RhoDeo 1822 Roots

Hello,

The cumbia "crystallized", through music, the dream of Símón Bolívar: a united Latin America. From the 1940s onwards, modern cumbia spread and became popular throughout Latin America, with which it followed different commercial adaptations, such as the Argentine cumbia, the Bolivian cumbia, the Chilean cumbia, the Dominican cumbia, the Ecuadorian cumbia, the cumbia mexicana, cumbia peruana, cumbia salvadoreña, cumbia uruguaya and cumbia venezuelan, among others. Cumbia is a musical genre from Colombia, which has its origins in Africa. This genre is a mixture of the influence of slaves from Africa, Native Americans and to a lesser extent the Spanish. Being a product of the miscegenation between these cultures during the Conquest and the Colony. The cumbia gets its name from the word "Cumbé", which is a dance of the people of color of the Spanish Guinea, in West Africa. .... N'Joy

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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.


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One of the first bands to combine the folk rhythms of Colombia's Buenaventura region and the cumbia of Cuba, Peregoyo Y Su Combo Vacana were known for their unique electric guitar-dominated sound. Reviewing a reissue of their early-70s album, Tropicalismo, RootsWorld claimed that Peregoyo Y Su Combo Vacana "never lets up as it hurls groove after incessant groove at you, sax and trumpet blazing from a path cut by fat, no bloated bass licks, pervasive percussion and searing solo and group vocals". Tthere are touches of salsa, son montuno, and other tropical styles. the music sounds Cuban with touches of Colombia cumbia. But the music is de Colombia. Red hot latin dance music that sounds liek it was recorded in teh late 1950's. Great stuff, lot's of improvisation, and a real tight band. The lively horn rythms featured in these tracks are held tegether with electric guitar picking and the need to just get out in the street and dance and play! They parade Colombian traditional sounds with the coming technology of electric base and guitar to generate rock steady vacana. This is a reissue of an early-'70s release by a band alas long defunct. The style is your basic salsa-cumbia (salsa-currulao, salsa-porro, etc.). But Peregoyo's group stood out for a splendid mix of originality and down-home tipico, plus an improvised solo trumpet lead to the frontline that gave the whole thing far more flair than the usual arranged horns. It's spiffing all round...

Peregoyo y su Combo Vacana - Tropicalisimo   (flac  291mb)

1 Rio de Juaji 2:49
2 La Palma de Chontaduro 2:39
3 Asi Es Mi Tierra 3:18
4 Mi Buenaventura 3:04
5 Descarga Vacana 7:46
6 La Pluma 2:37
7 Ola de Agua 3:12
8 Chenchudino 2:56
9 Martha Cecelia 2:35
10 El Canalete 2:48
11 Sabor de Vacana 3:22
12 Descarga Vacana 5:20
13 Che Pachanga 2:38

Peregoyo y su Combo Vacana - Tropicalisimo (ogg   116mb )

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Born in Buenaventura on January 10, 1917, musician Luis Enrique Urbano Tenorio was known as "Peregoyo" for his most famous composition, which bore that name.  In the 60s he founded the Peregoyo orchestra and his Combo Vacaná, so-called because its members came from Valle, Cauca and Nariño.  It was the first great orchestra to spread the music of the Colombian Pacific.  The bonaverense musician was one of the most versatile interpreters and composers in the Pacific.  As a child he learned to play by ear the guitar, the bandola, the violin and the cello.  Later he studied composition and learned to play saxophone, participated in the Municipal Band of Buenaventura and then created his famous Combo Vacaná. Among the general works of Peregoyo are more than 120 compositions, many of which were not recorded.  For posterity are the themes My Peregoyo, Warm Nights, Dreaming, Ana Cecilia, Al prisoner and of course those recorded by the famous Petronius Alvarez, including his classic "My Bonaventure", in the voice of Markitos Micolta.

On January 10, the centenary of the birth of Luis Enrique Urbano Tenorio, Peregoyo, is celebrated.  That is why, at the beginning of the commemorations of a year that will be dedicated to his memory, Peregoyo, El Rey del Currulao.

Peregoyo Y Su Combo Vacana - El Rey Del Currulao     (flac  367mb)

01 La Iguana 4:36
02 Sancocho De Perro 4:08
03 Granito De Oro 5:24
04 La Tintorera 4:33
05 Adivinanza 4:37
06 La Cachaloa 4:31
07 Las Mujeres De Mi Tierra 4:38
08 El Mare.o 5:02
09 Mi Timbiqui 5:18
10 Caravana 3:35

Peregoyo Y Su Combo Vacana - El Rey Del Currulao   (ogg  132mb)

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Grupo Niche is a salsa group founded in 1978 in Cali, Colombia. Currently based in Cali, Colombia, it enjoys great popularity throughout Latin America. It was founded by Jairo Varela and Alexis Lozano. Varela remained with the group throughout his life, serving as producer, director, songwriter, vocalist and guiro player. Alexis Lozano, trombone player and arranger later left to form Orquesta Guayacán. The group also included Nicolas Cristancho, on the piano; Francisco Garcia, on the bass; Luis Pacheco, on the congas; and vocalists Jorge Bazán and Hector Viveros.

Grupo Niche's first album: "Al Pasito" was released in 1980, did little to challenge the dominating salsa band of Colombia at the time, Fruko y sus Tesos. The following year, however, the group found success with their second album, "Querer es Poder", particularly with the single "Buenaventura y Caney".

The group relocated in 1982 to Cali where they have been based since. After recording two more albums, Grupo Niche released "No Hay Quinto Malo" in 1984, which featured their signature song, "Cali Pachanguero". The tribute hit single to the "world salsa capital" catapulted Niche as one of the top salsa bands of Colombia.

In 1986, the band incorporated Puerto Rican vocalist Tito Gomez, who had previously worked with the famous Puerto Rican salsa group, la Sonora Ponceña, and Ray Barretto, the Godfather of Latin Jazz. Later that year, Grupo Niche released "Me Huele a Matrimonio". Afterward, yet another Puerto Rican joined, the pianist Israel Tanenbaum, who would eventually leave the group to join a Niche spin-off band: Orquesta Guayacán.

Grupo Niche is known for both its vigorous, uptempo dance music as well as slower-paced romantic numbers. Among its best known hits are "Cali Aji", "Del Puente Pa'llá", "Sin Sentimientos", "Una Aventura", "Etnia", "Gotas de Lluvia", "Han Cogido la Cosa", "Mi Pueblo Natal", "Hagamos Lo Que Diga Corazón", "Duele Mas", "Nuestro Sueño", and the famous cumbia "Canoa Rancha". Their most famous song is "Cali Pachanguero". In 2002 they recorded the album Control Absoluto in Miami Florida with the engeniers Alex Arias and Jossel Calveiro.

Some other singers from Niche throughout its history include Alvaro del Castillo, La Coco Lozano, Tuto Jiménez, Saulo Sanchez, Tito Gomez, Moncho Santana, Charlie Cardona as well as Willy Garcia and Javier Vasquez, now members of the group 'Son de Cali'. Most recently joined are the Puerto Ricans Oswaldo Roman and Julio Lopez and actual singer Elvis Magno from Buenaventura. They have been very successful, and some of their songs are considered Classics of Salsa Music. The group still enjoys some of its past successes, and keeps on tour, making worldwide presentations, and singing their most memorable songs. Musician Tito Gomez, who fronted the group for seven and half years (1985–1992), died on June 12, 2007 in Cali, the city where Grupo Niche was established.

 Grupo Niche - The Best ( flac  479mb)

01 Duele Mas 5:38
02 Hagamos Lo Que Diga El Corazon 5:06
03 Una Aventura 5:24
04 Mi Pueblo 5:24
05 Cali Aji 4:37
06 Mexico, Mexico 5:58
07 Se Parecio Tanto A Ti 5:58
08 La Negra No Quiere 5:45
09 Nuestro Sueño 5:58
10 Bar Y Copas 4:15
11 Sin Sentimientos 5:08
12 Te Enseñare A Olvidar 5:08
13 Atrevida 4:38
14 Busca Por Dentro 5:43

 Grupo Niche - The Best (ogg  177mb)

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Arroyo began his musical career at the young age of eight when he sang in a strip joint in his hometown of Cartagena. His first break came after he signed with record label, Discos Fuentes, in 1971, and was overheard by bass player, singer, composer and producer Ernesto Estrada, better known as Frugo, who recruited him for his band. Arroyo continued to work with Frugo for the next decade. Although he nearly died from a drug overdose in the early ' 80s (comatose for 3 months), Arroyo recovered and in 1981 Joe brought together the most talented musicians of the barranquila area to form his own group - La Verdad (the Truth) . Featuring Arroyo's songs and arrangements the band was an immediate succes . La Verdads eclectic arrangments and fusing of different Caribean and Latin music, Pancaribean salsa , Cuban son, Cumbia, Merengue, Zouk and Calypso.

Committed to the roots of his music, yet unafraid to introduce modern elements, Arroyo has established himself as both a great folk musicologist, and a vital contemporary voice. There are few in the ranks who can both present an indigenous style typically associated with staunch nationalism, and simultaneously show no one style preference over another, while performing everything with equal respect and grace.

 Joe Arroyo y la Verdad - Rebellion     (flac  442mb)

01 Yamulemao ( 4:26)
02 Rebellion (6:11)
03 Bam Bam (3:08)
04 Mary (5:24)
05 La Vuelta (5:11)
06 Musa Original (6:02)
07 El Coquero (3:05)
08 El Maletero ( 4:17)
09 Son Apretao (5:11)
10 Echao Pa'Lante ( 4:05)
11 Tumbatecho ( 4:21)
12 En Horabuena ( 4:20)
13 Pan De Arroz ( 4:12)
14 De Clavel (3:27)
15 El Barbero (3:16)
16  Rosa Angelina (3:26)

Joe Arroyo y la Verdad - Rebellion (ogg  186mb)

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RhoDeo 1822 Space F 8

Hello,


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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 8 (mp3  23mb)

08 The Red Planet 25:59

Whilst researching asteroids in Egypt, the crew discover ancient aliens.

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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)


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Sundaze 1822

Hello,



Today's artist was born September 8, 1971, in Los Angeles, California, USA was an foley artist of Rugrats, and All Grown Up!. A self-taught pianist from the age of 7. He has lived in LA, where he studied art at Santa Monica College and formed the much-adored Devics with Sara Lov, Italy (in the depths of rural Emilia Romagna) and Berlin. He gained recognition and critical acclaim for his studio albums and live performances. Dustin's score to Sofia Coppola's 2006 film Marie Antoinette also earned him a tentative step into soundtrack work, which has since bloomed into a reputable and highly creative path of film composition. His arresting, heartbreaking music is as much an elegant exercise in nuance and grace as it is a pure, intuitive, personal expression ....N'joy

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American post-classical pianist and composer Dustin O'Halloran (born September 1971) began his musical life a guitarist. He has claimed in interviews that he didn't really begin to study the piano in earnest until he was in college and studying music. While attending Santa Monica College, he met Sara Lov and started the band Dévics. The quartet released four albums and six singles on Bella Union between 1998 and 2006. O'Halloran began to take the piano seriously while with the band, and then in formal music studies in both Italy and Berlin. He released his first two albums, entitled Piano Solos and Piano Solos 2 on Bella Union in 2004 and 2006, respectively. During the latter year he was given the opportunity to score filmmaker Sofia Coppola's film Marie Antoinette. In 2009, he composed the score for director William Olsen's An American Affair, which was released on the Filter imprint. In 2010, he scored director Drake Doremus' feature Like Crazy (which won an award at the Sundance Film Festival in 2011). Lumiere, his debut album for Fat Cat's orchestral 130701 imprint, was issued in February 2011 to stellar reviews. It featured O'Halloran's piano in a slightly more populated sonic field that included other musicians like the ACME Quartet, Stars of the Lid's Adam Wiltzie, and fellow composer Peter Broderick. This was followed by a live solo piano recording, Vorleben, on the same label in June of that year. Three months later, he and fellow classical/film composer Adam Wiltzie made their debut as A Winged Victory for the Sullen they released two albums, A Winged Victory for the Sullen (2011) and Atomos (2014). The latter is also the original score for the identically titled dance piece by choreographer Wayne McGregor and his company Wayne McGregor Random Dance. In 2015, they were invited to perform at the Royal Albert Hall in London as part of the BBC Proms. The duo scored their first film together in 2016, entitled In the Shadow of Iris by French director Jalil Lespert.

In the meantime, demand for O'Halloran's film scores increased, and Milan released his soundtrack for the 2013 drama Breathe In. In 2014, he landed a regular gig on the Golden Globe-winning web series Transparent, starring Jeffrey Tambor. He won an Emmy for its theme music in 2015. Among other film and television work in the months that followed. In 2016, O’Halloran collaborated with Hauschka on the score for the Oscar-nominated film Lion. The score of the film was nominated for many major awards including the Academy Awards, Golden Globes, BAFTAs and Critics’ Choice Awards.


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Dustin O'Halloran (guitar/keyboards), Sara Lov (vocals), Ed Maxwell (bass), and Evan Schnabel (drums) comprise the dark, lush sounds of The Devics. Hailing from Los Angeles, The Devics arrived on the rock scene in the early 1990s with their own label, Splinter Records. In 1996, the band self-released their debut album, Buxom; two years later, If You Forget Me appeared. By the new millennium, The Devics derived an atmospheric, goth-like sound. The Ghost in the Girl EP showcased the band's music growth and Bella Union was impressed. The Devics inked a deal with Bella Union and issued My Beautiful Sinking Ship in 2001. Shows with Lift to Experience, Thalia Zedek, and Elysian Fields followed throughout 2002.

They convey a rather humble approach via Dustin O'Halloran's subliminally placed EFX and combo, twang-oriented hard rock guitar stylizations. Yet, vocalist Sara Lov's ability to gently caress a lyric or two provides the soft and somewhat dreamy aspects of this fine release. The group's rather enigmatic approach is vividly caught here as they meld elements of early-'70s Pink Floyd with wistful themes and a strangely appealing methodology consisting of memorably melodic hooks and surreal balladry. And while the limiting factors of commercial radio signify the antithesis of artistic invention, this lot should find expansive airplay throughout the college radio circuit. Hence, Devics is a band that melds a sense of conventionalism with a truly novel approach! Recommended.

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It's difficult to categorize My Beautiful Sinking Ship, or the music of Devics for that matter, but the Los Angeles foursome travels down a truly inspired path here. Built around themes of ships and seas, the band touches upon influences and styles as diverse as shoegazer pop, cabaret playfulness, post-rock bombast, and piano bar jazz. Sara Lov handles most of the vocals, and she manages to recall Fiona Apple and Mojave 3's Rachel Goswell at the same time, using her voice as a brittle yet confident instrument. Dustin O'Halloran is responsible for virtually every instrument other than bass and drums, and he proves himself to be a match for peers like Jason Falkner and Jon Brion, though he deals with subject matter and motifs of a darker nature. With songs that are reminiscent of Apple, Nick Cave & the Bad Seeds, Slowdive, and Bertolt Brecht all at once, while still suggesting a band who's fully in control of their own distinctive sound, the album is an intriguing and accomplished rush from start to finish. Though it runs for more than 60 minutes, there's never a sense that the band is being pretentious or that they should have left anything on the cutting-room floor. Whether pianos, keyboards, guitars, and drums are all pounding away with bombast or taking turns painting serene, mournful themes, every note rings true and strong. At turns epic and progressive and at other turns beautifully lush and peaceful, My Beautiful Sinking Ship seems like a long-lost classic from the vaults of 4AD. It's a delightful work of art that begs to be heard, and it's the kind of release that should send listeners scrambling for the band's back catalog.

Devics - My Beautiful Sinking Ship  (flac 350mb)

01 Heart and Hands 5:43
02 My Beautiful Sinking Ship 3:40
03 You in the Glass 3:45
04 The Man I Love 5:47
05 You Could Walk Forever 4:42
06 Alone With You 5:09
07 Why I Chose to Never Grow 3:19
08 Living Behind the Sun 4:03
09 Forget Tomorrow 5:52
10 Lost at Sea 1:48
11 Gold in the Girl 5:57
12 I Broke Up 4:01
13 Heaven Please 3:46
14 Five Seconds to Hold You 3:54
15 Blood Red Orange 1:58

Devics - My Beautiful Sinking Ship  (ogg  131mb)

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More and more bands such as the Los Angeles, CA-based trio known as Devics have been stretching pop/rock to its limits during the advent of the new millennium. With this effort, the group provides a glittering example of sorts -- where rock music continues to undergo an ongoing transformation -- regardless of commercial viability. In addition, Devics also utilizes the studio gizmos to great effect. They convey a rather humble approach via Dustin O'Halloran's subliminally placed EFX and combo, twang-oriented hard rock guitar stylizations. Yet, vocalist Sara Lov's ability to gently caress a lyric or two provides the soft and somewhat dreamy aspects of this fine release. The group's rather enigmatic approach is vividly caught here as they meld elements of early-'70s Pink Floyd with wistful themes and a strangely appealing methodology consisting of memorably melodic hooks and surreal balladry. And while the limiting factors of commercial radio signify the antithesis of artistic invention, this lot should find expansive airplay throughout the college radio circuit. Hence, Devics is a band that melds a sense of conventionalism with a truly novel approach!

Devics - The Stars At Saint Andrea  (flac 238mb)

01 Red Morning 4:42
02 Don't Take It Away 4:34
03 In Your Room 4:59
04 My True Love 5:36
05 All Your Beautiful Trees 4:35
06 The End And The Beginning 4:35
07 Safer Shores 4:44
08 Connected By A String 3:45
09 Stretch Out Your Arms 4:09
10 Ending 2:01

Devics - The Stars At Saint Andrea  (ogg  90mb)

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On their fourth full-length album, Devics don't stray far from their usual ethereal piano-plus-sampler, late-night vibe. Sara Lov again provides the majority of the vocals, her voice coming across as a restrained blend of Hope Sandoval, Mary Timony, and Kristin Hersh while offering up tales of love, lies, and loss. Lov's instrument is certainly lulling, but not that distinctive, especially within the confines of Dustin O'Halloran's shoegazer-like audio web. Too often, O'Halloran layers in the same cooing background hum, to the point where the album nearly devolves into an aural bout of coffee-table lethargy. With many of the songs rolling along at a slow drizzle, only the Mum-like "Secret Message to You," with its typewriter sound effect glitch, and the fractured "Just One Breath" really pick up steam. "Distant Radio," in theme and execution, travels a bit too far into Mojave 3 mimicry but lacks the bombast that put that group over the top. O'Halloran's deeper vocal contributions are a nice contrast, but can't match the subtlety or texture of influences like Leonard Cohen or Richard Hawley. Album closer "Come Up" is particularly pretty. Still, one gets the sense that this is an album recorded with white gloves, and the calculation behind the tunes is nearly tangible. With more variation, more separation in the mix, and a bit more conviction and passion overall, Push the Heart would be easier to recommend. As it stands, it's just a slightly-better-than-average indie chamber pop excursion.

Devics - Push The Heart  (flac 271mb)

01 Lie To Me 3:04
02 A Secret Message To You 4:59
03 Salty Seas 4:14
04 Song For A Sleeping Girl 4:36
05 Distant Radio 4:54
06 Just One Breath 3:55
07 Moments 4:45
08 If We Cannot See 5:11
09 City Lights 3:58
10 Come Up 4:02

Devics - Push The Heart  (ogg  103mb)

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Pianist/composer Dustin O'Halloran and composer/engineer Adam Wiltzie met through a mutual friend in 2007, when Wiltzie was performing with Sparklehorse in Bologna, Italy. Backstage, the two musicians struck up a friendship that developed into A Winged Victory for the Sullen, an outlet for what they've termed "harmonic Robitussin." Over the course of two years, O'Halloran (formerly of Devics and the composer of the score for Marie Antoinette, among other films) and Wiltzie (known most for his role as one-half of Stars of the Lid) worked on their self-titled album, released in 2011 through the Kranky and Erased Tapes labels. Recorded and mixed in German, Belgian, and Italian studios with numerous musicians on instruments such as cello, harp, viola, violin, French horn, and bassoon, it was one of the year's most impressive ambient-neoclassical albums. In 2012 and 2013, contributions were made to compilations released by Erased Tapes (Erased Tapes IV, Erased Tapes V) and Ghostly International (SMM: Opiate), while a track from the self-titled album appeared on the soundtrack for Breathe In -- which featured an O'Halloran score. Commissioned to provide the music for a piece by a dance company, Wayne McGregor Random Dance, the duo made Atomos, another expansive album recorded in several locations. Preceded by an EP in April 2014 that featured a remix from Ben Frost, Atomos was released via Kranky and Erased Tapes that October. The pair then went on to make their foray into the world of film composition with Wiltzie releasing his score for the documentary film Salero in late 2016. The duo also released their first collaborative score as A Winged Victory for the Sullen for the French thriller/drama, Iris, in early 2017.

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Starting with the steady, contemplative piano and slight feedback on the opening "We Played Some Open Chords," A Winged Victory for the Sullen can't be called a barrel of laughs per se, but their song titles -- not to mention their band name -- suggest a knowing playfulness with the conventions of moodily beautiful 21st century drone/ambient. Given that the core members are composer Dustin O'Halloran and Stars of the Lid veteran Adam Wiltzie, it's little surprise that both those conventions, and how to work well beyond them, are within their grasp on this debut release. Much like some Stars of the Lid releases, the album and song names may verge on the wry, but without that context, something like the slow strings and feeling of suffused sorrow on the first part of "Requiem for the Static King," or the involving textures of "Steep Hills of Vicodin Tears" simply are what they are, and quite beautifully so at that. While the sonic connections to the members' past work are clear, so are the distinctions; if the duo is less about full-on beautiful drones than Stars of the Lid often were, there's a similar appreciation for the slowly unfolding and the calmly insular, touchstones ranging as far as George Winston as Eno ("A Symphony Pathetique," almost exclusively piano aside from some distant shading that appears a little more clearly toward the end, is arguably the extreme of this approach on the album, elegantly done every step of the way). Even with the titular or seeming snark brought to bear, the feeling often seems simply appropriate more than anything else -- "Minuet for a Cheap Piano" is almost just that, counting the extra layered tones in the background, while "All Farewells Are Sudden" doesn't close out the album on a quick, final note but a soft, string piece fade, a slow wheezing of tone and delay that's a conclusion and a half when it comes to wrapping things up with a gentle bow.

A Winged Victory For The Sullen - I (flac 170mb)

01 We Played Some Open Chords And Rejoiced, For The Earth Had Circled The Sun Yet Another Year 6:18
02 Requiem For The Static King Part One 2:46
03 Requiem For The Static King Part Two 7:37
04 Minuet For A Cheap Piano Number Two 3:09
05 Steep Hills Of Vicodin Tears 4:27
06 A Symphony Pathétique 12:42
07 All Farewells Are Sudden 7:35

    (ogg  mb)

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Between the release of their self-titled 2011 debut and the recording of this, their second album, Adam Wiltzie and Dustin O'Halloran's studio work as a Winged Victory for the Sullen was limited to appearances on compilations released by Erased Tapes and Ghostly International. Commissioned by choreographer Wayne McGregor for his Random Dance production of the same title, Atomos supplies another hour of what the duo terms "harmonic robitussin." While this material was composed and recorded to suit a specific purpose, it resembles a proper follow-up that varies only slightly from the debut. The only obvious difference here is in the presence of some droning organ and a little bass, along with an apparent increase in Wiltzie's sound processing and sampling, like the soft bristles and TV or radio chatter dispersed throughout "Atomos X." As with the self-titled album, this is all glacial, entrancing ambient-neoclassical -- with O'Halloran's sensitive and melodic piano a central element -- that soothes, suitable for both foreground and background listening. "Atomos VII," issued separately (with a Ben Frost remix) prior to the album, is one of the duo's more forceful pieces, with gorgeously tugged and distended strings and a bass figure that, during the second half, bobs in and ducks out.

A Winged Victory For The Sullen - Atomos  (flac 431mb)

01 I 10:22
02 II 4:19
03 III 4:56
04 V 4:12
05 VI 7:26
06 VII 7:49
07 VIII 5:14
08 IX 4:16
09 X 4:18
10 XI 5:26
11 XII 4:09
bonus
12 Minuet For A Cheap Piano Number One 4:09
13 Atomos VII (Greenhouse Re-Interpretation) 13:08

A Winged Victory For The Sullen - Atomos  (ogg  163 mb)

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Belgium- and Germany-based ambient duo A Winged Victory for the Sullen have established quite a name for themselves by crafting beautiful soundscapes composed of piano, strings, and ambience. Here they use this foundation of compositional knowledge and fill it in with tricks and surprises to create a brilliant film score for French drama/thriller Iris. The duo’s effective use of reverbs and filters works wonders here, transporting the listener through an array of the same kinds of sounds, but they're treated whole-heartedly and differently with each moment. An early highlight is "Retour au Champs de Mars." Beginning with rich, forlorn strings and creeping deep bass, the piece falls away steeply into bars of foreboding, synthesized bass that swell and engulf the mix, rising, falling, and stabbing against waves of cellos that occupy every other bar. "Fantasme" develops in a bizarre way with a robotic bassline cutting in and out, and soft brass and violins climbing over the top of it. It feels like it’s going to build to some kind of crescendo but never does; instead delivering bittersweet and warm harmonies that envelop the whole track before suddenly disappearing into the distance without warning. What could be seen as a problem throughout is the pattern of sustain on the strings that move in and out of focus -- which is, of course, beautiful -- but AWVFTS seem to know how to vary this kind of orchestral treatment every time it appears. The strings in "Gard du Nord, Pt. 1" co-exist alongside delayed marimbas and static-tinged electronica, delivering a kind of wonderfully neutral sense of either imminent peril or approaching solitude, while "Le Retour en Foret" begins with a twinkling ambience that gradually morphs into a tragic cacophony of sound with surging distortion bubbling beneath and a digital organ-like harmony that adorns the rest of it. Something that should be noted is that the score is pretty much entirely absent of any percussion (bar the use of highly compressed, punchy bass notes) that, quite honestly, is refreshing. Considering the frequent trend of bombastic drums and blasting bass in cinema, it’s nice to hear a soundtrack that is more concerned with evoking emotion and drama through the actual character of its sound, as opposed to the thundering, neo-classical palette that has become so hugely popular with the rise of the superhero trend at the box office. That said, the album’s final track, "Comme on a Dit," encapsulates this perfectly; closing out with a burgeoning, slow orchestra piece, this one builds and gets to a crescendo that was expected all along. Most notably, the track’s center point of lone piano notes that linger and resonate with rich reverb manages to say so much by saying very little.

A Winged Victory For The Sullen - Iris (flac 174mb)

01 Prologue Iris 4:09
02 Retour Au Champs De Mars 3:44
03 Fantasme 2:28
04 Gare Du Nord Part One 3:33
05 L'embauche 3:03
06 Le Retour En Foret 2:45
07 Metro Part Three 5:20
08 Flashback Antoine 2:32
09 Galerie 3:19
10 Le Renversement 2:16
11 Normandie 2:50
12 Comme On A Dit 4:16

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RhoDeo 1821 Grooves

Hello,



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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On 100 Degrees and Rising, the pioneering acid house outfit, Incognito, turn in another first-rate record, featuring their trademark mixture of jazz, soul, and funk. There's not much to distinguish 100 Degrees from their previous handful of records, but the band is smooth, accomplished, and deep, finding new variations on their trademark sound.

Incognito - 100° and Rising     (flac 425mb)

01 Where Did We Go Wrong 5:41
02 Good Love 5:45
03 One Hundred And Rising 5:56
04 Roots (Back To A Way Of Life) 5:41
05 Everyday 4:50
06 Too Far Gone 2:35
07 After The Fall 3:29
08 Spellbound And Speechless 5:31
09 I Hear Your Name 6:53
10 Barumba 4:56
11 Millenium 6:16
12 Time Has Come 4:00
13 Jacob's Ladder 6:05

Incognito - 100° and Rising   (ogg  155mb)

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Beneath the Surface finds original lead singer Maysa Leak returning to the Incognito fold. Coincidentally or not, the record finds the group moving deeply into smooth, laidback, jazzy soul. It's a seductive sound and the group executes it well, even though there ironically isn't that much substance beneath the surface.

Incognito - Beneath The Surface    (flac 452mb)

01 Solar Fire 2:11
02 Labour Of Love 6:46
03 Beneath The Surface 5:42
04 A Shade Of Blue 5:45
05 Without You 7:20
06 Misunderstood 5:05
07 Hold On To Me 5:23
08 Living Against The River 4:21
09 She Wears Black 8:46
10 Fountain Of Life 5:19
11 Out Of The Storm 3:49
12 Dark Side Of The Cog 6:27

Incognito - Beneath The Surface  (ogg  171mb )

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From the opening bars of "Wild and Peaceful" (almost a description of the group's style) with its soaring strings, crystalline piano, and flawless vocal harmonies, it's apparent that No Time Like the Future is rich with Incognito's patented blend of soul and finesse. "It Ain't Easy," with its refrain of Marvin Gaye's "What's Goin' On," is a classic funk outcry; "Fearless" is a wordless chant with some great rhythm guitar and booting jazz saxophone; "Nights Over Egypt" backs another great vocal with popping bass and orchestral atmospherics; "Black Rain" mixes exotic drumming with some subliminal dissonance. Producer-composer-guitarist Jean-Paul "Bluey" Maunick has added string arrangements by Simon Hale, appearances by the horns of the hot Cuban band Irakere, and the performances of small army of R&B singers (Maysa, especially) and British contemporary jazz players (Ed Jones stands out on tenor and soprano). The result is an irresistible combination of strong songs and pulsing rhythm tracks, all polished to slippery perfection.

 Incognito - No Time Like The Future    (flac  422mb)

01 Wild And Peaceful 5:44
02 Get Into My Groove 4:59
03 It Ain't Easy 6:16
04 Marrakech 6:41
05 Fearless 6:14
06 Nights Over Egypt 7:08
07 Centre Of The Sun 5:02
08 More Of Myself 4:50
09 I Can See The Future 8:14
10 Black Rain 8:19

Incognito - No Time Like The Future  (ogg  152mb)

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Yes, there is an R&B feel to the first few cuts. Yes, Maysa and Randy Hope Taylor are out, but Incognito really transcends all the players except Bluey. Brilliant bassist Julian Crampton isn't exactly a stranger here either. What we get are several wonderful singers, the most recognizable being Kelli Sae from Count Basic, who are recorded and mixed beautifully. The themes are the same: joy and inspiration of love and pleas for peace and understanding. There's also a great torch song, Skin on my Skin, where Kelli Sae laments like she's never done with Count Basic. Yes there are more synthetic drums, but there are also horns and strings in almost every song. The best song by far is Rivers Running Black, Incognito at its most pure: Great instruments and just enough vocals to spice things up. It reminded me of I can see the Future. The horns are right up front in this one. If people have led you to believe this is all R&B, there is a 9 minute Bossa Nova epic called On the Road with a Jack Kerouac monologue near the end of the album. It's a true Incognito sound with an awesome scat by Ms. Sae. There's a lot to enjoy here and plenty of great Incognito touches to keep you coming back for more.

 Incognito - Life Stranger Than Fiction    (flac  375mb)

01 Stay Mine 4:39
02 Bring You Down 4:49
03 Slow Down (Get A Grip) 4:40
04 Skin On My Skin 5:18
05 Cut It Loose 4:33
06 There Will Come A Day 5:36
07 Castles In The Air 5:46
08 Got To Know 4:52
09 Reach Out 6:16
10 Rivers Runnin' Black 6:46
11 On The Road, Pt. 1 4:24
12 On The Road, Pt. 2 4:16

Incognito - Life Stranger Than Fiction  (ogg  135mb)

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