Jun 19, 2016
Jun 18, 2016
RhoDeo 1624 Grooves
Hello, Question do we have an unstable mental case and a rightwing nut available? Does he have a remain MP, can we convince that she's the enemy and he has to do something, can we get a gun to him ? Is the local police steerable ? Just some concerns from me, over the fact that the remain campaign seriously started losing ground, this happens, a political attack with deadly consequences, very nasty. Let's not forget that the leave campaign is up against the most powerful coalition the world has ever seen, the establishment is showing it's conniving hands.
At the Euro's the Croatians once again showed what brilliant losers they are, Italy, Spain through and now the UK coach has noticed Kane is out of form with Vardy they will march on to the semi's. Germany's attack is below par and with Muller out of shape little chance of the title this year.
Today's artist will be with us for sometime here, after all he has an enormous ouvre with lot's unreleased stuff as well. He commands the biggest space in my collection. Normally i'd post chronically but this time i will post cross his discography starting with one from 4 different decades. You can wait to see what i'll post or your welcome to request a title ... N'joy
xxxxx xxxxx xxxxx xxxxx xxxxx
He doesn’t have normal relationships…He’s not a person who finds it easy to share, whether its his thoughts or his time or his energy. If it isn’t within the context of a specific purpose he doesn’t enjoy or solicit sharing life… He’s a very distant personality. Prince isn’t close to anybody. He’s a very, very emotionally aloof person. I don’t know anybody who’s ever gotten past that wall.
And Alan Leeds' brother Eric, who as saxophonist in Prince’s band had one of the longest working relationships with him (sax was one of the few instruments Prince did not play), reinforced that view in commenting that “Prince always looked at his band as being his family, but he did not know how to express those feelings or have those relationships in a normal sense.”
end of part one from last week
part 2 "A Vessel for Music"
What is also worth noting about Prince is that he wasn’t simply a person skilled at playing instruments. His reason for playing music was due to the fact that he was, almost continually, flooded by creative inspiration - his head was filled constantly with a torrent of music that seemed to flow through him from some other source, demanding it be released into this world. So much so, that even Prince himself felt moved to attribute it to a higher power. Alan Leeds, who during his career represented some of the greats of music – including James Brown – gave this ‘insider’s view':
I’ve been around a lot of artists, including several icons, and I’ve never seen anybody like Prince. He’s a freak of nature in terms of how the music flowed through. The gift that allowed him to pick up any instrument and figure it out quickly to the point where he’s not really playing the instrument, it’s just music coming through him through the instrument, it’s just part of that funnel from whatever this source is and you can’t separate his work from his spirituality.
And I think Prince really does think he’s special. I’ve always believed that he thinks he has an in with God. Where that comes from is that this is a guy who sits there and says how in the world did someone like me get the gift I have? Where does that come from? Because the level of his gift is spooky. I’ve been around a lot of brilliantly creative people, from Miles Davis to James Brown to D’Angelo, and I’ve never seen anyone who’s a vessel for music the way Prince was.
He’d be trying to sleep because he hasn’t slept in two days and he can’t because he’s gotta write down lyrics, and then it’s can you find me a studio, I gotta get this out. Gotta get it out. Gotta get it on tape. Once it’s on tape, it’s out, and then I can sleep. It was crazy. I’ve never seen anything like it… His every waking moment there was music or lyrics flowing to a piece of paper… That’s why he plays after shows to the point of exhaustion. Because he has to play. To the point of obsession that’s borderline sick. (quoted in Touré's I Would Die 4 U: Why Prince Became an Icon)
Prince was famous for working non-stop until whatever musical idea was flowing through him had been recorded, sometimes foregoing sleep for days at a time to do so. Chuck Zwicky, one of his audio engineers, remembered that he would just keep "going and kept working until he had it. I’ve had more than one forty hour day with him… He was so prolific, by the time he released an album, he may have had literally ten albums sitting around.”
Touré notes that an old girlfriend of Prince said that the musical icon didn't always welcome this never-ending flow of music, considering it both a blessing and a curse. "He has no control over his life… When the music tells him to play, he does. When the music tells him to sleep, he does… He has no say over the flow of music, so he feels that it must be coming from a higher power."
Writer and fashion expert Michaela Angela Davis, who spent time with Prince both on tour and at his Paisley Park studio in Minneapolis, described how, for Prince, the flow of music was his focus and ‘happy place', far more so than social interaction with friends. Davis notes that Prince at times would seem very normal, sitting around with others watching basketball on the TV. But then...
...he would just leave, just get up and leave. And later I got the courage to ask him. He’s like 'You know how you think in words? I think in music. I hear melodies, I hear combinations, I hear chords...it’s in my head.' And if ‘this’ [i.e. what’s happening socially] is not engaging, and ‘this' [the music in his head] is, he just leaves. The explanation to me was, 'most of the time, what I’m hearing in my head, is waaay more interesting than what’s going on out here'.
Returning to Alan Leeds, in a recent eulogy posted at Medium he described how Prince’s creativity, and musical skill, was so prodigious that the normal business cycle of record labels and publicity channels just weren’t up to coping with the amount of content produced: "the music, the ideas — both creative and promotional — flowed out of him like a raging river,” Leeds notes. "There was no industry that was equipped to process and digest his ceaseless flow. Radio couldn’t keep up, record companies couldn’t market and promote fast enough, fans couldn’t re-focus fast enough… His brain never shut off. We wrestled with words to describe him — tireless, driven, obsessed, manic. But just maybe it wasn’t any of that. Maybe he was simply put here to be that funnel…”
Legends have circulated since the 1980s about Prince’s vault, where music that was 'left behind' in this ceaseless flow was stored - in some cases, entire albums that, once recorded, were felt to be behind the musical locale Prince’s mind had moved on to, and so he simply shelved them. Some bands struggle to come up with an album’s worth of material over a few years – and yet Prince, writing and recording everything as an individual, couldn’t find time to release everything he came up with. So much so that the vault is now said to contain over 2000 songs - perhaps enough to release an album every year for the next century after his passing.
xxxxx xxxxx xxxxx xxxxx xxxxx
Expanding the urban R&B and funk approach of his debut, Prince is a considerably more accomplished record than his first effort, featuring the first signs of his adventurous, sexy signature sound. Although the album is still rather uneven, a handful of songs rank as classics. "I Wanna Be Your Lover" is excellent lite funk and "Why You Wanna Treat Me So Bad?" is a wonderful soulful plea, but "I Feel for You," a sexy slice of urban R&B with a strong pop melody, is the true masterpiece of Prince, indicating the major breakthroughs of his next album, Dirty Mind.
Prince - Prince (flac 235mb)
01 I Wanna Be Your Lover 5:47
02 Why You Wanna Treat Me So Bad? 3:49
03 Sexy Dancer 4:18
04 When We're Dancing Close And Slow 5:18
05 With You 3:59
06 Bambi 4:22
07 Still Waiting 4:24
08 I Feel For You 3:24
09 It's Gonna Be Lonely 5:30
Prince - Prince (ogg 92mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
Fearless, eclectic, and defiantly messy, Prince's Sign 'O' the Times falls into the tradition of tremendous, chaotic double albums like The Beatles, Exile on Main St., and London Calling -- albums that are fantastic because of their overreach, their great sprawl. Prince shows nearly all of his cards here, from bare-bones electro-funk and smooth soul to pseudo-psychedelic pop and crunching hard rock, touching on gospel, blues, and folk along the way. This was the first album Prince recorded without the Revolution since 1982's 1999 (the band does appear on the in-concert rave-up, "It's Gonna Be a Beautiful Night"), and he sounds liberated, diving into territory merely suggested on Around the World in a Day and Parade. While the music overflows with generous spirit, these are among the most cryptic, insular songs he's ever written. Many songs are left over from the aborted triple album Crystal Ball and the abandoned Camille project, a Prince alter ego personified by scarily sped-up tapes on "If I Was Your Girlfriend," the most disarming and bleak psycho-sexual song Prince ever wrote, as well as the equally chilling "Strange Relationship." These fraying relationships echo in the social chaos Prince writes about throughout the album. Apocalyptic imagery of drugs, bombs, empty sex, abandoned babies and mothers, and AIDS pop up again and again, yet he balances the despair with hope, whether it's God, love, or just having a good time. In its own roundabout way, Sign 'O' the Times is the sound of the late '80s -- it's the sound of the good times collapsing and how all that doubt and fear can be ignored if you just dance those problems away.
Prince - Sign O' The Times (flac 449mb)
01 Sign "O" The Times 5:02
02 Play In The Sunshine 5:05
03 Housequake 4:38
04 The Ballad Of Dorothy Parker 4:04
05 It 5:10
06 Starfish And Coffee 2:51
07 Slow Love 4:18
08 Hot Thing 5:39
09 Forever In My Life 3:38
10 U Got The Look 3:58
11 If I Was Your Girlfriend 4:54
12 Strange Relationship 4:04
13 I Could Never Take The Place Of Your Man 6:31
14 The Cross 4:46
15 It's Gonna Be A Beautiful Night 8:59
16 Adore 6:29
Prince - Sign O' The Times (ogg 186mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
If you're into slick funky Prince music, then this is for you! Prince & The NPG give it up on this album. It has a strong Sly & the Family Stone and Parliament influence on some of the songs, yet they still maintain an original sound and style. Some enjoyable skits that Prince did specially of the Italian east coast wise guy. He and Eddie Murphy are the funniest black dudes,when it comes to these impersonations! This album is one the best to ever come out on any of the Prince labels period. This is also a great conceptual album as well coming from an artist, band and crew that wants to represent the essence of funky music! The songs are well written, produced and of course, the band really give up the funk on these recordings. The style and sound of the music is: psychedelic, soulful, jazzy, inspired, infectious, nasty, groovin' and bumpin'! In fact,the funk on this joint is so stanky,you can smell it from Minneapolis! This is timeless stuff, it's sure to become a classic. Live 4 Love
New Power Generation - Exodus (flac 441mb)
01 N.P.G. Operator Intro 0:34
02 Get Wild 4:33
03 Segue 0:38
04 DJ Gets Jumped 0:22
05 New Power Soul 4:10
06 DJ Seduces Sonny 0:38
07 Segue 0:43
08 Count The Days 3:24
09 The Good Life 5:48
10 Cherry, Cherry 4:44
11 Segue 0:18
12 Return Of The Bump Squad 7:20
13 Mashed Potato Girl Intro 0:21
14 Segue 3:00
15 Big Fun 7:26
16 New Power Day 3:49
17 Segue 0:15
18 Hallucination Rain 5:49
19 NPG Bum Rush The Ship 1:40
20 The Exodus Has Begun 10:06
21 Outro 0:35
New Power Generation - Exodus (ogg 156mb)
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Prince suddenly decided in 2004 that he wanted to be back in the game, returning to the spotlight with acclaimed performances at the Grammys and the Rock & Roll Hall of Fame induction ceremony, announcing an all-hits tour, and releasing Musicology, his first major-label distributed album in five years. This flurry of activity suggests that Prince is treating this as an opportunity for a full-fledged comeback and, thankfully, he's seized this moment and delivered a vastly entertaining record. Unlike everything he's done since leaving Warner, Musicology doesn't alienate listeners; it's tight and lean, weighing in at 12 tracks and 47 minutes, yet that's still enough room for Prince to showcase his virtuoso versatility. He tries a little everything -- down and dirty funk jams, slow sensual grooves, and, happily, he revives the psychedelic pop of the mid-'80s with the deliriously catchy "Cinnamon Girl" -- but unlike on such overworked albums as Emancipation and Rave Un2 the Joy Fantastic, it never feels like an attempt to dazzle or a series of stylistic exercises. That's because there's a clarity to his production -- dense, but never busy, proving once again that he's about the only musician who can make a one-man band sound as vibrant as a live nine-piece group -- and a focus to his writing that hasn't been heard in a long, long time. At its core, Musicology is essentially classicist Prince, as he makes a deliberate decision to play to all of his greatest strengths, but because it's been so long that he's made a record this confident and concise, it doesn't sound like a retreat. It sounds as if he's rediscovered his muse, which is quite a bit different than simply following his whims. Make no mistake, this isn't the second coming of Purple Rain or Sign 'o' the Times or even Parade -- in other words, it's not a masterpiece, more like a more confident and consistent Diamonds and Pearls without the hip-hop fixation -- but it's a strong album, one that impresses on the first listen and gets better with repeated plays. In short, it's the comeback that it was meant to be.
Prince - Musicology (flac 310mb)
01 Musicology 4:24
02 Illusion, Coma, Pimp & Circumstance 4:46
03 A Million Days 3:50
04 Life 'O' The Party 4:29
05 Call My Name 5:15
06 Cinnamon Girl 3:56
07 What Do U Want Me 2 Do? 4:15
08 The Marrying Kind 2:49
09 If Eye Was The Man In Ur Life 3:09
10 On The Couch 3:33
11 Dear Mr. Man 4:14
12 Reflection 3:06
.
Prince - Musicology (ogg 110mb)
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At the Euro's the Croatians once again showed what brilliant losers they are, Italy, Spain through and now the UK coach has noticed Kane is out of form with Vardy they will march on to the semi's. Germany's attack is below par and with Muller out of shape little chance of the title this year.
Today's artist will be with us for sometime here, after all he has an enormous ouvre with lot's unreleased stuff as well. He commands the biggest space in my collection. Normally i'd post chronically but this time i will post cross his discography starting with one from 4 different decades. You can wait to see what i'll post or your welcome to request a title ... N'joy
xxxxx xxxxx xxxxx xxxxx xxxxx
He doesn’t have normal relationships…He’s not a person who finds it easy to share, whether its his thoughts or his time or his energy. If it isn’t within the context of a specific purpose he doesn’t enjoy or solicit sharing life… He’s a very distant personality. Prince isn’t close to anybody. He’s a very, very emotionally aloof person. I don’t know anybody who’s ever gotten past that wall.
And Alan Leeds' brother Eric, who as saxophonist in Prince’s band had one of the longest working relationships with him (sax was one of the few instruments Prince did not play), reinforced that view in commenting that “Prince always looked at his band as being his family, but he did not know how to express those feelings or have those relationships in a normal sense.”
end of part one from last week
part 2 "A Vessel for Music"
What is also worth noting about Prince is that he wasn’t simply a person skilled at playing instruments. His reason for playing music was due to the fact that he was, almost continually, flooded by creative inspiration - his head was filled constantly with a torrent of music that seemed to flow through him from some other source, demanding it be released into this world. So much so, that even Prince himself felt moved to attribute it to a higher power. Alan Leeds, who during his career represented some of the greats of music – including James Brown – gave this ‘insider’s view':
I’ve been around a lot of artists, including several icons, and I’ve never seen anybody like Prince. He’s a freak of nature in terms of how the music flowed through. The gift that allowed him to pick up any instrument and figure it out quickly to the point where he’s not really playing the instrument, it’s just music coming through him through the instrument, it’s just part of that funnel from whatever this source is and you can’t separate his work from his spirituality.
And I think Prince really does think he’s special. I’ve always believed that he thinks he has an in with God. Where that comes from is that this is a guy who sits there and says how in the world did someone like me get the gift I have? Where does that come from? Because the level of his gift is spooky. I’ve been around a lot of brilliantly creative people, from Miles Davis to James Brown to D’Angelo, and I’ve never seen anyone who’s a vessel for music the way Prince was.
He’d be trying to sleep because he hasn’t slept in two days and he can’t because he’s gotta write down lyrics, and then it’s can you find me a studio, I gotta get this out. Gotta get it out. Gotta get it on tape. Once it’s on tape, it’s out, and then I can sleep. It was crazy. I’ve never seen anything like it… His every waking moment there was music or lyrics flowing to a piece of paper… That’s why he plays after shows to the point of exhaustion. Because he has to play. To the point of obsession that’s borderline sick. (quoted in Touré's I Would Die 4 U: Why Prince Became an Icon)
Prince was famous for working non-stop until whatever musical idea was flowing through him had been recorded, sometimes foregoing sleep for days at a time to do so. Chuck Zwicky, one of his audio engineers, remembered that he would just keep "going and kept working until he had it. I’ve had more than one forty hour day with him… He was so prolific, by the time he released an album, he may have had literally ten albums sitting around.”
Touré notes that an old girlfriend of Prince said that the musical icon didn't always welcome this never-ending flow of music, considering it both a blessing and a curse. "He has no control over his life… When the music tells him to play, he does. When the music tells him to sleep, he does… He has no say over the flow of music, so he feels that it must be coming from a higher power."
Writer and fashion expert Michaela Angela Davis, who spent time with Prince both on tour and at his Paisley Park studio in Minneapolis, described how, for Prince, the flow of music was his focus and ‘happy place', far more so than social interaction with friends. Davis notes that Prince at times would seem very normal, sitting around with others watching basketball on the TV. But then...
...he would just leave, just get up and leave. And later I got the courage to ask him. He’s like 'You know how you think in words? I think in music. I hear melodies, I hear combinations, I hear chords...it’s in my head.' And if ‘this’ [i.e. what’s happening socially] is not engaging, and ‘this' [the music in his head] is, he just leaves. The explanation to me was, 'most of the time, what I’m hearing in my head, is waaay more interesting than what’s going on out here'.
Returning to Alan Leeds, in a recent eulogy posted at Medium he described how Prince’s creativity, and musical skill, was so prodigious that the normal business cycle of record labels and publicity channels just weren’t up to coping with the amount of content produced: "the music, the ideas — both creative and promotional — flowed out of him like a raging river,” Leeds notes. "There was no industry that was equipped to process and digest his ceaseless flow. Radio couldn’t keep up, record companies couldn’t market and promote fast enough, fans couldn’t re-focus fast enough… His brain never shut off. We wrestled with words to describe him — tireless, driven, obsessed, manic. But just maybe it wasn’t any of that. Maybe he was simply put here to be that funnel…”
Legends have circulated since the 1980s about Prince’s vault, where music that was 'left behind' in this ceaseless flow was stored - in some cases, entire albums that, once recorded, were felt to be behind the musical locale Prince’s mind had moved on to, and so he simply shelved them. Some bands struggle to come up with an album’s worth of material over a few years – and yet Prince, writing and recording everything as an individual, couldn’t find time to release everything he came up with. So much so that the vault is now said to contain over 2000 songs - perhaps enough to release an album every year for the next century after his passing.
xxxxx xxxxx xxxxx xxxxx xxxxx
Expanding the urban R&B and funk approach of his debut, Prince is a considerably more accomplished record than his first effort, featuring the first signs of his adventurous, sexy signature sound. Although the album is still rather uneven, a handful of songs rank as classics. "I Wanna Be Your Lover" is excellent lite funk and "Why You Wanna Treat Me So Bad?" is a wonderful soulful plea, but "I Feel for You," a sexy slice of urban R&B with a strong pop melody, is the true masterpiece of Prince, indicating the major breakthroughs of his next album, Dirty Mind.
Prince - Prince (flac 235mb)
01 I Wanna Be Your Lover 5:47
02 Why You Wanna Treat Me So Bad? 3:49
03 Sexy Dancer 4:18
04 When We're Dancing Close And Slow 5:18
05 With You 3:59
06 Bambi 4:22
07 Still Waiting 4:24
08 I Feel For You 3:24
09 It's Gonna Be Lonely 5:30
Prince - Prince (ogg 92mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
Fearless, eclectic, and defiantly messy, Prince's Sign 'O' the Times falls into the tradition of tremendous, chaotic double albums like The Beatles, Exile on Main St., and London Calling -- albums that are fantastic because of their overreach, their great sprawl. Prince shows nearly all of his cards here, from bare-bones electro-funk and smooth soul to pseudo-psychedelic pop and crunching hard rock, touching on gospel, blues, and folk along the way. This was the first album Prince recorded without the Revolution since 1982's 1999 (the band does appear on the in-concert rave-up, "It's Gonna Be a Beautiful Night"), and he sounds liberated, diving into territory merely suggested on Around the World in a Day and Parade. While the music overflows with generous spirit, these are among the most cryptic, insular songs he's ever written. Many songs are left over from the aborted triple album Crystal Ball and the abandoned Camille project, a Prince alter ego personified by scarily sped-up tapes on "If I Was Your Girlfriend," the most disarming and bleak psycho-sexual song Prince ever wrote, as well as the equally chilling "Strange Relationship." These fraying relationships echo in the social chaos Prince writes about throughout the album. Apocalyptic imagery of drugs, bombs, empty sex, abandoned babies and mothers, and AIDS pop up again and again, yet he balances the despair with hope, whether it's God, love, or just having a good time. In its own roundabout way, Sign 'O' the Times is the sound of the late '80s -- it's the sound of the good times collapsing and how all that doubt and fear can be ignored if you just dance those problems away.
Prince - Sign O' The Times (flac 449mb)
01 Sign "O" The Times 5:02
02 Play In The Sunshine 5:05
03 Housequake 4:38
04 The Ballad Of Dorothy Parker 4:04
05 It 5:10
06 Starfish And Coffee 2:51
07 Slow Love 4:18
08 Hot Thing 5:39
09 Forever In My Life 3:38
10 U Got The Look 3:58
11 If I Was Your Girlfriend 4:54
12 Strange Relationship 4:04
13 I Could Never Take The Place Of Your Man 6:31
14 The Cross 4:46
15 It's Gonna Be A Beautiful Night 8:59
16 Adore 6:29
Prince - Sign O' The Times (ogg 186mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
If you're into slick funky Prince music, then this is for you! Prince & The NPG give it up on this album. It has a strong Sly & the Family Stone and Parliament influence on some of the songs, yet they still maintain an original sound and style. Some enjoyable skits that Prince did specially of the Italian east coast wise guy. He and Eddie Murphy are the funniest black dudes,when it comes to these impersonations! This album is one the best to ever come out on any of the Prince labels period. This is also a great conceptual album as well coming from an artist, band and crew that wants to represent the essence of funky music! The songs are well written, produced and of course, the band really give up the funk on these recordings. The style and sound of the music is: psychedelic, soulful, jazzy, inspired, infectious, nasty, groovin' and bumpin'! In fact,the funk on this joint is so stanky,you can smell it from Minneapolis! This is timeless stuff, it's sure to become a classic. Live 4 Love
New Power Generation - Exodus (flac 441mb)
01 N.P.G. Operator Intro 0:34
02 Get Wild 4:33
03 Segue 0:38
04 DJ Gets Jumped 0:22
05 New Power Soul 4:10
06 DJ Seduces Sonny 0:38
07 Segue 0:43
08 Count The Days 3:24
09 The Good Life 5:48
10 Cherry, Cherry 4:44
11 Segue 0:18
12 Return Of The Bump Squad 7:20
13 Mashed Potato Girl Intro 0:21
14 Segue 3:00
15 Big Fun 7:26
16 New Power Day 3:49
17 Segue 0:15
18 Hallucination Rain 5:49
19 NPG Bum Rush The Ship 1:40
20 The Exodus Has Begun 10:06
21 Outro 0:35
New Power Generation - Exodus (ogg 156mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
Prince suddenly decided in 2004 that he wanted to be back in the game, returning to the spotlight with acclaimed performances at the Grammys and the Rock & Roll Hall of Fame induction ceremony, announcing an all-hits tour, and releasing Musicology, his first major-label distributed album in five years. This flurry of activity suggests that Prince is treating this as an opportunity for a full-fledged comeback and, thankfully, he's seized this moment and delivered a vastly entertaining record. Unlike everything he's done since leaving Warner, Musicology doesn't alienate listeners; it's tight and lean, weighing in at 12 tracks and 47 minutes, yet that's still enough room for Prince to showcase his virtuoso versatility. He tries a little everything -- down and dirty funk jams, slow sensual grooves, and, happily, he revives the psychedelic pop of the mid-'80s with the deliriously catchy "Cinnamon Girl" -- but unlike on such overworked albums as Emancipation and Rave Un2 the Joy Fantastic, it never feels like an attempt to dazzle or a series of stylistic exercises. That's because there's a clarity to his production -- dense, but never busy, proving once again that he's about the only musician who can make a one-man band sound as vibrant as a live nine-piece group -- and a focus to his writing that hasn't been heard in a long, long time. At its core, Musicology is essentially classicist Prince, as he makes a deliberate decision to play to all of his greatest strengths, but because it's been so long that he's made a record this confident and concise, it doesn't sound like a retreat. It sounds as if he's rediscovered his muse, which is quite a bit different than simply following his whims. Make no mistake, this isn't the second coming of Purple Rain or Sign 'o' the Times or even Parade -- in other words, it's not a masterpiece, more like a more confident and consistent Diamonds and Pearls without the hip-hop fixation -- but it's a strong album, one that impresses on the first listen and gets better with repeated plays. In short, it's the comeback that it was meant to be.
Prince - Musicology (flac 310mb)
01 Musicology 4:24
02 Illusion, Coma, Pimp & Circumstance 4:46
03 A Million Days 3:50
04 Life 'O' The Party 4:29
05 Call My Name 5:15
06 Cinnamon Girl 3:56
07 What Do U Want Me 2 Do? 4:15
08 The Marrying Kind 2:49
09 If Eye Was The Man In Ur Life 3:09
10 On The Couch 3:33
11 Dear Mr. Man 4:14
12 Reflection 3:06
.
Prince - Musicology (ogg 110mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
Jun 17, 2016
RhoDeo 1624 Re-Ups 62
Hello, though i like the recent influx of new visitors, but when asking for re-ups recent postings consider these will be of little use use to my current regular visitors, there's just so much older postings to take in here and possibly enjoy. Almost a decade worth, much to pick up upon.That's why i re-post . Please i won't be going away there's no hurry you can ask for a re-up next week, next month or next year.
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 23 re-ups, requests fullfilled up to June 14th, ...N' Joy
3x Beats Back in Flac (The Mighty Bop - La Vague Sensorielle, The Mighty Bop - Autres Voix Autres Blues, The Mighty Bop - The Mighty Bop)
3x Roots Back in Flac (Ethiopia - Ari Polyphonies, The Rough Guide To The Music Of Kenya, Samba Mapangala & Orchestre Virunga - Virunga Volcano )
3x Sundaze Back In Flac (Terre Thaemlitz - Soil, Theorem - Ion, Pan•American - 360 Business, 360 Bypass)
3x Roots Back in Flac (Salif Keita & Manfila - The Lost Album, Salif Keita - Moffou, Salif Keita - M'Bemba )
2x Sundaze Back in flac (The Raincoats - I (09 enh), The Raincoats - Kitchen Tapes, Kim Wilde - Select)
2x Roots Back in flac ( Iration Steppas Meet D.Rootical - Original Dub D.A.T; Iration Steppas - Dubz From The Higher Regionz)
5x Japan-tea-lounge Back in flac (Pizzicato 5 - Happy End Of, Shoukichi Kina - Peppermint Tea, Cornelius - Fantasma / FM, B Boom Satellites - 7 Ignitions, Audio Active - Happy Happer)
2x Sundaze NOW in flac (Stereolab - Transient Random-Noise Bursts With Announcements, Stereolab - Emperor Tomato Ketchup )
xxxxx xxxxx xxxxx xxxxx xxxxx
Looka here another batch of 23 re-ups, requests fullfilled up to June 14th, ...N' Joy
3x Beats Back in Flac (The Mighty Bop - La Vague Sensorielle, The Mighty Bop - Autres Voix Autres Blues, The Mighty Bop - The Mighty Bop)
3x Roots Back in Flac (Ethiopia - Ari Polyphonies, The Rough Guide To The Music Of Kenya, Samba Mapangala & Orchestre Virunga - Virunga Volcano )
3x Sundaze Back In Flac (Terre Thaemlitz - Soil, Theorem - Ion, Pan•American - 360 Business, 360 Bypass)
3x Roots Back in Flac (Salif Keita & Manfila - The Lost Album, Salif Keita - Moffou, Salif Keita - M'Bemba )
2x Sundaze Back in flac (The Raincoats - I (09 enh), The Raincoats - Kitchen Tapes, Kim Wilde - Select)
2x Roots Back in flac ( Iration Steppas Meet D.Rootical - Original Dub D.A.T; Iration Steppas - Dubz From The Higher Regionz)
5x Japan-tea-lounge Back in flac (Pizzicato 5 - Happy End Of, Shoukichi Kina - Peppermint Tea, Cornelius - Fantasma / FM, B Boom Satellites - 7 Ignitions, Audio Active - Happy Happer)
2x Sundaze NOW in flac (Stereolab - Transient Random-Noise Bursts With Announcements, Stereolab - Emperor Tomato Ketchup )
xxxxx xxxxx xxxxx xxxxx xxxxx
Jun 15, 2016
RhoDeo 1624 Aetix
Hello, it was the day of the underdogs, in the Habsburg empire match Sissi beat her husband Franz Jozef 2-0, seriously the Austrians were very disappointing after winning 9 of 10 qualification matches, against the Hungarians, who luckily beat Norway in a play off, they played like headless chickens. Hungary's poor quality was visible, the spaces they got must have had attackers from other teams drooling, finally a late counter (with a man down) clicked 2-0. In the other match Iceland was supported by 10% of the nation's population in the stadium, amazing ! Ronaldo's Portugal were favorite but the Icelanders had beaten the Dutch (#3 at the 2014 worldcup) twice. Iceland defended well and deserved the 1-1 draw they should qualify for the second round now. During the first 12 games only 20 goals were scored, of the superstars only Gareth Bale found the net. Things will pick up...
Today's artists are the best known of the various electronic music projects undertaken by the prolific Vancouver-based duo of Bill Leeb (vocals, synthesizers) and Rhys Fulber (synthesizers, samplers). After working in the mid-'80s under the pseudonym Wilhelm Schroeder with Skinny Puppy, the Austrian-born Leeb formed the industrial/techno-based Front Line Assembly in 1986 with Fulber -- who initially joined on as a studio assistant -- and synth player Michael Balch. . ....N'Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
Between 1985 and 1986, Bill Leeb supported Skinny Puppy under the name Wilhelm Schroeder. Wilhelm is Leeb's real first name while Schroeder stems from the Peanuts character of the same name and was meant as a joke. "I think the fact that we didn't have any musical training, gave us free range", he said, "The words 'experimental electronic music' really come to mind as to how we did that." Leeb contributed bass synth and backing vocals for several tracks while also supporting their 1985 tour. His drug experiences at the time, though Leeb felt no need to repeat it at later times, added to his creativity. "You can always draw from that experience of when you were there and what the ambiance and the feeling was like. It's not like you need to go there every year to recapture that moment.", Leeb stated. Since Leeb did not want to continue with the next tour, splitting up with Skinny Puppy was imminent.
Contacts in the music scene he had gathered while with Skinny Puppy facilitated the advancement of his own project, leading to contract offers from the first two labels that Leeb later approached with cassettes. Leeb appreciated that Skinny Puppy would cast a long shadow over his own musical efforts after leaving the band. "Sometimes, you break away from a band, and the band has such a strong image that you're always going to be forever compared to those guys," Leeb said, "I knew it was a big risk because the band was already taking off and stuff, but I think it was all for the best. The name of his new band reflects Leebs view of the world at the time. "The name came to me from just hearing people's struggles all over the world on the news all the time", he revealed after the formation of Front Line Assembly, "The only way people can fight back is to assemble in groups. We are fed so much information through the media that no one knows what to believe anymore. So Front Line Assembly means fighting the communications war."
The band debuted its first album The Initial Command with credited assistance by Fulber and Michael Balch on Belgian independent record label KK at the end of 1987. The album had been produced on a tight budget which would determine whether or not cuts would be done with an eight track system or split into two four track cuts. With the next album State of Mind, released in January 1988, the band switched to German independent label Dossier. Having assumed producing and mixing duties before, Balch emerged as official band member in 1988 and began writing songs alongside Leeb for the next few albums. Balch mostly contributed by providing keyboards and programming. As Leeb put it, "I would write the songs, and he was really good with the software." This partnership produced the releases Corrosion and Disorder. Originally planned to be issued on Canadian label Nettwerk, which ultimately failed "because of politics and the previous Skinny Puppy relationship", both records mark the beginning of the cooperation with Third Mind in 1988.
The change in labels for the first few releases before finally sticking with Third Mind was a deliberate choice. Adhering to Third Mind for Europe and Wax Trax! for North America made Front Line Assembly releases significantly more available. According to Leeb, this arrangement "worked out much better as far as distribution and promotion. Third Mind is getting very good distribution in Europe." Being signed to Third Mind also helped catching the attention of established music magazines such as Melody Maker or NME.
Front Line Assembly produced their next album Gashed Senses & Crossfire in 1989. This album introduced their first single Digital Tension Dementia which became their first chart success and peaked at position 45 of the Billboard Hot Dance Club Songs chart. Fueled by growing success and in support of their latest release, the band, together with Rhys Fulber as live metal percussionist, headed out to Europe and North America for their first tour which were met "with rave reviews for F.L.A.'s powerful live act." For Balch it was also the last Front Line Assembly tour since he parted ways to join Ministry and Revolting Cocks.
Filling the void, Rhys Fulber officially joined, "a natural progression", according to Leeb, which changed the working routine in the band. "The working situation in the band is a lot different because Rhys is working with me on everything, and his taste runs more into electronic music, just like me", said Leeb, noting that Fulber was "a lot more fun to work with." The duo recorded their next album, Caustic Grip, in the first half of 1990. Accompanied by the release of two singles in 1990, Iceolate and Provision, the album raised Front Line Assembly's profile in the industrial music scene and in the media considerably. The tour in support of the album started in January 1991 in the United States to be followed by a European leg in February which was accompanied by the release of stand-alone single Virus the same month. Chris Peterson, who would later become a full-time member of Front Line Assembly, gave his debut for the band on this tour, completing the live line-up as percussionist.
In 1992, Front Line Assembly reached a turning point in the band's musical style with the album Tactical Neural Implant. The media commented particularly on the more melodious approach featured on the album and noted the use of multi-layered sounds which would become a trademark of the band. The video for the first single off the album, Mindphaser, was awarded "Best Alternative Video" at Much Music's 1992 Canadian Music Video Awards. In August 1992, Front Line Assembly embarked on a tour that covered Northern America and Europe. The album is played in industrial and electronic music dance clubs to this day and considered a classic among listeners and musicians of industrial music. The next album Millennium (1994) featured a combination of metal guitars, electronic music, and media sampling (much of which was taken from the Michael Douglas film Falling Down) which had become one of the characteristics of industrial rock and industrial metal during the 1990s.
Hard Wired (1995) and the world tour following the release was FLA's most successful commercial and critical period.
In 1997, Fulber left the band to concentrate on producing Fear Factory along with other bands. Chris Peterson, who had already supported the band's live shows, replaced Fulber. Soon after Fulber quit, the 1997 album [FLA]vour of the Weak was released. Yet again, the album was stylistically divergent from previous releases. The metal influences found in Millennium gave way to a more electronica sound within the new release. Front Line Assembly made somewhat of a return to their former sound with the album Implode (1999), followed by Epitaph (2001), as well as half of the soundtrack for the video game Quake III Arena in 1999. Chris Peterson left FLA in 2002. Through most of that year it was rumoured that the band had essentially broken up.
Rhys Fulber rejoined the band in 2003. The reunited duo released the single Maniacal in October of that same year, launching a new phase in the band's career. The next year, they released the studio album Civilization. Chris Peterson later rejoined the band to release Artificial Soldier in 2006. The following tour was cut short due to a problem with the company supplying the tour bus. The band acknowledged that they were returning home to Vancouver earlier than planned after playing roughly half of their scheduled tour in the United States (dates in New York and Canada were canceled). The band toured in Europe in August 2006 covering 18 cities.
In April 2007, Front Line Assembly released a remix album titled Fallout. The album was released in a 4-panel digipak and featured three previously unreleased tracks ("Electric Dreams," "Unconscious," and "Armageddon") and nine remixes by several other Industrial acts and names. After the release of the remix album, the band went out to tour North America and Europe. In 2010, Front Line Assembly, with new members Jeremy Inkel and Jared Slingerland, released a new single, Shifting Through the Lens, and album, Improvised Electronic Device.
As described on Dependent Records' website, the album is described as "stronger and more danceable" when compared to immediately previous releases. "Angriff", the second single from the album, is further described as "wandering on metal paths reminiscent of Rammstein and their own Millenium album." In 2012, Leeb mentioned that a new album will be completed by the end of the year, though no official announcement or tour date has been released.
Having integrated guitars into their sound since the late 1980s, either sampled or as live guitars, FLA set the stage in 2012 for the return to an exclusively electronic soundscape. This change could be heard when the band released the soundtrack album AirMech for the video game of the same name at the end of 2012. Comprising only instrumental tracks, AirMech laid some grounds for 2013 full-length album Echogenetic, as Bill Leeb recalls in an interview with Rock Sins: "I guess this sound of this record maybe it started pretty much with the record we did prior called AirMech." Echogenetic was widely praised by critics, who also noted the dubstep influences on the record, and hit the charts in the United States and in Germany. Entering the official German charts was a first in the band's history. On the occasion of the release of Echogenetic Front Line Assembly announced a remix album which was released in May 2014 under the moniker of Echoes.
Resuming tour activities, the band gave a number of concerts in September and November 2015. They started off with a show in Vancouver and went on to headline the second day of the fourth run of the Cold Waves industrial festival in Chicago. In November they followed up with their first ever show in Mexico City, supported by Mexican electro-industrial band Hocico, and a gig in Guadalajara both of which were also supported by Canadian electro-industrial group Decoded Feedback.
xxxxx xxxxx xxxxx xxxxx xxxxx
Corroded Disorder is a blend of 2 albums from 1988. Some very good songs here : 'Body Count', which is an anticipation of what was to come, 'Concussion', 'Lurid Sensation', which is a quite original EBM song (maybe the only song in which Leeb's voice leaves his usual deep voice for a moment: a scream), 'Obsession', quite 242ish, 'The Wrack', which sounds as if Kraftwerk's 'Man Machine' was filtered through a liquidizer, 'Headcase Fargone', with a quite weird bass beginning, This album has also Deleriumesque songs ('On the cross'), you know, instrumental songs with almost no beat and full of samples. The only songs which sound a bit out of place are the first 2, unsurprisingly these are from 1992 and should have been left off.
To sum up, 'Corroded Disorder' is maybe the best album from the earlier ones, the first in which Delerium elements are less obvious and typical FLA hardbeat songs are protagonists. In absolute terms, this album is not amazing and in a way sounds primitive (having in mind the limited equipment at the time), but if you pay attention to the songs you'll perceive more and more details and the brilliancy of the atmospheres created by Leeb, Balch and Fulber.
Front Line Assembly - Corroded + Disorder (flac 508mb)
01 Mutate 5:42
02 Teardown 4:36
03 Lurid Sensation 4:05
04 Right Hand Of Heaven 5:46
05 Concussion 4:14
06 On The Cross 5:49
07 Controversy 5:20
08 Dark Dreams 6:05
09 Body Count 4:15
10 Obsession 4:07
11 Aggression 4:55
12 Diesect 4:38
13 The Wrack 3:26
14 Solitude Of Confinement 6:37
15 Collision 4:28
16 Headcase Fargone 4:47
xxxxx xxxxx xxxxx xxxxx xxxxx
Often cited as Front Line Assembly's best album, 1989's Gashed Senses & Crossfire saw the Austro-Canadian ensemble fulfilling the underground promise of their early releases and riding the very crest of the industrial music tidal wave as it broke over the entire planet. The album may not have enjoyed the same sort of watershed sales or mainstream recognition as KMFDM's and Ministry's concurrent releases, but the creative versatility displayed by collaborators Bill Leeb, Michael Balch, and unofficial member Rhys Fulber, was truly second to none. In fact, it was precisely that eclecticism that made the album so challenging and less commercially successful, yet ultimately fulfilling, as listeners were forced to contend with acerbic dance numbers ("No Limit," "Digital Tension Dementia," etc.), hypnotic metal machine music ("Antisocial" "Bloodsport"), and hauntingly ethereal meditations ("Prayer," "Sedation") alike, without discrimination. In the end, the key elements binding all of these disparate constructions together were the atonal croaks and croons that passed for vocals, and Front Line Assembly's formidable production talents, which brought meticulous detail to the inordinate number of instrumental layers stacked within, and the innumerable sonic artifacts that peppered them with surprises. In short: a triumph of man, machine, and music. Notably, Gashed Senses & Crossfire was also the final FLA album to feature founding partner Michael Balch, who was replaced full-time by future electro-metal producer Rhys Fulber for the following year's Caustic Grip.
Front Line Assembly - Gashed Senses And Crossfire (flac 277mb)
01 No Limit 4:53
02 Antisocial 4:31
03 Hypocrisy 3:48
04 Shutdown 5:24
05 Prayer 3:29
06 Digital Tension Dementia 4:46
07 Big Money 4:15
08 Bloodsport 5:55
09 Foolsgame 3:36
10 Sedation 3:56
xxxxx xxxxx xxxxx xxxxx xxxxx
Front Line Assembly displayed an efficiency befitting of their music's machine-like nature when co-founder Michael Balch stepped aside in 1990 and part-time member Rhys Fulber seamlessly took his place beside Bill Leeb beginning with 1990's Caustic Grip album. Fulber's timing was also propitious in the sense that the previous year's Gashed Senses & Crossfire had exposed FLA to a larger audience and set the stage for their newly minted production team to operate its magic with utmost precision and multi-layered attention to detail on the eminent follow-up. The eye-opening results can be sampled in the infernal dance grooves and hyperactive beats energizing tracks like "Resist," "Overkill," and "Force Fed" (all of them sounding like Depeche Mode's worst nightmare), and yet their processed whispers and rasps weren't nearly as frightening as Leeb's serial killer croak on "Victim." On the other hand, he actually came close to singing for the first time on the abnormally sedate "Threshold," and the ratio of synthesized melodies per beat was shifted ever so slightly for the benefit of singles "Provision" and "Iceolate" -- the latter even receiving the benefit of a music video and modest MTV rotations to support it. Above all else, perhaps, Caustic Grip helped Front Line Assembly make a definitive break from Leeb's previous legendary group, Skinny Puppy, by solidifying their standing as one of the most essential industrial groups of the '90s.
Front Line Assembly - Caustic Grip (flac 358mb)
01 Resist 5:25
02 Victim 5:06
03 Overkill 5:23
04 Forge 4:21
05 Provision 6:09
06 Force Fed 4:41
07 Iceolate 5:13
08 Threshold 5:11
09 Mental Distortion 6:50
10 The Chair 3:26
xxxxx xxxxx xxxxx xxxxx xxxxx
Front Line Assembly - Front Line Assembly - EP's 88-90 (flac 468mb)
01 Digital Tension Dementia (remix)7:15
02 Vexation 8:23
03 Big Money (Remix) 4:15
04 No Limit (Damaged Goods Remix) 7:38
05 Lethal Compound (Harmful If Swallowed Mix) 11:08
06 No Limit (Spontaneous Combustion Mix) 5:27
07 Iceolate (remix) 6:30
08 Mental Distortion 6:50
09 Iceolate (Dub Mix) 4:59
10 Provision (remix) 6:28
11 Overkill (Surge Mix) 6:33
Front Line Assembly - Front Line Assembly - EP's 88-90 (ogg 188mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
Today's artists are the best known of the various electronic music projects undertaken by the prolific Vancouver-based duo of Bill Leeb (vocals, synthesizers) and Rhys Fulber (synthesizers, samplers). After working in the mid-'80s under the pseudonym Wilhelm Schroeder with Skinny Puppy, the Austrian-born Leeb formed the industrial/techno-based Front Line Assembly in 1986 with Fulber -- who initially joined on as a studio assistant -- and synth player Michael Balch. . ....N'Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
Between 1985 and 1986, Bill Leeb supported Skinny Puppy under the name Wilhelm Schroeder. Wilhelm is Leeb's real first name while Schroeder stems from the Peanuts character of the same name and was meant as a joke. "I think the fact that we didn't have any musical training, gave us free range", he said, "The words 'experimental electronic music' really come to mind as to how we did that." Leeb contributed bass synth and backing vocals for several tracks while also supporting their 1985 tour. His drug experiences at the time, though Leeb felt no need to repeat it at later times, added to his creativity. "You can always draw from that experience of when you were there and what the ambiance and the feeling was like. It's not like you need to go there every year to recapture that moment.", Leeb stated. Since Leeb did not want to continue with the next tour, splitting up with Skinny Puppy was imminent.
Contacts in the music scene he had gathered while with Skinny Puppy facilitated the advancement of his own project, leading to contract offers from the first two labels that Leeb later approached with cassettes. Leeb appreciated that Skinny Puppy would cast a long shadow over his own musical efforts after leaving the band. "Sometimes, you break away from a band, and the band has such a strong image that you're always going to be forever compared to those guys," Leeb said, "I knew it was a big risk because the band was already taking off and stuff, but I think it was all for the best. The name of his new band reflects Leebs view of the world at the time. "The name came to me from just hearing people's struggles all over the world on the news all the time", he revealed after the formation of Front Line Assembly, "The only way people can fight back is to assemble in groups. We are fed so much information through the media that no one knows what to believe anymore. So Front Line Assembly means fighting the communications war."
The band debuted its first album The Initial Command with credited assistance by Fulber and Michael Balch on Belgian independent record label KK at the end of 1987. The album had been produced on a tight budget which would determine whether or not cuts would be done with an eight track system or split into two four track cuts. With the next album State of Mind, released in January 1988, the band switched to German independent label Dossier. Having assumed producing and mixing duties before, Balch emerged as official band member in 1988 and began writing songs alongside Leeb for the next few albums. Balch mostly contributed by providing keyboards and programming. As Leeb put it, "I would write the songs, and he was really good with the software." This partnership produced the releases Corrosion and Disorder. Originally planned to be issued on Canadian label Nettwerk, which ultimately failed "because of politics and the previous Skinny Puppy relationship", both records mark the beginning of the cooperation with Third Mind in 1988.
The change in labels for the first few releases before finally sticking with Third Mind was a deliberate choice. Adhering to Third Mind for Europe and Wax Trax! for North America made Front Line Assembly releases significantly more available. According to Leeb, this arrangement "worked out much better as far as distribution and promotion. Third Mind is getting very good distribution in Europe." Being signed to Third Mind also helped catching the attention of established music magazines such as Melody Maker or NME.
Front Line Assembly produced their next album Gashed Senses & Crossfire in 1989. This album introduced their first single Digital Tension Dementia which became their first chart success and peaked at position 45 of the Billboard Hot Dance Club Songs chart. Fueled by growing success and in support of their latest release, the band, together with Rhys Fulber as live metal percussionist, headed out to Europe and North America for their first tour which were met "with rave reviews for F.L.A.'s powerful live act." For Balch it was also the last Front Line Assembly tour since he parted ways to join Ministry and Revolting Cocks.
Filling the void, Rhys Fulber officially joined, "a natural progression", according to Leeb, which changed the working routine in the band. "The working situation in the band is a lot different because Rhys is working with me on everything, and his taste runs more into electronic music, just like me", said Leeb, noting that Fulber was "a lot more fun to work with." The duo recorded their next album, Caustic Grip, in the first half of 1990. Accompanied by the release of two singles in 1990, Iceolate and Provision, the album raised Front Line Assembly's profile in the industrial music scene and in the media considerably. The tour in support of the album started in January 1991 in the United States to be followed by a European leg in February which was accompanied by the release of stand-alone single Virus the same month. Chris Peterson, who would later become a full-time member of Front Line Assembly, gave his debut for the band on this tour, completing the live line-up as percussionist.
In 1992, Front Line Assembly reached a turning point in the band's musical style with the album Tactical Neural Implant. The media commented particularly on the more melodious approach featured on the album and noted the use of multi-layered sounds which would become a trademark of the band. The video for the first single off the album, Mindphaser, was awarded "Best Alternative Video" at Much Music's 1992 Canadian Music Video Awards. In August 1992, Front Line Assembly embarked on a tour that covered Northern America and Europe. The album is played in industrial and electronic music dance clubs to this day and considered a classic among listeners and musicians of industrial music. The next album Millennium (1994) featured a combination of metal guitars, electronic music, and media sampling (much of which was taken from the Michael Douglas film Falling Down) which had become one of the characteristics of industrial rock and industrial metal during the 1990s.
Hard Wired (1995) and the world tour following the release was FLA's most successful commercial and critical period.
In 1997, Fulber left the band to concentrate on producing Fear Factory along with other bands. Chris Peterson, who had already supported the band's live shows, replaced Fulber. Soon after Fulber quit, the 1997 album [FLA]vour of the Weak was released. Yet again, the album was stylistically divergent from previous releases. The metal influences found in Millennium gave way to a more electronica sound within the new release. Front Line Assembly made somewhat of a return to their former sound with the album Implode (1999), followed by Epitaph (2001), as well as half of the soundtrack for the video game Quake III Arena in 1999. Chris Peterson left FLA in 2002. Through most of that year it was rumoured that the band had essentially broken up.
Rhys Fulber rejoined the band in 2003. The reunited duo released the single Maniacal in October of that same year, launching a new phase in the band's career. The next year, they released the studio album Civilization. Chris Peterson later rejoined the band to release Artificial Soldier in 2006. The following tour was cut short due to a problem with the company supplying the tour bus. The band acknowledged that they were returning home to Vancouver earlier than planned after playing roughly half of their scheduled tour in the United States (dates in New York and Canada were canceled). The band toured in Europe in August 2006 covering 18 cities.
In April 2007, Front Line Assembly released a remix album titled Fallout. The album was released in a 4-panel digipak and featured three previously unreleased tracks ("Electric Dreams," "Unconscious," and "Armageddon") and nine remixes by several other Industrial acts and names. After the release of the remix album, the band went out to tour North America and Europe. In 2010, Front Line Assembly, with new members Jeremy Inkel and Jared Slingerland, released a new single, Shifting Through the Lens, and album, Improvised Electronic Device.
As described on Dependent Records' website, the album is described as "stronger and more danceable" when compared to immediately previous releases. "Angriff", the second single from the album, is further described as "wandering on metal paths reminiscent of Rammstein and their own Millenium album." In 2012, Leeb mentioned that a new album will be completed by the end of the year, though no official announcement or tour date has been released.
Having integrated guitars into their sound since the late 1980s, either sampled or as live guitars, FLA set the stage in 2012 for the return to an exclusively electronic soundscape. This change could be heard when the band released the soundtrack album AirMech for the video game of the same name at the end of 2012. Comprising only instrumental tracks, AirMech laid some grounds for 2013 full-length album Echogenetic, as Bill Leeb recalls in an interview with Rock Sins: "I guess this sound of this record maybe it started pretty much with the record we did prior called AirMech." Echogenetic was widely praised by critics, who also noted the dubstep influences on the record, and hit the charts in the United States and in Germany. Entering the official German charts was a first in the band's history. On the occasion of the release of Echogenetic Front Line Assembly announced a remix album which was released in May 2014 under the moniker of Echoes.
Resuming tour activities, the band gave a number of concerts in September and November 2015. They started off with a show in Vancouver and went on to headline the second day of the fourth run of the Cold Waves industrial festival in Chicago. In November they followed up with their first ever show in Mexico City, supported by Mexican electro-industrial band Hocico, and a gig in Guadalajara both of which were also supported by Canadian electro-industrial group Decoded Feedback.
xxxxx xxxxx xxxxx xxxxx xxxxx
Corroded Disorder is a blend of 2 albums from 1988. Some very good songs here : 'Body Count', which is an anticipation of what was to come, 'Concussion', 'Lurid Sensation', which is a quite original EBM song (maybe the only song in which Leeb's voice leaves his usual deep voice for a moment: a scream), 'Obsession', quite 242ish, 'The Wrack', which sounds as if Kraftwerk's 'Man Machine' was filtered through a liquidizer, 'Headcase Fargone', with a quite weird bass beginning, This album has also Deleriumesque songs ('On the cross'), you know, instrumental songs with almost no beat and full of samples. The only songs which sound a bit out of place are the first 2, unsurprisingly these are from 1992 and should have been left off.
To sum up, 'Corroded Disorder' is maybe the best album from the earlier ones, the first in which Delerium elements are less obvious and typical FLA hardbeat songs are protagonists. In absolute terms, this album is not amazing and in a way sounds primitive (having in mind the limited equipment at the time), but if you pay attention to the songs you'll perceive more and more details and the brilliancy of the atmospheres created by Leeb, Balch and Fulber.
Front Line Assembly - Corroded + Disorder (flac 508mb)
01 Mutate 5:42
02 Teardown 4:36
03 Lurid Sensation 4:05
04 Right Hand Of Heaven 5:46
05 Concussion 4:14
06 On The Cross 5:49
07 Controversy 5:20
08 Dark Dreams 6:05
09 Body Count 4:15
10 Obsession 4:07
11 Aggression 4:55
12 Diesect 4:38
13 The Wrack 3:26
14 Solitude Of Confinement 6:37
15 Collision 4:28
16 Headcase Fargone 4:47
xxxxx xxxxx xxxxx xxxxx xxxxx
Often cited as Front Line Assembly's best album, 1989's Gashed Senses & Crossfire saw the Austro-Canadian ensemble fulfilling the underground promise of their early releases and riding the very crest of the industrial music tidal wave as it broke over the entire planet. The album may not have enjoyed the same sort of watershed sales or mainstream recognition as KMFDM's and Ministry's concurrent releases, but the creative versatility displayed by collaborators Bill Leeb, Michael Balch, and unofficial member Rhys Fulber, was truly second to none. In fact, it was precisely that eclecticism that made the album so challenging and less commercially successful, yet ultimately fulfilling, as listeners were forced to contend with acerbic dance numbers ("No Limit," "Digital Tension Dementia," etc.), hypnotic metal machine music ("Antisocial" "Bloodsport"), and hauntingly ethereal meditations ("Prayer," "Sedation") alike, without discrimination. In the end, the key elements binding all of these disparate constructions together were the atonal croaks and croons that passed for vocals, and Front Line Assembly's formidable production talents, which brought meticulous detail to the inordinate number of instrumental layers stacked within, and the innumerable sonic artifacts that peppered them with surprises. In short: a triumph of man, machine, and music. Notably, Gashed Senses & Crossfire was also the final FLA album to feature founding partner Michael Balch, who was replaced full-time by future electro-metal producer Rhys Fulber for the following year's Caustic Grip.
Front Line Assembly - Gashed Senses And Crossfire (flac 277mb)
01 No Limit 4:53
02 Antisocial 4:31
03 Hypocrisy 3:48
04 Shutdown 5:24
05 Prayer 3:29
06 Digital Tension Dementia 4:46
07 Big Money 4:15
08 Bloodsport 5:55
09 Foolsgame 3:36
10 Sedation 3:56
xxxxx xxxxx xxxxx xxxxx xxxxx
Front Line Assembly displayed an efficiency befitting of their music's machine-like nature when co-founder Michael Balch stepped aside in 1990 and part-time member Rhys Fulber seamlessly took his place beside Bill Leeb beginning with 1990's Caustic Grip album. Fulber's timing was also propitious in the sense that the previous year's Gashed Senses & Crossfire had exposed FLA to a larger audience and set the stage for their newly minted production team to operate its magic with utmost precision and multi-layered attention to detail on the eminent follow-up. The eye-opening results can be sampled in the infernal dance grooves and hyperactive beats energizing tracks like "Resist," "Overkill," and "Force Fed" (all of them sounding like Depeche Mode's worst nightmare), and yet their processed whispers and rasps weren't nearly as frightening as Leeb's serial killer croak on "Victim." On the other hand, he actually came close to singing for the first time on the abnormally sedate "Threshold," and the ratio of synthesized melodies per beat was shifted ever so slightly for the benefit of singles "Provision" and "Iceolate" -- the latter even receiving the benefit of a music video and modest MTV rotations to support it. Above all else, perhaps, Caustic Grip helped Front Line Assembly make a definitive break from Leeb's previous legendary group, Skinny Puppy, by solidifying their standing as one of the most essential industrial groups of the '90s.
Front Line Assembly - Caustic Grip (flac 358mb)
01 Resist 5:25
02 Victim 5:06
03 Overkill 5:23
04 Forge 4:21
05 Provision 6:09
06 Force Fed 4:41
07 Iceolate 5:13
08 Threshold 5:11
09 Mental Distortion 6:50
10 The Chair 3:26
xxxxx xxxxx xxxxx xxxxx xxxxx
Front Line Assembly - Front Line Assembly - EP's 88-90 (flac 468mb)
01 Digital Tension Dementia (remix)7:15
02 Vexation 8:23
03 Big Money (Remix) 4:15
04 No Limit (Damaged Goods Remix) 7:38
05 Lethal Compound (Harmful If Swallowed Mix) 11:08
06 No Limit (Spontaneous Combustion Mix) 5:27
07 Iceolate (remix) 6:30
08 Mental Distortion 6:50
09 Iceolate (Dub Mix) 4:59
10 Provision (remix) 6:28
11 Overkill (Surge Mix) 6:33
Front Line Assembly - Front Line Assembly - EP's 88-90 (ogg 188mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
Jun 14, 2016
RhoDeo 1624 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, an awarded singer with an extensive solo discography and international experience. A fundamental presence in the Tropicalia movement, she has been in Brazil's leading team of singers for decades.....N'Joy
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Gal Costa was born on September 26, 1945, in the city of Salvador, the state capital of the state of Bahia, Brazil. Her mother, Mariah Costa Penna (deceased 1993) spent hours listening to classical music during her pregnancy in hopes that Gal would be interested in music. Gal's father, Arnaldo Burgos (deceased 1960), died when Gal was 15 years old and the two would never meet.
At the age of 10, Gal befriended sisters, Sandra and Andréia Gadelha, the future spouses of singer-songwriters Gilberto Gil and Caetano Veloso, respectively. Since very young, she has been involved with music as a singer and violão player; when her mother's business broke she became a record shop attendant, where he spent long hours listening to music, especially João Gilberto. She became acquainted with Caetano Veloso in 1963, and friendly disputed him as boyfriend with her girlfriend Dedé, who would later be Caetano's wife. At 18, she was introduced to Caetano Veloso by Andréa Gadelha, engaging with him in a deep friendship that still lasts.
In 1964, Caetano was invited to organize a Brazilian popular music show at the opening of Salvador's Teatro Vila Velha. The show, called Nós, por Exemplo, brought Caetano, his sister Maria Bethânia, Gilberto Gil, and Costa (still under her name Maria da Graça). The show was a success and was re-enacted two weeks later, with the addition of Tom Zé (still presented as Antônio José). The success was even bigger, and the group (without Tom) soon presented another show, Nova Bossa Velha, Velha Bossa Nova.
Domingo In September 26, 1965, the group opened the show Arena Canta Bahia, at São Paulo's Teatro de Arena. At the end of that year, she was taken to the presence of her idol João Gilberto, who asked her to sing while he accompanied; after listening to her on several songs, he declared, "Girl, you sing beautifully. Someday I will return to record an album only with you." Also in that year, she appeared on Bethânia's first album, singing "Sol Negro" (Caetano Veloso). In 1966, she recorded a single for RCA (completely unperceived by the general audiences) and interpreted "Minha Senhora" (Gilberto Gil/Torquato Neto) at TV Rio's I FIC; she also took the name Gal Costa by suggestion of impresario Guilherme Araújo. In 1967, Costa recorded her first LP, together with Caetano (also his first LP), on Domingo. In 1968, she recorded two tracks on the LP manifesto Tropicália: Ou Panis Et Circensis that became her first hits, "Mamãe Coragem" and "Baby." Also in 1968, she achieved great popularity at TV Record's IV FMPB (São Paulo) when she won first place for "Divino Maravilhoso" (Gilberto Gil/Caetano Veloso).
In the next year, she recorded her first individual LP for Philips, Gal Costa. She then began a busy schedule of performances throughout Brazil and that same year recorded another self-titled for Philips. In 1970, she performed in England and, returning next year to Brazil, she recorded the LP Legal.
In 1968, Costa became a part of the Tropicalismo movement. She recorded four songs on Tropicália: ou Panis et Circenses. They were "Mamãe coragem", written by Veloso and Torquato Neto, "Parque industrial", by Tom Zé, "Enquanto seu lobo não vem", by Veloso, and "Baby", also by Veloso. The latter became Costa's first nationwide solo hit, becoming a classic of Brazilian popular music. On the same year, she participated in the 3rd International Music Festival, performing "Gabriela Mais Bela", written by Roberto and Erasmo Carlos. In November, she participated on Rede Record's 4th Music Festival, performing the song "Divino Maravilhoso", by Gil and Veloso. The song also became a nationwide hit and a classic song of popular music.
On 1969, Costa released her eponymous solo debut album, which included "Baby" and "Divino Maravilhoso". The album is considered a Tropicalismo classic, balanced between Brazilian stylizations and North American psychedelic influences. It also featured Costa's third and fourth solo hits, Jorge Ben Jor's "Que pena (Ele já não gosta mais de mim)" and Veloso's "Não identificado", respectively. On the same year, she recorded her second solo album, titled Gal, and featuring the hits "Meu nome é Gal", by Roberto and Erasmo Carlos, and "Cinema Olympia", by Veloso. The album served as the basis for the repertoire of the concert Gal!, a live album the following year again balanced smooth Brazilian sounds with heavy rock.
In 1971, she got success in the show Deixa Sangrar, presented in several capitals, and joined João Gilberto and Caetano in a live TV Tupi performance. In 1972, her show A Todo Vapor was recorded live on a double album, and she performed with Gil and Caetano at several venues. In 1973, she performed at the MIDEM in Cannes, France, and recorded the LP Índia, after the show by the same name. In 1976, she recorded the album Os Doces Bárbaros with Caetano, Gil, and Bethânia, also performing a series of shows with them under the same name, and recorded the solo album Gal Canta Caymmi. She recorded four more albums in the '70s. In the '80s, she gained international exposure, touring through Japan, France, Israel, Argentina, the U.S., Portugal, Italy, and others. In 1984, she performed in the show O Sorriso do Gato de Alice (her 20th album), which was awarded by APCA and received the Shell Prize. In 1997, she commemorated 30 years of her career with the CD and video Acústico MTV (BMG), with many important special guests. In 1998, Polygram released 30 Anos de Barato, a three-CD box set. The double-disc Canta Tom Jobim: Ao Vivo appeared in 1999.
Costa continued to be a viable and active artist in the 21st century, issuing new recorded material even as repackaging of her previous work hit the market. Gal Boss Tropical was released in 2002 by Abril, followed by Hoje: 2005 from Trama Records three years later. 2006 saw the appearance of Gal Costa Live at the Blue Note from DRG.
xxxxx xxxxx xxxxx xxxxx xxxxx
This 1967 LP was both Gal Costa's and Caetano Veloso's debut. It's a quiet, post-bossa nova effort characterized by fine singing and some very good songs, some of them penned by Veloso himself. In some ways, Domingo is more like a folk singer/songwriter album out of the '60s London scene than a Brazilian pop record. As it was, this was a deceptive calm-before-the-storm since both artists would soon play central roles in the wild, psychedelic experimental scene known as Tropicalia. It would take years of musical and political tumult before each of them regained their footing, which makes this relatively modest and innocent beginning all the more valuable.
Gal Costa e Caetano Veloso - Domingo (flac 160mb)
01 Coração Vagabundo 2:25
02 Onde Eu Nasci Passa Um Rio 1:59
03 Avarandado 2:44
04 Um Dia 3:12
05 Domingo 1:25
06 Nenhuma Dor 1:33
07 Candeias 3:12
08 Remelexo 1:54
09 Minha Senhora 4:15
10 Quem Me Dera 3:23
11 Maria Joana 1:41
12 Zabelê 2:48
(ogg mb)
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A lot changed between Gal Costa's pleasantly straightforward 1967 debut Domingo and her eponymous follow-up two years later. Domingo, also a debut for young Brazilian songwriter Caetano Veloso, featured a set of airy, somewhat standard bossa nova tunes, sung ably by Costa. Mere months after the release of this relatively safe debut, however, Costa and Veloso found themselves alongside Os Mutantes, Tom Zé, and Gilberto Gil, recording contributions to Tropicália: Ou Panis et Circencis, the unofficial manifesto of the Tropicalismo movement. The compilation dove headfirst into avant-garde experimentalism, embracing the psychedelic tendencies happening in American underground circles, and the politically charged energy of radical dissent to Brazil's ongoing military dictatorship. This wild new hybrid of Brazilian pop and far-reaching outside influences resulted in something instantly miles away from everything that came before it, and Costa's self-titled Tropicalismo debut is no exception. The album begins with a flutter of psychedelic echo effects, dissolving into gloriously lush string arrangements and lighthearted organ on "Nao Identificado," a brilliant opening track that introduces Costa's velvety voice, gently at first, as if to ease the listener into the new sounds about to be revealed. Softly glowing chamber pop arrangements like "Lost in Paradise" melt into unchained grooves and buzzing fuzz guitar bug-outs like the Gilberto Gil-aided "Namorinho de Portão" and the child-like singsonginess of "Divino Maravilhoso." The echo-heavy productions, patient strings, and gorgeously floating melody of "Baby" drive the album to its brilliant summit, offering a perfect articulation of the pensive, sexy, strange, and above all else, sunny blur that Tropicalismo was, even in its very beginnings.
Gal Costa - Gal Costa (flac 244mb)
01 Não Identificado 3:19
02 Sebastiana 2:24
03 Lost In The Paradise 2:51
04 Namorinho De Portão 2:33
05 Saudosismo 3:10
06 Se Você Pensa 3:14
07 Vou Recomeçar 3:24
08 Divino, Maravilhoso 4:20
09 Que Pena (Ela Já Não Gosta Mais De Mim) 3:35
10 Baby 3:33
11 A Coisa Mais Linda Que Existe 4:00
12 Deus É O Amor 3:04
Gal Costa - Gal Costa (ogg 94mb)
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After Caetano Veloso broke out with his solo debut, the self-titled 1968 release recognized as the building block for the now infamous Brazilian Tropicalia movement, his friends and musical peers released similar albums, always upping the ante in terms of outrageousness and inventiveness. This release, the second of two self-titled albums released by Gal Costa in 1969, set the high watermark in terms of overall insanity and complete experimental freedom for the entire lot; not Veloso nor Gilberto Gil, Tom Zé, or even the rambunctious Os Mutantes stepped this far out into psychedelia, and even though Costa had hinted at the noisier aspects she was interested in exploring with her previous release, this album must have shocked listeners when it arrived on the shelves. In fact, 35 years of MPB -- or music from anywhere else in the world for that matter -- hasn't heard another sonic assault quite like this. Costa is a ball of contradictions here: overtly wild but in control; sweet and accessible, yet brash; and, at times, almost violent as she screams and moans her way through the album while spindly, whiny guitars mix with soulful bass grooves, bombastic drums, exotic horns, woodwinds, and strings. The sonic textures are taken completely over the top with judicious use of delays, reverbs, and various production techniques new and exciting at the time. When taken all together, the listener may not at first notice the high quality of the songwriting for the unreal, emotional freak-outs laced throughout the performances. Costa's crazy improvisations over Caetano Veloso's tune "The Empty Boat" serve as evidence of this delightful impulsiveness when placed side by side with Veloso's own rather forward-thinking recording of the song, which sounds positively conservative by comparison. All in all, Gal Costa is an indescribable, unpredictable, ambitious, and fun record preserving a slice of time when Brazil was at its most controversial state musically and politically and is a must-have for any psychedelic collection.
Gal Costa - Gal (flac 224mb)
01 Cinema Olympia 3:09
02 Tuareg 3:25
03 Cultura E Civilização 4:21
04 País Tropical 3:49
05 Meu Nome É Gal 3:26
06 Com Medro, Com Pedro 3:06
07 The Empty Boat 4:07
08 Objeto Sim, Objeto Não 5:09
09 Pulsars E Quasars 4:58
Gal Costa - Gal (ogg 87mb)
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On Legal, the follow-up to her extremely bombastic previous release, Gal Costa retains only some of the fire and experimentation, instead opting to return to more accessible and subdued arrangements. This was likely a wise decision on Costa's part, even though the reckless abandon she displayed on Gal Costa was astonishing, for her to recklessly continue flailing down that path would've certainly led to her burning out or completely alienating the public she was trying to inform. Furthermore, Legal is a much more diverse record than her previous records, displaying influences from American blues-rock, R&B, and soul with winding, organ-driven rock closer to the sound Milton Nascimento would later latch onto and nurture with his Clube da Esquina albums. This diversity is welcome and served as a setup for Costa to further explore complex arrangements on her later records. Costa's lovely voice flourishes on the jazzy churning of "Língua Do P," the emotional groove of "Mini-Misterio" as well as the gorgeous version of Caetano Veloso's "London, London" -- certainly included as a reminder to the Brazilian public of her comrades (Veloso and Gilberto Gil) who were still exiled for upending politics through their radical music. The only questionable track on the album is "Love, Try, and Die," which has a fun, bouncy Dixieland style but is ruined by the unnecessary and terrible Louis Armstrong impersonation contributed by one of the backing vocalists. In spite of this small blunder, Legal appears near the beginning of Costa's most consistent period and should be sought out by those interested in the revolutionary late-'60s/early-'70s period of Brazilian rock.
Gal Costa - LeGal (flac 182mb)
01 Eu Sou Terrivel 2:30
02 Lingua Do P 3:40
03 Love, Try And Die 2:23
04 Mini-Misterio 4:16
05 Acaua 2:49
06 Hotel Das Estrelas 4:22
07 Deixa Sangrar 2:53
08 The Archaic Lonely Star Blues 3:03
09 London, London 4:00
10 Falsa Baiana 2:11
(ogg mb)
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Today, an awarded singer with an extensive solo discography and international experience. A fundamental presence in the Tropicalia movement, she has been in Brazil's leading team of singers for decades.....N'Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
Gal Costa was born on September 26, 1945, in the city of Salvador, the state capital of the state of Bahia, Brazil. Her mother, Mariah Costa Penna (deceased 1993) spent hours listening to classical music during her pregnancy in hopes that Gal would be interested in music. Gal's father, Arnaldo Burgos (deceased 1960), died when Gal was 15 years old and the two would never meet.
At the age of 10, Gal befriended sisters, Sandra and Andréia Gadelha, the future spouses of singer-songwriters Gilberto Gil and Caetano Veloso, respectively. Since very young, she has been involved with music as a singer and violão player; when her mother's business broke she became a record shop attendant, where he spent long hours listening to music, especially João Gilberto. She became acquainted with Caetano Veloso in 1963, and friendly disputed him as boyfriend with her girlfriend Dedé, who would later be Caetano's wife. At 18, she was introduced to Caetano Veloso by Andréa Gadelha, engaging with him in a deep friendship that still lasts.
In 1964, Caetano was invited to organize a Brazilian popular music show at the opening of Salvador's Teatro Vila Velha. The show, called Nós, por Exemplo, brought Caetano, his sister Maria Bethânia, Gilberto Gil, and Costa (still under her name Maria da Graça). The show was a success and was re-enacted two weeks later, with the addition of Tom Zé (still presented as Antônio José). The success was even bigger, and the group (without Tom) soon presented another show, Nova Bossa Velha, Velha Bossa Nova.
Domingo In September 26, 1965, the group opened the show Arena Canta Bahia, at São Paulo's Teatro de Arena. At the end of that year, she was taken to the presence of her idol João Gilberto, who asked her to sing while he accompanied; after listening to her on several songs, he declared, "Girl, you sing beautifully. Someday I will return to record an album only with you." Also in that year, she appeared on Bethânia's first album, singing "Sol Negro" (Caetano Veloso). In 1966, she recorded a single for RCA (completely unperceived by the general audiences) and interpreted "Minha Senhora" (Gilberto Gil/Torquato Neto) at TV Rio's I FIC; she also took the name Gal Costa by suggestion of impresario Guilherme Araújo. In 1967, Costa recorded her first LP, together with Caetano (also his first LP), on Domingo. In 1968, she recorded two tracks on the LP manifesto Tropicália: Ou Panis Et Circensis that became her first hits, "Mamãe Coragem" and "Baby." Also in 1968, she achieved great popularity at TV Record's IV FMPB (São Paulo) when she won first place for "Divino Maravilhoso" (Gilberto Gil/Caetano Veloso).
In the next year, she recorded her first individual LP for Philips, Gal Costa. She then began a busy schedule of performances throughout Brazil and that same year recorded another self-titled for Philips. In 1970, she performed in England and, returning next year to Brazil, she recorded the LP Legal.
In 1968, Costa became a part of the Tropicalismo movement. She recorded four songs on Tropicália: ou Panis et Circenses. They were "Mamãe coragem", written by Veloso and Torquato Neto, "Parque industrial", by Tom Zé, "Enquanto seu lobo não vem", by Veloso, and "Baby", also by Veloso. The latter became Costa's first nationwide solo hit, becoming a classic of Brazilian popular music. On the same year, she participated in the 3rd International Music Festival, performing "Gabriela Mais Bela", written by Roberto and Erasmo Carlos. In November, she participated on Rede Record's 4th Music Festival, performing the song "Divino Maravilhoso", by Gil and Veloso. The song also became a nationwide hit and a classic song of popular music.
On 1969, Costa released her eponymous solo debut album, which included "Baby" and "Divino Maravilhoso". The album is considered a Tropicalismo classic, balanced between Brazilian stylizations and North American psychedelic influences. It also featured Costa's third and fourth solo hits, Jorge Ben Jor's "Que pena (Ele já não gosta mais de mim)" and Veloso's "Não identificado", respectively. On the same year, she recorded her second solo album, titled Gal, and featuring the hits "Meu nome é Gal", by Roberto and Erasmo Carlos, and "Cinema Olympia", by Veloso. The album served as the basis for the repertoire of the concert Gal!, a live album the following year again balanced smooth Brazilian sounds with heavy rock.
In 1971, she got success in the show Deixa Sangrar, presented in several capitals, and joined João Gilberto and Caetano in a live TV Tupi performance. In 1972, her show A Todo Vapor was recorded live on a double album, and she performed with Gil and Caetano at several venues. In 1973, she performed at the MIDEM in Cannes, France, and recorded the LP Índia, after the show by the same name. In 1976, she recorded the album Os Doces Bárbaros with Caetano, Gil, and Bethânia, also performing a series of shows with them under the same name, and recorded the solo album Gal Canta Caymmi. She recorded four more albums in the '70s. In the '80s, she gained international exposure, touring through Japan, France, Israel, Argentina, the U.S., Portugal, Italy, and others. In 1984, she performed in the show O Sorriso do Gato de Alice (her 20th album), which was awarded by APCA and received the Shell Prize. In 1997, she commemorated 30 years of her career with the CD and video Acústico MTV (BMG), with many important special guests. In 1998, Polygram released 30 Anos de Barato, a three-CD box set. The double-disc Canta Tom Jobim: Ao Vivo appeared in 1999.
Costa continued to be a viable and active artist in the 21st century, issuing new recorded material even as repackaging of her previous work hit the market. Gal Boss Tropical was released in 2002 by Abril, followed by Hoje: 2005 from Trama Records three years later. 2006 saw the appearance of Gal Costa Live at the Blue Note from DRG.
xxxxx xxxxx xxxxx xxxxx xxxxx
This 1967 LP was both Gal Costa's and Caetano Veloso's debut. It's a quiet, post-bossa nova effort characterized by fine singing and some very good songs, some of them penned by Veloso himself. In some ways, Domingo is more like a folk singer/songwriter album out of the '60s London scene than a Brazilian pop record. As it was, this was a deceptive calm-before-the-storm since both artists would soon play central roles in the wild, psychedelic experimental scene known as Tropicalia. It would take years of musical and political tumult before each of them regained their footing, which makes this relatively modest and innocent beginning all the more valuable.
Gal Costa e Caetano Veloso - Domingo (flac 160mb)
01 Coração Vagabundo 2:25
02 Onde Eu Nasci Passa Um Rio 1:59
03 Avarandado 2:44
04 Um Dia 3:12
05 Domingo 1:25
06 Nenhuma Dor 1:33
07 Candeias 3:12
08 Remelexo 1:54
09 Minha Senhora 4:15
10 Quem Me Dera 3:23
11 Maria Joana 1:41
12 Zabelê 2:48
(ogg mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
A lot changed between Gal Costa's pleasantly straightforward 1967 debut Domingo and her eponymous follow-up two years later. Domingo, also a debut for young Brazilian songwriter Caetano Veloso, featured a set of airy, somewhat standard bossa nova tunes, sung ably by Costa. Mere months after the release of this relatively safe debut, however, Costa and Veloso found themselves alongside Os Mutantes, Tom Zé, and Gilberto Gil, recording contributions to Tropicália: Ou Panis et Circencis, the unofficial manifesto of the Tropicalismo movement. The compilation dove headfirst into avant-garde experimentalism, embracing the psychedelic tendencies happening in American underground circles, and the politically charged energy of radical dissent to Brazil's ongoing military dictatorship. This wild new hybrid of Brazilian pop and far-reaching outside influences resulted in something instantly miles away from everything that came before it, and Costa's self-titled Tropicalismo debut is no exception. The album begins with a flutter of psychedelic echo effects, dissolving into gloriously lush string arrangements and lighthearted organ on "Nao Identificado," a brilliant opening track that introduces Costa's velvety voice, gently at first, as if to ease the listener into the new sounds about to be revealed. Softly glowing chamber pop arrangements like "Lost in Paradise" melt into unchained grooves and buzzing fuzz guitar bug-outs like the Gilberto Gil-aided "Namorinho de Portão" and the child-like singsonginess of "Divino Maravilhoso." The echo-heavy productions, patient strings, and gorgeously floating melody of "Baby" drive the album to its brilliant summit, offering a perfect articulation of the pensive, sexy, strange, and above all else, sunny blur that Tropicalismo was, even in its very beginnings.
Gal Costa - Gal Costa (flac 244mb)
01 Não Identificado 3:19
02 Sebastiana 2:24
03 Lost In The Paradise 2:51
04 Namorinho De Portão 2:33
05 Saudosismo 3:10
06 Se Você Pensa 3:14
07 Vou Recomeçar 3:24
08 Divino, Maravilhoso 4:20
09 Que Pena (Ela Já Não Gosta Mais De Mim) 3:35
10 Baby 3:33
11 A Coisa Mais Linda Que Existe 4:00
12 Deus É O Amor 3:04
Gal Costa - Gal Costa (ogg 94mb)
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After Caetano Veloso broke out with his solo debut, the self-titled 1968 release recognized as the building block for the now infamous Brazilian Tropicalia movement, his friends and musical peers released similar albums, always upping the ante in terms of outrageousness and inventiveness. This release, the second of two self-titled albums released by Gal Costa in 1969, set the high watermark in terms of overall insanity and complete experimental freedom for the entire lot; not Veloso nor Gilberto Gil, Tom Zé, or even the rambunctious Os Mutantes stepped this far out into psychedelia, and even though Costa had hinted at the noisier aspects she was interested in exploring with her previous release, this album must have shocked listeners when it arrived on the shelves. In fact, 35 years of MPB -- or music from anywhere else in the world for that matter -- hasn't heard another sonic assault quite like this. Costa is a ball of contradictions here: overtly wild but in control; sweet and accessible, yet brash; and, at times, almost violent as she screams and moans her way through the album while spindly, whiny guitars mix with soulful bass grooves, bombastic drums, exotic horns, woodwinds, and strings. The sonic textures are taken completely over the top with judicious use of delays, reverbs, and various production techniques new and exciting at the time. When taken all together, the listener may not at first notice the high quality of the songwriting for the unreal, emotional freak-outs laced throughout the performances. Costa's crazy improvisations over Caetano Veloso's tune "The Empty Boat" serve as evidence of this delightful impulsiveness when placed side by side with Veloso's own rather forward-thinking recording of the song, which sounds positively conservative by comparison. All in all, Gal Costa is an indescribable, unpredictable, ambitious, and fun record preserving a slice of time when Brazil was at its most controversial state musically and politically and is a must-have for any psychedelic collection.
Gal Costa - Gal (flac 224mb)
01 Cinema Olympia 3:09
02 Tuareg 3:25
03 Cultura E Civilização 4:21
04 País Tropical 3:49
05 Meu Nome É Gal 3:26
06 Com Medro, Com Pedro 3:06
07 The Empty Boat 4:07
08 Objeto Sim, Objeto Não 5:09
09 Pulsars E Quasars 4:58
Gal Costa - Gal (ogg 87mb)
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On Legal, the follow-up to her extremely bombastic previous release, Gal Costa retains only some of the fire and experimentation, instead opting to return to more accessible and subdued arrangements. This was likely a wise decision on Costa's part, even though the reckless abandon she displayed on Gal Costa was astonishing, for her to recklessly continue flailing down that path would've certainly led to her burning out or completely alienating the public she was trying to inform. Furthermore, Legal is a much more diverse record than her previous records, displaying influences from American blues-rock, R&B, and soul with winding, organ-driven rock closer to the sound Milton Nascimento would later latch onto and nurture with his Clube da Esquina albums. This diversity is welcome and served as a setup for Costa to further explore complex arrangements on her later records. Costa's lovely voice flourishes on the jazzy churning of "Língua Do P," the emotional groove of "Mini-Misterio" as well as the gorgeous version of Caetano Veloso's "London, London" -- certainly included as a reminder to the Brazilian public of her comrades (Veloso and Gilberto Gil) who were still exiled for upending politics through their radical music. The only questionable track on the album is "Love, Try, and Die," which has a fun, bouncy Dixieland style but is ruined by the unnecessary and terrible Louis Armstrong impersonation contributed by one of the backing vocalists. In spite of this small blunder, Legal appears near the beginning of Costa's most consistent period and should be sought out by those interested in the revolutionary late-'60s/early-'70s period of Brazilian rock.
Gal Costa - LeGal (flac 182mb)
01 Eu Sou Terrivel 2:30
02 Lingua Do P 3:40
03 Love, Try And Die 2:23
04 Mini-Misterio 4:16
05 Acaua 2:49
06 Hotel Das Estrelas 4:22
07 Deixa Sangrar 2:53
08 The Archaic Lonely Star Blues 3:03
09 London, London 4:00
10 Falsa Baiana 2:11
(ogg mb)
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Jun 13, 2016
RhoDeo 1624 Foundation 8
Hello, 50 dead and 53 wounded, one mad man and his automatic gun shouting isis, which probably held of the local police long enough to achieve this horrific number of victims Three ! hours this butchery lasted, clearly Orlando police wasn't risking their necks for of bunch of gays. At the moment there hasn't been any blaming yet but once the shock settles serious questions will be asked.
For me it was a (watching) sports day Chris Froome once again won the Critérium du Dauphiné leaving Contador in his wake, Froome and his superior Sky team will be hard to beat in the Tour De France, over at the Tour de Suisse Sagan once again proved what an outragous talent he is. Inbetween saw Croatia deservedly beat Turkey 1-0 and Poland beat Northern Ireland with the same score. Then it was time for the main meal of the day The Canadian Grand Prix which saw plenty of action and great driving Hamilton won after pushing Rosberg of the track and keeping his tires healthy same one stop strategy got Bottas a third, Vettel who had a great start and led the race until his second stop had to make do with second. Verstappen in the same way lost third to Bottas, at the end he magnificently held off Rosberg staying fourth. Back to football the for the days final game Germany vs Ukraine which looked to become another deserved 1-0 win until Schweinsteiger expertly finished off an extra time counter 2-0. Goals have been sparse thusfar 13 goals in 7 matches.
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. Today the final episode....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. Today the final episode.
Sixty years later a teenage girl is at the centre of the Foundation's renewed search for the Second Foundation.
Isaac Asimov - The Foundation Trilogy 8 Second Foundation - Stars End (mp3 52mb)
The Foundation Trilogy 8 Second Foundation - Stars End... 57:00
The Mule has gone and the Foundation develops as Seldon calculated. Yet, some people fear the unknown power of the Second Foundation and while the fear remains the plan cannot succeed.
xxxxx xxxxx xxxxx xxxxx xxxxx
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)
Isaac Asimov - The Foundation Trilogy 4 The General (mp3 50mb)
Isaac Asimov - The Foundation Trilogy 5 The Mule (mp3 52mb)
Isaac Asimov - The Foundation Trilogy 6 Flight from the Mule (mp3 52mb)
Isaac Asimov - The Foundation Trilogy 7 The Mule Finds (mp3 53mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
For me it was a (watching) sports day Chris Froome once again won the Critérium du Dauphiné leaving Contador in his wake, Froome and his superior Sky team will be hard to beat in the Tour De France, over at the Tour de Suisse Sagan once again proved what an outragous talent he is. Inbetween saw Croatia deservedly beat Turkey 1-0 and Poland beat Northern Ireland with the same score. Then it was time for the main meal of the day The Canadian Grand Prix which saw plenty of action and great driving Hamilton won after pushing Rosberg of the track and keeping his tires healthy same one stop strategy got Bottas a third, Vettel who had a great start and led the race until his second stop had to make do with second. Verstappen in the same way lost third to Bottas, at the end he magnificently held off Rosberg staying fourth. Back to football the for the days final game Germany vs Ukraine which looked to become another deserved 1-0 win until Schweinsteiger expertly finished off an extra time counter 2-0. Goals have been sparse thusfar 13 goals in 7 matches.
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. Today the final episode....N'Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
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.
xxxxx xxxxx xxxxx xxxxx xxxxx
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. Today the final episode.
Sixty years later a teenage girl is at the centre of the Foundation's renewed search for the Second Foundation.
Isaac Asimov - The Foundation Trilogy 8 Second Foundation - Stars End (mp3 52mb)
The Foundation Trilogy 8 Second Foundation - Stars End... 57:00
The Mule has gone and the Foundation develops as Seldon calculated. Yet, some people fear the unknown power of the Second Foundation and while the fear remains the plan cannot succeed.
xxxxx xxxxx xxxxx xxxxx xxxxx
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)
Isaac Asimov - The Foundation Trilogy 4 The General (mp3 50mb)
Isaac Asimov - The Foundation Trilogy 5 The Mule (mp3 52mb)
Isaac Asimov - The Foundation Trilogy 6 Flight from the Mule (mp3 52mb)
Isaac Asimov - The Foundation Trilogy 7 The Mule Finds (mp3 53mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
Jun 12, 2016
Sundaze 1624
Hello, the European football Championsship has started and the biggest clash thusfar ended in a draw UK 1 - Russia 1 an injury header outclassed the UK defense. 0-0 at halftime UK the upperhand but the second half was much more even. The coach made a big mistake not exchanging his forwards Kane and Stirling who both were disappointing at least after the 1-0 he should have brought Vardy and Rashford and scare the Russians. Well they have a neighborly war next against Wales, Kane has to proof himself there or sink.
Today's artist is an American composer living in New York City. As one-third of the composer-collective Bang on a Can, David Lang is something of a genial father figure of the indie-classical scene. Talk to any of the world's main players and you're likely to hear them tell you about their life-changing stint in Bang on a Can's summer festival, which has acted as a sort of feeder school and incubator for the group's try-anything mentality. Lang's music has undergone many stylistic shifts over the years: In the 80s, he wrote bristlier stuff, but in the last decade or so, he's shifted quietly into a more pensive register. ........N'Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
David Lang has often been categorized as a post-minimalist, but his style is deeper and more complex than that term might suggest: though he has broadened minimalist techniques like other post-minimalists, he has employed a variety of disparate elements in his compositions, including rock and Bachian compositional forms. Lang won a Pulizter Prize for his choral composition The Little Match Stick Girl Passion (2007), a work formally modeled on Bach's St. Matthew Passion but containing music so highly individual that some critics expressed astonishment at how to categorize or describe its imaginative character. Lang's music can seem harmonically and rhythmically static, with seemingly little going on, as in How to Pray (2002) and Men (2001), both pieces being part of a visual/musical work called Elevated. Yet his admirers will assert there is much profundity beneath the surface of his music, and many critics will agree. Lang has also collaborated with other composers on large works, as he did with Julia Wolfe and Michael Gordon on The Carbon Copy Building (1999), a so-called comic-strip opera, which was awarded the Village Voice OBIE Award in 2000. Lang's works have been issued on a variety of labels, including BMG, Cantaloupe, Chandos, Decca, Harmonia Mundi, Naxos, Sony Classical, and others.
Lang was born in Los Angeles, California. After completing his undergraduate degree at Stanford University, he went to the University of Iowa; he says, "There was a teacher in composition at the University of Iowa named Martin Jenni, and he had come to Stanford as a leave replacement to teach for a semester. And I just thought he was amazing. He knew a lot of stuff that I’d never heard of before. So when I thought about grad school, I went to Iowa. I was happy I did. It was really a kind of golden age. I really loved it." Lang went on to earn a DMA at Yale University in 1989. In addition to Jenni, his teachers have included Henri Lazarof, Lou Harrison, Richard Hervig, Jacob Druckman, Hans Werner Henze, and Martin Bresnick.. In 1987 he co-founded, with Julia Wolfe and Michael Gordon, Bang On A Can, an organization promoting new and eclectic music, often presented in marathon concerts. .
Lang's music is informed by modernism, minimalism, and rock - and can perhaps be best described as post-minimalist or totalist. His music can be in turn comic, abrasive, and soothing, and it usually retains elements of conceptualism. He sometimes gives his concert pieces strange and even iconoclastic titles such as Eating Living Monkeys (1985) and Bonehead (1990). He is well known for his work with choreographers Pam Tanowitz, Annie-B Parson, Twyla Tharp, Shen Wei, Benjamin Millepied, Susan Marshall and Édouard Lock / La La La Human Steps.
In 1999 he collaborated with composers Julia Wolfe and Michael Gordon and librettist/illustrator Ben Katchor on the composition of the "comic strip opera" The Carbon Copy Building. The production won an Obie Award for Best New American Production. Lang, Wolfe and Gordon subsequently collaborated on the 'oratorio' Lost Objects, the recording of which was released in summer 2001. Their next collaborative project was Shelter, a multi-media work with librettist Deborah Artman, for the Scandinavian vocal group Trio Mediaeval and the German ensemble musikFabrik, which was performed in Germany and the U.S. in 2005.
In 1999 Lang drew notice for his opera The Difficulty of Crossing a Field, a work whose libretto was inspired by an Ambrose Bierce short story. The piece was scored for and premiered by the Kronos Quartet, with vocal soloists. Lang continued drawing notice in the new century with works like Fur (2004), for piano and orchestra. Most of his larger works came as the result of important commissions, including The Little Match Stick Girl Passion, which was a co-commission from the Carnegie Corporation and the Perth Theater and Concert Hall. Since 2008 Lang has been teaching composition at Yale University Music School.
The composer surveyed all of the national anthems of the world, drew ideas and phrases from them, and translated them into English. Musically, it is very similar to The Little Match Girl Passion made up primarily of short, arpeggiated phrases. It is scored for chorus and string quartet. It was premiered on June 7, 2014 at Walt Disney Concert Hall by the Los Angeles Master Chorale, and the recording of the world premiere comes out on Cantaloupe Music in the spring of 2016.[14] The Winnipeg Symphony Orchestra, where Lang is Composer-in-Residence in 2015-16, will perform the Canadian premiere of the national anthems, Trinity Choir Wall Street performs the New York premiere as part of their Twelfth Night Festival, and the London Symphony Chorus performs the UK premiere.
xxxxx xxxxx xxxxx xxxxx xxxxx
Composer David Lang came to prominence as one of the organizers of the Bang on a Can festival, a musical event organized around postmodern contemporary ideas with feet in minimalism, rock, jazz, and other forms. This disc of his own compositions ranges widely, sometimes ingratiating, sometimes annoying, but generally of interest. The title track, far from having any overt associations with the Hendrix classic, is a self-referential piece involving the plight of a new music listener who gets banged on the head and the hallucinatory scenes this accident creates. Musically, it tends toward the abrupt, harsh minimalism of Louis Andriessen, a Dutch composer and one of the patron saints of the Bang on a Can festival. Its stabs at humor and wackiness wear thin, however. More successful is a piano duo, "Orpheus Over and Under," here performed by Double Edge (Edmund Niemann and Nurit Tilles). A keening evocation of loss, its shimmering, unrelenting tremolos in the higher registers are striking and evocative.
David Lang, John Adams - Are You Experienced, Grand Pianola Music (flac 266mb)
01 Short Ride In A Fast Machine (John Adams) 4:23
Are You Experienced ? (David Lang + Narrator) (22:49)
02 Introduction 0:26
03 On Being Hit On The Head 2:37
04 Dance 5:58
05 On Being Hit On The Head (Reprise) 1:03
06 On Hearing The Voice Of God 2:52
07 Drop 6:55
08 On Hearing The Siren's Song 2:58
Under Orpheus (David Lang) 16:23
09 Aria 9:57
10 Chorale 6:26
Grand Pianola Music (John Adams) 31:43
11 Part I 14:47
12 Slow 8:13
13 Part II: On The Dominant Divide 8:39
xxxxx xxxxx xxxxx xxxxx xxxxx
According to the composer, the five works on David Lang's 2003 recording Child constitute an "attempt to examine certain experiences as I remember (and misremember) them from my childhood. Each individual movement is in some way a memory of how I learned to do something." For this recording, Lang gathered the separately commissioned but closely affined pieces into a suite for a varied ensemble of winds, strings, piano, and percussion, presented here by the Italian chamber ensemble Sentieri Selvaggi. Lang clearly draws on the repeated patterns and static harmonic fields of minimalism, but reduces the volume almost throughout to a restless murmur (save in the frenetic pianistic patter of Short Fall). The extramusical associations of the works range widely: a half-forgotten mnemonic memory device for the order of the planets lends its title -- as well as its gentle orbital feel and lack of closure -- to My Very Empty Mouth, the subtle intoxication of the dentist's laughing gas is invoked by the undulating woodwinds in Sweet Air, and the structural contours of Stick Figure are reduced to simple lines of sustained notes with sudden percussive strokes marking off its spare features. The streamlined yet lyrical nature of this music is complemented by the intimate, subtly articulated recording.
David Lang - Child (flac 176mb)
01 My Very Empty Mouth 12:57
02 Sweet Air 8:49
03 Short Fall 4:05
04 Stick Figure 9:56
05 Little Eye 7:20
(ogg mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
David Lang is a prime mover in the experimental contemporary Classical. The five pieces on this collection effectively reflect his use of outsider sources and contrary strategies. The opener "Pierced" contrasts the avant chamber trio Real Quiet with the Boston Modern Orchestra Project. Each plays almost independantly of each other while adding into a contrapunctual whole. The trio's jaunty and jazzy tangents, almost like an abstracted and distracted Lionel Hampton, are surrounded by sheets of nervous strings more akin to Bernard Herrmann. The effect is both exuberant and trepiditious. Midway, a new movement brings in terse percussion underlining slower sad lyricism and skittish dissonance, a disconcerting beauty.
Lang transmutes the viola-ed danger of the Velvet Underground's "Heroin" into a startling new arrangement, with Theo Bleckmann's confessional choral ebbing and flowing over a modal and serpentine cello. It is like a throughline between Phillip Glass and Radiohead, something that Lou Reed and John Cale would wryly appreciate. "Cheating, Lying, Stealing" is a self-deprecating jibe about unreliability, riffing off of being a rip-off. Modes repeat but shift erratically in a formal dance that's gone tipsy and turnabout. The three movements sych to the title; the first like bold tiptoeing, the second secretive and dark, the third like partial melodies skipping grooves. But it all gells as exciting and engaging instead of being randomly frustrating.
"How To Pray" pairs elegaic cello flows with strong piano chords to synthesize classical swell with rock urgency. "Wed" evokes a bittersweet personal memory by balancing delicacy with decay, where Lang says "hope and despair were in some strange equilibrium". A good summary of the goods herein. Each piece on the disc is strong and nuanced, an excellent introduction to a musical outlaw.
David Lang - Pierced (flac 284mb)
01 Pierced (2007) 13:51
02 Heroin (2002) 10:57
03 Cheating, Lying, Stealing (1993/95) 10:42
04 How To Pray (2002) 9:55
05 Wed (1996) 5:18
xxxxx xxxxx xxxxx xxxxx xxxxx
This Was Written By Hand, his most recent recording, is a collection of short solo piano works played by the British pianist Andrew Zolinsky.
The album holds the same, sustained melancholy mood: thoughtful, searching, elegiac, minimalist. Lang's way with repetitive phrasing doesn't feel like that of minimalists like Glass or Reich's, though. When his works linger over and repeat a figure, as on the title track, it feels uncannily like a puzzling notion being considered by an inquisitive, slightly neurotic mind. In that respect, Lang's music mimics the intellectual sensation of thinking and writing about music as much as it does the act of listening to music itself. To immerse yourself in this music is to hear a mind's churn. It can be perversely soothing.
David Lang - This was written by hand (flac 198mb)
01 This Was Written By Hand 10:13
Memory Pieces
02 I. Cage 5:53
03 II. Spartan Arcs 3:10
04 III. Wed 4:46
05 IV. Grind 1:50
06 V. Diet Coke 1:41
07 VI. Cello 4:53
08 VII. Wiggle 4:01
09 VIII. Beach 8:46
xxxxx xxxxx xxxxx xxxxx xxxxx
Today's artist is an American composer living in New York City. As one-third of the composer-collective Bang on a Can, David Lang is something of a genial father figure of the indie-classical scene. Talk to any of the world's main players and you're likely to hear them tell you about their life-changing stint in Bang on a Can's summer festival, which has acted as a sort of feeder school and incubator for the group's try-anything mentality. Lang's music has undergone many stylistic shifts over the years: In the 80s, he wrote bristlier stuff, but in the last decade or so, he's shifted quietly into a more pensive register. ........N'Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
David Lang has often been categorized as a post-minimalist, but his style is deeper and more complex than that term might suggest: though he has broadened minimalist techniques like other post-minimalists, he has employed a variety of disparate elements in his compositions, including rock and Bachian compositional forms. Lang won a Pulizter Prize for his choral composition The Little Match Stick Girl Passion (2007), a work formally modeled on Bach's St. Matthew Passion but containing music so highly individual that some critics expressed astonishment at how to categorize or describe its imaginative character. Lang's music can seem harmonically and rhythmically static, with seemingly little going on, as in How to Pray (2002) and Men (2001), both pieces being part of a visual/musical work called Elevated. Yet his admirers will assert there is much profundity beneath the surface of his music, and many critics will agree. Lang has also collaborated with other composers on large works, as he did with Julia Wolfe and Michael Gordon on The Carbon Copy Building (1999), a so-called comic-strip opera, which was awarded the Village Voice OBIE Award in 2000. Lang's works have been issued on a variety of labels, including BMG, Cantaloupe, Chandos, Decca, Harmonia Mundi, Naxos, Sony Classical, and others.
Lang was born in Los Angeles, California. After completing his undergraduate degree at Stanford University, he went to the University of Iowa; he says, "There was a teacher in composition at the University of Iowa named Martin Jenni, and he had come to Stanford as a leave replacement to teach for a semester. And I just thought he was amazing. He knew a lot of stuff that I’d never heard of before. So when I thought about grad school, I went to Iowa. I was happy I did. It was really a kind of golden age. I really loved it." Lang went on to earn a DMA at Yale University in 1989. In addition to Jenni, his teachers have included Henri Lazarof, Lou Harrison, Richard Hervig, Jacob Druckman, Hans Werner Henze, and Martin Bresnick.. In 1987 he co-founded, with Julia Wolfe and Michael Gordon, Bang On A Can, an organization promoting new and eclectic music, often presented in marathon concerts. .
Lang's music is informed by modernism, minimalism, and rock - and can perhaps be best described as post-minimalist or totalist. His music can be in turn comic, abrasive, and soothing, and it usually retains elements of conceptualism. He sometimes gives his concert pieces strange and even iconoclastic titles such as Eating Living Monkeys (1985) and Bonehead (1990). He is well known for his work with choreographers Pam Tanowitz, Annie-B Parson, Twyla Tharp, Shen Wei, Benjamin Millepied, Susan Marshall and Édouard Lock / La La La Human Steps.
In 1999 he collaborated with composers Julia Wolfe and Michael Gordon and librettist/illustrator Ben Katchor on the composition of the "comic strip opera" The Carbon Copy Building. The production won an Obie Award for Best New American Production. Lang, Wolfe and Gordon subsequently collaborated on the 'oratorio' Lost Objects, the recording of which was released in summer 2001. Their next collaborative project was Shelter, a multi-media work with librettist Deborah Artman, for the Scandinavian vocal group Trio Mediaeval and the German ensemble musikFabrik, which was performed in Germany and the U.S. in 2005.
In 1999 Lang drew notice for his opera The Difficulty of Crossing a Field, a work whose libretto was inspired by an Ambrose Bierce short story. The piece was scored for and premiered by the Kronos Quartet, with vocal soloists. Lang continued drawing notice in the new century with works like Fur (2004), for piano and orchestra. Most of his larger works came as the result of important commissions, including The Little Match Stick Girl Passion, which was a co-commission from the Carnegie Corporation and the Perth Theater and Concert Hall. Since 2008 Lang has been teaching composition at Yale University Music School.
The composer surveyed all of the national anthems of the world, drew ideas and phrases from them, and translated them into English. Musically, it is very similar to The Little Match Girl Passion made up primarily of short, arpeggiated phrases. It is scored for chorus and string quartet. It was premiered on June 7, 2014 at Walt Disney Concert Hall by the Los Angeles Master Chorale, and the recording of the world premiere comes out on Cantaloupe Music in the spring of 2016.[14] The Winnipeg Symphony Orchestra, where Lang is Composer-in-Residence in 2015-16, will perform the Canadian premiere of the national anthems, Trinity Choir Wall Street performs the New York premiere as part of their Twelfth Night Festival, and the London Symphony Chorus performs the UK premiere.
xxxxx xxxxx xxxxx xxxxx xxxxx
Composer David Lang came to prominence as one of the organizers of the Bang on a Can festival, a musical event organized around postmodern contemporary ideas with feet in minimalism, rock, jazz, and other forms. This disc of his own compositions ranges widely, sometimes ingratiating, sometimes annoying, but generally of interest. The title track, far from having any overt associations with the Hendrix classic, is a self-referential piece involving the plight of a new music listener who gets banged on the head and the hallucinatory scenes this accident creates. Musically, it tends toward the abrupt, harsh minimalism of Louis Andriessen, a Dutch composer and one of the patron saints of the Bang on a Can festival. Its stabs at humor and wackiness wear thin, however. More successful is a piano duo, "Orpheus Over and Under," here performed by Double Edge (Edmund Niemann and Nurit Tilles). A keening evocation of loss, its shimmering, unrelenting tremolos in the higher registers are striking and evocative.
David Lang, John Adams - Are You Experienced, Grand Pianola Music (flac 266mb)
01 Short Ride In A Fast Machine (John Adams) 4:23
Are You Experienced ? (David Lang + Narrator) (22:49)
02 Introduction 0:26
03 On Being Hit On The Head 2:37
04 Dance 5:58
05 On Being Hit On The Head (Reprise) 1:03
06 On Hearing The Voice Of God 2:52
07 Drop 6:55
08 On Hearing The Siren's Song 2:58
Under Orpheus (David Lang) 16:23
09 Aria 9:57
10 Chorale 6:26
Grand Pianola Music (John Adams) 31:43
11 Part I 14:47
12 Slow 8:13
13 Part II: On The Dominant Divide 8:39
xxxxx xxxxx xxxxx xxxxx xxxxx
According to the composer, the five works on David Lang's 2003 recording Child constitute an "attempt to examine certain experiences as I remember (and misremember) them from my childhood. Each individual movement is in some way a memory of how I learned to do something." For this recording, Lang gathered the separately commissioned but closely affined pieces into a suite for a varied ensemble of winds, strings, piano, and percussion, presented here by the Italian chamber ensemble Sentieri Selvaggi. Lang clearly draws on the repeated patterns and static harmonic fields of minimalism, but reduces the volume almost throughout to a restless murmur (save in the frenetic pianistic patter of Short Fall). The extramusical associations of the works range widely: a half-forgotten mnemonic memory device for the order of the planets lends its title -- as well as its gentle orbital feel and lack of closure -- to My Very Empty Mouth, the subtle intoxication of the dentist's laughing gas is invoked by the undulating woodwinds in Sweet Air, and the structural contours of Stick Figure are reduced to simple lines of sustained notes with sudden percussive strokes marking off its spare features. The streamlined yet lyrical nature of this music is complemented by the intimate, subtly articulated recording.
David Lang - Child (flac 176mb)
01 My Very Empty Mouth 12:57
02 Sweet Air 8:49
03 Short Fall 4:05
04 Stick Figure 9:56
05 Little Eye 7:20
(ogg mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
David Lang is a prime mover in the experimental contemporary Classical. The five pieces on this collection effectively reflect his use of outsider sources and contrary strategies. The opener "Pierced" contrasts the avant chamber trio Real Quiet with the Boston Modern Orchestra Project. Each plays almost independantly of each other while adding into a contrapunctual whole. The trio's jaunty and jazzy tangents, almost like an abstracted and distracted Lionel Hampton, are surrounded by sheets of nervous strings more akin to Bernard Herrmann. The effect is both exuberant and trepiditious. Midway, a new movement brings in terse percussion underlining slower sad lyricism and skittish dissonance, a disconcerting beauty.
Lang transmutes the viola-ed danger of the Velvet Underground's "Heroin" into a startling new arrangement, with Theo Bleckmann's confessional choral ebbing and flowing over a modal and serpentine cello. It is like a throughline between Phillip Glass and Radiohead, something that Lou Reed and John Cale would wryly appreciate. "Cheating, Lying, Stealing" is a self-deprecating jibe about unreliability, riffing off of being a rip-off. Modes repeat but shift erratically in a formal dance that's gone tipsy and turnabout. The three movements sych to the title; the first like bold tiptoeing, the second secretive and dark, the third like partial melodies skipping grooves. But it all gells as exciting and engaging instead of being randomly frustrating.
"How To Pray" pairs elegaic cello flows with strong piano chords to synthesize classical swell with rock urgency. "Wed" evokes a bittersweet personal memory by balancing delicacy with decay, where Lang says "hope and despair were in some strange equilibrium". A good summary of the goods herein. Each piece on the disc is strong and nuanced, an excellent introduction to a musical outlaw.
David Lang - Pierced (flac 284mb)
01 Pierced (2007) 13:51
02 Heroin (2002) 10:57
03 Cheating, Lying, Stealing (1993/95) 10:42
04 How To Pray (2002) 9:55
05 Wed (1996) 5:18
xxxxx xxxxx xxxxx xxxxx xxxxx
This Was Written By Hand, his most recent recording, is a collection of short solo piano works played by the British pianist Andrew Zolinsky.
The album holds the same, sustained melancholy mood: thoughtful, searching, elegiac, minimalist. Lang's way with repetitive phrasing doesn't feel like that of minimalists like Glass or Reich's, though. When his works linger over and repeat a figure, as on the title track, it feels uncannily like a puzzling notion being considered by an inquisitive, slightly neurotic mind. In that respect, Lang's music mimics the intellectual sensation of thinking and writing about music as much as it does the act of listening to music itself. To immerse yourself in this music is to hear a mind's churn. It can be perversely soothing.
David Lang - This was written by hand (flac 198mb)
01 This Was Written By Hand 10:13
Memory Pieces
02 I. Cage 5:53
03 II. Spartan Arcs 3:10
04 III. Wed 4:46
05 IV. Grind 1:50
06 V. Diet Coke 1:41
07 VI. Cello 4:53
08 VII. Wiggle 4:01
09 VIII. Beach 8:46
xxxxx xxxxx xxxxx xxxxx xxxxx
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