RhoDeo 1824 Space F 10

Hello, the Worldcup has seen unconvincing matches by the favourites thusfar, France managed a win but Spain, Brazil and Argentina could only draw against minor opposition, Germany had a serious opponent and the Mexicans went totally 'Arriba !' on them and it worked they deservedly beat the lackluster Cup defenders 1-0. Remains to be seen what Belgium and England bring tomorrow clear wins could set them on a path to victory.


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Space Force is a BBC Radio science fiction serial, broadcast from 4 April 1984 to 17 June 1985. Written by Charles Chilton, it was originally intended to be a sequel to his Journey into Space series (broadcast in the 1950s), using the cast who'd just made a one-off revival of that series ("The Return From Mars"); while this idea was dropped late in the development of the serial, the four characters are nevertheless essentially the same as those from the earlier series, albeit with different names.

The first series begins during the northern summer of 2010. Both series seem to initially mirror the first two Journey Into Space stories before branching off into quite different plots. A second series, known as Space Force 2, featured the same main characters, once again played by Barry Foster, Nigel Stock, Nicky Henson, and Tony Osoba. Within both series, Space Force is the name of the team's spaceship, rather than the name of an organisation.. ......'N Joy



Barry Foster - Captain Saxon Berry, captain of the Space Force and leader of the team. Also captained the Lunar 9 freighter for the first episode of the first series before being transferred to the Space Force.

Tony Osoba - Lodderick Sincere, The flight engineer for Space Force, a keen astronomer who sometimes is hot-headed enough to get himself and the team into trouble.

Nicky Henson - Lemuel "Chipper" Barnet , the radio operator for Space Force. The joker of the group who also struggles with the terrifying situations the team face. In a direct link to Journey into Space, Chipper refers once to his grandfather, Lemmy Barnett.

Nigel Stock - Professor Magnus Carter, added to the Lunar 9 crew under somewhat mysterious circumstances, Magnus is part of a secret organisation searching for extraterrestrial intelligence.




Space Force 10 (mp3  25mb)

10 A Test of Endurance 28:13

King Ra tells the crew that they are to serve him until death and beyond.

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previously

Space Force 1 (mp3  23mb)
Space Force 2 (mp3  23mb)
Space Force 3 (mp3  23mb)
Space Force 4 (mp3  22mb)
Space Force 5 (mp3  22mb)
Space Force 6 (mp3  23mb)
Space Force 7 (mp3  25mb)
Space Force 8 (mp3  23mb)
Space Force 9 (mp3  25mb)

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Sundaze 1824

Hello,



Today's artist is an American ambient music duo consisting of Brian McBride and Adam Wiltzie. The duo formed in Austin, Texas in 1993, and they list among their influences minimalist and electronic composers such as Arvo Pärt, Zbigniew Preisner, Gavin Bryars, and Henryk Górecki, as well as Talk Talk, post-rock artists Labradford, and ambient innovator Brian Eno. Their compositions are largely beatless soundscapes, composed of droning, effects-treated guitars along with piano, strings, and horns; volume swells and feedback fill the gap of rhythmic instruments, providing dynamic movement. Their sound has been described as "divine, classical drone without the tedious intrusion of drums or vocals."
....N'joy

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Stars of the Lid is an American ambient music duo consisting of Brian McBride and Adam Wiltzie. The duo formed in Austin, Texas in 1993, and they list among their influences minimalist and electronic composers such as Arvo Pärt, Zbigniew Preisner, Gavin Bryars, and Henryk Górecki, as well as Talk Talk, post-rock artists Labradford, and ambient innovator Brian Eno. Their compositions are largely beatless soundscapes, composed of droning, effects-treated guitars along with piano, strings, and horns; volume swells and feedback fill the gap of rhythmic instruments, providing dynamic movement. Their sound has been described as "divine, classical drone without the tedious intrusion of drums or vocals."

Formed in Austin, Texas in 1993, SOTL is composed of two members: Brian McBride and Adam Wiltzie. McBride said in an interview that the band's name refers to "your own personal cinema, located between your eye and eyelid", suggesting the colors and patterns one can see with closed eyes (either phosphenes or closed-eye hallucinations). They recorded their debut album Music for Nitrous Oxide throughout 1993 and 1994 with third musician Kirk Laktas, and released the album in 1995 on the Sedimental label. Laktas did not continue with the group, and the duo of McBride and Wiltzie steadily continued with Gravitational Pull vs. the Desire for an Aquatic Life in 1996, The Ballasted Orchestra in 1997, Per Aspera Ad Astra in 1998, and Avec Laudenum in 1999, as well as the limited edition EP Maneuvering the Nocturnal Hum and a split single with Windsor for the Derby, both in 1998.

Stars of the Lid then released their first double album, The Tired Sounds of Stars of the Lid, in late October 2001. Nearly six years later, the duo released their second double album, And Their Refinement of the Decline, in April 2007 to widespread critical acclaim. Stars of the Lid toured worldwide throughout 2007 and 2008 in support of the album; throughout their European tour, they were joined live by a string trio featuring Lucinda Chua of Felix on cello, Noura Sanatian on violin, and Ela Baruch on viola. Their North American line-up included Julia Kent on cello.

The duo have been active pursuing side-projects and solo releases since And Their Refinement of the Decline. A teaser trailer for a possible Stars of the Lid feature film surfaced on the internet in 2008, but as of August 2017, the group has yet to release any new material.
Solo and side-projects

Brian McBride and Adam Wiltzie have both released material outside of Stars of the Lid. McBride released his first solo album When the Detail Lost Its Freedom in November 2005, then released The Effective Disconnect in October 2010, which serves as a soundtrack to the documentary Vanishing of the Bees, a film about colony collapse disorder. McBride teamed up with musician Kenneth James Gibson and began recording and releasing new music under the name Bell Gardens; their debut EP Hangups Need Company was released in May 2010, their first full-length album Full Sundown Assembly followed in November 2012, and their second album Slow Dawns for Lost Conclusions was released in October 2014 via Rocket Girl.

Wiltzie has been involved in several collaborative projects: The Dead Texan (with visual artist Christina Vantzou), Aix Em Klemm (with Robert Donne from Labradford), and A Winged Victory for the Sullen (with composer Dustin O'Halloran). Wiltzie currently lives in Brussels, Belgium, and McBride in Los Angeles, California.

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The self-titled debut from Aix Em Klemm delivers some sonic peace and thick, slow movement to a noisy world. The result of a collaboration between Adam Wiltzie (Stars of the Lid) and Bobby Donne (Labradford), fans of both groups should find little surprise -- yet definite enjoyment -- in this rather peaceful and melodic release on the Kranky label. Heavily atmospheric, warm, and soothing, Aix Em Klemm features drawn-out chords that fade as they're overlapped by the next, occasional lovely guitar work, hypnotic electronic samples, pulses, and breathy vocals that intermittently drift in and away. Overall, the effect is calming and brings to mind everything from the musicians' own bands to Windy & Carl and Spiritualized.

Aix Em Klemm - Aix Em Klemm  (flac 174mb)

01 The Girl With The Flesh Colored Crayon 6:32
02 3X2 (Exit) 6:06
03 Sophteonal 8:05
04 Prue Lewarne 7:19
05 The Luxury Of Dirt 6:26
06 Sparkwood And Twentyone 7:01

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Having always made records that exist at the margins of descriptive language, this project by Austin, Texas' most spaced-out duo, Stars of the Lid, is their most ambitious to date, featuring 11 tracks parceled over two CDs (or three LPs), four of which are multi-part suites. Taking a step further down the road they embarked upon with Avec Laudanum, the duo have expanded the pure space and black hole vistas they offered on Music for Nitrous Oxide and The Ballasted Orchestra to embrace small melodic fragments that seemingly endlessly repeat through minimally varying textures. The effect can either be soothing ("Requiem for Dying Mothers"), hypnotic ("Broken Harbors"), or unsettling ("Austin Texas Mental Hospital"). The trademark analogue guitar/tape cut ups are ever present; what would normally be considered the sound of a guitar is nowhere in aural earshot. Traces of piano, strings, and even horns are layered into the mix, primarily on the second disc on "Mulholland," "Fac 21" (not a reference to an obscure record on the legendary Factory label, but a classroom on the University of Texas campus where Radio, Television and Film classes were taught), and "Piano Aquieu." The final two suits, "Ballad of Distances" and "A Lovesong (For Cubs)," are based on single and double-note piano intros that are heavily treated and meet minimal accompaniment by strings shimmering in the background in haunting melodies and droning ambient backdrops. There is a progression in all the music here, but it is so subtle, so quiet and un-intrusive, the listener would have to pay very careful attention to everything that is happening. More realistic, however, is for those who take pleasure in SOTL's music and inner space explorations -- for this truly is a music of the inner terrain -- to offer themselves little distraction other than a comfortable chair or resting place in order to let this music enter at will, naturally and expand until it takes you over the edge into something resembling sleep, but far more delicious. Despite its more songlike structures, More Tired Songs is actually for those who are tired of songs, period, and are looking for something less, something unspeakably beautiful and determinedly unmentionable in its vast and luxuriant erasure from any musical category.

Stars Of The Lid - The Tired Sounds Of Stars Of The Lid  (flac 427mb)

Requiem For Dying Mothers
01 Part 1 6:37
02 Part 2 7:37
03 Down 3 5:46
Austin Texas Mental Hospital
04 Part 1 2:48
05 Part 2 12:18
06 Part 3 5:47
Broken Harbors
07 Part 1 3:31
08 Part 2 6:47
09 Part 3 9:16

10 Mullholland 6:49
11 The Lonely People (Are Getting Lonelier) 10:05
12 Gasfarming 3:18
13 Piano Aquieu 10:56
14 Fac 21 3:08
Ballad Of Distances
15 Part 1 3:36
16 Part 2 3:00
A Lovesong (For Cubs)+
17 Part 1 6:45
18 Part 2 8:05
19 Part 3 7:45

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The solo entry from Adam Wiltzie -- best known as one-half of Stars of the Lid -- comes under the nom de rock the Dead Texan and exists as less of a song cycle than an imaginary movie score. Accompanied with a DVD of seven videos made by filmmaker Christina Vantzos only asserts this notion, but Wiltzie's guitar-based art is equally if not better suited to stand on its own. Beautiful, slumbering compositions get peculiar titles like "The 6 Million Dollar Sandwich" and "A Chronicle of Early Failures." If the lush, piano-flushed "La Ballade d'Alain Georges" is the finest of the instrumental tracks, Wiltzie's two intimate vocal pieces (the organ-bolstered "Glenn's Goo" and the ambient shoegazer-ish "The Struggle") are easily the disc's highlights.

The Dead Texan - The Dead Texan  (flac 190mb)

01 The 6 Million Dollar Sandwich 3:02
02 Glen's Goo 4:07
03 A Chronicle Of Early Failures Pt. One 5:43
04 A Chronicle Of Early Failures Pt. Two 5:47
05 Taco Me Manque 2:37
06 Aegina Airlines 2:48
07 When I See Scissors, I Cannot Help But Think Of You 3:59
08 Girth Rides A (Horse 2:33
09 La Ballade D'Alain Georges 6:23
10 Beatrice Pt. Two 4:04
11 The Struggle 5:28

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After the near symphonic exercise of engaging the void that was Tired Sounds of Stars of the Lid in 2001, it was hard to believe there was anything left to do. Wrong. Brian McBride and Adam Wiltzie emerged from the studio in early 2007 with the equally huge And Their Refinement of the Decline. The notion of symphonic here is, without doubt, still present, but not in any normal way. Over two very differently themed discs, and three LPs, Stars of the Lid engage long conceptual ideas from a place one can only call micro-minimalism. An obsession with drones fading in and out on all kinds of instruments is what takes precedent here, whether that be a string section, a solo cello, harp, trumpet or a children's choir. (Yes, all of them are here, and more.) Don't worry, all this deep fixation with drones and classical music doesn't mess up Stars of the Lid's sense of humor. The titles are still hilarious in places (the set opens with a piece titled "Dungtitled (In A Major)"). The sound of drones is prevalent on disc one, though the drones change and are actually held notes. Whether they are played live or simply articulated and then manipulated by electronics doesn't matter. The feeling of being washed over, being gently pulled under water to someplace where language no longer makes sense, feelings get all folded together and an overwhelming calm takes over -- especially at loud volumes -- as single notes are held by the strings for as long as five minutes. The aforementioned piece is like this, as are "The Evil That Never Arrived," and "Apreludes (In C Major)," which moves through one note for minutes at a time with an ever increasing dynamic and textural array of sounds and instruments and begins to feel like the opening theme of 2001: A Space Odyssey.

Yet the real bottom line in these pieces, and to a lesser but no less relevant extent, is that these cuts feel like a part of an opening whole that is also at the end of something, like quiet exits from a long-form work, with the feelings of being finished, exhausted, lulled by the lack of energy and motion. It's impossible to say, but when engaging disc two, it feels almost as if it is a mirror image to Gavin Bryars' magnificent "The Sinking of the Titantic" (the second version). Here, where melody dissipates and disappears or never even arrives, as in "The Daughters of Quiet Minds," or the in-and-out of the ether feel in "That Finger on Your Temple Is the Barrel of My Raygun," where actual oceanic and perhaps ship sounds can be heard washing through the mix; and the piece is merely three notes in scale. The sense of drama and restless experimentation are portrayed in back to back pieces ("Humectez la Mouture" and "Tippy's Demise") where on the former a voice in French speaks out of an indescribable series of spaces and noises, and on the latter a cello harmonically plays with the all but absent "orchestra" who have disappeared into the actual feel of the piece rather than remained in its mechanical parts. The set's final cut, "Hunting for Vegetarian Fuckface" begins with voices, muted yet telling, washed into the emerging sound, where chords express themselves, shift and change shape, color and dimension, becoming both something more and something less in the process. At over 17 minutes, more instruments are added, they emerge louder and are more "present" but remain under the guise of absence, as that thing that has already been wiped away. The single- and two-note lines that emerge from the slow, turtle-like pace of the track never move toward anything else even though they assert the theme in various dynamic ways on occasions before re-entering the shadow world of sound.

Everything here is rounded. There are no edges on either disc, it's all fuzzy and yet brilliant to hear at the same time. It's music of such quiet and devastating power it can silence a room in five minutes without the volume knob on the stereo being manipulated. There are detractors -- or better yet, cynics -- who wonder why, and how, music like this, music that simply is, that evolves and returns to silence over and over again, is even necessary. The answer is simple: because the sound on And Their Refinement of the Decline is the sound of everything already after it has fallen apart. It is not a sound that dares to rebuild anything, speak anything, or declare anything. It simply wants to document what happens when it all goes to hell, and in that space, that quiet space, Stars of the Lid emerges with a sound that is as hopeful as it is funereal. It is simply the sound of "is-ness," something that becomes nothing, only to become something again. And Their Refinement of the Decline is deeply moving. Stars of the Lid doesn't give a damn about any experimental "indie" scene nonsense either. This will appeal to fans of Eno's ambient work (though it speaks volumes louder and yet is gentler), Philip Glass, Morton Feldman, Bryars, Steve Reich and Charlemagne Palestine, but is completely its own bag of sonic tricks. It's an awesome thing, this album, and anyone, virtually anyone who encounters it will be in some way moved by the impure music it contains. Achingly beautiful....

Stars Of The Lid - And Their Refinement Of The Decline (flac 497mb)

01 Dungtitled (In A Major) 5:54
Articulate Silences
02 Part 1 5:24
03 Part 2 5:37
04 The Evil That Never Arrived 5:04
05 Apreludes (In C Sharp Major) 3:44
06 Don't Bother They're Here 10:10
07 Dopamine Clouds Over Craven Cottage 5:54
08 Even If You're Never Awake (Deuxième) 9:20
09 Even (Out) + 4:51
10 A Meaningful Moment Through A Meaning(less) Process 4:32
11 Another Ballad For Heavy Lids 4:32
12 The Daughters Of Quiet Minds 13:21
13 Hiberner Toujours 1:49
14 That Finger On Your Temple Is The Barrel Of My Raygun 5:04
15 Humectez La Mouture 5:31
16 Tippy's Demise 8:18
17 The Mouthchew 3:40
18 December Hunting For Vegetarian Fuckface 17:45

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This was sold at Stars of the Lid shows. It is an excellent compilation of previously unreleased out-takes, mixes, and a few songs that have never been released in any form. A very, very limited edition that is a musr for fans of the band. It fits in well with all the other SOTL albums but has an overall sad ambience to it. References to the death of someone are evident in the song titles: R.I.P., Requiem, Funeral, and, of course, the music fits. The long "Virginia (20.03)" is unique in that it contains what sounds like percussion and other found objects. The song, like most of SOTL's long ones, slowly washes through several different tones. If you like SOTL, this album is comparable to their others of which I can say none are my favorites (because they all are). My actual review is 4.5 stars because of the added radio vocals on the second song because it detracts from the meditative calm of most of their music, but the music that follows that British radio introduction is quite lovely.

Stars of the Lid - Carte-De-Visite (flac 194mb)

01 The Mouthchew (Part 2) 3:45
02 JPRIP 4:37
03 Requiem String Melody 2:46
04 Porch (Version#28) 5:00
05 The Kraut 9:42
06 Slight On The Childproof 5:01
07 Virginia 20:05
08 Hunting For Pops 5:24
09 The Funereal 2:27

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RhoDeo 1823 Grooves

Hello, in the battle between the orthodoxies the oldest one showed it's heels to the upstarts, clearly rolling heads isn't the answer. Putin must have been delighted, sitting beside the enemy of his Arabian friends (Syria, Iran) and see his boys humiliate 5-0 the Ramadamned Saudis, next wednesday Egypt's Salah will become the prime target in an all or nothing game between the muslim brethren, expect plenty of cards....



Today's artists are arguably the most multi-cultural band in Britain (current and past members hailing from a remarkable list of 32 different countries!), they was initially formed back in 1979 by Mauritius-born Jean-Paul Maunick, known to all since childhood as a Bluey . The son of Edouard Maunick - a distinguished African poet and writer - Bluey first moved to London in 1969 at the age of nine. By the mid-Seventies, his fascination with watching US bands like Earth, Wind & Fire, Weather Report and Kool & The Gang soon led to him hanging around with key players in the UKâ  s then-emerging jazz/funk scene - including groups like Gonzales, Hi-Tension and Average White Band - before going on to form his own aforementioned combo. With their debut album Jazz Funk (released through British independent Ensign Records in 1981) immediately establishing them at the forefront of London's then-thriving black music underground, the band however did not reach their commercial peak until signing with Phonogram's hip Talkin Loud label in 1990. ..... 'N Joy

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An acid jazz project with surprisingly deep roots in the 1970s jazz/funk/fusion world, Incognito were originally formed by Jean-Paul Maunick (aka Bluey) and Paul "Tubbs" Williams. Both were leaders of the late-'70s disco-funk group Light of the World, who scored several moderate British hits, including a cover of "I Shot the Sheriff." Just after the release of Light of the World's third LP (Check Us Out), Maunick and Williams shifted the lineup slightly and renamed the conglomeration Incognito. A decade separated their first and second albums, but from the early '90s through the early 2010s, the group recorded at a steady rate and stuck to their colorful hybrid sound.

Incognito debuted with the single "Parisienne Girl" and released the 1981 LP Jazz Funk, but were inactive during the rest of the 1980s. Maunick continued to write material for his group, even while working with Maxi Priest and others. (Williams later moved to Finland.) By the beginning of the 1990s, DJ legend and early Incognito fan Gilles Peterson had founded the Talkin' Loud label and he made Incognito one of his first signings. Their 1991 update of Ronnie Laws' "Always There," featuring lead vocals by Jocelyn Brown, became a Top Ten hit as part of Britain's booming acid jazz scene, prompting the release of Incognito's second album overall, Inside Life. It was largely a studio affair, with Maunick and engineer Simon Cotsworth directing a large cast with many of the best musicians in Britain's fertile groove community.

With 1992's Tribes Vibes + Scribes, Maunick added vocalist Maysa Leak to the lineup. A cover of Stevie Wonder's "Don't You Worry 'Bout a Thing" became another Incognito hit, and the album ascended Britain's pop charts even as it rose on America's contemporary jazz charts. The third album, Positivity, became the group's biggest album success, with much attention across Europe as well as Britain.

In 1994, Incognito appeared on the Red Hot Organization's compilation album, Stolen Moments: Red Hot + Cool. The album, meant to raise awareness and funds in support of the AIDS epidemic in relation to the African American community, was heralded as "Album of the Year" by Time magazine. In 1996, the band contributed "Water to Drink" to the AIDS-benefit album Red Hot + Rio, also produced by the Red Hot Organization. Their song "Need to Know" is the theme song for progressive radio and television news program Democracy Now!.

Late 1994 Leak unsuccessfully attempted a solo career with Blue Note, leading to temporary vocal replacement Pamela Anderson (not the Baywatch pinup) on 1995's 100° and Rising. Leak returned, though, appearing on the following year's Beneath the Surface. During the latter half of the decade, Incognito expanded their discography with 1996's Remixed, 1998's Tokyo Live, and 1999's No Time Like the Future.

The group's first two albums of the 2000s, Life Stranger Than Fiction (2001) and Who Needs Love (2002), were made without Leak. The latter, the first of several releases for the Dome label, featured Brazilian vocalist Ed Motta. Leak returned for Adventures in Black Sunshine (2004), a set that also boasted a guest appearance from longtime Incognito inspiration George Duke. Bees + Flowers + Things (2006) was a mix of cover versions along with re-recordings of four Incognito classics. More Tales Remixed (2008) involved remixes from Dimitri from Paris and Mark de Clive-Lowe, among others.

Incognito began the 2010s by acknowledging a major group milestone, most notably with the two-CD Live in London: The 30th Anniversary Concert, as well as their 14th studio set, Transatlantic R.P.M., featuring performances from Chaka Khan, Mario Biondi, Leon Ware, Ursula Rucker, and Leak. Surreal (2012) was followed by Bluey's first proper solo album, Leap of Faith (2013), while Amplified Soul (2014) -- one of the group's several releases to exceed an hour in length -- showed that their productivity was hardly on the wane. 2016 saw the band release its 17th studio long-player, In Search of Better Days, which featured guest artists pianist Avery Sunshine, drummer Richard Spaven, percussionist Jody Linscott, and Japanese guitar legend Tomoyasu Hotei.

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However fans choose to label Incognito's sound in the post-acid jazz world of 2008, it was clear that wherever the group performs, its feisty mix of retro soul, brass, funk, and jazz truly lived up to the title of 2004's Narada Jazz disc Adventures in Black Sunshine. Founder Jean-Paul "Bluey" Maunick and his often rotating "collective" group averaged an incredible six months a year on the road, wowing crowds throughout Europe and Asia, where they're biggest in Japan and Indonesia. Incognito's uniquely funky, retro soul sound is so urban that it may have at first seemed odd to call their equally infectious, constantly grooving Heads Up debut Tales from the Beach -- 'til we realize that the beaches Maunick is referring to are those on his native island of Mauritius (off the coast of Madagascar). That's where he got wind of hotel bands and others playing around bonfires and cookouts; the loose, happy flow of Incognito's bouncy, horn inflected tunes here completely reflects that wistful reference. While Maunick's crisp, jangling guitar work, Francis Hylton's bubbling bass, and those old-school soul atmospheres and horns inhabit every melody and groove, these tales are told by a shimmering array of sensual R&B singers. The most well-known of these to longtime Incognito and smooth jazz fans is Maysa, who took time from her building solo career to grace four tracks with her rich and sexy, dark toned vocals: the soaring, percussive dance gem "I've Been Waiting," the dreamy melancholy meets joy-infused "I Remember a Time," the fast rolling jazz tune "Never Look Back," and the sensuous chill rocker "When Words Are Just Words." At a generous 15 tracks, Tales from the Beach gives ample tracking to a handful of lead vocalists who are lesser known than Maysa but equally as heart tugging and soul-spiced: Joy Rose, Tony Momrelle, and Imaani. The three of them team up on the brass and vibes-tinged anthem "Feel the Pressure," perfectly showcasing the true ensemble energy that's made Incognito such a powerful force in post-acid jazz groove music for so many years.

Incognito - Tales From The Beach     (flac 518mb)

01 Step Aside 5:58
02 I've Been Waiting 4:28
03 When The Sun Comes Down 4:46
04 Love, Joy, Understanding 6:44
05 I Come Alive (Rimshots And Basses) 3:54
06 Happy People 4:16
07 N.O.T. 6:10
08 Freedom To Love 6:45
09 I Remember A Time 5:29
10 It May Rain Sometime 2:06
11 Never Look Back 6:44
12 When Words Are Just Words 6:12
13 Feel The Pressure 4:46
14 Silence Of My Mind 3:54
15 Tales From The Beach 1:42

Incognito - Tales From The Beach   (ogg  177mb)

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Jean-Paul “Bluey” Maunick and Incognito have become an insitution on the British groove scene, for their jazz-funk and nu-soul hybrid. Transatlantic R.P.M. marks Maunick's 30 years in the music biz and celebrates with 14 new songs, 13 of them originals. Bluey enlisted a slew of friends to join the party. The set opens with the album's lone cover: a convincing reading of Boz Scaggs' "Lowdown," featuring Italian clubjazz singer Mario Biondi and Chaka Khan. The arrangement doesn't differ all that much from Scaggs' version (thankfully) but the meld of Biondi's and Khan's rough-edged lead vocals juxtaposed with a smooth backing chorus, a slightly faster tempo, and a popping bassline after the bridge, distinguishes it. Another notable cut is Bluey's funky name checking homage to the 70s and his youth entitled "75"; it's sung by Joy Rose with a gorgeous horn arrangement by Kevin Robinson. Leon Ware puts in a fine performance on the babymaker, makeup number "Line In The Sand." Bluey's guitar work is, as usual, tasteful and understated, but adds immeasurably. Ursula Rucker sings and speaks on the stepper "Gotta," while Khan gets her own showcaseon the jazzy, string and Rhodes laden, "The Song." Longtime vocalist Maysa shines on the summery "Your Love My Sky," with beautiful guitar work from Bluey and a fine brass arrangement by Trevor Mires. The lone instrumental on the set "Expresso Madureira," mixes Brazilian and Afro Latin rhythms in a heady, funk brew with popping percussion and horns. A Stevie Wonder meets Roy Ayers vibe distinguishes the '70s groove at work in "Life Ain't Nothin' But A Good Thing" sung by Vanessa Haynes. Biondi returns on the breakbeat clubjazz of "Can't Get Enough," backed by Incognito's stellar chorus. Bluey even takes a vocal on the closer, "Tell Me What To Do." While he's no match for the other singers here, the track's breaking, cut time rhythm, breezy atmosphere, and lithe, sensual melody makes it a nu-soul winner. Incognito may not be innovating on Transatlantic R.P.M., but in showcasing the many places they've been, and the wide vein they've mined, they don't need to. This is a summeritme party record with fine songs and good vibes in abundance.

Incognito - Transatlantic R.P.M    (flac 489mb)

01 Lowdown 4:31
02 Everything That We Are 3:59
03 1975 4:41
04 Your Sun My Sky 4:07
05 Line In The Sand 4:25
06 Gotta 4:15
07 Let's Fall In Love Again 4:26
08 The Song 5:11
09 Put A Little Lovin' In Your Heart 5:27
10 All Of My Life 4:51
11 Expresso Madureira 5:29
12 Life Ain't Nothing But A Good Thing 6:02
13 Make Room For Love 6:05
14 Can't Get Enough 4:02
15 The Winter Of My Springs 0:44
16 Tell Me What To Do 5:20

Incognito - Transatlantic R.P.M  (ogg  173mb )

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After collaborating with the likes of Chaka Khan, spoken word artist Ursula Rucker, and Italian soul singer Mario Biondi on 2010's Transatlantic RPM, British acid jazz pioneers Incognito hand over the vocal reins to a younger crowd for their 15th studio album, Surreal. It's an inspired move showing that, 30 years on from their debut album, bandleader Jean-Paul "Bluey" Maunick still has his finger on the pulse. While longtime singers Maysa and Vanessa Haynes remain a vital part of the setup, the former kicking off proceedings in style with the bass-driven funk of "The Less You Know," the latter channeling the divas of the Studio 54 era on a cover of Queen Yahna's '70s cult disco classic "Ain't It Time," it's the new recruits who steal the show. German-born vocalist Mo Brandis displays a maturity and soulfulness far beyond his 26 years on the John Legend-esque lead single "Goodbye to Yesterday" and the summery jazz of "Don't Wanna Know," while Ronnie Scott's regular Natalie Williams justifies the Erykah Badu/Jill Scott comparisons on the gorgeously slinky chillout of "Restless as We Are" and the dreamy bossa nova of "The Stars from Here." If they can hang on to this highly talented lineup, then Incognito's future appears to be in very safe hands indeed.

 Incognito - Surreal      (flac  452mb)

01 The Less You Know 5:01
02 Goodbye To Yesterday 4:19
03 Above The Night 4:04
04 Ain't It Time 5:19
05 Capricorn Sun 3:50
06 Don't Wanna Know 4:16
07 Restless As We Are 4:42
08 Rivers On The Sun 5:20
09 Don't Break Me Down 4:21
10 The Stars From Here 2:12
11 To Be With You 6:17
12 This Must Be Love 3:32
13 The Way You Love 6:09
14 Thoughtful Fantasies 6:11

Incognito - Surreal  (ogg  153mb)

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In 2013, Jean-Paul "Bluey" Maunick stepped out with his first solo album, Leap of Faith -- a stylistically varied set on which he performed the lead vocals -- but he quickly went to work on fresh material with the group he has led for over four decades. Leap of Faith evidently didn't drain his creativity, as Amplified Soul is another double-length Incognito album, 70 minutes in duration. Though it doesn't feature Maysa Leak or any collaborator on the level of Transatlantic R.P.M. contributors Chaka Khan, Leon Ware, and Al McKay, it certainly isn't short on powerful and uplifting lead vocal turns. Maunick works with some names familiar to Incognito fans and continues to keep it fresh with new voices. Most notably, there's the underexposed Deborah Bond on "I See the Sun," a gorgeously rolling number near the end that could just as easily follow the album's introduction. Melonie Crosdale leads "Rapture," another beaming, kicked-back groove that stands with the group's best work. They take it back a little farther than their typical mid-'70s to early-'80s well of inspiration for the strutting "Hats (Makes Me Wanna Holler)," one of their funkier straight-R&B songs. At this point, even the most casual listener knowledgeable about the group's inspirations won't be surprised that a piece titled "Wind Sorceress" resembles Mizells-era Donald Byrd. And yet, despite the obvious likeness, it's fully enjoyable, filled with little details that make it more than a mere tribute. As usual, Maunick either wrote or co-wrote all the original material, and there's a cover -- a festive version of Atlantic Starr's 1985 single "Silver Shadow," fronted by Vanessa Haynes.

 Incognito - Amplified Soul    (flac  494mb)

01 Amplify My Soul (Part 1) 2:17
02 I Couldn't Love You More 4:28
03 Rapture 5:00
04 Hands Up If You Wanna Be Loved 3:57
05 Hats (Makes Me Wanna Holler) 4:07
06 Silver Shadow 5:00
07 Deeper Still 3:38
08 Amplify My Soul (Part 2) 3:04
09 Something 'Bout July 6:06
10 Day Or Night 3:05
11 Wind Sorceress 2:45
12 Another Way 4:37
13 I See The Sun 5:47
14 Never Known A Love Like This 5:28
15 The Hands Of Time 4:20
16 Stop Running Away 6:11

Incognito - Amplified Soul  (ogg  164mb)

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RhoDeo 1823 Re-Ups 144

Hello,


8 correct requests for this week and requests that totally targeted my 12 months limit, whatever another batch of 29 re-ups (7,8 gig)

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

Looka here , requests fulfilled up to June 13th.... N'Joy

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5x Wavetrain Back In Flac (Magazine - Secondhand Daylight, Polyrock - Polyrock and Changing Hearts, Eyeless In Gaza - Caught In Flux, still in ogg Pink Military - Do Animals Believe In God ?)


4x Grooves Now In Flac (Material - One Down, Nona Hendryx - Nona, still in ogg Shango - Shango Funk Theology, VA - Rap It !)


4x Grooves NOW in Flac (Cerrone - III (Supernature), Meco - Music Inspired By Star Wars And Other Galactic Funk, Space - Magic Fly, Giorgio Moroder - Battlestar Galactica)


3x Aetix Back In Flac (Wall Of Voodoo - Dark Continent , Wall Of Voodoo - Call Of The West, Wall Of Voodoo - Seven Days In Sammystown)

3x Roots Back in Flac (Beginner's Guide To African Funk 1, Beginner's Guide To African Funk 2, Beginner's Guide To African Funk 3)


3x GroovesNOW in Flac (Madhouse - 16, Jesse Johnson - Every Shade Of Love, Wendy & Lisa - Fruit At The Bottom)


3x Sundaze Back In Flac (Dvar - Taai Liira,  Dvar - Rakhilim,  Dvar - RoAh )


3x Roots NOW in Flac (Badalamenti & Lynch-Twin Peaks S2+,  Montgomery & Lynch - Lux Vivens, Angelo Badalamenti - O.S.T. Holy Smoke, Badalamenti & Lynch Archive part 4)


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RhoDeo 1823 Aetix

Hello,


Today's artists was a Japanese synthpop trio of the early 1980s led by singer/songwriter Masami Tsuchiya.. ..............N'Joy

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Ippu-Do debuted in 1979 with Normal, made up of Tsuchiya on vocals and guitar, Akira Mitake on keyboards, and Shoji Fujii on drums. Led by androgynous, Bowiesque guitarist Masami Tsuchiya, this Japanese trio stepped into the commercial void created by Yellow Magic Orchestra's decreased group activity. It's hard to make out what the songs are really about since most have only a chorus or bridge in English, but the lyrics seem simpleminded enough — themes of romantic fantasy, travel and technology evidently dominate. Tsuchiya's voice is high but gutsy and always in control (even when yelling) — he's got his shtick down pat, and his guitar playing fits. Ippu-Do alternates between modernized arrangements of '50s and early '60s vocal pop-rock melodies and steaming, heart-pounding rock'n'roll, sometimes in the same song. They also use reggae syncopation and synthesizers, so all bases are covered. Between 1980 and 1981 they released two follow-ups, Real and Radio Fantasy, the latter of which would be their first release outside Japan. The group thereafter went on hiatus, and Tsuchiya began a solo career.

They reappeared in late 1983 as a duo of Tsuchiya and Mitake. They were supported by drummer Steve Jansen and keyboardist Richard Barbieri of Japan as well as bassist Percy Jones, they recorded 1983's Night Mirage. One live album, Live and Zen, was released in 1984. Despite this, Tuschiya returned to his solo career shortly after.



Not to be confused with the Aum Shinrikyo scientist Masami Tsuchiya, who was sentenced to death for his involvement in the 1995 Sarin gas attacks on the Tokyo subway, this Masami Tsuchiya is much more happy to walk around in space-age stewardess outfits and unleash face melting guitar solos on the unsuspecting public

Tsuchiya formed Ippu-Do in 1979 along with keyboardist Akira Mitake and percussionist Shoji Fujii and the group released their first album, "Normal," that same year (with the name " Ippppu-Do" on the cover) Crafted with standard New Wave sensibilities, their debut can be a bit of a frustrating listen as Tsuchiya's generally painful vocals, backed by a plodding rhythm section and numbing production, occasionally give way to sharp synthesizer programming, groovy rhythms and supreme guitar shredding. It's a bit like Japan's first album, actually, since Ippu-Do find themselves sticking to second-fiddle rock archetypes more often than to their own, and much stronger, ideas.

Their next two albums, 1980's "Real" and 1981's "Radio Fantasy," followed the same general pattern, mixing low-tier New Wave with moments of occasionally brillant technopop. These records come off equally as frustrating, as it's clear the band isn't playing to their full potential.

Ippu-Do finally seemed to get their act together with the 1982 single "Sumire September Love," a light hearted pop track that reached #2 in Japan, sold 800,000 copies and was used in a Kanebo Cosmetics commercial . Masami, like how David Sylvian totally changed his vocals for Japan's "Quiet Life," Tsuchiya's vocals are completely calmed down on "...September Love." Without the phony rock howl, Tsuchiya comes off as a much more comfortable and confident singer (though his voice is still pretty limited), and it leaves a lot more room in the mix for the track's punchy synthesizers and out-of-nowhere violin solo.

Following "...September Love's" success, Ippu-Do took a short break for Tsuchiya to record his first solo album, "Rice Music," and play guitar with Japan during their Sons of Pioneers tour in 1982. One of Tsuchiya's best efforts, "Rice Music," is a consistent set of songs with somewhat avant leanings. Tsuchiya thows in the ususal East vs. West, traditional vs. modern stuff one would expect from someone working in the shadow of Yellow Magic Orchestra, but he, along with his cast of excellent guest musicians, uses those themes to great effect. It's worth tracking down a copy of the album just for the guests, who include Steve Jansen, Mick Karn, Ryuichi Sakamoto (on the track "Kafka"), Bill Nelson and Percy Jones. Tsuchiya even has photographer Masayoshi Sukita (famous for his pictures of David Bowie in the 70s) "playing" a Polaroid SX-70 on the album!

After returning from his tenure as Japan's tour guitarist, Tsuchiya re-formed Ippu-Do with Akira Mitake to record a fourth album, 1983's "Night Mirage." Percussionist Shoji Fujii didn't return to the band for this album, and they instead enlisted Steve Jansen to play drums. Richard Barbieri also contributed to the album, and his synth programming can be heard all over the track "Moon Mirage." Tsuchiya's time touring with Japan clearly influenced him substantially, and the LP plays as a fantastic companion to the material on Japan's "Gentlemen Take Polaroids" and "Tin Drum." The album is filled with similarities to Japan's work, from jilted East/West funk to Erik Satie inspired compositions. However, the LP still stands extremely strong on its own and is likely Tsuchiya and Mitake's finest recording.

Ippu-Do called it quits after releasing a live album in 1984 and Tsuchiya and Mitake managed fairly well with their solo careers through the end of the 80s. Tsuchiya has since released another six solo albums, though none have reached the caliber of "Rice Music." Tsuchiya also landed a gig with the Duran Duran offshoot Arcadia (more proof of Nick Rhodes' idolization of all things related to David Sylvian) and contributed to their excellent 1985 LP, "So Red the Rose."


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Tsuchiya formed Ippu-Do in 1979 along with keyboardist Akira Mitake and percussionist Shoji Fujii and the group released their first album, "Normal," that same year (with the name " Ippppu-Do" on the cover) . Crafted with standard New Wave sensibilities, their debut can be a bit of a frustrating listen as Tsuchiya's generally painful vocals, backed by a plodding rhythm section and numbing production, occasionally give way to sharp synthesizer programming, groovy rhythms and supreme guitar shredding. It's a bit like Japan's first album, actually, since Ippu-Do find themselves sticking to second-fiddle rock archetypes more often than to their own, and much stronger, ideas.

Ippu-Do - Normal (flac  332mb)

01 Adventure 2:29
02 "Break-Out" Generation 2:34
03 Moonlight Love Call 3:16
04 TV Scene 1:04
05 Electric Doll 4:56
06 Panic In The City 3:08
07 I Love You 4:07
08 Do You Know? 3:01
09 Chinese Reggae 2:46
10 Escape 2:12
11 Don't Worry Baby 4:18
12 Morning Fantasy 3:17
Bonus
13 More Realistic 2:58
14 Dis-Communication 4:15
15 Adventure (Shinjuku Loft February 9, 1980) 2:06
16 "Break-Out" Generation (Shinjuku Loft February 9, 1980) 2:22
17 Panic In The City (Shinjuku Loft February 9, 1980) 3:16

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Their next two albums, 1980's "Real" and 1981's "Radio Fantasy," followed the same general pattern, mixing low-tier New Wave with moments of occasionally brillant technopop. These records come off equally as frustrating, as it's clear the band isn't playing to their full potential.

Ippu-Do - Real    (flac  268mb)
 
01 German Road 6:04
02 Broken Dummies 2:48
03 Lonely Pilot 3:18
04 In Side / Out Side 2:35
05 Mysterious Night - Out Side / In Side 5:05
06 Heiderburg Symphony 3:14
07 Funk #9 (A Present For Disco People) 3:05
08 Neu! (Changing The History) 6:17
09 Helpless Soldier 6:06
10 Lunatic Guitar 2:20

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1981's Radio Fantasy (the trio's first release outside of Japan) was almost completely electronic. The group went on hiatus after that release, with Tsuchiya beginning his solo career and his temporary membership with Japan (UK). "Radio Fantasy" was also released on Epic in the U.K., but there are some differences vs. the Japanese version (also released in several other countries). The Japanese cover art is illustration, but the U.K. used the picture of the three members which was used for the back side while using the illustration for the back side. The U.K. version eliminated "Imitation Chacha" in A-side, and contained the English version of "Chinese Reggae" which was originally on the album "Normal". English lyrics were done by Peter Barakan.

 Ippu-Do - Radio Fantasy   (flac  298mb)

01 Radio Cosmos 2:15
02 Time Of The Season 4:14
03 Radio Fantasy 2:44
04 Yomotolo-Waiya 1:43
05 China Step 2:41
06 Radio Japan 2:45
07 Imitation Cha Cha 2:59
08 Morning Menu 1:47
09 Magic Vox 4:46
10 MIssion Impossible Theme 2:24
11 Dubling Radio 0:56
12 Listen To Me 4:23
13 I Need You 3:59
Bonus
14 Listen To Me (English Version) 4:20
15 Chinese Reggae (English Version) 2:43

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After returning from his tenure as Japan's tour guitarist, Tsuchiya re-formed Ippu-Do with Akira Mitake to record a fourth album, 1983's "Night Mirage." Percussionist Shoji Fujii didn't return to the band for this album, and they instead enlisted Steve Jansen to play drums. Richard Barbieri also contributed to the album, and his synth programming can be heard all over the track "Moon Mirage." Tsuchiya's time touring with Japan clearly influenced him substantially, and the LP plays as a fantastic companion to the material on Japan's "Gentlemen Take Polaroids" and "Tin Drum." The album is filled with similarities to Japan's work, from jilted East/West funk to Erik Satie inspired compositions. However, the LP still stands extremely strong on its own and is likely Tsuchiya and Mitake's finest recording.

Ippu-Do - Night Mirage (flac  405mb)

01 Plants' Music 6:07
02 African Nights 4:51
03 Rain In My Heart 4:33
04 Water Flower 1:42
05 Lonely Sea Lion 4:41
06 Sorrow 1:32
07 Dream Of The Gypsies 3:08
08 "Sail On" 5:46
09 Moon Mirage 5:07
10 Crystal Leaves 4:08
Bonus
11 Alone 3:42
12 Things To Worry About  2:08
13 Fear For The Future 4:55
14 In Time-Out Of Time 4:31
15 Nightgulls 5:19
16 Never Mind 5:14
17 Moonlight Magic 3:38

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By 1985's live album, Ippu-Do was just a duo, aided by two ex-members of Japan (with whom Tsuchiya toured and recorded) plus English bass ace Percy Jones. Despite its recent vintage, the album portrays the band treading musical water with jagged, arty treatments of old material (the group's and Tsuchiya's), plus a version of the Zombies' "Time of the Season." Despite stylistic growth, Ippu-Do needs new content to make it meaningful. Which never came because Ippu Do split, Masami Tsuchiya and Akira Mitake went solo, more on that next week.

Ippu-Do - Live and Zen (flac  420mb)

01 Kaimaku 1:09
02 Listen To Me 4:27
03 Time Of The Season 3:48
04 Magic Vox 4:35
05 Makuma 0:27
06 Secret Party 3:40
07 Violation 3:20
08 African Nights 4:52
09 Rice Music 5:07
10 Sumire September Love 3:46
11 Night In The Park 5:49
Bonus
12 Starlight Shower (Special Re-Mix)
13 “AQUA” Nostalgy
14 Lonely Sea Lion (Live From ''file Tour 1983'')
15 B-Side Passion
16 German Road  (Live Version)

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RhoDeo 1823 Roots

Hello, as two dictators meet (Fox quote !) the world awaits who will come out on top. What a sad joke, a sturdy little killer up against a coward bully on steroids, what unites them is the fear of loosing face, vain men both of them so who knows they might like each other..



Today and next week one of the biggest Latinmusic male artists, who founded a metalrock band age 16 year and 10 years later found a solo career was the way forward and he never looked back....N Joy

The United States of Colombia (Spanish: Estados Unidos de Colombia) was the name adopted in 1861 by the Rionegro Constitution for the Granadine Confederation, after years of civil war. Colombia became a federal state itself composed of nine "sovereign states". It comprised the present-day nations of Colombia and Panama and parts of northwestern Brazil. After several more years of intermittent civil wars, it was replaced by the more centralist Republic of Colombia in 1886. The music of Colombia is an expression of Colombian culture, which contains diverse music genres, both traditional and modern, according with the features of each geographic region, although it is not uncommon to find different musical styles in the same region. The diversity in musical expressions found in Colombia can be seen as the result of a mixture of African, native Indigenous, and European (especially Spanish) influences, as well as more modern American. Colombia has a vibrant collage of talent that touches a full spectrum of rhythms ranging from Pop music and Classical music to Salsa and Rock music. Colombia is known as "The land of a thousand rhythms" but actually holds over 1,025 folk rhythms. Some of the best known genres are cumbia and vallenato... N'Joy

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Juan Esteban Aristizábal Vásquez (born August 9, 1972), known professionally as Juanes, is a Colombian musician who was a member of the rock band Ekhymosis and is now a solo artist. In 2000, his solo debut album Fíjate Bien won three Latin Grammy Awards. According to his record label, Juanes has sold more than 15 million albums worldwide.

Raised in Colombia, Juanes began playing guitar at age seven. When Juanes was 15, he started his first band, Ekhymosis, in 1988, which went on to release five albums, achieving recognition in his native country of Colombia. The track "Sólo" from the album Niño Gigante in 1992 was very popular. In 1997 after the band broke up, Juanes continued solo and in 2000 he released the album, Fíjate Bien, which earned him three Latin Grammys. His follow-up album, Un Día Normal, was released in 2002 and was later certified platinum in multiple countries throughout Latin America. Juanes' third album, Mi Sangre (2004), which became an international bestseller, managing to position well in a number of countries around the world, achieved success due to the single "La Camisa Negra". He has since released La Vida... Es Un Ratico (2007) and P.A.R.C.E. (2010). On May 29, 2012 Juanes released the album Juanes MTV Unplugged.

According to his label, Universal Music, Juanes has won, among others, twenty Latin Grammy Awards (5 wins in the Grammy Awards on November 13, 2008) and two Grammy Awards. Juanes received the BMI President's Award at the 2010 BMI Latin Awards. Presented By James Edward Taylor  Juanes is also known for his humanitarian work, especially with aid for Colombian victims of anti-personnel mines through his NGO Fundacion Mi Sangre. On April 2013, Juanes released an autobiography titled Chasing The Sun in which he tells his story through narratives and pictures.

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Juanes was born in Carolina del Príncipe, Antioquia, Colombia. When he was seven years old, his father and brothers began to teach him how to play guitar. His passion for the instrument led him to discover simple genres of music such as traditional sounds such as tango and Vallenato, as well as Russian folk music. He grew up in Medellín during the height of drug kingpin Pablo Escobar's reign, when the city had the highest homicide rate in the world. During his childhood, Juanes witnessed a civil war in which hundreds were killed. His cousin was killed by kidnappers, and gunmen also executed a close friend. To add further to Juanes' grief and desperation, his father died from cancer. This period shaped Juanes' social consciousness, saying "Colombia has suffered so much that the only way to go forward is to imagine a better country."

As a teenager, Juanes was greatly influenced by rock and metal acts such as The Beatles and Metallica. He started the rock band Ekhymosis in 1988, and it released its debut album, Niño Gigante, that same month. The band released seven studio albums during its career and shared the stage with acts including Alejandro Sanz, Aterciopelados, and Ricky Martin; however in Juanes' words, the band "couldn't get out of Colombia" and remained "very local and confined to the Colombian market." Juanes disbanded the group in 1998 so that he could pursue a solo career.


In 2000, Juanes released his solo debut Fíjate Bien (Take a Good Look), produced by Gustavo Santaolalla. The album fared well in Colombia, spending ten weeks at the number one position, but was unsuccessful in other countries. The album earned him three Latin Grammys for Best New Artist, Best Rock Solo Vocal Album, and Best Rock Song, and Juanes performed at the award show. Later that night, Juanes brought demos for over forty new songs to Santaolalla's studio, ready to begin work on another album.

The follow-up, Un Día Normal (A Normal Day), also produced by Gustavo Santaolalla who signed him with his first solo album, was released in 2002 and was highly successful in Latin America. The album was certified gold in Colombia during its first day of sales and was certified platinum and multi-platinum in countries including Colombia, Mexico, and Spain. The album spent 92 weeks in the top ten of Billboard's Top Latin Albums chart, setting a new record, and spent a total of two years on the chart. The album was released after the eligibility deadlines for the 2002 Latin Grammy Awards, but the advance airdate for the lead single, "A Dios le Pido" ("To God I Pray"), allowed it to be nominated for three awards and win Best Rock Song.

"A Dios le Pido" topped the singles charts of twelve countries and spent 47 consecutive weeks on the Billboard Hot Latin Tracks. The album also featured "Fotografía" ("Photograph"), a duet with Portuguese Canadian pop singer Nelly Furtado about the isolation between lovers. Juanes later worked with Furtado on a remix of "Powerless (Say What You Want)", the lead single from her 2003 album Folklore, and on "Te busqué" ("I Looked for You"), a single from her 2006 album Loose. Juanes won the most awards at the 2003 Latin Grammy Awards, where he won each of the 5 awards for which he had been nominated, including Song of the Year, Record of the Year, and Album of the Year.

Mi Sangre (My Blood), was released in September 2004 and debuted at number one on the Billboard Top Latin Albums. The album produced three consecutive number one singles, which held the top chart position for a combined 6 months. The album's third single, "La Camisa Negra" ("The Black Shirt"), was used in Italy in support of neo-fascism by relating it to the uniform used under the regime of Benito Mussolini. In response, left-wing media network Indymedia called for a boycott of the song. Juanes later stated that "'La Camisa Negra' has got nothing to do with fascism or Mussolini... People can interpret music in all kinds of ways I guess."

At the 2005 Latin Grammy Awards, Juanes won three additional awards to his nine previous Grammy awards. He took the award for Best Rock Song for "Nada Valgo Sin Tu Amor" ("I am Worthless Without Your Love"), Best Rock Solo Album for Mi Sangre and Best Music Video for "Volverte a Ver" ("To See You Again").[19] On December 9, 2005, Juanes performed "La camisa negra" at an international gala in Germany celebrating the 2006 FIFA World Cup Final Draw evening. In 2006, he recorded a duet of "The Shadow of Your Smile" with Tony Bennett for Bennett's Duets: an

In June 2006, Juanes began a year-long sabbatical to spend time with his wife, model Karen Martínez, and their daughters Luna and Paloma. He was working on an album that was released on October 23, 2007. When asked about the possibility of recording an album in English, Juanes responded, "singing in Spanish is very important because it's the language in which I think and feel. I respect people that sing in English, but for now I'll keep my Spanish." Juanes planned to launch his own music label, named 4J, in October 2007, to be distributed by the Universal Music Group. He was also working on a new album, titled La Vida... Es Un Ratico (Life is a Little Moment).
La Vida... Es Un Ratico was released on October 23, 2007 with the first single being "Me Enamora" (I fall in love). The second single was "Gotas de Agua Dulce" (drops of sweet water), and the third single became the vallenato fusion of "Tres" (three).

On December 11, 2007, Juanes performed at the Nobel Peace Prize Concert in Oslo, Norway together with a variety of artists, which was broadcast live to over 100 countries. On November 24, 2008, Juanes re-released the album as "La vida... es un ratico (en vivo)"  The album aside the 14 original songs, contains two previously unreleased songs: "Falsas Palabras" (false words) and "Odio Por Amor" (hate for love) which is also the current single. This new re-edition also includes seven live versions of songs played during his U.S. La Vida Tour. .

In 2010, Juanes performed in the 2010 FIFA World Cup Kickoff Concert, as well as the Macy's Thanksgiving Day Parade in New York. In addition, he released his album P.A.R.C.E. which featured the #1 Billboard hit Yerbatero and the top-ten hit Y No Regresas. February 17, Juanes performed live on the third single from their fifth studio album Regalito in the delivery of the Premios Lo Nuestro. The album has sold 1 million copies worldwide. In February 2012, the Colombian singer Juanes took the stage at Juanes MTV Unplugged to record a live album at the direction of Juan Luis Guerra. On March 6, Juanes will release "La Señal" as an unreleased song from his Unplugged.
On March 11, 2014 Juanes released his sixth studio album by Universal Music Latino Loco de amor. It is his first studio album since P.A.R.C.E. (2010). At the Latin Grammy Awards of 2014, the album won the Best Pop/Rock Album. Loco de Amor was nominated for Lo Nuestro Award for Pop Album of the Year. It was nominated for a Grammy Award for Best Latin Pop Album in 2015.

Juanes has said that: "these are your people, young people, people with families, and four or five of them are dying every day." Juanes established the Mi Sangre Foundation to help victims of anti-personnel mines In 2005, he was named by Time as one of the world's 100 most influential people. Juanes has supported former Colombian president Álvaro Uribe, stating that "with this new government of Álvaro Uribe my country seems in better shape." On November 15, 2005, he was honored at the annual benefit gala for Sir Paul McCartney's Adopt-A-Minefield for his work as a Goodwill Ambassador for United for Colombia, a non-profit organization that raises awareness about the impact of land mines within Colombia.

On April 19, 2006, Juanes performed before the European Parliament, as part of a campaign to increase awareness against the use of landmines around the world, including in his native Colombia. He was first singer to perform in the hemicycle where the European Parliament holds its plenary sessions. The Parliament gave a symbolic gift of €2.5 million to demine Colombia and to rehabilitate victims of the landmines. In honor of his work and his music, he was given an escopetarra (a decommissioned AK-47 converted into a guitar) by peace activist César López; he later sold it at a fundraiser in Beverly Hills for US$17,000. Juanes held a benefit concert on May 24, 2006 in conjunction with KLVE and Univision which raised roughly US$350,000 to care for injured children and provide prosthetics, wheelchairs, and land rehabilitation.

On July 19, 2006, French Culture Minister Renaud Donnedieu de Vabres awarded Juanes with the highest cultural honor given by France, L'Ordre des Arts et des Lettres, declaring him "Knight in the order of Arts and Letters" for his work in social activism. In December 2006, work began on a recreational park for the rehabilitation of the handicapped named "Parque Juanes de la Paz" in Medellín. The 68,000-square-meter facility will cost COL$10.6 billion, financed in part by the government of Medellín, completed by May 2007.

On August 5, 2009, it was announced that Juanes would hold his second "Peace Without Borders" concert in Havana's storied Plaza de la Revolución on September 20, 2009. Prior to the concert, Juanes received criticism by some in the Cuban-American/Cuban exile community in Miami who believed it would be seen as an act of support for the communist government of Cuba. Juanes expressed in an interview for Univision that he had no affiliation whatsoever to the Cuban government or their political views and that he saw it only as an artistic performance and nothing more. On August 20, 2009, Juanes announced that he had considered canceling the peace concert citing "fears for his safety as well as his family", who reside with him in Miami on Key Biscayne. Juanes closed it along with 15 other Cuban and international artists and with more than one million people attending the concert."

Personal life

Juanes met model/actress Karen Martínez during the filming of his video "Podemos Hacernos Daño". On August 6, 2004, they were married. The couple separated in May 2007, after three years of marriage due to unresolved differences, but reconciled four months later. They have three children together, two daughters: Luna Aristizábal Martínez (born September 6, 2003), Paloma Aristizábal Martínez (born June 2, 2005), and one son, Dante Aristizábal Martínez (born September 12, 2009). Juanes is a vegetarian and currently lives in Key Biscayne, Florida

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Before he became Juanes the superstar solo artist and enjoyed major hits like "La Camisa Negra" (one of the most addictive Latin singles of 2005), Juan Esteban Aristizábal was the lead singer for Ekhymosis -- a rock en Español/Latin pop outfit that had a good 12-year run in Colombia. Recorded for Fonovisa in 1997 and reissued in 2005, this self-titled CD was Ekhymosis' swan song; the band called it quits the following year. Juanes acquired a lot of new fans after going solo, and if his solo output inspires any of them to go back and check out his work with Ekhymosis, that's definitely a good thing. Ekhymosis, at first, had a reputation for being a heavy metal band -- Juanes was seriously into Metallica in the '80s and '90s -- but very few of the songs on this 49-minute disc can honestly be described as metal (even if one has a broad, far-reaching definition of that term). Rather, this is primarily an album of melodic alternative pop/rock (of the arena rock variety) that just happens to be in Spanish; stylistically, the material is much closer to Maná than Metallica, Pantera, or any of their Spanish-speaking counterparts. And for those whose introduction to Juanes was Un Día Normal in 2002 or Mi Sangre in 2004, tuneful offerings like "Vivo," "Sin Rencores," and "De Madrugada" offer hints of the solo recordings that -- in 1997 -- were several years away. An impressive sense of pop/rock craftsmanship prevails on this album; that is true on the up-tempo rockers as well as on the pensive ballads "Solo" and "Azul." This album was a respectable farewell from Ekhymosis and -- when you think about it -- an enjoyable preview of what was to come for Juanes the solo artist.

Ekhymosis - Ekhymosis   (flac  355mb)

01 Raza 3:11
02 Vivo 3:30
03 La Deuda 3:16
04 Azul 5:05
05 Los Traidores 3:14
06 Roca Rosa 3:47
07 La Decision 5:32
08 La Tierra 3:47
09 Un Día de Música Enferma 4:06
10 Sangre de Rata 3:46
11 Solo 4:11
12 De Madrugada 2:59
13 Sin Rencores 3:17

Ekhymosis - Ekhymosis (ogg   124mb )

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Colombian singer/songwriter Juan Esteban Aristizabal wanted to go on his own with a contemporary Latin pop album, teaming up with producer Gustavo Santaolalla, known for his valuable contributions to Latin rock numbers, to make that possible. Fíjate Bien comprised 12 songs, all of them composed by this South American performer, from the mid-tempo "Nada," and Latin Grammy-winning "Fíjate Bien" to the Colombian coastal folk-flavored "Podemos Hacernos Daño," a seductive ballad called "Vulnerable," and Latin hip-hop-oriented "Me Da Igual," allowing Juanes to achieve an award for Best New Latin Artist in 2001.

Juanes - Fijate Bien     (flac  323mb)

01 Ahi Le Va 3:27
02 Para Ser Eterno 5:04
03 Volcan 3:33
04 Podemos Hacernos Daño 3:46
05 Destino 3:33
06 Nada 3:53
07 Fijate Bien 4:55
08 Vulnerable 4:27
09 Soñador 3:25
10 Ficcion 4:14
11 Para Que 3:35
12 Me Da Igual 4:12

Juanes - Fijate Bien   (ogg  110mb)

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Recorded in Los Angeles, CA, and co-produced by rock en español expert Gustavo Santaolalla, the second album by Grammy-winning Juanes, highly anticipated following the release of its first single, "A Dios Le Pido," once again delivers his awarded fusion of urban, rock, and Latin American rhythms. A spiritual folk-rock song opens this 12-track record, followed by the romantic mid-tempo "Es por Ti" and the Latin pop ballads "Un Día Normal" and "La Unica." Colombian Juanes (born Juan Esteban Aristizabal) goes local with "Luna," a pop-oriented vallenato, the most popular traditional rhythm from his native country. After the orchestrated ballad "Dia Lejano," the album's rock en español side emerges with "Mala Gente" and "Fotografía," recorded along with Nelly Furtado. Un Día Normal ends with the Latin dance-pop of "La Noche."

 Juanes - Un Dia Normal ( flac  307mb)

01 A Dios Le Pido 3:25
02 Es Por Ti 4:46
03 Un Dia Normal 3:37
04 La Paga 3:21
05 La Unica 3:02
06 Luna 3:30
07 Día Lejano 3:33
08 Mala Gente 3:16
09 Fotografia (with Nelly Furtado) 3:58
10 Desde Que Despierto 3:50
11 La Historia De Juan 3:37
12 La Noche 2:58
13 La Paga (with Taboo) 3:28

 Juanes - Un Dia Normal (ogg  110mb)

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Mi Sangre is the awaited follow-up to the hugely successful Un Día Normal, the multi-Latin Grammy-winning and best-selling Latin album of 2003, which made Juanes a star. Although he has a different background than many Latin stars, now it's hard to tell the difference between him and the rest. It would be almost impossible to improve on the passionate perfection of Mi Sangre, Juanes' third and most accomplished solo disc. Its barrage of electric singles ("Para Tu Amor," "La Camisa Negra," "Nada Valgo Sin Tu Amor," "Volverte a Ver") and equally compelling album tracks ("Amame," "Damelo," "Tu Guardian") still sizzle with energy. This deluxe Mi Sangre Tour Edition, however, offers a slew of treats that are tempting enough to entice a second purchase. A quartet of in-concert tracks find the Colombian performer in fine form and offer a preview of the inevitable live Juanes album. He even does justice to the inspired "Fotografia"--minus duet partner Nelly Furtado. Black Eyed Peas member Taboo spices up an urban-tinged take on the anthemic "La Paga," and the Sonidero Nacional Remix of "La Camisa Negra" artfully plays up the song's inherent regional sound. The new material only adds to Juanes' image as one of music's most intelligent, accomplished and accessible artists.

 Juanes - Mi Sangre (Tour Edition)   (flac  509mb)

01 Amame 4:19
02 Para Tu Amor 4:09
03 Sueños 3:10
04 La Camisa Negra 3:36
05 Nada Valgo Sin Tu Amor 3:16
06 No Siento Penas 3:53
07 Dámelo 4:07
08 Lo Que Me Gusta A Mi 3:30
09 Rosario Tijeras 3:27
10 Qué Pasa? 3:47
11 Volverte A Ver 3:37
12 Tu Guardián 4:25
Tour Ed. Bonus
13 A Dios Le Pido (Versión En Vivo) 4:09
14 La Camisa Negra (Versión En Vivo) 3:50
15 Fotografía (Versión En Vivo) 4:22
16 Nada Valgo Sin Tu Amor (Versión En Vivo) 3:58
17 La Paga (Feat Taboo De Black Eyed Peas) 3:38
18 La Camisa Negra (Sonidero Nacional Remix) 4:35
19 Lo Que Importa (Track Inédito) 3:38

Juanes - Mi Sangre (Tour Edition) (ogg  178mb)

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RhoDeo 1823 Space F 9

Hello, as expected Mr Nadal picked up his 11th Roland Garros title how boring, not much action at the F1 either , Vettel cruised to victory and Verstappen behaved and stayed behind Bottas only Ricciardo moved up to 4th afterwhich he successfully kept Hamilton at bay, he even went for fastest lap in the last round probably to prove that the 11 sec gap between him and teammate Verstappen was cosmetic as to who the better Red Bull driver is.hmmm


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Space Force is a BBC Radio science fiction serial, broadcast from 4 April 1984 to 17 June 1985. Written by Charles Chilton, it was originally intended to be a sequel to his Journey into Space series (broadcast in the 1950s), using the cast who'd just made a one-off revival of that series ("The Return From Mars"); while this idea was dropped late in the development of the serial, the four characters are nevertheless essentially the same as those from the earlier series, albeit with different names.

The first series begins during the northern summer of 2010. Both series seem to initially mirror the first two Journey Into Space stories before branching off into quite different plots. A second series, known as Space Force 2, featured the same main characters, once again played by Barry Foster, Nigel Stock, Nicky Henson, and Tony Osoba. Within both series, Space Force is the name of the team's spaceship, rather than the name of an organisation.. ......'N Joy



Barry Foster - Captain Saxon Berry, captain of the Space Force and leader of the team. Also captained the Lunar 9 freighter for the first episode of the first series before being transferred to the Space Force.

Tony Osoba - Lodderick Sincere, The flight engineer for Space Force, a keen astronomer who sometimes is hot-headed enough to get himself and the team into trouble.

Nicky Henson - Lemuel "Chipper" Barnet , the radio operator for Space Force. The joker of the group who also struggles with the terrifying situations the team face. In a direct link to Journey into Space, Chipper refers once to his grandfather, Lemmy Barnett.

Nigel Stock - Professor Magnus Carter, added to the Lunar 9 crew under somewhat mysterious circumstances, Magnus is part of a secret organisation searching for extraterrestrial intelligence.




Space Force 9 (mp3  25mb)

09 The Great Martian Pyramid 28:07

The crew reach the planet Mars where they are overpowered and imprisoned.

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previously

Space Force 1 (mp3  23mb)
Space Force 2 (mp3  23mb)
Space Force 3 (mp3  23mb)
Space Force 4 (mp3  22mb)
Space Force 5 (mp3  22mb)
Space Force 6 (mp3  23mb)
Space Force 7 (mp3  25mb)
Space Force 8 (mp3  23mb)

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Sundaze 1823

Hello, Canada is in the picture this weekend. Mr Trump demands the rest of the G7 must buy more American goods, we can't expect of this nincompoop to understand american goods are inferior, pumped full of hormones or genetically manipulated, with depressed workers rights, dilapelated infra structure, US simply can't compete with the standards held by the G6. All this could spell the end of the current format, China might make a move and start o new club with Russia, India, Brazil and invite Europe, Japan and Canada to join.  Dream on..like kicking the US army out of Europe, time for political parties to make that an issue.
Over in Montreal F1 is having it's 7th Grand Prix of the year Vettel's on Pole tomorrow but he will be worried about Max who despite loosing 1/2 a second on the long straight was less then 2/10 slower on the round and he's on grippier tyres at the start tomorrow, could well be his day tomorrow after all he has been fastest at all 3 training sessions, Hamilton meanwhile is still in damagecontrol mode. Behind the top 3 teams differences between places 7 up to 15 are small, expect crashes tomorrow.



Today's artist is an American ambient music duo consisting of Brian McBride and Adam Wiltzie. The duo formed in Austin, Texas in 1993, and they list among their influences minimalist and electronic composers such as Arvo Pärt, Zbigniew Preisner, Gavin Bryars, and Henryk Górecki, as well as Talk Talk, post-rock artists Labradford, and ambient innovator Brian Eno. Their compositions are largely beatless soundscapes, composed of droning, effects-treated guitars along with piano, strings, and horns; volume swells and feedback fill the gap of rhythmic instruments, providing dynamic movement. Their sound has been described as "divine, classical drone without the tedious intrusion of drums or vocals."
....N'joy

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Stars of the Lid is an American ambient music duo consisting of Brian McBride and Adam Wiltzie. The duo formed in Austin, Texas in 1993, and they list among their influences minimalist and electronic composers such as Arvo Pärt, Zbigniew Preisner, Gavin Bryars, and Henryk Górecki, as well as Talk Talk, post-rock artists Labradford, and ambient innovator Brian Eno. Their compositions are largely beatless soundscapes, composed of droning, effects-treated guitars along with piano, strings, and horns; volume swells and feedback fill the gap of rhythmic instruments, providing dynamic movement. Their sound has been described as "divine, classical drone without the tedious intrusion of drums or vocals."

Formed in Austin, Texas in 1993, SOTL is composed of two members: Brian McBride and Adam Wiltzie. McBride said in an interview that the band's name refers to "your own personal cinema, located between your eye and eyelid", suggesting the colors and patterns one can see with closed eyes (either phosphenes or closed-eye hallucinations). They recorded their debut album Music for Nitrous Oxide throughout 1993 and 1994 with third musician Kirk Laktas, and released the album in 1995 on the Sedimental label. Laktas did not continue with the group, and the duo of McBride and Wiltzie steadily continued with Gravitational Pull vs. the Desire for an Aquatic Life in 1996, The Ballasted Orchestra in 1997, Per Aspera Ad Astra in 1998, and Avec Laudenum in 1999, as well as the limited edition EP Maneuvering the Nocturnal Hum and a split single with Windsor for the Derby, both in 1998.

Stars of the Lid then released their first double album, The Tired Sounds of Stars of the Lid, in late October 2001. Nearly six years later, the duo released their second double album, And Their Refinement of the Decline, in April 2007 to widespread critical acclaim. Stars of the Lid toured worldwide throughout 2007 and 2008 in support of the album; throughout their European tour, they were joined live by a string trio featuring Lucinda Chua of Felix on cello, Noura Sanatian on violin, and Ela Baruch on viola. Their North American line-up included Julia Kent on cello.

The duo have been active pursuing side-projects and solo releases since And Their Refinement of the Decline. A teaser trailer for a possible Stars of the Lid feature film surfaced on the internet in 2008, but as of August 2017, the group has yet to release any new material.
Solo and side-projects

Brian McBride and Adam Wiltzie have both released material outside of Stars of the Lid. McBride released his first solo album When the Detail Lost Its Freedom in November 2005, then released The Effective Disconnect in October 2010, which serves as a soundtrack to the documentary Vanishing of the Bees, a film about colony collapse disorder. McBride teamed up with musician Kenneth James Gibson and began recording and releasing new music under the name Bell Gardens; their debut EP Hangups Need Company was released in May 2010, their first full-length album Full Sundown Assembly followed in November 2012, and their second album Slow Dawns for Lost Conclusions was released in October 2014 via Rocket Girl.

Wiltzie has been involved in several collaborative projects: The Dead Texan (with visual artist Christina Vantzou), Aix Em Klemm (with Robert Donne from Labradford), and A Winged Victory for the Sullen (with composer Dustin O'Halloran). Wiltzie currently lives in Brussels, Belgium, and McBride in Los Angeles, California.

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Music for Nitrous Oxide reveals Stars of the Lid's chemical makeup in its rawest and most basic form. All of Brian McBride's and Adam Wiltzie's obsessions are here: droning guitar feedback, garbled voice transmissions, and patient compositions unafraid to stretch past the ten-minute mark. This debut effort shows the scars of their primitive home-recording setup, but like the best four-track music, apparent technological shortcomings are turned into the record's advantage. The blurry, out-of-focus feedback drones blend wonderfully with the ambient noise of the living room and the fuzzy layer of distortion imparted by the analog cassette. Stars of the Lid acknowledge how well their music works in this environment by titling a track "Tape Hiss Makes Me Happy." Probably the darkest record in the band's catalog, there is an apocalyptic edge to Music for Nitrous Oxide that owes something to the disembodied voices floating through the tracks. "Lagging" is haunted by snatches of dialogue from a war zone news broadcast, while "Down" pulls the voice of a Texas faith healer from the AM radio airwaves. They would go on to refine and perfect their drone aesthetic (and make much prettier music), but Music for Nitrous Oxide shows that Stars of the Lid had some great ideas from the beginning.

Stars Of The Lid - Music For Nitrous Oxide  (flac 359mb)

01 Before Top Dead Center 5:23
02 Adamord 11:51
03 Madison 9:28
04 Down 6:33
05 Lagging 3:55
06 (Live) Lid 9:45
07 Tape Hiss Makes Me Happy 13:04
08 The Swellsong 9:14
09 Goodnight 7:13

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Gravitational Pull..., the second release from Austin, TX's Stars of the Lid, quickly became a favorite among illbient DJs, leading the Kranky label to issue it on CD with an extra track. Even more so than most ambient projects, the Stars create an atmosphere that's akin to a sensory deprivation tank, reducing everything to pulsating waves of sound -- Gravitational Pull... is consistently effective at this, and is even less dense, at points, than some of the group's other releases.

Stars Of The Lid - Gravitational Pull Vs. The Desire For An Aquatic Life  (flac 238mb)

01 The Better Angels Of Our Nation 3:56
02 Cantus II; In Memory Of Warren Wiltzie 19:03
03 Jan. 69 9:24
04 Lactate's Moment 12:18
05 Be Little With Me 6:27

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While ambient outfits are not especially prevalent in the United States, Texas' Stars of the Lid have found a niche as an unlikely American drone duo with an impressive discography. Taking in such ambient milestones as Brian Eno's Apollo recording, Stars of the Lid's Brian McBride and Adam Wiltzie fashion eight floating gems with touches of industrial noise and movie soundtrack atmospherics. No drums or clanging guitars here, just darkish, elegiac slabs of ethereal sound taking up 12 to 18 minutes at a pop. The overall effect is both calming and provocative. And adding a bit of welcome irony to the somber proceedings, the duo come up with such bluntly perverse titles as "Sun Drugs" and "Fucked Up (3:57 AM)." A bit cheeky? Yes. But the music will find even the most skeptical in a state of modern-age bliss.

Stars Of The Lid - The Ballasted Orchestra  (flac 321mb)

01 Central Texas 3:43
02 Sun Drugs 12:20
03 Down II 1:22
04 Taphead 12:34
05 Fucked Up (3:57 AM) 8:32
Music For Twin Peaks Episode #30
06 Part I 8:01
07 Part II 13:32
08 The Artificial Pine Arch Song 18:00

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Per Aspera Ad Astra is an intriguing 1998 collaboration between tone-generating minimalists Stars of the Lid and line-drawing minimalist Jon McCafferty, the latter best-known in music circles for the cover of R.E.M.'s Green. After working on a series of paintings inspired by Stars of the Lid's 1995 debut (Music for Nitrous Oxide), McCafferty approached the duo with a collaboration in mind. The recording was created with plenty of McCafferty's work around for inspiration (and incorporated environmental samples of him painting), then the sleeve was prepared by McCafferty once he'd immersed himself in the album. Separated into two sides, Per Aspera Ad Astra reveals precious little of McCafferty's working habits; except for faint rustlings in the background and passing traffic, the environmental portion is whispery and thin. The concept does allow for a degree of context within Stars of the Lid's music, though, always a good thing when a recording is as ambient and ephemeral as this. Deep and warmly atmospheric, with (per usual) few nods toward traditional instrumentation, the pair focus on indie-space music except at the beginning of side two, when a string section provides a brief interruption.

Stars Of The Lid - Per Aspera Ad Astra (flac 124mb)

Low Level (Listening)+
01 Part 1 6:22
02 Part 2 8:42
03 Part 3 5:29
Anchor States
04 Part 1 4:27
05 Part 2 8:51
06 Part 3 6:46

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Avec Laudenum moves at a glacier's pace and, slowly yet surely, calls to mind the glazed eye, vacant trance, and pure (temporary) euphoria of the heavy laudanum user. "The Atomium," a three-part work, takes all of 16 minutes to gradually build from a series of softened drones into the exquisite ambience of an orchestra lulling heaven itself to sleep, only to halt the reverie by (just as gradually) introducing ominous backmasked guitars. Of the other two pieces, "Dust Breeding" has much the same effect and feeling of transcendence, while "I Will Surround You" has slightly more of a Technicolor feel. Reportedly recorded by mail between SotL members Adam Wiltzie and Brian McBride, Avec Laudenum is a magnificent piece of minimalist ambience.

Stars of the Lid - Avec Laudenum (flac 148mb)

The Atomium
01 Part One 5:32
02 Part Two 10:43
03 Part Three 6:16

04 Dust Breeding (1.316)+ 9:08
05 I Will Surround You 10:28

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