RhoDeo 1620 Grooves

Hello, The day that the world will be confronted by President Trump is drawing ever closer and whose fault is that ? First the main stream media that can't stop talking about the man, second the Democratic party that thinks that with a business as usual candidate, even if she's female, they can win the election. Americans are fed up with business as usual. The Democratic party is missing a huge chance to secure power for decades to come, if they'd support Sanders who's program looks in many ways of that of Franklin D Roosevelt, alas the Democrats have lost their heart. Third, again main stream media that completely ignored Sanders until Clinton had secured the south, infact as far as those CNN and Fox clowns were concerned Sanders didn't exist until April this year, its amazing that with so much opposition Sanders has been able to give Clinton headaches....            



Meanwhile a different kind of blues grooves here today to cleanse those other parts of soul..

Today an artist who assumed the moniker "Little Axe" and began moving from hip hop to a form of blues that drew from an array of musical influences, including dub, R&B, gospel, and jazz  He has been working steadily as a studio musician, recording both his own blues albums, continuing to appear as a guest act on other artists' albums as well.  ... N'joy

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Providing guitars, bass, keyboards, and vocals, Little Axe is the return to the blues that Skip grew up with and learned from his father. Born Bernard Alexander on 1 September 1949, Dayton, Ohio in the USA. Skip McDonald learned to play the blues on his father's guitar from the age of 8, although by the time he was 12 years old he had opted to perform doo-wop.

But from picking up a guitar as a child, and returning to his roots with Little Axe, there has been a long twisting road. McDonald, along with bassplayer Doug Wimbish and drummer Keith LeBlanc formed the house band for the pioneering rap label Sugar Hill, providing the music for some of the most seminal records of the era by Grandmaster Flash, Afrika Bambaata, Force M.D.'s and others. From there he worked closely with Adrian Sherwood on many of projects for the On-U Sound label, as well as spearheading the band Tackhead and working with Living Colour.

But first, back to Dayton, Ohio.

Having completed his high school education Skip left Dayton with a band called the Ohio Hustlers, which broke up not long after relocating to New York City. His first professional work as a musician began when he formed the Entertainers who toured the east coast through to the mid-70s.

He moved on to Hartford, Connecticut, and there's when he met Doug Wimbish, who played in a band called Wood, Brass & Steel. Wood, Brass & Steel recorded a selftitled album for All Platinum Records, the label of Sylvia and Joe Robinson, in 1976. Skip and Doug played a lot of music together, in clubs and colleges around New York, New Jersey, Connecticut and Massachusetts.

In 1979, three years after the Wood, Brass & Steel album, Skip and Doug teamed up with drummer Keith LeBlanc and they became the house band for Sugarhill Records, the Robinson's new label. The trio played on some of the earliest rap hits such as The Message and White Lines (Don't Do It) with Grandmaster Flash.

While they worked at Sugar Hill, LeBlanc also freelanced at Tommy Boy Records where he first met Adrian Sherwood. LeBlanc introduced his colleagues to Sherwood and the trio were persuaded to relocate in London. Upon their entry into the On-U Sound fold, the group formed a production team and, again, a house band, this time for On-U. The three participated in dozens of records on Sherwood's label.

The partnership developed and metamorphosed into a fully-fledged band, Tackhead. Though good working relationships remain to this day, the dispersion of Tackhead in the early 1990s saw Keith and Doug pursue more of their own projects and play less often togther.

For Skip the time since has seen him work ever more closely with Sherwood, both on his own projects and as a musician or guest vocalist on many other of Adrian's On-U Sound productions - such as by Junior Delgado, Bim Sherman, Dub Syndicate and African Head Charge, sometimes along side Keith and /or Doug.

Skip has been the prime mover behind Little Axe since around 1992. Under a name inspired by Bob Marley's Small Axe and gospel singer Willmer 'Little Ax' Broadnax, the debut album Wolf That House Built was a personal take on blues and dub, and was released to critical acclaim in 1994. This had followed a partial release in Japan compiled in a slightly different form and with a different title (Never Turn Back) the previous year. The second Little Axe album, Slow Fuse, was also well received. Both albums featured tabla player Talvin Singh, for Slow Fuse the gifted voices of Kevin Gibbs and Sas Bell were added.

Then it remained silent for far too long. In 2002 Skip's third Little Axe album Hard Grind became the first release for four years on Sherwood's revived and re-launched On-U Sound label with a mixture of raw blues and reggae. While Hard Grind no doubt will also draw comparisons to Moby's Play, it was Skip who pioneered the fusion of blues and electronic music with Little Axe.

In 2006 Skip McDonald released the fifth Little Axe album, Stone Cold Ohio, after Champagne and Grits (2004), the second record released on Peter Gabriel's Real World Records. This time the emphasis was on the gospel, another of Skip's old loves. The production and mixing was done Adrian Sherwood; 'gospel dub' like you never heard before. 2007 Little Axe Live And Direct was released, followed by Bought For A Dollar/Sold For A Dime in 2008. Call My Name (2009) was a side project with Mauritanian singer Daby Tour. His thusfar last studio album with the great title "If You Want Loyalty Buy A Dog" was released in 2011. As of 2016, he still tours and gigs regularly, has a loyal following and is in regular demand for session work as a guitarist.



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Little Axe is guitarist and singer Skip McDonald, but it's also much more than that. It is, in practice, a virtual reunion of the Sugarhill Gang -- the rhythm section responsible for the grooves underlying such paleo-hip-hop classics as "Rapper's Delight" and "White Lines" -- and therefore also a virtual reunion of Tackhead, the pioneering avant funk outfit that brought the Sugarhill Gang together with British producer Adrian Sherwood and vocalists Gary Clail and Bernard Fowler. In the Little Axe context, though, the focus is squarely on McDonald and on his overriding passion: vintage blues. Imagine a Delta blues aesthetic (spare, rural, and stark), and then imagine it thickened with additional instrumental layers and twisted with dubwise atmospherics, and you'll have some idea what to expect -- sort of like a posthumous collaboration between Howlin' Wolf and African Head Charge. The second Little Axe album features mostly McDonald originals, along with some well-chosen covers from the likes of Allen Toussaint, Skip James, and former Living Colour drummer Will Calhoun. But even his originals owe a deep debt to the work of his forefathers -- "If I Had My Way," for example, takes its whole chorus from the gospel classic "Samson and Delilah." Stone Cold Ohio is a real rarity: an album that can't be mistaken for anything other than blues, but that sounds nothing like any blues album you've ever heard.

Little Axe - Stone Cold Ohio   (flac 287mb)

01 If I Had My Way 4:09
02 Jive Talk 1:42
03 Same People 3:53
04 Rockin' Shoes 3:48
05 Pray 2:55
06 Prisoner 1:10
07 Victims 4:39
08 Let Me Ride 3:17
09 Trouble In Mind 3:21
10 Blueneck Dub 3:33
11 Hard Times 4:21
12 Almighty 3:41
13 No Bottom 3:45
14 She 1:53
15 No More Mourning 1:15

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After nearly two decades of blues re-invention, singer/guitarist Skip McDonald has perfected his particular and peculiar metamorphosis of the form.  A massive part of the already massive Little Axe sound has always been provided by dub-king producer Adrian Sherwood, his influence so sonically pervasive that he counts as an equal collaborator. The old master-crew is assembled for these sessions in Peter Gabriel's Real World studio: bassist Doug Wimbish, drummer Keith LeBlanc and soaring singer Bernard Fowler. There are also two guest vocal spots from Jamaican veteran Ken Boothe. Less familiar, but still crucial to this album is harmonica player Alan Glen, whose stinging trills lift up nearly every song.
The feedback avenues are now beyond easy tracking, as old blues elements are channelled through fresh techniques. There are even versions of two Tackhead songs, further confusing the lineage between old-timey rural foot-clumping and shining 1980s funk-hop beats. There's a reading of the song popularised by long-departed down-home bluesman Son House: his Grinnin' In Your Face is shortened to Grinning. The album opens and closes with 50-second mini-songs, their gospel traits swirling into the heavens. Most of the remaining bulk favours a much longer six-minute average within which to slink and saunter, emanating a spellbinding aura. The distinctive Little Axe sound is a dreamy miasma, creaming up elements of funk, rock, soul and gospel. It's perpetually intertwining into a genre weave. The vocal layers build up a call-and-response thickness, and a couple of tunes even hint at ska and reggae rhythms. The cumulative slowness begins to take on the feel of an imaginary Funkadelic ballad collection. The guitars are always draped in exotic echo, held in perpetual slow motion, except for when Hammerhead gets to sludge-truckin' and Return proves itself the hardest and heaviest track. By this time, there's a beautifully sustained flotation in place.

Little Axe - Bought For A Dollar Sold For A Dime   (flac  370mb)

01 Guide My Feet 0:56
02 Soul of a Man 4:14
03 Grinning 3:27
04 Take a Stroll 3:59
05 Hands Off 0:51
06 Can't Sleep 5:19
07 Hammerhead 5:22
08 Can't Stop Walking Yet 5:55
09 Hear Me Cry 5:37
10 Too Late 5:30
11 Another Friend Gone 5:55
12 Tell Me Why 6:18
13 Return 4:42
14 When the Sun Goes Down 0:50

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Guitarist and singer Skip McDonald has long been an anomaly in the On-U Sound stable, and that's saying something, given that On-U Sound has been the musical home to such magnificent oddities as African Head Charge, New Age Steppers, and Little Annie. What sets McDonald's work apart is the fact that it's equally deeply rooted in dubwise reggae as it is in Delta blues. If You Want Loyalty Buy a Dog finds him distilling his sound: assisted by legendary reggae studio bands Dub Syndicate and Roots Radics (whose backing tracks are a mish-mash of previously recorded material, reworked and rearranged for the album), McDonald moans and croons bluesy lyrics and plays aching slide guitar; the sound is dark and rich but strangely spare, with little of the dubbed-up craziness that usually characterizes the production style of On-U Sound producer Adrian Sherwood. The result is an album that is beautiful, gently funky, and deeply, deeply sad -- against all odds, McDonald has taken musical elements that have little in common with the blues and used them to draw out the blues' deepest essence. Tracks like "Call It What You Like" and "Keep on Drinking" are simultaneously brilliant reggae and heartbreaking blues, and "Grace" is a baffling and aurally stunning deconstruction of the gospel standard "Amazing Grace" -- is it ironic or sincere? Impossible to tell. "Down and Dirty" is the kind of eerie, open-textured dub that used to be the nearly exclusive province of the late Augustus Pablo, only here the harmonica takes the place of the melodica. There is not a single weak track on this album. It's an unusually moving and haunting document from one of the unsung heroes of American (and, oddly enough, Jamaican) roots music.

Little Axe - If You Want Loyalty Buy A Dog   (flac  302mb)

01 Song To Sing 3:19
02 Keep On Drinking 4:10
03 Come Here Dog And Get Your Bone 4:18
04 I Got Da Blues 4:12
05 Call It What You Like 3:56
06 I Ain´t Going Down 4:15
07 Grace 3:59
08 Down And Dirty 3:48
09 Seeing Red 3:46
10 Moaning And Groaning 3:32
11 Garfield Elementary 3:15
12 National Style 3:20
13 Early In The Morning 3:53
14 Where From Here ? 4:26

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Wanted Live 1996, sees Little Axe in the classic line up: Skip 'Little Axe' McDonald, Doug Wimbish, Keith LeBlanc, Adrian Sherwood, Alan Glen, Kevin Gibbs, Saz Bell and Scotty Firth, recorded on the 1996 European tour. The album, with art work by Les Clark, contains 13 timeless moments of Little Axe history. Featuring live tracks from the archives, recorded back in '96 sounding as fresh and vital now as the night they were recorded

Little Axe - Wanted   (flac 395mb)

01 On The Beat Sound 5:10
02 Hammer Head 6:34
03 Black Diamond Train 5:31
04 Stealing In The Name 5:12
05 Rain And Cold 4:49
06 Storm Is Rising 4:46
07 Soul Of A Man 4:34
08 Going Down Slow 4:51
09 Return 5:13
10 Chains 4:14
11 Ride On 5:59
12 Too Late 5:53
13 Cosmic Stomp 6:22

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RhoDeo 1620 Re-Ups 58

Hello, to those asking for unlimitzone.com re-ups, I won't, registering is free and it will allow you to upload files that are still active. That said as i have started to use another and faster host, bigfile.to, with admittedly a long initial wait but then you get a good speed up to 400kps, meanwhile i wont be using unlimitzone.com much more.

Storage maybe dirt cheap these days -compared to 5 years ago, but the hosts are much more money orientated and look at turnover and notice that keeping data longer than 1 month isn't making them money. Thus the coming months i'm making an effort to re-up, it will satisfy a small number of people which means its likely the update will  expire relatively quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section at the page where the expired link resides....requests are satisfied on a first come first go basis. ...updates will be posted here and yes sign a name to your request and please do it from the page where the link died!

Looka here another batch of 35 re-ups 18 first time in flac, requests fullfilled up to May 15th, well I reached the point where requests have dried up the ball is in your court now  ...N' Joy


3x Roots Back in Flac (Manu Dibango - Gone Clear, Manu Dibango - Afrosouljazz, Manu Dibango - The Rough Guide to)


1x Japan Still in ogg (Haruomi Hosono - Super Xevious EP)


6x Belgium NOW In Flac (Telex - Neurovision, Novastar - Another Lonely Soul, Front 242 - Back Catalogue, Ontayso - Remixed, Re Invented,  Ghinzu - Blow, TooMany Dj's - Radio  pt 2)


4x Switserland NOW in flac (Carlos Peron - Impersonator II, Golden Boy - Or, Young Gods - Only Heaven, Young Gods - Heaven Deconstructed)


4x From The Cold Now in flac (Loreena. McKennitt - The Book of Secrets, Mari Boine - Idjagiedas, Gjallarhorn - Ranarop, Japan - Gentlemen Take Polaroids)


4x Wednesdays NOW in flac ( Modern Eon - Fiction Tales, Will Powers - Dancing for mental health; Scars - Author, Author !, VA - Soundtrack  Pi, RAW's Religion & New Inquisition)


2x Sundaze Back flac (John Foxx & Robin Guthrie - Mirrorball, John Foxx - Tiny Colour Movies)


7x Wavetrain 2x NOW in flac (Chameleons - Script Of The Bridge,  Fehlfarben - Monarchie und Alltag, 5x Back in ogg, Belfegore - A Dog Is Born, Belfegore - Belfegore, Members - 1980-The Choice Is Yours, Monochrome Set - Love Zombies,   Mekanik Kommando - Snake Is Queen )


4x Aetix Back in flac (Cocteau Twins-Lullabies to Violaine I,  Lullabies to Violaine II, Lullabies to Violaine III, Lullabies to Violaine IV)


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RhoDeo 1620 Aetix

Hello, o.m.g. the Daesh want the UK to leave the EU as does Putin according to PM Camaron, apparently the threats of the moneymen , the multinationals and their lackey Obama, hasn't been enough to convince the Brits to stay in the EU thusfar. It really is a disgusting show going on in the UK currently, I really hope the general public resists being scared into submission to those fascists running the EU who managed to prove their pro multinational stance just today by refusing to outlaw Monsanto's poison round up. More and more Europeans want out but are kept imprisoned by those disgusting technocrats...



Today a Belgian electronic music group one of the most consistent industrial bands of the 1980s, pioneering the style they called electronic body music, they were a profound influence on the electronic and industrial music genres.  even though they regularly pursued a more electronic variant of the sound that swept into vogue during the '90s, they were the premier exponent of European electronic body music ...N'Joy

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Front 242 were formed in 1981 in Aarschot, near Leuven, Belgium, by Daniel Bressanutti and Dirk Bergen, who wanted to create music and graphic design using emerging electronic tools. The first single, "Principles", was released in 1981. The front part of the name comes from the idea of an organized popular uprising, 242 stems from the UN resolution telling Israel to withdraw from the Palestinian territory won after the 67 war. Patrick Codenys and Jean-Luc De Meyer had separately formed a group called Under Viewer at around the same time, and the two duos joined together in 1982. Bressanutti, Codenys and De Meyer took turns on vocals at first, until they settled on De Meyer as the lead vocalist. The quartet debuted in 1982 with the single "U-Men" and album Geography, recorded for Red Rhino Europe Records (RRE).

Not dissimilar to Depeche Mode and other synthesizer bands at the time, Front 242 began playing live later that year, adding percussionist Geoff Bellingham but later replacing him with an ex-roadie, Richard 23 (born Richard Jonckheere). (Dirk Bergen also left the working band, but stayed on to direct management.) The group's sound began to grow more aggressive with 1984's No Comment minialbum, was the first to introduce the term electronic body music in association with their sound. Front 242 signed with the Wax Trax! label in 1984, and started their first tour in the United States with Ministry. This tour led to the creation of Revolting Cocks by Richard 23, Luc Van Acker, Alain Jourgensen of Ministry and othersBy 1987, Front 242 had gained an. Wax Trax! reissued much of the group's recordings (including the rarities collection Back Catalogue) and released a new album, Official Version. The first Front 242 LP to coalesce as a consistent recording, the album contained several cold-wave club hits ("Masterhit," "Quite Unusual") and, for the time, excellent production values. Released in 1988, third LP Front by Front was undoubtedly the group's best yet, with more emphasis on song structure than loose mechanistic grooves. Besides the alternative club hits "Headhunter" and "Never Stop," the record was Front 242's most consistent.

By the end of the decade, Front 242 had become the first Wax Trax! artist to make the jump to a mainstream label; Epic Records picked up the band's contract, reissuing each past album with new artwork and bonus tracks. The single "Tragedy (For You)" became another alternative club hit, and picked up rotation on MTV as well. Though the following album, Tyranny (For You), couldn't touch Front by Front in terms of quality, it made great strides for the group in the minds of audiences -- by the time of its release in 1991, Front 242 was, with Ministry and Skinny Puppy, one of the most well-known industrial acts in music.

Tyranny (For You) was the first album they released under contract with a major corporate label, Sony/Epic,after the widespread popularity of Front by Front. Sony/Epic also acquired the rights to the band's back catalog from Wax Trax! and issued re-released versions of the albums with new cover art and bonus tracks taken from singles and EPs.

A broader public was exposed to Front 242's music in 1992 in the film Single White Female, starring Bridget Fonda and Jennifer Jason Leigh. In the film, obsessed roommate Leigh ties Fonda to a chair but leaves her with the television remote control. In order to attract attention, Fonda tunes in to a music video channel and turns up the volume. The video playing at the time is Front 242's "Rhythm Of Time", from the album Tyranny (For You). Also in 1992, the television commercials for the film K2 were set to the Front 242 song "Moldavia", from the same album. In 1992, Bressanutti returned to combining graphic arts with music, taking his lithographs on tour to three U.S. galleries. Bressanutti also composed a solo half-hour atmospheric recording called Art and Strategy (or The Art Corporation) to play during viewings of the lithographs, and released it in a limited edition of 1,000 CDs.

Front 242's style shifted abruptly with each of their next two albums, released in rapid succession in 1993 on Epic's sub-label RRE (originally planned as a double-CD): 06:21:03:11 Up Evil and 05:22:09:12 Off (the numbers correspond to letters, spelling "Fuck Up Evil" and "Evil Off"). The band describes the two albums as "based on the duality of good and evil." However, strains were emerging, with the band members apparently having different artistic views. Despite these tensions, they performed on the main stage of the 1993

Neither of these albums had significant input from Richard 23, and 05:22:09:12 OFF only included their lead vocalist, Jean-Luc De Meyer, on a remixed track originally from Up Evil. On the other hand, a variety of new contributors were listed as members of Front 242 on these albums: Jean-Marc Pauly and Pierre Pauly (of the Belgian electronic group Parade Ground) on Up Evil, and 99 Kowalski and Eran Westwood on Off.

99 Kowalski is the stage name of Kristin Kowalski, making a tradition out of Richard 23's idea of number-as-name. Kowalski and Westwood were originally members of a New York City band called Spill who Bressanutti and Codenys had brought to Belgium to produce their debut album. After the recording sessions fell apart, they contributed to Front 242 on the Off release.

After the release of 06:21:03:11 Up Evil and 05:22:09:12 Off, there was no new material from Front 242 under any lineup. Instead, the band released a stream of live recordings and remixes. However, this period also saw a proliferation of side projects, an inordinate number of which involved De Meyer. Earlier, Richard 23 played in the Revolting Cocks, and De Meyer had a side project doing vocals for Bigod 20 for their single, "The Bog" in 1990. In 1995, De Meyer met Marc Heal of Cubanate at a Front Line Assembly concert, and the two of them collaborated along with Ged Denton and Jonathan Sharp, to record as Cyber-Tec Project for the new (and short-lived) Cyber-Tec record label.

After the departure of Sharp and the demise of the Cyber-Tec label, the remaining group continued working under the name C-Tec. De Meyer also took over as vocalist for Birmingham 6 for their 1996 album Error of Judgment. 1996 also saw the debut album Elemental from Cobalt 60, which De Meyer formed with Dominique Lallement and Frederic Sebastien of Reims, France, members of Kriegbereit. This was the start of a number of releases from Cobalt 60, which also did the soundtrack for the video game Wing Commander V. Meanwhile, Richard 23 recorded with the groups Holy Gang, and later, LaTchak.

The four core members of Front 242 regrouped in 1998 to compose radically reworked versions of many of their songs, which they then performed on their first tour in five years, appropriately called the Re:Boot tour. They acknowledged the influence of The Prodigy and their Fat of the Land album in crafting the new, more techno style of Re:Boot. The new tour material was the subject of Front 242's new recording contract in the U.S. with Metropolis Records. Front 242 also indicated at this time that they were recording new material. However, they had little activity after 1998, making occasional appearances in Europe and Mexico, while Codenys recorded under the name Gaiden with Steve Stoll in 2001.

2002 saw the beginning of a wave of new material from Bresanutti and Codenys, and then from Front 242. In August 2002 a DVD/CD two-disc set called Speed Tribe was released by Dance.com. The DVD was a collaboration with experimental documentary filmmakers Rod Chong and Sharon Matarazzo, who filmed the 2001 24 Hour Le Mans. In the video, the racecars, clouds, rain and spectators form an impressionistic visual backdrop for the music.

Several months later, the first release from Male or Female, also known as Morf, a new project for Bresanutti and Codenys along with vocalist Elko Blijweert. In 2002 and 2003, Morf released an album, an E.P., a double album, and a DVD/CD two-disc combo, on the Belgian record label Alfa Matrix, and went on tour through the U.S.

Then, 2002 and 2003 also saw the release of the new material from Front 242 in a decade: the E.P. Still and Raw and the album Pulse, released on XIIIBis Records in Europe and Metropolis in the U.S. These represented another iteration of Front 242's explicitly stated goal of reinventing itself. The style of the two new releases is more mellow than some of their past work, using more "glitchy" and "bleepy" sounds. As well, it uses the manipulated voice as a musical instrument. The new releases have a much more emotional style from De Meyer, which was presaged in his later recordings with C-Tec and particularly Cobalt 60 on its album Twelve.

Front 242 promised a new U.S. tour to perform new material from these releases. They have made occasional appearances in Latin America and Europe, even being rejoined by Dirk Bergen for a reunion concert in Aarschot (De Klinker club) in 2004 under the original lineup of Bresanutti, Bergen, Codenys and De Meyer. This performance was kept secret until two days before the show but when the scene magazine Side-Line and the band's label Alfa Matrix launched the news, tickets were quickly sold out.

The band has now also set itself to re-release its entire back catalogue both as a normal CD and as a limited edition consisting of a 2-CD set holding previously unreleased material. For this the band is working together with the Belgian label Alfa Matrix that already took care of releasing the albums of the Front 242 side-project Male Or Female. The first re-release is their debut album Geography, this time newly remastered personally by Bresanutti to surprisingly powerful effect and including 3 extra tracks (two hidden ones) on the normal CD format.

Meanwhile, their enthusiasm for side projects has continued, as Patrick Codenys started appearing with a new group called Red Sniper, Bresanutti started recording with a new group called Troissoeur, and Codenys and Richard 23 formed a quasi-DJ project called Coder23 which toured in late 2004 and early 2005 as the opening act for VNV Nation. De Meyer contributed vocals on two studio tracks for the Glis album Nemesis in 2005. The lyrical content of the two songs ("The Irreparable" and "La Béatrice") were based on the poems of Charles Baudelaire.

Front 242 toured through twenty venues in North America in November 2005, their first tour as a full band since 2000. The band performed at the Roskilde Festival in 2006. The band's sold out two-day performance at the Ancienne Belgique in Brussels has been recorded for a future release via Alfa Matrix.

In December 2006, Front 242 announced from their MySpace page that they were writing music for a video game called Cipher Complex and provided a link to a teaser trailer with a short sample of one of their scores.
In 2007, De Meyer announced a new project: 32CRASH via the Alfa Matrix label. The band is preparing for an album release in October 2007 after the release of the EP Humanity.

On June 1, 2008, the Alfa Matrix label announced that Front 242 would make an ultimate statement towards abusive audio compression by releasing the free two-track download, First Moment. The two-track download was not new studio material. Instead, First Moments consisted of two previously unreleased live tracks, "U-Men" and "Im Rhythmus Bleiben", in rather stunning sound quality. On June 4, 2008, Alfa Matrix announced the release of Moments... The album was a live recording encompassing the best of Front 242's compositions. The album was shipped in several formats including limited CD box sets, vinyl in different colors including 300-copy limited editions, and as a one-disc CD release.

That's it then until  Transmission SE91 a radioshow recording Kåren, Göteborg, Sweden 15 March 1991 was released in 2013. A Year later however a digital release recorded live at Cold Waves III on September 28, 2014. Celebrates the 30th anniversary of Front 242's first USA show. And that's about it thusfar..

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Listening to Geography in the 21st century is a surprising experience in ways; one can tell exactly who's making the music, but things were still incredibly different at the start for Front 242. That said, the edge of the band is fully present, but the sheer amped-up level of brute aggression isn't. As a self-consciously modernist electronic body music act, though, Front 242 made a good debut, with a lot of the familiar elements of the group -- de Meyer's disembodied, passionless voice, Codenys and Daniel B's ears for threatening atmospherics -- in place. The Depeche Mode comparisons are understandable (check out the synth stabs and general pace of "U-Men" for a good example) but not perfectly accurate. Lyrically, Front 242's focus is mostly turned well away from love and religious imagery in favor of cryptic threats, though the THX 1138-sampling "GVDT" is calm and playful enough to imagine David Gahan singing it. A good demonstration of where Front 242 was at can be heard with the first two songs. While "Operating Tracks" adds enough white noise and full percussion slams to indicate the future, "With Your Cries" isn't all that removed from what Kraftwerk had already done. From there the quartet keep bouncing back and forth, sometimes offering up flashes of real inspiration but often indulging in the kind of random noodling that gave early-'80s industrial/dance music something of a bad name. That a number of the tracks are fragmentary instrumentals doesn't help, though they can make for nice enough mood music, and the rough recording quality actually helps in that regard. The 1992 reissue does a great job in pumping up the sound and giving it a fresh edge, while also including three rare tracks. "Ethics" is a nicely murky B-side, but the real fun comes from both sides of the group's 1981 debut single. To say they're both derivative of early Cabaret Voltaire would put it mildly -- even guitars are heard! -- though it is interesting hearing the original version of "Body to Body."

Front 242 - Geography (flac 262mb)

01 Operating Tracks 3:49
02 With Your Cries 2:43
03 Art & Strategy 2:14
04 Geography II 1:09
05 U-Men 3:13
06 Dialogues 2:04
07 Least Inkling 2:23
08 GVDT 2:55
09 Geography I 2:12
10 Black White Blue 4:19
11 Kinetics 2:03
12 Kampfbereit 3:19
bonus
13 Ethics 2:27
14 Principles 4:40
15 Body To Body 4:10

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With the recruitment of Richard 23 to fill out the classic line-up, Front 242 started consolidating its strengths with the No Comment EP. Kicking off with the full nine-minute hit of "Commando Mix," the quartet took the best parts of Geography for a starting point and whipped up a smart, tight selection of songs that start to have their own identity as Front 242, straight up. "No Shuffle," with its straightforward, brutal drum punch and heavy distortion, not to mention de Meyer's cold pronouncing of the lyrics, is particularly fine. "Special Forces," which appears in a "nomenklatura" instrumental remix as well, isn't much different but just as effective, de Meyer and 23 trading off in the manner that would characterize many of the band's later hits. A couple of cuts still seem almost too polite in comparison to later efforts, but while "Lovely Day" may have an actual romantic theme to it, the combination of the two vocalists' work and the screeching synth break make appropriately unsettling results. The 1992 re-release, besides a fine remastering job, also includes four bonus cuts from various sources. A re-recorded version of "Body to Body" beats out the original take by a mile, while the two live cuts from a show in Ghent are reasonable enough if not particularly revelatory. Adding yet another run through of "Special Forces" (the demo session in this instance) was probably doing too much, however.

Front 242 - No Comment (flac 485mb)

01 Commando Mix 9:23
02 Deceit 3:44
03 Lovely Day 5:23
04 No Shuffle 3:30
05 Special Forces 5:23
06 S. Fr Nomenklatura I 4:26
07 S. Fr Nomenklatura II 2:10
bonus
08 Body To Body 4:15
09 See The Future (Live) 6:20
10 In November (Live) 2:37
11 Special Forces Demo 4:50
Politics Of Pressure EP
01 Commando (Remix) 9:11
02 No Shuffle 3:47
03 Don't Crash 4:50
04 Funkahdafi 3:20

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On this amazing album, Front 242 came into its own, its brutal electrobeat now helping to fully define industrial in the broadest sense of the term. Daniel B and Codenys together whip out a series of chilling but always just danceable enough full body slams, showing an increased depth and sophistication in the overall arrangements, while 23 and de Meyer deliver their shouted and emotionless vocals with the force of full command. When the two share their vocals via traded-off lines or, often, simultaneous singing, the contrast between 23's slightly more breathless and de Meyer's sterner approach increases the overall appeal. The band's ear for vivisection by sampling reaches new heights: endless series of cries, random words, and more are looped and tweaked throughout nearly every song, a good example being the title word on "Aggressiva Due." Meanwhile, the sampled televangelist on "Angst" clearly paves the way for "Welcome to Paradise" a few years in the future. The two peaks of the album are its singles, both of which showcase equally gripping approaches. "Masterhit," appearing in its full seven minute version, is a full-on dancefloor monster, with a weirdly pretty chorus that makes it even more striking and memorable. "Quite Unusual," meanwhile, combines an almost quizzical lyrical portrait of a cryptic (romantic?) situation with a cinematic synth arrangement and the ever important pounding beat, varied at numerous points for even greater effect. At points on Official Version one can still hear the hints of the band's calmer start -- both "Television Station" and "Rerun Time" have instrumental breaks that Depeche Mode wouldn't have found out of place in 1984 -- but otherwise all is brusque yet chilly energy. The random metal guitar samples in said tune aren't quite up to the level of the Young Gods, but they're cool regardless. The 1992 reissue makes a great album even better with four fine bonus cuts, including an alternate take of "Quite Unusual." The two remixes of "Masterhit," "Masterblaster" and "Hypnomix," are both fine examples of the art, especially the former.

Front 242 - Official Version (flac 393mb)

01 W.Y.H.I.W.Y.G. 7:28
02 Rerun Time 5:26
03 Television Station 2:41
04 Agressiva Due 2:59
05 Masterhit (Part I & II) 7:07
06 Slaughter 3:37
07 Quite Unusual 3:49
08 Red Team 3:50
09 Angst 1:57
bonus
10 Quite Unusual (Alternate Version) 5:02
11 Agressiva 5:00
12 Masterblaster 7:06
13 Hypnomix 4:31

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Official Version was fantastic, but this album was something else again. Easily one of the greatest industrial albums ever made, bar none, Front by Front hit like a bombshell on its listeners and influenced more bands and songs than can be counted. Even the album art design, with everything from a rough pixel computer font cover to harsh video stills and blunt slogans, is a work of art, perfectly in sync with the electric mania inside (unfortunately, in the late '90s the entire Front 242 catalog was reissued with "high-tech" graphics). From the rampaging start of the album, "Until Death (Us Do Part)," not a single note, sample, guttural syllable, or headache-inducing drum hit is out of place. The album's most deservedly famous track can make an equally good case for being the definite EBM song: "Headhunter." A portrait of capitalism as mercenary terrorism with a wickedly compelling mock orchestral bass providing lead melody, "Headhunter" deserves notice not merely for the pounding music but the astonishing vocal arrangements. Richard 23 and Jean-Luc de Meyer serve up the memorable step-by-step chorus in perfect balance, the latter delivering each step like an order from on high while 23's singing adds on even more frenetic energy. The overall feeling of militaristic, blunt efficiency encompasses music, artwork, and lyrics -- thus utterly appropriate song titles like "Circling Overland" and "First In/First Out." "In Rhythmus Bleiben" stands out as a particularly fine song in a series of them, the melange of computer squeals and glitches, building percussion, chaotic vocal samples, and a downright anthemic chorus resulting in one killer tune. The 1992 reissue does the original CD one better by also including another mix of "Headhunter," as well as the entire Never Stop EP.

Front 242 - Front By Front   (flac  460mb)

01 Until Death -Us Do Part 4:30
02 Circling Overland 4:43
03 Im Rhythmus Bleiben 4:14
04 Felines 3:34
05 First In/First Out 3:52
06 Blend The Strengths 3:13
07 Headhunter V3.0 4:45
08 Work 01 3:27
09 Terminal State 4:09
10 Welcome To Paradise 5:17
bonus
11 Headhunter V1.0 5:01
12 Never Stop! V1.0 3:56
13 Work 242 N.Off Is N.Off 5:10
14 Agony -Until Death- 2:43
15 Never Stop! V1.1 4:22
16 Work 242 6:41

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RhoDeo 1620 Roots

Hello, we'll be staying in Brazil until the Olympics there's plenty of time to explore the it's music scene. The music of Brazil encompasses various regional music styles influenced by African, European and Amerindian forms. After 500 years of history, Brazilian music developed some unique and original styles such as samba, bossa nova, MPB, sertanejo, pagode, tropicalia, choro, maracatu, embolada (coco de repente), mangue bit, funk carioca (in Brazil simply known as Funk), frevo, forró, axé, brega, lambada, and Brazilian versions of foreign musical genres, such as Brazilian rock and rap.


Today, a Brazilian musical group from Rio de Janeiro that was formed in 1976.The instrumental band, dissolved in 1980,  they produced excellent work of electric samba-funk fusion, with hot brass arrangements, a great percussive section, and excellent solos.  It has a repertoire based on funk but also including samba, jazz and Brazilian rhythms.... .....N'Joy

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Banda Black Rio had its start in 1976, after the split of two other bands: Impacto 8 and Dom Salvador & Abolição. Oberdan Magalhães, who played with many famous artists in Brazil including Milton Nascimento and Gal Costa, formed the band with Cristóvão Bastos, Luiz Carlos Batera, Jamil Joanes, Cláudio Stevenson and Barrosinho. Mixing R&B, Jazz and Samba Elements, Banda Black Rio was one of the first to undertake the fusion of Essential Brazilian Music with International Black Music. As a part of the movement called "Black Rio", they played in a lot of suburban clubs in Rio de Janeiro, with famous artists like Sandra de Sá, who was an unknown singer at that time. The band achieved success with the song "Maria Fumaça", which was included in the soundtrack of a Brazilian soap-opera called "Locomotivas". In 1984, Oberdan died in a car accident, but the other members continued the band, setting gigs until 1985. In 1999, the son of Oberdan, William Magalhães, reformed the band with new members.; so they contacted Oberdan Magalhães, a renowned saxophonist, that accepted the challenge together with the Trumpet player Barrosinho, Keyboard and Arranjments Cristovao Bastos, Guitars and Arranjments Claudio Stevenson, Bass Jamil Joanes, Trombone Lucio Silva and formed Banda Black Rio. .

The original band recorded three albums: the instrumental Maria Fumaça (1977), Gafieira Universal (1978) and Saci Pererê (1980). They were also invited to take part in other artists' albums, such as Luiz Melodia, Raul Seixas, Sandra de Sa, Emilio Santiago, Alcione, Carlos Dafe, and recorded a live album with Caetano Veloso entitled Bicho Baile Show and Global Brazilians in 1985. The album was released in 1995.

The present band are the sons of the original members. Two albums came out from this new generation of Black Rio. Rebirth released in the 2001 and Supernova samba funk in 2012.

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Maria Fumaca (Maria Smoke) is an album released in 1977 by Banda Black Rio with a mixture of Soul, Samba, Funk and some other rhythms. This first album brings the hit "Maria Fumaça," included in the homonymous soap opera. The album also has good performances of Luiz Gonzaga's "Baião," Edu Lobo's "Casa Forte," and Ary Barroso's "Na Baixa do Sapateiro," along with the band's originals.The album is considered a classic of Brazilian music and the best of the band. Was included in the list of the 100 greatest albums of Brazilian music by Rolling Stone Brazil coming in 38th place.

Banda Black Rio - Maria Fumaça  (flac  189mb)

01 Maria Fumaça 2:22
02 Na Baixa Do Sapateiro 3:02
03 Mr. Funky Samba 3:36
04 Caminho Da Roça 2:57
05 Metalúrgica 2:30
06 Baião 3:26
07 Casa Forte 2:22
08 Leblon Via Vaz Lôbo 3:02
09 Urubu Malandro 2:28
10 Junia 3:39

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Another work from the greatest Brazilian Funk/Soul band of the 70’s, Banda Black Rio. This is Saci Perere, the second album, maybe the best out of three. Cassiano, from Os Diagonais, does the arrangements for some tracks. This album remembers the style of Ed Motta, with the soul vocals in front of everything. This is a fabulous soul funk rare gem...... Think Earth Wind and Fire with a Latin twist. Super sonics as well.

Banda Black Rio - Saci Pererê (flac 179mb)

01 Miss Cheryl 3:50
02 Melissa 3:31
03 De Onde Vem 3:29
04 Subindo O Morro 3:14
05 Amor Natural 4:03
06 Profissionalismo É Isso Aí 3:41
07 Broto Sexy 3:51
08 Tem Que Ser Agora 3:28
09 Zumbi 2:36
10 Saci Pererê 3:45

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Slick, highly produced latin funk. According to journalist and composer Julio Barroso, the Banda Black Rio was the cannibalistic fusion of sweaty funk spirit suburb with electricity of bronzed bodies of the southern zone - Explosion signs, swing. - Rio 40 Graus Trendy and poetic, Julio Barroso captured the sonorous language of the balls that were rolling in the suburbs of the state capital, represented here in the sextet's music. it can be said that few were able to go so far in such a short time, in the search for hybridization of the arrays of samba with funk, soul and jazz, as the Black Rio were. Many years later, in the 90s, English DJs discovered (or rediscovered) the sound of the Black Rio. Their LPs were worth hundreds of dollars on the international market, which resulted in reissues pirates on vinyl, and numerous compilations released worldwide.

Banda Black Rio - Gafieira Universal (flac 225mb)

01 Chega Mais (Imaginei Você Dançando) 2:50
02 Vidigal 3:37
03 Gafieira Universal 3:06
04 Tico Tico No Fubá 3:30
05 Ibeijada 3:24
06 Rio De Fevereiro 3:23
07 Dança Do Dia 3:02
08 Samboreando 3:10
09 Cravo E Canela 2:21
10 Expresso Madureira 4:10

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"This is a sound made in Brazil. With all Brazilian members. But the purpose is to show the young African music, with all its nuances that characterize the origins of the black continent's music. On this album we released many things curious. from the rhythmic design, which was based on the camel, which falls under the division 4/4, the same line of ya ya ya and Soul music, which was given the name of Oga, this, because in Lagos, capital of Nigeria, is an intimate treatment of friends. There, the man feels good when compared to a OGA (camel). Purposefully and proudly launched this new and different LP for export, not only dedicated to discófilos around the world, as well as the party lovers, evenings in night clubs, and even for those who are loving, because on both sides there are no gaps. it's crazy and contagious rhythm. "

This is how, in 1971, Embaixador and Maestro João Negrão described the record on his back cover. These words did not aged one bit. The production quality and experimentation on the Tribo Massàhi recording is an exponential leap forward. Estrelando Embaixador is candomblé-inspired psychedelic party music, taking the Afro-Brazlian sound into some wild territory. It's a heady mix of tropicalismo, chimed guitar, conversational chatter, studio fuckery, and heavy percussion with a female chorus. The songs blend together so that each side of the record runs as a continual piece. Side A is called "Timolô, Timodê;" Side B "Lido's Square." Trippy...

Tribo Massahi - Estrelando Embaixador (flac 197mb)

Timol Timodê
01 Walk By Jungle 4:06
02 Fareuá 3:11
03 Harmatan 3:38
04 Dandara 3:20
Lido's Square
05 Pae Joao 4:51
06 Menina De Janela 3:11
07 Oan 2:55
08 Madrugada Sem Luar 2:54

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RhoDeo 1620 Foundation 4

Hello,  surprise of the day was undoubtedly Max Verstappen winning the Spanish Grand prix in Barcelona, the youngest ever winner at 18 years. Hamilton and Rosberg didn't get passed the third corner before Hamilton trailing Rosberg decided to drive on the grass..bad idea at least he took Rosberg with him. This resulted in a great race between the Red Bulls and Ferrari's, the theoretically fastest race strategy should be a 3 stop Vettel and Ricciardo battled that way, however it turned out the 2 stop was the winning strategy and Max kept Raikonnen behind him for the last 20 laps, meanwhile Vettel and Ricciardo spent too much time battling each other until latter got a flat tire and had to make do with fourth. Anyway i'm sure Johan Cruyff had something to do with it, afterall he was a big fan of Max..His win was even more astonishing considering the first time he drove this RB12, was last friday. Just 3 days in this car. .


Rumor has it that HBO is working on the next big thing, a scifi series taking place far in the far future, Foundation. They will need to introduce a lot more female characters to make it appealing to the female audience, not a thing a fifties sci fi writer worried much about. If they manage to pull it of, there's potential for many seasons and spin offs

The Foundation series is a science fiction series by Isaac Asimov. For nearly thirty years, the series was a trilogy: Foundation, Foundation and Empire, Second Foundation. It won the one-time Hugo Award for "Best All-Time Series" in 1966. Asimov began adding to the series in 1981, with two sequels: Foundation's Edge, Foundation and Earth, and two prequels: Prelude to Foundation, Forward the Foundation. .

The premise of the series is that the mathematician Hari Seldon spent his life developing a branch of mathematics known as psychohistory, a concept of mathematical sociology. Using the laws of mass action, it can predict the future, but only on a large scale. Seldon foresees the imminent fall of the Galactic Empire, which encompasses the entire Milky Way, and a dark age lasting 30,000 years before a second great empire arises. Seldon also foresees an alternative where the interregnum will last only one thousand years. To ensure the more favorable outcome, Seldon creates a foundation of talented artisans and engineers at the extreme end of the galaxy, to preserve and expand on humanity's collective knowledge, and thus become the foundation for a new galactic empire ....N'Joy

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Psychohistory is a fictional science that combines history, sociology, and mathematical statistics to make general predictions about the future behavior of very large groups of people, such as the Galactic Empire. It was first introduced in the three short stories (1942–1944) which would later be collected as the 1951 novel Foundation.

Psychohistory depends on the idea that, while one cannot foresee the actions of a particular individual, the laws of statistics as applied to large groups of people could predict the general flow of future events. Asimov used the analogy of a gas: an observer has great difficulty in predicting the motion of a single molecule in a gas, but can predict the mass action of the gas to a high level of accuracy. (Physicists know this as the Kinetic theory). Asimov applied this concept to the population of his fictional Galactic Empire, which numbered a quintillion. The character responsible for the science's creation, Hari Seldon, established two axioms:

that the population whose behaviour was modeled should be sufficiently large
that the population should remain in ignorance of the results of the application of psychohistorical analyses

There is a third underlying axiom of Psychohistory, which is trivial and thus not stated by Seldon in his Plan:
that Human Beings are the only sentient intelligence in the Galaxy.

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Isaac Asimov's The Foundation Trilogy was adapted for the BBC in eight hour-long episodes by Patrick Tull (episodes 1 to 4) and Mike Stott (episodes 5 to 8), directed by David Cain, first broadcast in 1973, and repeated in 1977 and 2002.

Two hundred years after its creation, the Foundation battles Bel Riose, the last powerful General of the dying Galactic Empire.

Isaac Asimov - The Foundation Trilogy 4 The General (mp3  50mb)

The Foundation Trilogy 4 - The General... 54:50

The ever growing power of the Foundation  has brought it into conflict with the dying might of the Empire. the battle is joined for the supreme goal -- control of the Galaxy...

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previously

Isaac Asimov - The Foundation Trilogy 1 (mp3  52mb)
Isaac Asimov - The Foundation Trilogy 2 The Mayors (mp3  49mb)
Isaac Asimov - The Foundation Trilogy 3 The Merchant Princes (mp3  53mb)

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Sundaze 1620

Hello,  surprises today where a little man 5ft3 Gianluca Brambilla won the stage and the pink jersey today in Italy's Giro beating all the big men...the magic of cycling. Former leader Dumoulin reported an offday and some trouble sitting on the saddle, he was the big favorite for tomorrows time trail , but now the giro is wide open. Verstappen surprised in Spain qualifying fourth in the Red Bull, a car he had driven in just 2 days, his experienced and highly rated teammate Ricciardo maneged 3rd with a superlap, the Mercedes cars remain too fast Hamilton on pole.

Biggest surprise The Ukrainian win at the songfestival with a timely song about war, excellently sung but not my cup of tea. Bookie's favorite Russia came in third, behind the Australian/Korean entry that had been the professional jury's winner. In all there wasn't much that stood out for me, it's interesting to note that at least a dozen different countries scored a maximum 12 points with the jury's.



Today's artists are an ambient group from the late 1980s to 1999. Led by Martin Franklin, the band emerged from the post acid house chill out scene of the early 1990s in the UK, blending electronica and the emerging sampling technology with traditional and invented global instrumentation. .. ........N'Joy

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by the artist himself, Martin Franklin

From the late 80’s through to 1999, I was leader and percussionist of the trio TUU, playing a music which became part of the UK’s then emerging post-Rave Ambient scene.

Richard Clare & Martin Franklin Originating from my duo with actor and flautist, Richard Clare of the mid-80’s, I met Mykl O at a point where I was looking to expand the palette of wind/percussion and electronic drones of the duo. Mykl’s intuitive approach to electronics and musical experimentation led us straight into a number of performance and multi-speaker installation projects together, which we themed around Mykl’s phrase “music from the edge of dreams”.

Bringing these two strands of work with Richard and Mykl together, formed the first incarnation of TUU.

I had been running a cassette label called SoundImage for a few years, mainly producing compilation tapes of underground electronic music.

One Thousand Years Special Box-SDV Tontrager It was the exchange of work with numerous artists around the World which led to my first contacts with the enigmatic Dusseldorf musicians, Konrad Kraft & Dino Oon, who also ran the label, SDV Tontrager.

Before our music had been identified with any particular musical scene, TUU were operating in a genre-limbo, though one which to our minds mixed equal parts ECM with Popol Vuh, Brian Eno and Indonesian Gamelan. SDV’s altruistic offer to release our first recording, “One Thousand Years” was the boost we were waiting for. The CD duly appeared in 1993 as a limited  wood & aluminium edition and a regular jewel box version, both designed by SDV’s house designer, Jorg Willich, who at that time was studying at the Royal College of Art in London.

The Ambient Weekend, Melkweg, Amsterdam1994 was the year when the word Ambient was rehabilitated and became used to describe the work of many artists whose output previously inhabited this vague territory outside of a conveniently defined genre. Suddenly we were part of a scene ! Our circle of performance venues revolved around The Big Chill at Union Chapel, Islington, the parachute sets at Whirl-Y-Gig‘s deluxe Shoreditch venue, Club Dog and our “home” venue of Windsor Arts Centre.

Our CD release had yet to gain overground distribution, so I had built a circle of independent music shops that I would supply directly on a monthly “paper round” around London. It was while dropping off a new box of CD’s at Rocket Ron’s, Ambient Soho in Berwick St. that I began chatting to another supplier with a bag of CD’s even larger than mine. This turned out to be none other than Mike Barnett of Beyond Records, who at that time was most definately owner of the label with “the vibe”. Beyond’s “Ambient Dub” series had established the label as being bang in tune with the early 90’s Zeitgeist.

Our second album “All Our Ancestors” was released on Beyond in 1995, following the label’s release of the Richard H.Kirk “Electronic Eye” album and Max Eastley & David Toop’s “Buried Dreams”.

Beyond had just set up a sister label, Waveform to release it’s catalogue in the USA, so “Ancestors” gained it’s stateside release the following year. Sales across both labels went beyond anything we could have imagined.

By this time, Richard Clare had left to pursue his acting career and Rebecca Lublinski joined us playing a variety of flutes, bansuri and pipes. We began working with booking agency Chain Reaction in Brussels and had a stream of performances at home and now also around Europe. Our idylic Sunday afternoon set in the Whirl-Y-Gig tent at that year’s WOMAD, playing to 1000 people all laying flat on their backs, was surely a defining moment for us.

Whilst working on our third album, Rebecca became less available for our recordings, so we called in Nick Parkin, who I’d recently met while working on the Stillpoint project with Lights In A Fat City’s Eddy Sayer. With Beyond reeling from the impact of the way independent labels are treated by the music business machine, we signed that year with HOS/Fathom Records who released “Mesh” in the USA in late 1996.

Bologna 1995 Although our most short lived line up, memorable performances included supporting Daevid Allen’s Gong in Belgium, where the man himself sat at the side of stage while we played, commenting afterwards “You’ve created a continuum”. Looking back now, I can see how rich his concise comment was.

We had been invited to do some performances in Italy, organised by Stefano Musso/Alio Die over the Summer. The duo material that we generated during our performances in Italy and Belgium became the second Fathom Records release,  “Terma”.

I’d written a number of solo compositions using the gongs and metal instruments in my TUU set up, which I developed further while working on a commission to produce the soundfield for ceramic artist, Nikki Coe’s “Calls From The Rock” exhibition. Mykl had just left the UK for what was to become his new home in New Zealand, and so these final recordings of the TUU era came to be released by the Italian, Amplexus label in 1999 as “The Frozen Lands“.


Notes Tuu didn't make it into 21st century...

The African Tuu comes from a word for person common to one of the world's primary language families (yuu, vuu, du are european phoenetics)

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Tuu's first full length release. A perfect blend between new age, droning ambient or eastern world music, One Thousand Years is gem of hypnotic, ancient and tribal hymns. Sounds and instruments are perfectly used in good volumes keeping a good pace and never becoming overblown or cheesy for sake of being some false transcendent of mood or spiritual music. This release brings the visuals to you. Lush rainforests, ancient rivers, eternal landscapes and more. There is also a great balance between electronic and natural instruments. Mysterious is the word I would best describe this release. Ominous and ancient would be others. Favorite songs include Pan America. The tribal relaxing hooks with wind instruments are memorable. In fact, most of the album is highlighted by wind instruments giving off an eastern vibe to them. Pick up the re-release on Waveform for the complete release with 'Breath' and 'High Places'. Both somewhat of interludes, High Places is one of the more electronic sounding songs on the album and a worthy addition to fill out this album length wise. Overall, a very good background music that I could see as being meditation or music to feel tranquil with.

Tuu - One Thousand Years  (flac  304mb)

01 Fetish 7:40
02 Body Of Light 7:55
03 Exile 6:07
04 Pan America 9:58
05 Sand Garden 6:32
06 One Thousand Years 8:45

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Tuu's second full length release is an extension of their first release sounding similar but more focused and with less of a background music feel. Perhaps even a bit more soundtrack like in 'Triple Gem of Wisdom'. The title song hypnotizes with building water drums, ominous lulling flute and underlying eerie melody then clanking in the background. One of Tuu's finest moments. 'House of the Waters' another one worth mentioning. Simple but effective. Tuu's seemed to really fine tune the thoughts on their first album and honed them here for an excellent release. Most of these are standout tracks. 'Rainfall' is the favorite here. It's switches into the Baka sample and shaker seductively and entrancing with water drumming is hypnotizing. The fade out and near minute silence into the next track reall embellishes the trance . 'Illumination' then comes out of the dream state. All and all another fine example of the Tuu experience. Transcending music.

Tuu - All Our Ancestors  (flac  251mb)

01 Triple Gem Of Wisdom 8:02
02 All Our Ancestors 7:35
03 House Of The Waters 4:43
04 Stillpoint In Motion 5:25
05 Rainfall 8:05
06 Illumination 4:31
07 Shiva Descending 9:00

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Tuu's debut for Fathom, Mesh conforms a bit to the dark edge of many of that label's recent releases, with a more sullen, contemplative mood predominating. Tuu's strong suit is, of course, their instrumental palette, and the group's fusion of a range of non-traditional acoustical instruments (didgeridoo, clay pots, flutes, gongs) with electronic soundscapes is as accomplished here (if somewhat less organized, and that's not necessarily a bad thing) as on previous releases.

Tuu - Mesh (flac 261mb)

01 Crack Between The Worlds 8:13
02 Migration 7:28
03 Kalpa Taru (Tree Of Wishes) 5:09
04 Mesh 12:06
05 Stone To Sand 5:19
06 Four Pillars 8:12
07 Great Wheel 6:21

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Tuu, composer Martin Franklin, put Tibetan singing bowls over electronic beats years ago. Thus, Franklin is one of the forerunners of international electronica. On Terma, Tuu teams up with similarly minded Nick Parkin, another ambient/innerspace composer (mostly for synthesizer). Frame drums, water drums, and gongs keep a fluid, reverberating, sonorous bottom to the compositions that feature various flutes and droning synthesizers. The effect is ethereal and atmospheric. Languid, exotic melodies wash over the listener, evoking images of candle-lit mountain shrine interiors and crepuscular spirit summoning rituals on the wooded plain.

Tuu and Nick Parkin - Terma (flac 236mb)

01 Djinn 4:44
02 Water Memory 8:45
03 Magus 8:22
04 Ghosts In The Landscape 8:51
05 Terma 5:46
06 Plateau 5:17
07 Serpent Fire 4:56

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As the starter bonus here tracks recorded between August 1989 and January 1990. Originally released on cassette. Tracks 7 and 9 composed in January 1995. Re-mastered and mixed during March/April 1995. Inlays printed on textured card. The initial 500 copies of this release came with an Italian mountain flower.

Tuu - Invocation-Archive (flac 217mb)

01 Invocation 5:28
02 High Places 5:34
03 Submerged / Tides 6:38
04 Waiting For The Sun King 6:02
05 Breath 4:17
06 Before The Gates 1:49
07 Beneath The Sands 5:31
08 Distant Dreaming 3:38
09 Present In The Falling Rain 3:37
10 Before One Thousand Years 5:46

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RhoDeo 1619 Grooves

Hello, a different kind of blues grooves here today to cleanse those other parts of soul..


Today an artist who assumed the moniker "Little Axe" and began moving from hip hop to a form of blues that drew from an array of musical influences, including dub, R&B, gospel, and jazz  He has been working steadily as a studio musician, recording both his own blues albums, continuing to appear as a guest act on other artists' albums as well.  ... N'joy

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Providing guitars, bass, keyboards, and vocals, Little Axe is the return to the blues that Skip grew up with and learned from his father. Born Bernard Alexander on 1 September 1949, Dayton, Ohio in the USA. Skip McDonald learned to play the blues on his father's guitar from the age of 8, although by the time he was 12 years old he had opted to perform doo-wop.

But from picking up a guitar as a child, and returning to his roots with Little Axe, there has been a long twisting road. McDonald, along with bassplayer Doug Wimbish and drummer Keith LeBlanc formed the house band for the pioneering rap label Sugar Hill, providing the music for some of the most seminal records of the era by Grandmaster Flash, Afrika Bambaata, Force M.D.'s and others. From there he worked closely with Adrian Sherwood on many of projects for the On-U Sound label, as well as spearheading the band Tackhead and working with Living Colour.

But first, back to Dayton, Ohio.

Having completed his high school education Skip left Dayton with a band called the Ohio Hustlers, which broke up not long after relocating to New York City. His first professional work as a musician began when he formed the Entertainers who toured the east coast through to the mid-70s.

He moved on to Hartford, Connecticut, and there's when he met Doug Wimbish, who played in a band called Wood, Brass & Steel. Wood, Brass & Steel recorded a selftitled album for All Platinum Records, the label of Sylvia and Joe Robinson, in 1976. Skip and Doug played a lot of music together, in clubs and colleges around New York, New Jersey, Connecticut and Massachusetts.

In 1979, three years after the Wood, Brass & Steel album, Skip and Doug teamed up with drummer Keith LeBlanc and they became the house band for Sugarhill Records, the Robinson's new label. The trio played on some of the earliest rap hits such as The Message and White Lines (Don't Do It) with Grandmaster Flash.

While they worked at Sugar Hill, LeBlanc also freelanced at Tommy Boy Records where he first met Adrian Sherwood. LeBlanc introduced his colleagues to Sherwood and the trio were persuaded to relocate in London. Upon their entry into the On-U Sound fold, the group formed a production team and, again, a house band, this time for On-U. The three participated in dozens of records on Sherwood's label.

The partnership developed and metamorphosed into a fully-fledged band, Tackhead. Though good working relationships remain to this day, the dispersion of Tackhead in the early 1990s saw Keith and Doug pursue more of their own projects and play less often togther.

For Skip the time since has seen him work ever more closely with Sherwood, both on his own projects and as a musician or guest vocalist on many other of Adrian's On-U Sound productions - such as by Junior Delgado, Bim Sherman, Dub Syndicate and African Head Charge, sometimes along side Keith and /or Doug.

Skip has been the prime mover behind Little Axe since around 1992. Under a name inspired by Bob Marley's Small Axe and gospel singer Willmer 'Little Ax' Broadnax, the debut album Wolf That House Built was a personal take on blues and dub, and was released to critical acclaim in 1994. This had followed a partial release in Japan compiled in a slightly different form and with a different title (Never Turn Back) the previous year. The second Little Axe album, Slow Fuse, was also well received. Both albums featured tabla player Talvin Singh, for Slow Fuse the gifted voices of Kevin Gibbs and Sas Bell were added.

Then it remained silent for far too long. In 2002 Skip's third Little Axe album Hard Grind became the first release for four years on Sherwood's revived and re-launched On-U Sound label with a mixture of raw blues and reggae. While Hard Grind no doubt will also draw comparisons to Moby's Play, it was Skip who pioneered the fusion of blues and electronic music with Little Axe.

In 2006 Skip McDonald released the fifth Little Axe album, Stone Cold Ohio, after Champagne and Grits (2004), the second record released on Peter Gabriel's Real World Records. This time the emphasis was on the gospel, another of Skip's old loves. The production and mixing was done Adrian Sherwood; 'gospel dub' like you never heard before.
2007 Little Axe Live And Direct was released, followed by Bought For A Dollar/Sold For A Dime in 2008.
Call My Name (2009) was a side project with Mauritanian singer Daby Tour. His thusfar last studio album with the great title "If You Want Loyalty Buy A Dog" was released in 2011. As of 2016, he still tours and gigs regularly, has a loyal following and is in regular demand for session work as a guitarist.



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Technically this is an Epic release, but those in the know will see Adrian Sherwood listed as producer and Skip McDonald as sole performer and understand immediately: in all but name, this is an On-U Sound production. What does that mean? It means that groove will be primary, words secondary, and overall sound will be dark and thrilling; it means that weird samples will bubble up unpredictably from beneath churning funk and reggae rhythms; and it means that a certain degree of dubwise anarchy will infuse every note. What distinguishes this album from other On-U projects is the raw material: whereas an On-U Sound album generally builds on a reggae foundation, Skip McDonald's background is in the blues, and what he has put together here is a tribute to Howling Wolf. This is a roiling pastiche of samples taken from Wolf's singing and speaking, all of them thrown into a stew of funk and reggae beats and interspersed with McDonald's own multi-tracked vocals (which will sound very familiar to fans of Tackhead and Strange Parcels, both of which were founded by him). It's hard to identify highlights here, but some of the album's especially strong moments come during "Ride On," which samples Howling Wolf's discussions of life on the road, and the primarily instrumental "Out in the Rain and Cold." Exquisite.

Little Axe - The Wolf That House Built   (flac 402mb)

01 Ride On (Fight On) 5:22
02 The Time Has Come 5:04
03 Out In The Rain And Cold 4:37
04 Back To The Crossroads 6:36
05 Never Turn Back (Part 1 & 2) 7:19
06 Another Sinful Day 4:06
07 Crossfire 4:29
08 Wolf's Story 4:22
09 Hear My Cry 7:01
10 Dayton 6:12
11 Falling Down 4:28
12 Wake The Town 3:55

Little Axe - The Wolf That House Built  (ogg   147mb)

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Slow Fuse cuts back markedly on the sweeping sonic experimentation of the critically acclaimed The Wolf That House Built for more vocals and a song-oriented approach built on a foundation of acoustic guitar meeting high-tech studio sound. This time, rather than fashion a musical extension, Skip McDonald apparently set his sights on imagining and re-creating (to a point) the ambience of the Mississippi Delta world from which the blues took root. "On the Beat Sound" is framed around a sampled Howlin' Wolf interview snippet that conceptually unites the disc. The moody arrangement sets the musical tone -- it sounds more like an attempt at updating an old field holler than using a traditional form as a launching pad. The title track is a country jog trot; banjo figures prominently in "Speak Easy"; and "Black Diamond Train" is a train song, featuring harmonica and hushed backing voices, motivated by Keith LeBlanc's drums. "Storm is rising/Blues falls down like drops of rain" is a memorable lyrical couplet, and much of Slow Fuse is geared toward taking the blues as a metaphoric experience. "Going Down Slow" and "Must Have Been the Devil" are classic song titles used as hooks for new lyrics dealing with 21st century blues themes, and the closing "Don't nobody know my troubles but God" refrain on "Black Diamond Train" echoes other vintage standards. But the music doesn't rise to the occasion, especially compared to a masterpiece like The Wolf That House Built, which presaged Moby's Play; it just trails away into an evanescent zone far too often, especially at the end. Early releases of Slow Fuse contained a ten-track second disk of dubs (timid by On-U-Sound standards) that didn't offer any radical reinterpretations -- it's really not worth searching out and paying collectors' prices for.

Little Axe - Slow Fuse   (flac  334mb)

01 Blue 2:09
02 On The Beat Sound 3:44
03 Storm Is Rising 5:12
04 Black Diamond Train 4:13
05 Short Fuse 5:09
06 Going Down Slow 3:57
07 Must Have Been The Devil 4:46
08 People Do 4:53
09 Amber 2:13
10 Chains 3:41
11 Return 5:21
12 Too Late 5:05
13 Speak Easy 3:44

Little Axe - Slow Fuse (ogg  118mb)

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Skip McDonald's Little Axe returns for Champagne and Grits, and it could well be the band's finest, most expansive set yet. Little Axe's brand of blues-gospel-dub is probably the most interesting and adventurous of all the projects that attempt to infuse new life into the blues, and Champagne and Grits rivals their debut not only for an outstanding set of tunes, but for sheer sonic experimentation as well. Skip runs the show with plenty of help from producer Adrian Sherwood, and of course Doug Wimbish and Keith LeBlanc are on hand as well. The set starts with a pure acoustic blues, but then enters territory charted only by this band. It's still the blues, but there are gospel-flavored vocals, eerie harmonica, and fantastic dub elements all combined into a singular style. Disembodied vocals and sermons waft in and out of the ether, along with washes of electronica, soulful blues guitar, and wicked basslines. A couple of the tracks venture a bit further into reggae territory (with some help from Junior Delgado), but it still all feels bluesy despite the additional trappings. McDonald knows and respects the past, but he knows how to build on it, not enshrine it. Little Axe is the only band that does what it does, and does it brilliantly. Ancient to the future. Highly recommended.

Little Axe - Champagne & Grits   (flac 346mb)

01 People Grinning In Your Face 3:57
02 Finger On The Trigger 5:09
03 Mean Things 6:17
04 The Way I See It 0:37
05 Walk On Water 4:49
06 Go Away Devil 4:43
07 Say My Name 4:44
08 Take Me Back To The Country 1:00
09 All In The Same Boat 4:10
10 Living And Sleeping In A Dangerous Time 5:44
11 Will I Ever Get Back Home Again ? 4:21
12 Cloud 3:10
13 Sinners 4:43

Little Axe - Champagne & Grits  (ogg  122mb)

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RhoDeo 1619 Re-Ups 57

Hello,

Storage maybe dirt cheap these days -compared to 5 years ago, but the hosts are much more money orientated and look at turnover and notice that keeping data longer than 1 month isn't making them money. Thus the coming months i'm making an effort to re-up, it will satisfy a small number of people which means its likely the update will  expire relatively quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section at the page where the expired link resides....requests are satisfied on a first come first go basis. ...updates will be posted here and yes sign a name to your request and please do it from the page where the link died!

Looka here another batch of 19 re-ups, requests fullfilled up to May 11th, well I reached the point where requests have dried up the ball is in your court now  ...N' Joy


1x Sherwood NOW in Flac (Looplizard  ‎- Into The Sun ---god knows whatsssss going on with these lizards thissss issss their only album)


3x Aetix Back In Flac (Golden Palominos - Golden Palominos, Golden Palominos - Visions of Excess, Golden Palominos - A Dead Horse )


4x Aetix Back In Flac (DNA - DNA on DNA, Ambitious Lovers - Envy, Ambitious Lovers - Greed,  Ambitious Lovers - Lust )


1x Aetix 1x Back flac (Stewart -Year of the Cat)


3x Aetix Back flac (Laurie Anderson - Big Science   still in ogg  Annabele Lamb - Once Bitten, Belle Stars - I)


4x Sundaze Back in flac ( Excursions Beyond The Call Of Duty I-1, Excursions Beyond The Call Of Duty I-2; Excursions Beyond The Call Of Duty II-1, Excursions Beyond The Call Of Duty II-2)

3x Into BPM Back flac (DJ Shadow - Preemptive Strike,  Dubnology, Lost In Bass I, Dubnology, Lost In Bass II)

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RhoDeo 1619 Aetix

Hello, the Eurovision Song Contest kicked of with it's first semifinal tonight, rather disappointing my favorite turned out to be Cyprus. There was a Sinead O Connor version in a Bjorkish dress courtesy of Croatia she made the final as did Douwe Bob who in contrast to most others wrote his own song. Personally I think that songwriting for other countries should be forbidden, that way there would be much more variation. That said the whole show is much more entertaining than it was before all those eastern European and ex sovjetrepublics joined in. Australia has joined too so why not Canada maybe soon, after all their diva Celine Dion started her international career winning 1988 Eurovision Song Contest for Switzerland.



Today a German group that stands as one of the innovators of the subgenre of Euro-rock dubbed body music, a sound characterized by its dense electronic makeup as well as its harsh, visceral execution. The group came together in 1981 as a duo comprised of vocalist, guitarist, keyboardist, and mouthpiece Jurgen Engler, formerly of the German punk outfit Male, and ex-Propaganda member Ralf Dorper. Over the course of the group's first three records -- 1981's Stahlwerksinfonie, 1982's Volle Kraft Voraus, and 1984's Entering the Arena -- Die Krupps continued to refine its lyrically bleak, synth-based sound.  ...N'Joy

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The band's name translates as "The Krupps" and comes from the Krupp dynasty, one of Germany's main industrial families before and during World War II. In some interviews the band stated that Visconti's 1969 movie The Damned — a depiction of the fictitious German industrial dynasty of the Essenbecks — was the main inspiration.

Ralf Dörper who was part of the initial line-up which created the highly acclaimed early recordings "Stahlwerksynfonie" and "Wahre Arbeit Wahrer Lohn" in 1981 left the band in 1982 to found the band Propaganda. Propaganda became one of the few German bands which were internationally successful in the 80s. In 1989 Ralf Dörper initiated a collaboration with Nitzer Ebb on an old Die Krupps track (i.e. Machineries of Joy, a cover of Wahre Arbeit Wahrer Lohn) which he produced together with Jürgen Engler. The chart-success of the record (Billboard-Charts) led to the reactivation of Die Krupps fronted by Engler and Dörper.

The initial Die Krupps sound throughout the 1980s combined synthesizers with metallic percussion. Die Krupps were key in the Europe wide progression of Electronic Body Music culminating with the collaboration in 1989 with British band Nitzer Ebb. In 1992, they began to utilize guitars and more sounds derived from heavy metal music, with the release of their album I and the EP Tribute To Metallica, which consisted of covers of Metallica songs. Combining electronic and metal elements was a pioneering move which led to a number of other bands using the electronic/metal combo as a template in keeping with a deeper industrial sound. The band continued in this vein through the 1990s, releasing II - The Final Option (with a cover influenced by Deep Purple's Machine Head) in 1993. A more experimental and pensive III - Odyssey of the Mind followed in 1995. After the release of the heavily metal-influenced album Paradise Now in 1997, the band disbanded. Jürgen Engler founded the project DKay.com and released two albums in 2000 and 2002.

Die Krupps celebrated their 25th anniversary with appearances in some major European festivals as well as solo appearances in 2005 and 2006. In fall 2007, two greatest-hits albums were released to celebrate the 25th anniversary of Die Krupps: "Too Much History - The Electro Years Vol. 1" and "Too Much History - The Metal Years Vol. 2", both in digipak format. Both albums were combined as the 2-disc "Too Much History".

The influential back-catalogue of Die Krupps has been remastered and expanded. So far four of their previous albums "Stahlwerksynfonie" "Volle Kraft Voraus", "I" and "Final Option" have been re-released. To celebrate thirty years of "True Work" Die Krupps launched a joint European tour with Nitzer Ebb in spring 2011.


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Digitally remastered and expanded two CD edition of this 1981 release from the German Industrial band. Not as many claim a sound related parallel to the Einstürzende Neubauten, but quite independently. Die Krupps set at the steelworks symphony synthesizer borne sounds, paired with a monotonous drum sound. Drums sound ... it is not a drum machine. This is also a very interesting sound component of the albums, which relies primarily on the abnormal, as well as a coordinated dancefloor rhythms. Malaka and Engler have played together already at times. Bored by the former punk sound of the leap succeeded into the experimental subject. With regard to the possibilities offered to the Engler and Co. a brilliant albums will be presented here. An Album which was formative for the industrial sound as well as for the dancefloor sound already mentioned.

The concert featured on Disc Two took place at Haus Blumenthal in Krefeld 1981 and was recorded by a Japanese gentleman, Agi Yuzuru, a journalist, happened to be in Europe to report on the new music that was emerging everywhere - but foremostly in Germany. A tour with DAF, Deutsch Amerikanische Freundschaft, promoting their 'Alles ist gut' Album at the time, was to follow in June of '81, which cemented DIE KRUPPS' reputation as being a fine live-band, and which established them as a force to be reckoned with.

Die Krupps - Stahlwerksynfonie (flac 505mb)

01 Stahlwerksymphonie / Ur-Werk 23:51
02 Stahlwerksynfonie A 13:47
03 Stahlwerksynfonie B 14:40
Live In Krefeld, June 6, 1981
04 Wahre Arbeit Wahrer Lohn 2:14
05 Stahlbad 4:30
06 Schmerz Aus Eisen 3:11
07 Diese Nacht 3:49
08 Alles Verbrennt 2:45
09 Stahlwerksynfonie 14:09 .

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Long before Die Krupps were an important part of the industrial metal scene, they were considered one of the most significant electro-EBM bands of the early 80s. Their second album "Full speed ahead!" Is now re-released in digipack out, and in addition to the original album from 1982, also a second CD with current remixes. The minimalist music involved no guitars, and the German-language song Jürgen Engler reminds stylistically strongly DAF. The songs seem at first glance quite simple and monotonous, evolve over time but a downright hypnotic effect. Also the lyrics are strongly reduced to their essential message, which is why the individual numbers have to make do with just a few words. Still, songs like "Death and the Devil" or "New Heroes" true genre classics that even after more than 25 years lost none of its charm. "Volle Kraft Voraus !" Is a very important historical document, the countless bands has significant influence, and whose innovation is often forgotten.

Die Krupps - Volle Kraft Voraus (flac 389mb)

01 Volle Kraft Voraus 3:47
02 Goldfinger 3:24
03 Für Einen Augenblick 4:17
04 Tod Und Teufel 2:47
05 Das Ende Der Träume 3:37
06 Neue Helden 3:11
07 Wahre Arbeit Wahrer Lohn 5:27
08 ...Denn Du Lebst Nur Einmal 3:30
09 2 Herzen 1 Rhythmus 3:36
10 Lärm Macht Spass 3:46
  Bonus Tracks
11 Wahre Arbeit Wahrer Lohn (12", 1981) 5:32
12 Lohn / Arbeit (12" B-Side, 1981) 11:21

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Vintage electro? Not really - because this remixed re-issue of one of the pioneering works of Die Krupps does not sound at all like the whimsy 80s it was created in. And although it stands in the tradition of its hometown s electronic heritage (Düsseldorf brought you Kraftwerk, Neu!, DAF) Die Krupps "Volle Kraft Voraus" already anticipates notions made much later in Vancouver, Chicago, Detroit or Brussels. Nowadays considered to be a fore-boding classic that crosses electro-punk and synthie-pop, its original appeal was somewhat lost due to a shoddy mix when originally released in 1981.

Die Krupps - Volle Kraft Voraus Alternative Remixed 08 (flac 322mb)

01 Volle Kraft Voraus 3:52
02 Goldfinger 6:03
03 Für Einen Augenblick 4:24
04 Tod Und Teufel 2:48
05 Das Ende Der Träume 3:43
06 Neue Helden 3:18
07 Wahre Arbeit Wahrer Lohn 5:29
08 ...Denn Du Lebst Nur Einmal 3:35
09 2 Herzen 1 Rhythmus 4:01
10 Lärm Macht Spass 3:52
Bonus (Unreleased)
11 Goldfinger 1981 3:33

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Recorded & mixed at Eastcote Studios, London. This album is dedicated to all the gladiators who will fall in the arena of life. The third album of Die Krupps, which to some extent continues to style, initiated by the previous disc, "Volle Kraft Voraus!". A significant change is that now the lyrics entirely in English. Musically, it's synth-pop, and while the music is, in principle, made in the same way, often when  listening comparisons arise such  as the Ministry era album "Work For Love", an early Front 242. In general, the album is quite benign, sometimes melodic and, in general it's pretty colourful....

Die Krupps - Entering The Arena   (flac  299mb)

01 Risk 3:52
02 The Rise & Fall 5:30
03 Communication Breakdown 3:00
04 Risky Soul Version 6:32
05 Gladiators 5:24
06 Your Voice 5:35
07 Communication Breakdown (Don't Speak Mix) 3:09
08 This Day Is Not The Last 3:53
09 Risk (Operatic Intro) 3:50
10 Risk (Metallic Outro) 3:17

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