RhoDeo 1317 Roots

Hello, France like the UK has some colonial connection to the Caribbean, as a consequence they did develop a reggae / dubscene as well, though the availability of plenty of grass must have inspired. The coming weeks i'll be presenting some of it. Today a mixed bag a sampler with 50/50 uk/france acts on it , Dub Unites ! Plenty of trippy stuff going on with Brain Damage, the duo plays and belongs to an electro dub style of its own. In the same time dark and emotional. A style defines like emo-dub-ambient. .....N'joy

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Brain Damage is a French dub band from Saint-Étienne. The band is made up by Martin, sound engineering, and Raphael, bass.

Created in the year 1999 by two members of the dub collective and label Bangarang[citation needed], Brain Damage plays a very personal and particular dub music: dark, and emotional. The band defines it as emo-dub-ambient. After a first maxi CD -Bipolar Disorder- and a compilation -Combat dub- produced by its own label (Bangarang), Brain Damage realized 2 albums with the dub label from Paris, Hammerbass. Their debut Ep —Bipolar Disorder— issued in January 2000, has been acclaimed by the french musical magazines. After featurings on numerous compilations, their first album —Always greener on the other side— recorded partly at the famous Conscious sounds studio with the singer Tena Stelin (Bush Chemists, Jah Warrior, Iration Steppas), confirmed that Brain Damage had a unique way of dubbing music: emotional and powerful..

By the end of 2003 new encounters with London vocalist Learoy Green and the poet/dj Black Sifichi from New York lead to a new album: "Ashes to ashes/Dub to Dub ". After the two conceptual albums The Spoken Dub Manifesto (2006) (featuring plenty of guests on the cover) and the sound mixtures of Short Cuts (2008), Brain Damage return with dark streaks and melancholy vibrations to the ambient dub of 2010. These sounds belong to a different world, one imbued with a mystical whiff of medieval alchemy, far removed from the Anglo-Jamaican era of Ashes to Ashes Dub to Dub (2004).

Burning Before Sunset is clearly running against their past musical proposals. This Brain Damage album is structurally based on relaxed dub rhythms that stay with you from the first chord, only later to become a mix of brute samples releasing retained but powerful energy in regular beats. This mixture of aggressive and ecstatic sound layers gives the album a delicate aura. A fundamental contribution to the Brain Damage discography, the album demonstrates the band’s ambition to never repeat itself. In 2011 they released High Damage : High Tone meets Brain Damage a year later Brain Damage Dub Sessions "What you gonna do?"

Brain Damage are a live-act with bass and sub-bass sounds (subsonic frequencies), that’s had over 500 concerts in Europe since 1999. On stage, the duo runs against their ambient studio sound by releasing pure energy.

Discography

Always greener (02)
Ashes to ashes / Dub to dub (04)
Spoken dub manifesto vol.1 (06)
Short Cuts (08)
Short Cuts Live (09)
Burning before Sunset (10)
High Damage : High Tone meets Brain Damage (11)
Brain Damage Dub Sessions "What you gonna do?" (12)

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Brain Damage, the French crew been known for their really deep and spherical dubs,  "Always Greener On The Other Side" was already some very exciting stuff and "Ashes To Ashes - Dub To Dub" picks up on where the forerunner ended. This time Leroy Green and Black Sifichi have been chosen as guest vocalists and that wasn't the worst choice as the opener "The Unity Of The Circle" proves, a brillant tune with very, very deep soundscapes and B. S. on the mic. But that's not the only mentionable track. All tracks are. Whether "Let Me Be", "My Father" and "One Dollar" with L. G. on the mic or "The Balance Of The Cube", again with B. S., all killers, no fillers.

Brain Damage - Ashes To Ashes - Dub to Dub (flac  321mb)

01 The Unity Of The Circle 5:04
02 Let Me Be 5:13
03 My Father 5:31
04 One Dollar 4:18
05 The Balance Of The Cube 6:05
06 Circle Dub 4:46
07 Dollar Dub 3:47
08 Cube Dub 4:39
09 Let Me Be Dub 4:23
10 My Father Dub 3:55

Brain Damage - Ashes To Ashes - Dub to Dub (ogg 119mb)

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After successive outputs of two concept albums, "Spoken Dub Manifesto" and its prestigious guests in 2006 and that was fabulous sound patchwork "Short cuts" in 2008, Brain Damage plethora comes early this year with "Burning Before Sunset ", his fifth album. This marks the return of Etienne towards ambient dub, full of dark and melancholy emotions. A science of sound close to alchemy. For all that, this album - far from the Anglo Jamaican dub time "Ashes to Ashes to Dub Dub" - is once more up against everything Brain Damage has been proposed in the past. If all the shares may appear to the neophyte built on similar schemes, almost robotic assemblies, it is clear that the challenge of Martin and Raphael is once again raised and the fans always find some reminiscences of first time.

Sound, mainly based on a nonchalant dub rhythm that we recognize from the first kick, first becomes a raw material and indivisible whole, borrowing a dull, throbbing energy. The juxtaposition of the water, turn ecstatic or war, gives the album an atmosphere of lead, which hardly loosen its grip until the last second. Proof of this is the indissoluble "Ignore", where synths, water and other squeaking noises mingle and merge to form a hypnotic loop, growing and steadfast, or "Only lost in the sound" real descent in pale depths and mystics. As far as each reveals an unalterable emotional power (the wonderful "Plain White Butterly"), telling strange stories inissent by joining in this blessed place to which only the music is able to drive: the guts and heart. Guests side, the poet Sifichi Black stands out as unique and immutable speaker, forming rightly ultimate protagonist of the group. True to its unrivaled art of reciting the texts of his charismatic voice, it fits perfectly with the emotional world of "Burning Before Sunset", indulging here and there fragments of text enigmatic beauty rarely seen. So this fifth album is undoubtedly a fundamental part in the discography of Brain Damage, demonstrating once again the fierce determination of the duo never be repeated.

Brain Damage (Feat.Black Sifichi) - Burning Before Sunset (flac  274mb)

01 There Is A Wind 4:44
02 Ignore 5:21
03 Only Lost In The Sound 5:02
04 Smoke In Our Minds 3:39
05 Bull's Ass 5:08
06 Don't Ask Me Why 4:17
07 Possibility Of Love 4:31
08 Plain White Butterfly 1:18
09 The Tower To Eternity 4:57
10 My Legs, My Arms, My Mind & My Brain 4:31
11 Invisible Click 1:22
12 Hope Of Utopia 2:06

Brain Damage (Feat.Black Sifichi) - Burning Before Sunset (ogg 110mb)

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To French organisation Uncivilized World, the company behind CD & DVD compilation package Dub Stories, dub is more than an essential component in the reggae compound; it is 'the most influential music of the second half of the 20th century'. You certainly can't fault the passion behind this release. The compilers of Dub Stories love everything that is typical of contemporary dub: the tracks are hard, mechanical, ambient, and heavily steppers. This should come as no surprise given that Uncivilized World also releases techno artists like Jeff Mills. Most of the big names are here - Lee Perry in full nonsense mode, Bush Chemists, Zion Train, Iration Steppers and Manasseh, although it would have been nice to see something from the Jah Warrior stable included. You'll also find some of the top exponents from the continent; Cultural Warriors from Switzerland, as well as Zenzile, High Tone, Brain Damage and the Improvisators from France.

Various - Dub Stories (flac 441mb)

01 Lee Scratch Perry & The White Belly Rats - Voodoo 6:19
02 Disciples - Imperial Stepper 3:48
03 Zion Train - Hailing Up The Selector 5:27
04 Bush Chemists - Foot Step Dub 3:57
05 Manasseh & Natty P - Skenga 12"Mix 3:58
06 Cultural Warriors - Righteousness 4:44
07 Improvisators Dub - Be Yourself 4:24
08 Weeding Dub - Long Way 4:45
09 King Shiloh & Peter Broggs - Love In A Higher Region 4:58
10 Iration Steppas - Warrior 4:38
11 Zenzile - Up Is A Long Way To Go 3:49
12 High Tone - Sushit 4:48
13 Brain Damage & Mohammed El Amraoui - Fenetres 5:17

Various - Dub Stories (ogg 159mb)

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RhoDeo 1317 The Rings 13

Hello, so Vettel didn't win a F1 race today, because there wasn't one. Not many sports highlights to reflect, teams start to go down, oddly most of this years champions have been known for some time, it could be construed as a sign of the times.

These last months a tale with a proven trackrecord in the cinema , yet there's radioplays too and having listened to the first episode it strikes me that stories like these where the imagery is left to the listener and not prepared by others can have a bigger impact and dare I say deliver a much more satisfying experience as after all it's all in the mind. Today the final episode, with tension resolved, it is time to bring on the handkerchiefs for the long goodbye  ... NJoy

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In 1981 BBC Radio 4 broadcast a dramatisation of J. R. R. Tolkien's The Lord of the Rings in 26 half-hour stereo instalments. Like the novel on which it is based, The Lord of the Rings is the story of an epic struggle against the Dark Lord Sauron of Mordor, the primary villain of the work, who created a Ruling Ring to control the nineteen Rings of Power, and an alliance of heroes who join forces to save the world from falling under his shadow.

The 26-part series was subsequently edited into 13 hour-long episodes broadcast from 17 July to 9 October 1982, restoring some dialogue originally cut for timing (since each hour-long episode is actually around 57 minutes, as opposed to 54 minutes for two half-hour episodes with overlaps and extra credits removed), rearranging some scenes for dramatic impact and adding linking narration and music cues. Interestingly Ian Holm, who played Frodo Baggins in the radio serial, went on to play Bilbo Baggins in Peter Jackson's movie trilogy.

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The Grey Havens ( 67mb)

1301 Opening Titles
1302 The Breaking of the Fellowship
1303 What's Become of My Ring
1304 Galadriel's Gift
1305 The Last Ship

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previously

The Shadow Of The Past
The Black Riders
The Knife In The Dark
The Ring Goes South
The Mirror Of Gadladriel
The Breaking Of The Fellowship
The King Of The Golden Hall
The Voice Of Saruman ( 65mb)
The Two Towers ( 67mb)
The Choices Of Master Samwise ( 68mb)
The Battle Of Pelennor Fields ( 66mb)
The Mount Doom
The Grey Havens ( 67mb)

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RhoDeo 1316 Beats

Hello, as the US wonders how to explain a possible poison gas took place with hardly any victims of a possible ricin attack but they are sure it must have been Assad. Duh this kind of bollocks was spread out over all western news bulletins. If it was ricin it's much much more likely terrorists experimenting how to use it, don't forget it has been used in Tokyo underground attack by the Ohm sect. I really get irritated when this kinda lies is spread over the general public with just one purpose, legitimize fanning the fire in Syria by throwing more weapons into the mix. This US attitude is just an invitation to the terrorists to use their ricin stash and make a bigger splash so the western military complex can make some extra bucks...

Meanwhile we're here for some beats, last week we got serious and clinical and it should hardly be a surprise we turned to a German, to my surprise (somewhat) there was considerable interest, hence i decided to have a second post ...N'joy

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German producer Thomas Brinkmann is widely regarded as one of the most unique and innovative voices in modern European techno. Working with some of electronic dance music’s best-known producers, artists like Richie Hawtin and Wolfgang Voigt, and releasing music on labels like Profan and Raster-Noton, Brinkmann has become synonymous with the vanguard of progressive techno. Over the last two decades and countless releases this producer has helped to define the sound of abstract and minimal dance music. His new work reaches toward traditional song forms and serves to illuminate this producer’s constant willingness to experiment.

Born in 1959, Thomas Brinkmann studied art at the Dusseldorf Academy. He began experimenting with audio in the early ‘80s. It wasn’t until the mid ‘90s that the producer began to release his work publically. He first gained the attention of the global techno community for his reworking of music by the above-mentioned Hawtin and Voigt. 1997 brought the release of Studio 1 — Variationen on Voigt’s Profan label. Voigt’s legendary “Studio 1” series, released under the Mike Ink alias, is among the most holy of grails in minimal techno. Brinkmann did a remix, or a “variation” as he calls it, of the entire Studio 1 album. Working from vinyl, Brinkmann loops sections of the music on a turntable of his own design that features two separate tone arms for the left and right stereo output. He then uses effects to further process and separate the original music. The results are totally hypnotic with Brinkmann coaxing entirely new patterns and shapes from the originals. By layering constantly shifting sections of beats he creates an aural moiré pattern of labyrinthine sound. In 1998 Brinkmann applied the same technique to the music of minimal pioneer Richie Hawtin’s “Concept 1” series. This resulted in the Concept 1 — 96:VR release, another genius rework that highlights the rhythmic complexities of so-called minimal techno.

Concurrent to the variations releases, Brinkmann started releasing his own productions in 1998. Spread across his confusingly titled labels Ernst, Max and Max Ernst, he releases a series of 12” records housed in bright orange sleeves with song titles bearing the names of women. The series went from ’98 into ’99 and has since become one of the most collectible runs in techno. The music is jawdroppingly good. Ostensibly minimal techno the tracks Brinkmann crafted for this series sound like nothing else. The music is funky, yet terse and dry; totally hypnotic and deadly serious but with a sense of humor that shines light on techno’s roots in American funk and soul. Ultimately its like nothing else around and to this date sounds absolutely fresh. The series was collected on CD and released as Rosa in 2000 on the Ernst label. It remains one of Brinkmann’s finest moments.

Brinkmann also releases more overtly experimental work under the moniker Ester Brinkmann, supposedly the name of his sister. He created the Suppose label just to release this music. ’98’s Totes Rennen, ‘99’s Weiße Nächte and 2001’s Der Ubersetzer — II Traduttore all feature vocal samples, mostly from modern philosophers, over throbbing ambient techno. It’s deeply disquieting music, dark and mesmerizing. Brinkmann’s contribution to Raster-Noton’s famous 20’ To 2000 series also falls under the Ester Brinkmann project.

Perhaps his best-known work has been released as Soul Center. Comprised almost entirely of samples from funk, soul and R&B, Brinkmann creates a dense, funky type of minimal house and electronic soul. It’s easily his most accessible project, aimed squarely at the dancefloor. ‘99’s I and 2000’s II were released on Brinkmann’s own W.v.B. Enterprises while III was released by Mute in 2001.

It’s almost impossible to keep up with this producer’s steady stream of 12”s, but an important full-length arrived in 2000 with Klick. Like most of Brinkmann’s earlier output this is process-oriented music. These tracks can be categorized as minimal techno, but just barely. This is a shuddering, loopy strain of ambient clicks and cuts that is strikingly original. Made by cutting grooves into vinyl with a knife, Brinkmann creates the same phasing, rhythmic pulse used on the variation releases. On Klick the sound is more effected, with reverb and delay adding extra layers of ambience. It’s electronic art music of the highest order.

Row was released in 2002 and serves to collect tracks from Brinkmann’s many 12” releases. These tracks are certainly still marked by the producer’s unique techniques but represent his efforts at material created for the dancefloor. There are some truly funky songs to be heard here, such as the classic “Loplop.”

2004’s Tokyo + 1 finds Brinkmann branching out. Still highly conceptual, these songs explore varied textures and deep ambience more so than previous releases. The music is based on field recordings made in Japan. Sounds of street activity, subways and public life are edited, layered and looped into dubwise ambient techno. There’s a stronger sense of the musical and the organic on Tokyo + 1 that points to where Brinkmann would take his music next.

Lucky Hands was released in 2005 and was a departure from the straight minimal dance music Brinkmann had helped to define. The tracks here are still certainly informed by minimal techno, but there’s an organic melodic sensibility in effect now. Also, there are plenty of vocals to be heard not to mention covers of The Smiths’ “The More You Ignore Me The Closer I Get” and the jazz standard “Charleston.” Lucky Hands is ambitious as it moves Brinkmann closer to pop territory. Admittedly it doesn’t always work, but the music is always engaging as it reaches for something new.

As if in reaction to the pop attempts of Lucky Hands, Brinkmann returned to the techniques of Klick in 2006 with Klick Revolution. The stripped down, bare bones rhythms are back this time augmented by heavy dub bass and some deeply textured electronic noise. Looser than Klick but boasting that keen attention to micro-detail, this album stands out as a reminder of what made this producer’s music so exciting in the first place.

2008 brought Brinkmann’s biggest attempt at proper song structure to date. When Horses Die… is an album of deftly arranged, electronically enhanced songs featuring Brinkmann singing on every track. Overall the tone is dark, electro-inspired synth-pop with influences from Depeche Mode and early Nine Inch Nails. Guitars, proper verse-chorus-verse structure and Brinkmann’s unadorned voice mark this album as something entirely new for this producer. There are genuinely harrowing moments here, such as the stunning “Birth And Death,” that indicate Brinkmann could take this newfound interest in song to soaring, emotive heights.

In 2009/2010 he released on Curle rec. and he had a solo show in a gallery with his sculptures next to collaboration with other artists and he also did "Klick" live performances more related to art and improv music. 2010 he`s back again with his new Soul Center album on Shitkatapult and he`s also contributing to the upcoming Richie Hawtin project.

Over two decades of work shaping minimal dance music has made Thomas Brinkmann one of modern techno’s respected elder statesmen. His conceptual, tersely funky early work continues to inspire a generation of minimal techno producers. That his new music is reaching into unexplored territories of traditional song shows a confidence and willingness to experiment that would terrify many musicians. Brinkmann’s defining trait is his ability to capture new musical forms. No doubt his future releases will continue to surprise us.

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Thomas Brinkmann succeeds his late-'90s "variation" albums with Klick, a conceptual project that showcases his growth as both a conceptualist and as a producer. First of all, the underlying concept is fairly simple, derived heavily from the Mille Plateaux-helmed "clicks and cuts" movement of 2000: Brinkmann samples the noises emanated from dusty or damaged vinyl records and uses these subtle sounds as the building blocks for his tracks. Throughout 2000, a number of producers explored this same concept, but no one has been this dogmatic in their approach to the quickly realized click aesthetic. But there's more to the album than its concept; Brinkmann also shows his growth as a producer. To compensate for the subtle nature of the sounds used to construct the tracks, he employs numerous layers of looped clicks, resulting in dense rhythms that extend from nearly inaudible high frequencies to subwoofer-pushing lows. Furthermore, to justify the generous track lengths, he continually adds and subtracts loops and sounds from his rhythms, while continually tweaking and modulating the sounds -- never once does his music become stagnant. And the way he manages to give each track its own distinct feel and sound, despite essentially working with the same limited sonic palette, is perhaps most impressive. Overall, though Brinkmann may be working with a new language of sound here (vinyl glitches rather than analog synths), Klick is really just a continuation of his previous work, only more hypnotic and more intricately programmed. It's really hard to say which is more impressive, the album's earthy sounds or its dizzying rhythms; either way, they're both astounding, and when you also add the fact that this album is a conceptual wonder, Klick stands as yet more evidence to Brinkmann's role as one of the pioneering experimental techno producers of his time.

Thomas Brinkmann - Klick ( flac 344mb)

01 0001 5:48
02 0010 6:49
03 0011 4:36
04 0100 6:33
05 0101 3:40
06 0110 4:52
07 0111 7:10
08 1000 4:54
09 1001 7:01
10 1010 5:49

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Thomas Brinkmann follows his habitual reliance on concept - the focus here being the sounds and scopes of Tokyo. Having become known for his tight percussive structures and reliance on carefully edited loops - it’s nice to see Brinkmann loosen up a little and explore more diverse and textured musical landscapes. Each of the pieces here revolves around a re-edited allignment of found sounds and urban field recordings - people filling the Tokyo streets, the subway system, arcade machines and even distant Western pop songs reconfigured and looped. “Tokyo+1” is quite easily Brinkmann’s most diverse work to date - ranging from the straight dubwise house of “3 st. 2 Shinjuku” to the motorik looped noise minimalism of “Mamas” and “109 Competition”.

Thomas Brinkmann - Tokyo + 1 ( flac 234mb)

01 E-bar 3:57
02 Mit Sugar 5:38
03 109 Competition 3:07
04 3 St. 2 Shinjuku 5:09
05 Decoupe 4:27
06 Hatesong 5:02
07 Mamas 3:47
08 Lovesong 5:43
09 Ikaria 4:04

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A tribute to the pinball machine. These tracks deal with the concept of the locked box with the inclined plane, as the player ponders his "questionary about luck, the slide of the things into the logic of decline," as Brinkmann states. This is a new game with turntables -- not unlike the 2001 conceptual Klick release, but this time the player is trying to turn the fixed medium of the locked box into a landscape where the klicks are sounds from the past, confronting and reacting against bumpers, ramps and logs. These klick revolutions are based on live sets performed during the last two years, and the variations within the live context are apparent: each track builds on a theme, with different sideways escape routes using various locked-groove records as tools

Ultimately, Klick Revolution is all about the concept of collision. What happens when funk, aka "black music," collides with the brushed percussion and dissonant arrangements of the European avant-garde? What happens when playback devices become performers, and when machines play music with the kind of timing once only expected from human expression? But whatever your take on its theoretical underpinnings, this short, gripping record is a masterpiece of minimalist intensity and meticulous execution.

Thomas Brinkmann - Klick Revolution ( flac 200mb)

01 Geschlossene Kiste / Initiation_Locked Box 7:15
02 Befragung Des Glücks / Questionary About Luck 3:27
03 Die Schiefe Ebene / Inclined Plane 6:33
04 Der Lauf Der Dinge / Slide Of The Things 5:50
05 Logik Des Niedergangs / Logic Of Decline 8:28
06 Tilt 5:03

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previously Germany, West (01/20/07) re-rip/up

"Row" is a compilation of rare, unreleased, and reworked material from his MaxErnst catalog, many which were previously only available on vinyl., an excellent sampling. Brinkmann always keeps things moving along with a great beat - never falling flat with something that is too cerebral, he is definitely from the less-is-more school.

Thomas Brinkmann - Row ( ' 02  FLAC *328mb)

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RhoDeo 1316 Goldy Rhox 105

Hello, today the 105th post of GoldyRhox, classic pop rock, in the darklight is a British singer-songwriter and one of the best selling artists of all time, having sold over 100 million records worldwide. In the UK, he has had six consecutive number one albums, and his tally of 62 hit singles include 31 that reached the top 10, six of which gained the number one position. He has had 16 top ten singles in the U.S, with four of these reaching number one on the Billboard Hot 100.

With his distinctive raspy singing voice, he came to prominence in the late 1960s and early 1970s with The Jeff Beck Group and then Faces. He launched his solo career in 1969 with his debut album An Old Raincoat Won't Ever Let You Down, and his early albums were a fusion of folk music, soul music and R&B.

A Grammy and Brit Award recipient, he was voted at No. 59 on Rolling Stone 100 Greatest Singers of all time. As a solo artist, he was inducted into the US Rock and Roll Hall of Fame in 1994, the UK Music Hall of Fame in 2006 and was inducted a second time into the US Hall of Fame, as a member of The Faces, in 2012.

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

Todays mystery album is the third album by the artist, released in the middle of 1971. It went to number one on both the UK and U.S. charts and finished third in the Pazz & Jop critics' poll for best album of 1971. It has been an enduring critical success, including a number 172 ranking on Rolling Stone magazine's 2003 list of the 500 greatest albums of all time and inclusion in both 1001 Albums You Must Hear Before You Die (2005) and 1,000 Recordings to Hear Before You Die (2008).

The album is a mixture of rock, country, blues, soul, and folk, and includes his breakthrough hit, "Maggie May", co-written by classical guitarist Martin Quittenton, as well as "Reason to Believe", a song from Tim Hardin's debut album of 1966. "Reason" had initially been the A-side of the single and "Maggie May" the B-side, until general reaction resulted in their reversal.

It reached the number-one position in both the UK (for six weeks) and the US (four weeks) at the same time that "Maggie May" was topping the singles charts in both territories, making him the first artist to achieve such a feat. It has often been voted among the best British albums of all time. A sentimental journey then.... N'Joy..


Goldy Rhox 105   (flac 249mb)

Goldy Rhox 104  (ogg 99mb)


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RhoDeo 1316 Aetix

Hello, well Barcelona recieved a thorough trashing by a Bayen Munich's side tonight making clear who rules from now on.

Meanwhile Aetix continues with females in the lead, and today a band that got a head up by 'saint' Kurt Cobain which had their minimalistic approach to guitar-driven folk-rock in the spotlight again ten years after they folded. Our other woman today looks defintely post punk here and delivers her icy side after having had hit succes with her first popalbum....N'Joy

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The Raincoats were one of the most experimental bands that immediately followed the initial burst of punk rock in the late '70s. With their minimalistic approach to guitar-driven folk-rock, the band developed a distinctive, jagged sound. The Raincoats were also one of the first all-female post-punk band. The original line-up of the Raincoats was Gina Birch on bass, Ana Da Silva on guitar, Vicky Aspinall on second guitar/violin & Palmolive (Paloma Romero), who had just left the Slits, on drums. Palmolive left shortly after the release of their first album in 1979 and was replaced by Ingrid Weiss.

The band recorded Moving in 1984 and began work on solo projects shortly after the release of this album. Gina Birch and Vicky Aspinall formed Dorothy and Ana da Silva worked with choreographer Gaby Agis on a series of dance projects and formed Roseland with Charles Hayward. The band gained a small cult following in their native England and an even smaller audience in America; they broke up in 1984, having released three studio albums. Nearly ten years later, the band became a hip name in alternative rock, thanks to Kurt Cobain's mention of the group in the liner notes to a Nirvana album. Geffen picked up the rights to the Raincoats' catalog and reissued their albums (with liner notes by Kurt Cobain & Kim Gordon) in late 1993 and 1994. The band reunited and toured with Nirvana in the U.K. before heading out on their own tour of the U.S. in 1994. Two years later, the Raincoats released Looking in the Shadows.

Since 1996, The Raincoats have played some special events such as Robert Wyatt's Meltdown in 2001, at Chicks on Speed's 99 Cents album release in Berlin in December 2003. da Silva and Birch recently recorded a cover version of "Monk Chant" for a compilation album of The Monks songs called Silver Monk Time. They played at Ladyfest Leeds in April 2007 and the Nuits Sonores Festival in Lyon on 18 May 2007 on the Girl Monster stage with Chicks on Speed. On 28 March 2009 The Raincoats-Fairytales-A Work in Progress, directed by Gina Birch and produced by The Raincoats was screened at the BFI in London and the band performed at Donaufestival on the Girl Monster stage with Girl Monster Orchestra on 25 April. The band performed at Matt Groening's All Tomorrow's Parties festival in May 2010 in Minehead, England.

On 21 November 2010 The Raincoats performed a concert as part of the PopRally series at MoMA in New York City. The band have been invited by Jeff Mangum of Neutral Milk Hotel to perform their debut album live at the All Tomorrow's Parties festival that he will curate in March 2012 in Minehead, England.

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The Raincoats self titled debut album is a shining example of the ripe musical possibilities available in the aftermath of the late '70s punk explosion. A collection of oddball rhythms, slightly off key girl harmonies, a violin (instrumental mish-mashing was rare in the punk days) and one truly stellar and unique cover of the Kinks “Lola.” It's forward thinking experimental rock with a deceptively simple veneer that when stripped back reveals a pulsing heart of accessible avant-garde folk influenced punk rock. All performed by four women, at a time when an all girl band in the male dominated punk scene was a rarity. This isn't music to make the rock kids dance to, this is music made by rock kids who decided to embrace the freedom on offer and run with it for as long and as far as they could. Taking their influences and squeezing them together into a passionate new that screams of possibility. It's not about fashion, it's not about an attitude it's about creating, experimenting, having a laugh and trying to get as many people involved as possible.

The Raincoats - The Raincoats (flac 224mb)

01 Fairytale In The Supermarket 2:55
02 No Side To Fall In 1:46
03 Adventures Close To Home 1:52
04 Off Duty Trip 3:14
05 Black And White 2:28
06 Lola 4:01
07 The Void 3:51
08 Life On The Line 4:21
09 You're A Million 3:38
10 In Love 3:11
11 No Looking 3:16

The Raincoats - The Raincoats ( ogg 86mb)

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'Recorded live at The Kitchen For The Performing Arts, NYC on Sunday, December 12, 1982. Originally a cassette-only release in 1983.

Rough, loose-limbed, warm, and exciting, The Kitchen Tapes is everything you'd expect from the Raincoats on-stage. Bolstered by the heavy percussion of Richard Dudanski and Derek Goddard, this recording pulsates, while the band dances around the beat tossing in shards of guitar, vocals, and violin. The liner essay by Greil Marcus is excellent.

The Raincoats were one of those cult bands that seemingly had more impact on other musicians than on the public. The rap on this band was that they couldn’t quite play their instruments, but their lack of technical proficiency was always compensated for by an earnestness and creativity that more formal training may have undermined. With their off-kilter song structures, ever-present chiming violin, and innate pop sense, the Raincoats created a host of quite interesting material. The Kitchen Tapes was originally issued by formerly cassette-only label ROIR in 1983 and documents the development of The Raincoats into an effective live act, as it captures a legendary performance at New York’s The Kitchen For The Performing Arts in December of 1982

The Raincoats - Kitchen Tapes (flac 254mb)

01 No One's Little Girl 3:38
02 Balloonacy 4:19
03 Oh Oh La La La 3:17
04 Only Loved At Night 3:21
05 I Saw A Hill 3:13
06 Mouth Of A Story 3:14
07 The Body 3:32
08 Shouting Out Loud 3:19
09 Rainstorm 3:55
10 Dance Of Hopping Mad 5:00
11 Animal Rhapsody 3:55
12 Puberty Song 1:17
13 No Side To Fall In 1:21
14 Honey Mad Woman 3:05

The Raincoats - Kitchen Tapes  (ogg 104mb)

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The daughter of '50s British pop singer Marty Wilde, Kim Wilde had several pop hits during the '80s. Initially, her synth-driven pop fit in with the new wave movement, but as the decade progressed, it became clear that her strength was mainstream pop.
 In 1980, Kim Wilde signed with producer Mickie Most's Rak Records, releasing her first single, "Kids in America," early in 1981. "Kids in America" climbed to number two on the British charts that spring, while her second single, "Chequered Love," made it into the Top Ten; her self-titled debut album performed as well as her singles. The following year, "Kids in America" became a Top 40 hit in America, while Select kept her in the British charts. However, Wilde wasn't able to keep her momentum going and it wasn't until late 1986 that she had another hit with a dance cover of the Supremes' "You Keep Me Hangin' On," which charted in the Top Ten on both sides of the Atlantic. Wilde never had another hit in America, yet she was back in the charts in the summer of 1987 with "Another Step (Closer to You)," a duet with Junior Giscombe. After the single's success, she began changing her image, becoming sexier. The approach didn't entirely pay off, though she had a handful of hit singles from her 1988 album, Close, including "You Came," "Never Trust a Stranger," and "Four Letter Word." Wilde continued to record in the '90s, scoring the occasional hit, either in the dance or adult contemporary field.

Kim Wilde's second album didn't score any hits on the level of the debut's "Kids in America," although the dramatic "Cambodia" was a sort of cult favorite in some circles. That said, it's a far better album than the patchy debut; the songs, again by brother Rikki Wilde with occasional collaborations by father Marty Wilde, don't have the bubblegum tinge that colored much of 1981's Kim Wilde. The arrangements are more synth-oriented, at times approaching the dark atmospherics of Japan or Orchestral Manoeuvres in the Dark. The occasionally melodramatic lyrics cover topics like police brutality and paranoia -- unsurprisingly, new insights aren't much in evidence -- and even the love songs, like the delicate "View from a Bridge," aren't exactly happy. The overall vibe of this album is so chilly that the one basically upbeat song, "Can You Come Over," sounds really out of place, but overall, it works. Wilde sings with a clinical detachment here that suits her voice quite well; whenever Wilde tries to emote musically, the results sound forced and melodramatic, but her icy edge on this album is surprisingly appealing.

Kim Wilde - Select  (flac 426mb)

01 Ego 4:11
02 Words Fell Down 3:31
03 Action City 3:22
04 View From A Bridge 3:31
05 Just A Feeling 4:09
06 Chaos At The Airport 3:18
07 Take Me Tonight 3:53
08 Can You Come Over 3:35
09 Wendy Sadd 3:47
10 Cambodia + Reprise 7:15
  Bonus Tracks
11 Watching For Shapes 3:43
12 Cambodia (Single Version) 3:58
13 Child Come Away 4:06
14 Just Another Guy 3:20
15 Bitter Is Better 3:44

 Kim Wilde - Select (ogg 144mb)

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elsewhere re-rip

Raincoats - Moving (83 * 77mb)

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RhoDeo 1316 Roots

Hello, France like the UK has some colonial connection to the Caribean, as a consequence they did develop a reggae / dubscene as well. The coming weeks i'll be presenting some of it.

After a sixteen years old career, including: eighteen albums, maxi EP's and hundreds of live concerts throughout the world, you would think you knew all about High Tone. However, those who have following this band since their beginnings in Lyon, France, know well that: No one knows what will resemble a new album of High Tone before it gets out. Instead of cloning their music year after year, the quintet has always chosen to focus on their trade mark sound which is rich and various, thanks to a dazzling bassan synths and whooping guitars. Remaining open to many collaborations, they have built their own universe. .....N'joy

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The group came together in 1997 on the slopes of the Croix Rousse district in Lyon, fueled by the concept of a rave-like, punk and independent spirit that still motivates the band to this day. This was soon followed by the Jarring Effects label, which was created around the band, and which they have never left, as they refuse to compromise their artistic integrity.

High Tone formed in Lyon in 1997. Co-founded by Lionel "DJ Twelve" Dumas, guitarist Julien "Aku Fen" Oresta, bassist Fabrice Oresta, keyboardist Antonin "Antok" Chaplin, and drummer Dominique "Selekta Dino" Peter, the quintet emerged from the same burgeoning dub community as Le Peuple de l'Herbe, Brain Damage Sound System, and Meï Teï Shô. Drawing upon influences ranging from Lee "Scratch" Perry to ambient music to drum'n'bass, High Tone developed a rabid live fan base prior they released their first EP in 1998 under the label Jarring Effects (bad bud season) and 1999 (Low tone)  before its 2000 full-length debut, Opus Incertum. The 2001 follow-up, Bass Temperature, proved the group's commercial breakthrough, although Live, issued two years later, remains the definitive representation of their music.

Initially labeled « ethno-dub », High Tone’s influences and sound evolved, in diverse ways and they quickly became one of the main players in the Bass Music scene, a movement reuniting various schools of sound such as drum&bass, dub, glitch hop and other adventurous soundscapes The Dubtones Sessions, initiated in 2002, showcased many of the values of the band : a musical communion with the audience, a melting pot of solidarity and creativity, allowing the band to forge alliances with other dub or electronic combos, resulting in new touring or recording projects. After Kaly Live Dub kicked off the sessions, it continued with Improvisators Dub, Zenzile, Wang Lei from China, and at last Brain Damage, for an extraordinary groundbreaking album that proves the continuing musical relevance of High Tone through the years. They issued a series of acclaimed collaborations with dub brethren including Kaly Live Dub (2003's Kaltone), Improvisator Dub (2004's Higvistators), and Wang Lei (2005's Wangtone).

High Tone has progressively created its own unique musical identity by staying close to their roots and to their core audience. Remaining open to many collaborations, they have built their own universe

Line-up
Aku Fen : guitar, samples
Flaba Stone : bass guitar, synths
Selecta Dino : drums
DJ Twelve : scratches, samples
Natural High : Keyboards

Discography

Opus Incertum (00)
Bass Temperature (01)
Acid Dub Nucleik (ADN) (02)
Live (03)
Kaltone : High Tone meets Kaly Live Dub (03)
Higvisators : High Tone meets Improvisator Dub (04)
Wave Digger (05)
Wangtone : High Tone meets Wang Lei (05)
Re-processed number 1 (05) (Remixes Album)
Zentone : High Tone meets Zenzile (06)
Underground Wobble (07)
Dub Invaders (09)
Out Back (10)
High Damage : High Tone meets Brain Damage (12)



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Nourished by the musical legacy of King Tubby and Lee Perry, High Tone develops a Dub scalable, able to ingest all kinds of influences. Their music is the substance resulting from an Alchemy consists of three key elements: 70's dub, electronic music and ethnic music.Their Dub immerses in the jungle, on the borders of the India and Tibet, a few kilometers from the rhythms of the Jamaica. High Tone is primarily a group which has built its reputation on stage. Their stage performances, by a real interaction between sound, mix videos and lights, tend to provide an overall effect that breathes into the compositions a dimension and a new energy. Among the best dubs European bands, these Lyon are the Apostles of modernity dubesque... Each concert is an opportunity to spread the vibe!

High Tone - Wave Digger (flac  324mb)

01 9 Bass Channels 4:23
02 Sushit 4:46
03 Headline 5:12
04 Larsen 3:36
05 Hangar 94/05 5:56
06 Musical Bonzeye 4:58
07 Overtone 5:03
08 On The Roof 4:49
09 Spacedunk 4:08
10 Afraid Of Nothing 12:11


High Tone - Wave Digger (ogg 108mb)

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Underground Wobble is a return to the sources of their art, their music which is worth seeing, listening and more. Listen to those voices out of nowhere, their universe, almost Ethereal before it came from Dune, deLittle Big man, they come from elsewhere and the whole forms a beautiful album in which you push gently but surely to the intoxicating beat of their tempo, you start to submit to the measure, that's it, you are in the place...

High Tone - Underground Wobble (flac  454mb)

01 Understellar 5:50
02 Freakency 4:14
03 X-Ray 6:09
04 Ask The Dust 7:43
05 Speed 110 3:55
06 Escape A 0:44
07 Day Break Leaving 4:44
08 Glowing Fire 6:04
09 Driving Fast 6:17
10 Round Trip 5:46
11 Escape B 0:37
12 Do Not Panic 4:07
13 Depth In The Middle 4:56
14 Northern Lights 4:08
15 Soundscape 7:26

High Tone - Underground Wobble (ogg 164mb)

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Three years on from 2007′s ‘Underground Wobble’, this fifth album from High Tone arrives as an expansive 2CD set, the first disc titled ‘Dub Axiome’ focusing on more dancefloor-oriented sounds, while the second ‘No Border’ disc concentrates on more cinematic atmospheres with space for acoustic instrumentation. Whatever the case, for a large part the 15 tracks gathered here see High Tone fashioning a particularly hard and brutal spin on the dub genre, and one that’s certainly not geared towards the faint of heart. Opener (and first single) ‘Spank’ sees the controls straight for white-knuckled fear from the very outset with its menacing fusion of eerie Middle Eastern instrumentation, ghostly dubbed-out female shrieks and thudding, venomous slo-motion dancehall rhythms, and gives the likes of Kevin Martin a serious run for their money whilst also representing perhaps the one overt nod to dubstep here.

With this album you absolutely have your wobbles, you absolutely have your grating noises, but you have one thing here that's missing from a lot of new dubstep: groove! Each song is different in its own way, most are very heavy, sci fi action movie type stuff, with layers upon layers of samples and riffs. You have your rib shaking bass, you have your big drums, your breaks and drops, your weird space sounds, and of course the true reggae vibes. Some have rap over them (which is surprisingly good by the way), and some have awesome guitar riffs. But every song has DRIVE: the combination of rhythm and groove which gives each track its individuality, and sets this album apart from a lot of stuff coming out recently. It's almost impossible to keep your head from bobbing while listening to this album. A must buy for any disgruntled dubstep head looking for an album full of high quality, high intensity, well produced, groovy tracks.

High Tone - OutBack (flac 540mb)

Dub Axiom (38:17)
01 Spank 5:35
02 Dirty Urban Beat 4:35
03 Dub Wha 3:20
04 Liqor 4:32
05 Liqordub 2:22
06 Rub-A-Dub Anthem 4:59
07 Fly To The Moon 7:50
08 Boogie Dub Production 5:04
No Border (45:27)
09 Space Rodeo 4:59
10 Bastard 5:44
11 Home Way 6:02
12 Propal 3:30
13 Uncontrolable Flesh 6:21
14 Ollie Bible 5:19
15 7th Assault 7:33
16 Altered States 5:59

High Tone - OutBack  (ogg 199mb)

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RhoDeo 1316 The Rings 12

Hello, so Vettel did win the F1 race today, a cruising victory after some great overtaking in the first laps, the rest had a great race too plenty of close racing and overtaking position switches in the end the iceman kept out of trouble and came in second, the ferrari's had all sorts of odd trouble but Alonso showed his class and still came in 8th, in all a pretty exiting race to watch.

These last months a tale with a proven trackrecord in the cinema , yet there's radioplays too and having listened to the first episode it strikes me that stories like these where the imagery is left to the listener and not prepared by others can have a bigger impact and dare I say deliver a much more satisfying experience as after all it's all in the mind. Today in the penultimate episode the tension reaches boilingpoint ... NJoy

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In 1981 BBC Radio 4 broadcast a dramatisation of J. R. R. Tolkien's The Lord of the Rings in 26 half-hour stereo instalments. Like the novel on which it is based, The Lord of the Rings is the story of an epic struggle against the Dark Lord Sauron of Mordor, the primary villain of the work, who created a Ruling Ring to control the nineteen Rings of Power, and an alliance of heroes who join forces to save the world from falling under his shadow.

The 26-part series was subsequently edited into 13 hour-long episodes broadcast from 17 July to 9 October 1982, restoring some dialogue originally cut for timing (since each hour-long episode is actually around 57 minutes, as opposed to 54 minutes for two half-hour episodes with overlaps and extra credits removed), rearranging some scenes for dramatic impact and adding linking narration and music cues. Interestingly Ian Holm, who played Frodo Baggins in the radio serial, went on to play Bilbo Baggins in Peter Jackson's movie trilogy.

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The Mount Doom ( 67mb)

1201 Opening Titles
1202 Naked In the Dark
1203 The Mouth of Sauron
1204 The Ring is Mine
1205 The Bitter End
1206 The White Trees of Numenor
1207 As a Father You Were to Me

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previously

The Shadow Of The Past
The Black Riders
The Knife In The Dark
The Ring Goes South
The Mirror Of Gadladriel
The Breaking Of The Fellowship
The King Of The Golden Hall
The Voice Of Saruman ( 65mb)
The Two Towers ( 67mb)
The Choices Of Master Samwise ( 68mb)
The Battle Of Pelennor Fields ( 66mb)

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Sundaze 1316

Hello, as i have been running late all day (just one of those days things go wrong)  it's no surprise that even posting a third Sundaze with Tomita in the picture has me having to hurry. Still I have some time to tell you something I noticed recently and that is visitor numbers from the UK have been dropping so much so that they are being 'caught' by the Japanese. It's true that I've seen many a visitor from the land of the rising sun, which in itself is remarkble or maybe their knowledge of English has been rising considerbly. Anyway i fear that the Brits have been intimidated again by the haves, I feel for you guys..

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Tomita Isao, born April 22, 1932), often known simply as Tomita, is a Japanese music composer, regarded as one of the pioneers of electronic music and space music, and as one of the most famous producers of analog synthesizer arrangements. In addition to creating note-by-note realizations, Tomita made extensive use of the sound design capabilities of his instrument, using synthesizers to create new artificial sounds to accompany and enhance his electronic realizations of acoustic instruments. He also made effective use of analog music sequencers and featured futuristic science fiction themes, while laying the foundations for synth-pop music and trance-like rhythms. He also received four Grammy Award nominations for his album Snowflakes are Dancing in 1974

Tomita was born in Tokyo and spent his early childhood with his father in China. After returning to Japan, he took private lessons in orchestration and composition while an art history student at Keio University, Tokyo. He graduated in 1955 and became a full-time composer for television, film and theatre. He composed the theme music for the Japanese Olympic gymnastics team for the 1956 Summer Olympics in Melbourne, Australia.

In 1965, he composed the theme song and incidental music for Osamu Tezuka's television animated series Jangaru Taitei (Jungle Emperor), released in the USA as Kimba the White Lion. Bernie Baum, Bill Giant and Florence Kaye were the vocalists. In 1966 he wrote a tone poem based on this music with an original video animation synchronized to the tone poem released in 1991. Isao Tomita and Kunio Miyauchi also created the music for the tokusatsu SF/espionage/action TV series Mighty Jack, which aired in 1968. The same year, he co-founded Group TAC.

By the late 1960s, Isao turned to electronic music with the impetus of Wendy Carlos and Robert Moog's work with synthesisers. Isao acquired a Moog III synthesizer and began building his home studio. He eventually realized that synthesizers could be used to create entirely new artificial sounds in addition to mimicking real instruments. His experiments with electronic music would eventually spark a "revolution in synthesizer programming." His first electronic album was Electric Samurai: Switched on Rock, released in Japan in 1972 and in the United States in 1974. The album featured electronic renditions of contemporary rock and pop songs, while utilizing speech synthesis in place of a human voice. He then started arranging Claude Debussy's classical pieces for synthesizer and, in 1974, the album Snowflakes are Dancing was released; it became a worldwide success and was responsible for taking synth programming to new heights.

The album's contributions to electronic music included an ambience resembling a symphony orchestra, the use of reverberation, the use of phasing and flanging to create a spatial audio effect with stereo speakers, electronic surround sound using four speakers, realistic string simulations, portamento whistles, and abstract bell-like sounds created using ring modulation. A particularly significant achievement was its polyphonic sound, which was created without the use of any polyphonic synthesizers (which were not yet commercially released). Tomita created the album's polyphonic sound by recording selections one part at a time, taking 14 months to produce the album. Tomita's modular human whistle sounds would also be copied in the presets of later electronic instruments.

He continued to release albums, of which the best known are his arrangements of classics, such as Igor Stravinsky's The Firebird, Modest Mussorgsky's Pictures at an Exhibition, and Gustav Holst's The Planets. Tomita's albums Pictures at an Exhibition (1975), The Firebird Suite (1975) and Holst: The Planets (1976) introduced a new direction that infused classical synth music with dynamic futuristic music, while abandoning the note-by-note approach previously used in synthesized classical music in favour of polyphonic sounds. Holst: The Planets in particular introduced a science fiction space theme, a connection that had rarely been explored since the 1956 film Forbidden Planet.[2] This album sparked controversy on its release, as Imogen Holst, daughter of Gustav Holst, refused permission for her father's work to be interpreted in this way. The album was withdrawn, and is, consequently, rare in its original vinyl form.

While working on his classical synthesizer albums, Tomita continued composing numerous scores for Japanese television and films including the Zatoichi television series, two Zatoichi feature films, the Oshi Samurai (Mute Samurai) television series and the Toho science fiction disaster film, Catastrophe 1999, The Prophesies of Nostradamus (US title: Last Days of Planet Earth) in 1974. The latter blends synthesizer performances with pop-rock and orchestral instruments. It and a few other partial and complete scores of the period have been released on LP and later CD over the years in Japan.

In 1984, Tomita released Canon of the Three Stars, which featured classical pieces renamed for astronomical objects. For example, the title piece is his version of Pachelbel's Canon in D Major. He credits himself with "The Plasma Symphony Orchestra", which was a computer synthesizer process using the wave forms of electromagnetic emanations from various stars and constellations for the sonic textures of this album.

Tomita has performed a number of outdoor "Sound Cloud" concerts, with speakers surrounding the audience in a "cloud of sound". He gave a big concert in 1984 at the annual contemporary music Ars Electronica festival in Linz, Austria called "Mind of the Universe", live mixing tracks in a glass pyramid suspended over an audience of 80,000 people. In the late 1990s, he composed a hybrid orchestra plus synthesizer symphonic fantasy titled The Tale of Genji inspired by the eponymous old Japanese story. It was performed in concert by symphony orchestras in Tokyo, Los Angeles, and London. A live concert CD version was released in 1999 followed by a studio version in 2000.

In 2001, Tomita collaborated with Walt Disney Company to compose the background atmosphere music for the AquaSphere entrance at the Tokyo DisneySea theme park outside Tokyo. His synthesizer score featuring acoustic soloists for the 2002 film The Twilight Samurai Tasogare Seibei won the 2003 Japanese Academy Award for Outstanding Achievement in Music.The advent of the DVD-Audio format has allowed Tomita to further pursue his interests in multichannel audio with reworked releases of The Tale of Genji Symphonic Fantasy and The Tomita Planets 2003. In 2008, his Snowflakes are Dancing played in the background at the Disney World Resort, Epcot, World Showcase, Japan, Bijutzu-kan Gallery.

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Tomita has a colorful and fanciful interpretation of classical music in his repertoire, but "Storm from the East" demonstrates the beauty of his original compositions.. It's the soundtrack to a fascinating story about the wonderful land of GREAT KHAN, Mongolia.

Isao Tomita - Storm from the East ( flac 226mb)

01 Main Theme 1:44
02 Mongolian Fantasy 1: East Afar 2:58
03 Legend Of Saviour 2:04
04 Messenger From Tartar 2:21
05 King Prester John - An Abyssinian Eidolon 3:03
06 Memories Of Pale Earth 2:38
07 Dazzling Dark 2:54
08 Etheral View 2:52
09 Wind Of Great Plains 4:40
10 Requiem Of Plains 3:55
11 Mongolian Fantasy 2: Flash Of Shining Glory 2:21
12 Messenger From Inferno 2:26
13 Theme Of Akhai 2:34
14 Mongolian Fantasy 3: Land Of Great Khan 6:54
15 Ending Theme 2:21

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This is a creative collaboration, between Tomita, Kodo wich is a Japanese ensemble performing traditional drums, and the Peruvian five-member group Kusillaqta (the quena, the traditional flutes of Peru, are prominent). The disc was recorded in 1994. It takes its title from the huge and mysterious patterns in Nasca (or Nazca), Peru.

The result? Well, you can easily imagine. New age world music. Rythmic and energetic drumming for the adrenalin (plus some raucous Japanese shouts in some tracks), cute Peruvian folk flutes for the prettiness, Tomita adding his synthesized gravy, vocal and quasi-string choruses. It doesn't have, and by far, the sonic imagination of Tomita's arrangements of the classics, but it is agreeable, easy-listening, and should appeal to fans of world music.

Isao Tomita and Kodo - Nasca Fantasy ( flac 262mb)

01 Gigantic Geometric Patterns 5:17
02 Song Of The Universe 5:37
03 El Humahuaqueno 8:39
04 City Under The Desert 5:24
05 Dansa From "Bachianas Brasileiras No.2" 6:50
06 Echoes From The Andes 4:56
07 Pulsar 5:16
08 Straight Line 6:09

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Written in the 11th-century by Murasaki Shikibu, The Tale of Genji is considered to be the world's first novel and the most important example of ancient Japanese literature. This massive tome documents the life and times of Genji, a favorite of the Emperor of the Heian Era, and explores the themes of love, affection, friendship; its episodic progression details, among complications, Genji's many trysts and his varied efforts to sate the sexual drive. Although little is known of its composition, it is theorized that The Tale of Genji was scribed as Murasaki's diary while she lived at the court.

Isao Tomita, known best for his electronic renditions of the classical canon, has taken this paragon of literature and adapted it as a symphonic suite. Alongside orchestral strings and the usual synthesizer flourishes, Tomita appropriately incorporates a strong Japanese-traditional core to the music: zither-plucking, shrill flute notes, Joruri-style wailing. Ears unfamiliar to Japanese traditional might find this recording "strange" and "scary"; indeed, the use of atonal can send shivers down the spine, even when it is tempered with string-work... And yet, I find Tomita's intricate meld of western and eastern composition to be a bewitching, constantly involving aural treat: Genji surges and sighs with appropriate dynamic tension, and the more fragile arrangements can be breathtaking in their seemingly-simplistic depth.

Isao Tomita - The Tale Of Genji, Symphonic Fantasy ( flac 329mb)

01 Overture 2:29
02 Spring Season - Cherry Blossom Viewing At The Palace 8:01
03 Temple Prayers In The Northern Hill 4:51
04 Lovely Maiden Murasaki 4:50
05 Lady Aoi And Lady Rokujou 8:43
06 Spirit 9:18
07 Ukifune By The Uji River In Snow 11:47
08 Entering The Nunnery 9:06
09 Spring Returns 6:45

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RhoDeo 1315 Beats

Hello, as the US is over the moon yelling USA USA now this 'extremely' dangerous 19 year old dentist student has been captured and everybody in Boston can walk about again. The amazing manhunt shows the rest of the world how hysterical the US has become, events like the Boston attack are happening on a daily basis in Irac, Syria, Pakistan, Afghanistan and Tsetjenia with many more victims.  As for the 19 year old, clearly he was dragged in by his somewhat radicalized older brother, I tend to feel somewhat sorry for him, it's doubtful American Justice is able to understand that in his culture his elder brother (with the father gone) would be completely dominant and unopposed.

Meanwhile we're here for some beats, the past posts were kinda over the top and extravert so time to get serious and clinical and it should hardly be a surprise we turn a German ...N'joy

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German producer Thomas Brinkmann is widely regarded as one of the most unique and innovative voices in modern European techno. Working with some of electronic dance music’s best-known producers, artists like Richie Hawtin and Wolfgang Voigt, and releasing music on labels like Profan and Raster-Noton, Brinkmann has become synonymous with the vanguard of progressive techno. Over the last two decades and countless releases this producer has helped to define the sound of abstract and minimal dance music. His new work reaches toward traditional song forms and serves to illuminate this producer’s constant willingness to experiment.

Born in 1959, Thomas Brinkmann studied art at the Dusseldorf Academy. He began experimenting with audio in the early ‘80s. It wasn’t until the mid ‘90s that the producer began to release his work publically. He first gained the attention of the global techno community for his reworking of music by the above-mentioned Hawtin and Voigt. 1997 brought the release of Studio 1 — Variationen on Voigt’s Profan label. Voigt’s legendary “Studio 1” series, released under the Mike Ink alias, is among the most holy of grails in minimal techno. Brinkmann did a remix, or a “variation” as he calls it, of the entire Studio 1 album. Working from vinyl, Brinkmann loops sections of the music on a turntable of his own design that features two separate tone arms for the left and right stereo output. He then uses effects to further process and separate the original music. The results are totally hypnotic with Brinkmann coaxing entirely new patterns and shapes from the originals. By layering constantly shifting sections of beats he creates an aural moiré pattern of labyrinthine sound. In 1998 Brinkmann applied the same technique to the music of minimal pioneer Richie Hawtin’s “Concept 1” series. This resulted in the Concept 1 — 96:VR release, another genius rework that highlights the rhythmic complexities of so-called minimal techno.

Concurrent to the variations releases, Brinkmann started releasing his own productions in 1998. Spread across his confusingly titled labels Ernst, Max and Max Ernst, he releases a series of 12” records housed in bright orange sleeves with song titles bearing the names of women. The series went from ’98 into ’99 and has since become one of the most collectible runs in techno. The music is jawdroppingly good. Ostensibly minimal techno the tracks Brinkmann crafted for this series sound like nothing else. The music is funky, yet terse and dry; totally hypnotic and deadly serious but with a sense of humor that shines light on techno’s roots in American funk and soul. Ultimately its like nothing else around and to this date sounds absolutely fresh. The series was collected on CD and released as Rosa in 2000 on the Ernst label. It remains one of Brinkmann’s finest moments.

Brinkmann also releases more overtly experimental work under the moniker Ester Brinkmann, supposedly the name of his sister. He created the Suppose label just to release this music. ’98’s Totes Rennen, ‘99’s Weiße Nächte and 2001’s Der Ubersetzer — II Traduttore all feature vocal samples, mostly from modern philosophers, over throbbing ambient techno. It’s deeply disquieting music, dark and mesmerizing. Brinkmann’s contribution to Raster-Noton’s famous 20’ To 2000 series also falls under the Ester Brinkmann project.

Perhaps his best-known work has been released as Soul Center. Comprised almost entirely of samples from funk, soul and R&B, Brinkmann creates a dense, funky type of minimal house and electronic soul. It’s easily his most accessible project, aimed squarely at the dancefloor. ‘99’s I and 2000’s II were released on Brinkmann’s own W.v.B. Enterprises while III was released by Mute in 2001.

It’s almost impossible to keep up with this producer’s steady stream of 12”s, but an important full-length arrived in 2000 with Klick. Like most of Brinkmann’s earlier output this is process-oriented music. These tracks can be categorized as minimal techno, but just barely. This is a shuddering, loopy strain of ambient clicks and cuts that is strikingly original. Made by cutting grooves into vinyl with a knife, Brinkmann creates the same phasing, rhythmic pulse used on the variation releases. On Klick the sound is more effected, with reverb and delay adding extra layers of ambience. It’s electronic art music of the highest order.

Row was released in 2002 and serves to collect tracks from Brinkmann’s many 12” releases. These tracks are certainly still marked by the producer’s unique techniques but represent his efforts at material created for the dancefloor. There are some truly funky songs to be heard here, such as the classic “Loplop.”

2004’s Tokyo + 1 finds Brinkmann branching out. Still highly conceptual, these songs explore varied textures and deep ambience more so than previous releases. The music is based on field recordings made in Japan. Sounds of street activity, subways and public life are edited, layered and looped into dubwise ambient techno. There’s a stronger sense of the musical and the organic on Tokyo + 1 that points to where Brinkmann would take his music next.

Lucky Hands was released in 2005 and was a departure from the straight minimal dance music Brinkmann had helped to define. The tracks here are still certainly informed by minimal techno, but there’s an organic melodic sensibility in effect now. Also, there are plenty of vocals to be heard not to mention covers of The Smiths’ “The More You Ignore Me The Closer I Get” and the jazz standard “Charleston.” Lucky Hands is ambitious as it moves Brinkmann closer to pop territory. Admittedly it doesn’t always work, but the music is always engaging as it reaches for something new.

As if in reaction to the pop attempts of Lucky Hands, Brinkmann returned to the techniques of Klick in 2006 with Klick Revolution. The stripped down, bare bones rhythms are back this time augmented by heavy dub bass and some deeply textured electronic noise. Looser than Klick but boasting that keen attention to micro-detail, this album stands out as a reminder of what made this producer’s music so exciting in the first place.

2008 brought Brinkmann’s biggest attempt at proper song structure to date. When Horses Die… is an album of deftly arranged, electronically enhanced songs featuring Brinkmann singing on every track. Overall the tone is dark, electro-inspired synth-pop with influences from Depeche Mode and early Nine Inch Nails. Guitars, proper verse-chorus-verse structure and Brinkmann’s unadorned voice mark this album as something entirely new for this producer. There are genuinely harrowing moments here, such as the stunning “Birth And Death,” that indicate Brinkmann could take this newfound interest in song to soaring, emotive heights.

In 2009/2010 he released on Curle rec. and he had a solo show in a gallery with his sculptures next to collaboration with other artists and he also did "Klick" live performances more related to art and improv music. 2010 he`s back again with his new Soul Center album on Shitkatapult and he`s also contributing to the upcoming Richie Hawtin project.

Over two decades of work shaping minimal dance music has made Thomas Brinkmann one of modern techno’s respected elder statesmen. His conceptual, tersely funky early work continues to inspire a generation of minimal techno producers. That his new music is reaching into unexplored territories of traditional song shows a confidence and willingness to experiment that would terrify many musicians. Brinkmann’s defining trait is his ability to capture new musical forms. No doubt his future releases will continue to surprise us.

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Thomas Brinkmann's reworks of several tracks from the Studio 1 series by Wolfgang Voigt includes 13 tracks of Mike Ink reworkings, sublime electro-dub reminiscent of Panasonic's clips and clicks as well as the original source recording, Ink's Studio 1 series. True, the echoed phasing (almost completely separated between left and right channels) can be rather disorienting on first listen, sounding more like the equivalent of a photographic negative compared to the real picture of a straight-ahead techno track. The results tend to jell after several listens, as the lag-time on all those repeated effects begins to make some sort of twisted sense.

Thomas Brinkmann - Studio 1 - Variationen ( flac 269mb)

01 Untitled 5:20
02 Untitled 6:11
03 Untitled 7:19
04 Untitled 5:47
05 Untitled 4:23
06 Untitled 3:51
07 Untitled 6:38
08 Untitled 4:54
09 Untitled 4:38
10 Untitled 4:52
11 Untitled 7:15
12 Untitled 5:28
13 Untitled 7:16

Thomas Brinkmann - Studio 1 - Variationen (ogg 173mb)

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Thomas Brinkmann's Ernst series of 12" releases is compiled for Rosa. The tracks for the series were each named after females, with each side devoted to one name. Beginning with "Anna"/"Beate" and concluding with "Yvette"/"Zora," each release ran alphabetically. However, Q and R were skipped; Q wound up being a record bag and R eventually turned up as this CD. Rosa is comprised of 12 tracks, meaning this is really more of a sampler than a true compilation. Despite all of this mind-bending, Rosa is a surefire introduction to Brinkmann's own compositions (as opposed to his variations on Mike Ink and Richie Hawtin productions), containing minimal techno that ranges from sessile Basic Channel-minded dub experimentalism to funkier tracks that resemble his Soul Center works, albeit without the funk and soul samples. No two tracks truly sound alike, and with the exception of one or two selections, Rosa is devoid of a boring moment. Once again, Brinkmann doesn't allow his intellect to get in the way of a good time.

Thomas Brinkmann - Rosa ( flac 392mb)

01 Anna Beate 2:59
02 Clara Doris 6:30
03 Erika Frauke 6:03
04 Gisela Heidi 7:01
05 Inge Jutta 4:52
06 Karin Lotte 7:37
07 Monika Nikola 7:22
08 Olga Petra 6:25
09 Susie Trixi 4:47
10 Ulla Vera 6:50
11 Wanda Xenia 6:25
12 Yvette Zara 7:06

Thomas Brinkmann - Rosa  (ogg 179mb)

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Never one to play it straight, Thomas Brinkmann adjusts and re-shapes pieces from the Traum label's past and then forms them all into a flowing set that deserves as much notoriety as Richie Hawtin's DE9: Closer to the Edit or any of the Kompakt mixes. Let's get one thing straight, though: Tour de Traum's success isn't wholly reliant upon Brinkmann's mastery, and it's not that his tweakings have anything to do with righting wrongs. There's no doubting that the man has one of the most wide-ranging, consistent, and least-appreciated catalogs of the last several years to work with. Listeners familiar with the tracks as they were originally released should recognize what they hear; just the same, Brinkmann leaves his own traceable prints here and there, whether they're in the form of little baubles, or the odd treated bassline that resembles something off one of his Soul Center releases. (Some remixes are credited to his Soul Center alias, while others are credited to the pseudonym C.U.T., a move that's both a little confusing and somewhat explanatory.) Minus the brief introduction, the disc is as groove-oriented as any other minimal house/microhouse mix, made of tracks that are alluring in their stark simplicity and rich in effect. This is one of Brinkmann's most sensational accomplishments, and it's also a necessary acquirement for anyone remotely interested in Traum.

Thomas Brinkmann - Tour De Traum ( flac 407mb)

01 Tba / M.I.A / Miss Dinky / Detalles - Smattack / De-Frost / Spring Rolls / Rhodes Relejadas (C.U.T. Remix) 3:09
02 Tba / Philippe Cam / Fantasias Animadas - Smattack / Magic Ping Pong Mix / Mike's Road 5:59
03 Philippe Cam / Miss Dinky - Western (Salz Remix) / Sea Death 9:27
04 Miss Dinky / Philippe Cam - Sea Death / Western (Salz Remix) 1:44
05 Andreas Fragel / Jorge Gebauhr / Process - Icon / Just Feelings / Surface (C.U.T. Remix) 5:57
06 Process / Off Pop - Surface / Today (Soul Center Remix) 5:07
07 Off Pop - Today 2:44
08 Process - Pelican (M.I.A. The Pay Visit Mix) (C.U.T. Remix) 3:07
09 Process - Bye-Bye Gordian Knot (Joachim Spieth Remix) 4:56
10 Tomas Jirku - Pohádka 6:41
11 Oliver Hacke - Polar 1: 21:31 7:21
12 Adam Kroll & Riley Reinhold - Static People (Harmony Mix) 5:31
13 Philippe Cam / Adam Kroll & Riley Reinhold - Unicef Christmas Card / Static People (C.U.T. Remix) 6:40

Thomas Brinkmann - Tour De Traum (ogg 192mb)

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previously Germany, West (01/20/07) re-up

"Row" is a compilation of rare, unreleased, and reworked material from his MaxErnst catalog, many which were previously only available on vinyl., an excellent sampling. Brinkmann always keeps things moving along with a great beat - never falling flat with something that is too cerebral, he is definitely from the less-is-more school.

Thomas Brinkmann - Row ( ' 02  now in Flac 328mb)

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