb were trying to do when they first released Pomme Fritz. Instead of throwing out a bunch of the same noises you had heard in their previous two albums, they mixed it up and challenged the listener with a more aggressive sound. This remixes disc proves that they still had the same tricks up their sleeve as when they recorded the first two lp's as disc 2 could easily be a different album all by itself. Disc 2 is the album that most Orb fans at the time were expecting, and to hear it after all this time is really cool. That early 90's Orb sound is all here in the second disc, complete with dubtastic grooves and downtempo beats, accompanied with spacey samples and atmospheric noises.

The Orb - Pomme Fritz The Remixes (326mb)

01 Sausage Tats Mit Gravy (Dom Mix #1) 11:33
02 Star Twister (Pomme Fritz & Apple Sauce Mix) 6:34
03 Potato Fields Of Electric Gliding Blue (Ambient Mix) 10:58
04 Eastern Hot Dogs In Gardens Of Dub (LX Mix) 11:22
05 Wrapped With Salt & Vinegar (Thomas Fehlmann Mix) 10:15

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RhoDeo 1330 Beats

Hello, as hi-summer continues The US launches ....  the summer of fear !. The US State Department has issued a worldwide travel warning to US citizens lasting throughout the month of August, exhorting travellers to be on alert for possible terrorist attacks on public transport and tourist destinations, just a day after the US government announced that it was closing at least 18 embassies on Sunday in what it described as a "precautionary measure" tied to evidence of plots emanating from the Middle East and North Africa.

Now, a terror attack just releases a horror reaction coupled with glad it wasn't me. However that ain't enough for the security apparatus, spreading fear with the message it could be you up next, if you don't behave in a paranoid way, is a much better way to get their and the NSA way, "we need total control and all of you will tell us all if you don't want to be next". Really awful and scrupulous people, socio even psychopaths in control aren't we the public lucky...


Ok so these past months the beats came from Germany it's time to move on, the French have been waiting in the wings and even though these countries are neighbors their music scene differs quiet a lot. The French like to see some pretence they are art-ists after all, its French catholicism as opposed to German protestantism. The coming weeks frenchies rule the beats.

Today's artists are a French musical duo that records and releases music in the house music, indie dance and synthpop genres. The group consists of producers Philippe Cerboneschi and Hubert Blanc-Francart, better known as Philippe Zdar and Boom Bass ....... N'joy

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Cassius, a new addition to the top ranks of French electronica circa 1999, actually comprised two of the scene's most experienced producers: Philippe Zdar and Hubert Blanc-Francart (AKA Boom Bass). They first met back in the late '80s, working in the same studio (Zdar was an engineer, and Boom Bass was just learning the trade). Boom Bass worked with MC Solaar, and combined with Zdar to release two EPs on Mo' Wax as La Funk Mob during 1994. Zdar also teamed with Etienne De Crécy (from the Super Discount project) to release an LP as Motorbass.

In 1996, Zdar and Boom Bass then created "Foxxy", their first self-published house music track, under the name Cassius, and the moderate success that followed lead to them remixing tracks for acts such as Air and Daft Punk. Combining the jazzy hip-hop of Boombass with Zdar's phase'n'filter acid-disco, Cassius debuted with the single "Cassius 1999," a club anthem that became a mainstream hit and British #7 hit late in 1998. This was soon followed by their debut album, 1999, which had two more singles released from it, "Feeling For You" and "La Mouche". The music videos for "Cassius 1999" and "Feeling for You" portrayed the character Deadman, from DC Comics, as a DJ superhero.

2002 saw their second album release, Au Rêve. This featured the "empowered female disco" track "I'm a Woman", with Jocelyn Brown on vocals, as well as the hit single "The Sound of Violence", featuring Steve Edwards on vocals. This album also had collaborations with Wu-Tang Clan member Ghostface Killah and Leroy Burgess.

Cassius returned to the studio in 2006, for the more experimental single "Toop Toop", but the next album, titled 15 Again, featured more vocal collaborations than the duo had done with Au Rêve.

While rehearsing their 15 Again album tour, Cassius provided the community with the a cappella track of their single "Toop Toop" and encouraged fans and friends to start remixing the song. It became an immediate success: the band started the Cassius Workshop project and released more a cappellas for remixing purposes. They claim to have received more than 400 remixes.

Cassius's song "I Love You So" was sampled on the track "Why I Love You" on Jay-Z and Kanye West's 2011 collaboration album Watch the Throne.

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A sleek and intelligent dance record, Zdar and Boombass' debut is an intriguing update of classic '80s garage and disco in the same fashion that Daft Punk rewired Chicago acid house for 1997's Homework. Most of the best tracks here, including "La Mouche" and "Foxxy," weave snippets of diva vocals and flexible basslines into up-front productions with a focus on tight rhythm programming. Unfortunately, too many tracks on 1999 suffer from what can be an unhappy medium -- casual pacing for a club tune but rather formulaic production values to make for solid living-room listening. Aside from the single "Cassius 1999," the hip-hop punch of "Mister Eveready" is another highlight.

Cassius - 1999 ( flac 416mb)

01 Cassius 1999 3:45
02 Feeling For You 4:37
03 Crazy Legs 4:06
04 La Mouche 4:41
05 Chase 1:58
06 Foxxy 6:07
07 Planetz 2:46
08 Hey Babe 4:24
09 Mister Eveready 6:06
10 Nulife 6:32
11 Interlude 1:22
12 Somebody 4:55
13 Club Soixante Quinze 5:21
14 Supa Crush 4:43
15 Invisible 1:09
16 Cassius 99 Remix (Radio Edit) 3:33

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One thing Philippe Zdar and Boom Bass didn't learn from label mates Basement Jaxx on album number two: How to make a tight record. Part of the greatness of Basement Jaxx's own sophomore album had to do with its brevity -- it was a whirlwind of countless styles, with house as its launching pad -- that sounded honed without the edges smoothed out, and it blew by before you got the chance to catch your breath. Though the range of sounds isn't as vast, Cassius' follow-up to 1999 has all the ingredients for a perfectly constructed gale force of a record, but many of its ideas are given too much breathing room. Long-winded tracks that would've worked better as brief interludes or outerludes (or even left as decent, extended B-sides) slightly deflate rather than complement a clutch of great vocal tracks with impeccable production work. "I'm a Woman," despite a regrettably scorching guitar intro that might've been cribbed from a 1989 issue of Guitar magazine, settles into a nimble, uplifting groove with disco diva Jocelyn Brown (Inner Life, Musique) in booming, spectacular voice. Boogie king Leroy Burgess (Black Ivory, Logg) takes over for both "Under Influence" and "'Till We Got You and Me," two irresistible house cuts double dipped in funk and gospel. "Thrilla" is Zdar and Boom Bass' very own "I'll House You," with Wu-Tang's Ghostface Killah on board for some fast and furious rhymes. But the greatest of all is Steve Edwards' shot, "The Sound of Violence," with the album's most wickedly zapping bassline and tangles of funk guitars that scratch and wah-wah. Compared to 1999, Au Rêve is much more organic, thanks to both live instrumentation and the wealth of great vocal turns. In that respect, it's a step forward for the duo. Just keep that program button warm.

Cassius - Au Reve ( flac 455mb)

01 Hi Water 4:40
02 The Sound Of Violence 7:15
03 Under Influence 5:15
04 Room Tone 1:05
05 Thrilla 6:05
06 Telephone Love 6:40
07 I'm A Woman 4:20
08 Protection 4:00
09 Till We Got You And Me 5:55
10 20 Years [How Do You See Me Now] 4:35
11 Nothing 5:25
12 Barocco 3:05
13 On 4:10
14 Au Reve 7:40
15 Dinapoly 4:30

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15 Again was written and produced by Cassius members Phillippe Zdar and Boom Bass and includes a collaboration with hip-hop producer and performer Pharrell Williams. Other collaborators include Sébastien Tellier, -M-, Etienne de Crécy, and Le Knight Club (otherwise known as Guy-Manuel de Homem-Christo and Eric Chedeville). The album was recorded in three weeks in Ibiza. Released four years after 2002's Au Reve, its 12 tracks, influenced by an eclectic combination of funk, post-punk, techno, and synth pop, were recorded over three weeks in Ibiza, and includes the single "Toop Toop" alongside old-school instrumentals "La Notte" and "Jackrock."Apparat collaboration Moderat, sticking to the territory between German techno and UK bass with little in the way of diversion. But at 18 tracks and nearly 80 minutes, it's also a decent survey of those scenes, presenting unreleased tracks from important and rising artists, and displaying Modeselektor's consistently keen ear for quality, low-end-friendly sounds.

Cassius -15 Again ( flac 365mb)

01 Toop Toop 2:47
02 Rock Number One 3:36
03 This Song 4:50
04 15 Again 3:00
05 All I Want 3:55
06 Eye Water 5:32
07 See Me Now3:52
08 A Mile From Here 3:53
09 Jackrock 9:30
10 Cactus 8:02
11 La Notte 5:54
12 Cria Cuervos 3:38
 
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previously dec 06 France, Paris  re-rip

Motorbass - Pansoul (ogg 146mb)

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RhoDeo 1330 Goldy Rhox 119

Hello, today the 119th post of GoldyRhox, classic pop rock,  in the darklight a Grammy Award-winning American singer-songwriter and musician. He was one of the originators of the Tulsa Sound, a loose genre drawing on blues, rockabilly, country, and jazz influences. His personal style has often been described as "laid back". He moved to Los Angeles in the early 1960s, where he first worked as a studio engineer. Finding little success as a recording artist, he later returned to Tulsa and was considering giving up the music business until Clapton recorded his "After Midnight" in 1970. His first album, Naturally, established his style, described by Los Angeles Times writer Richard Cromelin as a "unique hybrid of blues, folk and jazz, marked by relaxed grooves and his fluid guitar and laconic vocals. He died of a heart attack last week age 74.

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

Today's mystery album isn't a golden one, it's a 36 tracks compilation of his great work, the reason while i break the rule here is simples, most of his work was released in the seventies when his sales weren't great, covers by others of his work did provide him with a nice income. He was as relaxed about creating music as he was playing it. The first decade of his recording career saw 8 albums, the next 30 years another 8, with hindsight he probably knew working too hard would be to much strain on his heart. This musicians musician almost worshipped by Eric Clapton gave the world plenty to enjoy, specially enjoyable during this hot summer, pure gold.


Goldy Rhox 119 - 1  (flac 276mb)

Goldy Rhox 119 - 2  (flac 334mb)

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Goldy Rhox 119   (ogg 243mb)

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