Hello, those new F1 qualifying rules turned out an anticlimax, unlikely to be repeated. The result was predictable, Mercedes in front Ferrari's at a distance, all the real action was behind them where Verstappen came in 5th just before Massa and Toro Rosso teammate Sainz, looks like they might chase 3rd in the constructors championship but it's early days and the points will be distributed in a few hours time..

Today's artist is an Japanese minimalist electronic composer, a leading figure among the new crop of computer-based musicians exploring the aesthetic possibilities opened up by digital production technologies. Rhythmically, Ikeda's music is highly imaginative, exploiting beat patterns and, at times, using a variety of discrete tones and noise to create the semblance of a drum machine. His work also encroaches on the world of ambient music; many tracks on his albums are concerned with slowly evolving soundscapes, with little or no sense of pulse........N'Joy

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Japan’s leading electronic composer and visual artist, Ryoji Ikeda, born in Gifu Japan in 1966, focuses on the minutiae of ultrasonics, frequencies and the essential characteristics of sound itself. Fascinated by data, light and sound, he shapes music, time and space by mathematical methods and explores these phenomena as sensation, pulling apart their physical properties to reveal their relationships with human perception. Ikeda has gained a reputation as one of the few international artists working convincingly across both visual and sonic media. Since 1995, he has been intensely active through concerts, installations, and recordings, integrating sound,
acoustics and sublime imagery. He has been hailed by critics as one of the most radical and innovative contemporary
composers for his live performances, sound installations and album releases. His albums +/- (Touch, 1996), 0°C (Touch, 1998) and matrix (Touch, 2000) pioneered a new minimal world of electronic music, employing sine waves, electronic sounds, and white noise. Using computer and digital technologies to the utmost limit, his audiovisual concerts datamatics (2006 – present), C 4 I (2004 – 2007) and formula (2000 – 2006) suggest a unique orientation for our future multimedia environment and culture. His ongoing body of work, datamatics, is a long-term programme of moving image, sculptural, sound and new media works that use data as their theme and material to explore the ways in which its abstracted view of reality is used to encode, understand and control the world. In spectra II (2002), a narrow, ceiling-covered corridor fitted with strobe lights and coursed by high frequency sounds, continuously alters the visitors’ sensory experience of the space. In a later adaptation, spectra [for Terminal 5, JFK], the installation emanates an aura of almost total invisibility and inaudibility due to its intense brightness and ultra-frequencies.

In Spring 2008, Ikeda presented his first solo exhibition in Japan at the Yamaguchi Center for Arts & Media, featuring a number of works in the datamatics series including data.film, a sculptural wall installation consisting of a series of 35mm film mounted in a light box, and data.tron, an audiovisual installation where each single pixel of visual image is strictly calculated by mathematical
principle and projected onto a large screen. The exhibition premiered test pattern, an installation comprising visual patterns converted and generated from sound waveforms in real–time. Ikeda released his eighth solo album test pattern (raster-noton) in April 2008 to coincide with the exhibition.In Summer 2008, Ikeda produced a series of large-scale public realm works for Dream Amsterdam, lighting four cultural and civic spaces with intensely bright white light. This concept - spectra - was then adapted for Nuit Blanche, Paris’ all night arts festival. In this version, Ikeda installed powerful vertical beams of bright white light, and an accompanying sound installation within a grid next to Tour Montparnasse, the city’s tallest skyscraper. In June 2010, spectra formed part of Sonár / Grec Festival de Barcelona, and it was exhibited in September 2010 at the Aichi Triennale in Nagoya, Japan. Ikeda intends to continue the series through  site-specific works commissioned for locations across the world. A solo exhibition of Ryoji’s work was presented at Le Laboratoire in Paris (October 2008 – January 2009). The exhibition was inspired by discussions with Harvard number theorist Benedict Gross about mathematical definitions of infinity, and took for its title the
mathematical and philosophical concept V≠L. The exhibition featured new works including a prime number, a natural number, line and spectra III.

In April 2009, Ikeda presented his largest solo exhibition to date at the Museum of Contemporary Art Tokyo. +/- [the infinite between 0 and 1] included three adaptations of a prime number / a natural number, in a series entitled the transcendental; data.film; data.matrix [no1-10], a ten- screen installation featuring video sequences from datamatics [ver.2.0]; matrix [5ch version], a pure sound installation formed by a grid of speakers through which visitors walked; and data.tron [3 SXGA+ version], a three -channel version of data.tron. A selection of these works toured to the Bangkok Art and Culture Centre (February – March 2010).
data.tron [8K enhanced version] was commissioned for the Deep Space Gallery at Ars Electronica Center, Linz. It has been screened there regularly since January 2009. In September 2009 data.scan was exhibited at the Surrey Art Gallery, Vancouver, followed by exhibitions at the Victoria & Albert Museum, London (December 2009 – April 2010), Seconde Nature Festival, Aix en Provence (June – July 2010), Museum of the Central Academy of Fine Arts, Beijing (October – November 2010). data.scan is currently showing at the Garage Center for Contemporary Culture, Moscow. In September 2010 Ikeda presented his first New York Exhibition, the transcendental, at the FIAF Gallery. Ikeda was back in New York in May 2011 to present the transfinite, a
new commission by the Park Avenue Armory. In the Wade Thompson Drill Hall, the artist created a visual and sonic environment where visitors are immersed in projected synchronised data. The versatile range of Ikeda’s research is demonstrated by his collaborations with Carsten Nicolai on the project cyclo. and with choreographer William Forsythe/Frankfurt Ballett, artist
Hiroshi Sugimoto, architect Toyo Ito and artist collective Dumb Type, among others. The first complete catalogue of Ikeda’s seminal work, formula [book + dvd] (Forma) was published in 2005. In 2009, a catalogue of +/- [the infinite between 0 and 1] was published alongside the exhibition at MOT, and provides a history of Ikeda’s work to date. In 2001, Ikeda was awarded the Ars Electronica Golden Nica prize in the digital music category and he was short-listed for a World Technology Award in 2003, and then again in 2010.




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1000 Fragments is Ryoji Ikeda's first solo album, originally released in 1995 on Ikeda's own CCI label. As early as 1995, leading Japanese computer-manipulated sound composer Ikeda started his exploratory work with digital sound design, having an inspirational impact on the founders of the Raster-Noton label. 1000 Fragments encapsulates the early parts of Ikeda's career, from the mid-'80s through the early/mid-'90s, in three different subsections: Channel X (1985-95), 5 Zones (1994-95) and Luxus (1993). An early review from www.full-albums.net characterizes 1000 Fragments as such: "The first piece, consisting of several short parts (bursts?), snaps the listener around a jumble of sound fragments from TV, NASA, radio, film, raw electronics and computer-generated tones, and so on. It's rather disorienting stuff... more like something you'd expect out of The Hafler Trio, and actually sort of out of character with the rest of the disc. As for the rest of the disc, it's taken up with two long works, which I assume involve computer-generated sound but which have the lushness one more associates with analog electronics. Both are longish ambient works, but instead of featuring static repetitive structures, these unfold in an intriguing manner, like a long, slow drive across a very sparse landscape. As opposed to the initial work here, these are definitely the 'meat' of this disc, and anyone looking for some fine ambient work with perhaps a bit of an edge would do well to check this out."



Ryoji Ikeda - 1000 Fragments (flac 211mb)

Channel X (1985-95)
01 Testone 0:06
02 Trans-Missions 1:36
03 This Is A Recording 0:50
04 Radiorange 0:28
05 What's Wrong ? 0:58
06 Holy Wood 0:35
07 Into The Tranquility 3:04
08 All Has Been Changed 0:37
09 Abstructures2:54
5 Zones (1994-95)
10 Zone 1 7:47
11 Zone 2 4:51
12 Zone 3 2:56
13 Zone 4 6:50
14 Zone 5 8:45
 Luxus (1993)
15 Luxus 1-3 16:18

 Ryoji Ikeda - 1000 Fragments (ogg   106mb)

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When Ryoji Ikeda's groundbreaking album +/- was released in 1996, there were very few precedents for its sparse, clean, rhythmic electronics. Composed of two suites, "Headphonics" and the title work, +/- defined the microwave or glitch genre that became relatively popular in the late 1990s. "Headphonics" starts with sine tones alternating in each channel at the same pitch, then layers different elements in each of the three sections of the piece. Each layer is clearly distinguishable, whether it is the high pitched trills, low bass tones, or the rhythmic click track. The work builds to a climax in 1/0 with arpeggiated bass rumbles and increasing volume in the background drone. The title work is really in two parts marked by the initial character in the track title. The pieces starting with "+" are based on a helicopter-like rhythm track where the overtones subtly change pitch. With the exception of a little bit of reverberation at the end of "+..," the dry rhythm track is the only element in these three pieces. By contrast, the tracks beginning with "-" are drone pieces, where the drones are layered and accompanied by sonar-like pings. In the closing moments of this second set of three pieces, the drone suddenly stops, leaving a quickening series of high-pitched tones which become quite loud. The last track is short and composed only of supersonic pitches and will be all but inaudible for most listeners. The album has none of the noisy work typical of Ikeda's later releases, but has a sparse and simplistic beauty that remains unsurpassed.



Ryoji Ikeda - + -  (flac  245mb)

Headphonics (1995-96)
01 Headphonics 0/0 3:12
02 Headphonics 0/1 3:11
03 Headphonics 1/0 4:16
+/- (1996)
04 + 2:50
05 +.5:07
06 +.10:55
07 - 6:36
08 -. 11:51
09 -.. 13:24
10 +/- 1:05

 Ryoji Ikeda - + -   (ogg   120mb)

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A dizzying, physically exhausting tour de force of rootless sonic meltdown, with acoustic samples, electronic beats, tone-based electronics and all manner of clicks, clacks, static and noise running through a digital blender and regurgitated in blasts alternately impenetrable and just barely there. Dense, difficult and enjoyably enlightening all at once.



Ryoji Ikeda - 0°C (flac  164mb)

C (1997-8)
01 C₁::check0:27
02 C₂::cacoepy0:22
03 C₃::circuit0:48
04 C₄::contexture1:49
05 C₅::cuts0:39
06 C₆::counterpoint2:59
07 C₇::continuum5:25
08 C₈::can(n)on1:01
09 C₉::cadenza1:22
10 C₀::coda (for T.F.)7:19
0º (1998)
11 0º::zero degrees [1]3:31
12 0º::zero degrees [2]5:30
13 0º::zero degrees [3]7:07

   (ogg    mb)

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Forty minutes of music mapped to the themes indicated in the title. "Time" is a collage of jet engines, morse code patterns and almost painfully high frequencies, while "Space" is reminiscent of Ikeda's +/-: pure, static sine waves combined slowly and to odd effect. In other words, a great introduction to the major themes of Ikeda's released work to date, and all told, some of his finest.



Ryoji Ikeda - Time and Space (flac 129mb)

Time (1996-98) 
01 1'11'' 1:11
02 2'22'' 2:22
03 3'33'' 3:33
04 4'44'' 4:44
05 5'55'' 5:55
Space (1997-98) 
06 Space 16:19

  (ogg  mb)

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Mort aux Vaches is the name of a series of albums released by the Staalplaat record label in collaboration with the Dutch radio station, VPRO. The name translates literally from French as “Death to Cows,” with “cows” being French slang for German cops - it is equivalent to “Death to Pigs” in English. The slogan originates from the bonjour Franco-Prussian War Each album in the series is a live session by a particular artist, recorded in the VPRO studios. The releases keep to the principles of Staalplaat by being packaged in a peculiar and interesting way, including using sand paper and copper. Each release is limited to around 1000 copies. This one was recorded on April 15, 1998. Commissioned by VPRO Radio 5 "De Avonden".



Ryoji Ikeda - Mort Aux Vaches (flac 146mb)

01 Headphonics (VPRO Version):: +/-  19:53
02 LSDS 15:47

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Hello,  looking at the F1 podium today one can think nothing much changed compared the end of last season, Rosberg, Hamilton, Vettel, yet before the red flag after Alonso's megacrash the situation was quite different Hamilton fucked up his start and by round 20 was still blocked by Verstappen. Meanwhile Vettel was in control followed by Rosberg, a wrongly timed tirechange to the wrong tires threw him back and he ended up third. Verstappen had even more to contend with after his teammate ignorered orders which caused his tire change went all pearshaped and he went from comfortable 5th to 12th, his teammate Sainz in front who was clearly more interested in keeping Verstappen behind than overtaking the slower cars up front. A thoroughly frustrated Verstappen nearly drove him of the track but managed to evade a crash causing himself to spin and loosing 5 seconds which he quickly got back thereby proving he was much faster than the cars ahead. Yesterday i predicted a great season for Toro Rosso now i'm not so sure, having two young drivers at eachothers throat is no good.


Watched any great books lately? Now you can. The most celebrated graphic novel of all time that broke the conventional mold continues to break new ground. Watchmen illustrator Dave Gibbons oversees this digital version of the graphic novel that adds limited motion, voice and sound to the book's strikingly drawn panels. All 12 chapters of the story are here, nearly 5 hours spanning everything from the mysterious demise of the Comedian to the crisscrossed destinies of loosely allied superheroes to their fateful impact on the world. Be in the know. Be watching. With Watchmen: The Complete Motion Comic.... N'Joy

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A critical and commercial success, Watchmen is highly regarded in the comics industry and is frequently considered by several critics and reviewers as comics' greatest series and graphic novel. In time, the series has also become one of the best-selling graphic novels ever published. Watchmen was the only graphic novel to appear on Time's 2005 "All-Time 100 Greatest Novels" list, where Time critic Lev Grossman described the story as "a heart-pounding, heartbreaking read and a watershed in the evolution of a young medium." It later appeared on Time's 2009 "Top 10 Graphic Novels" list, where Grossman further praised Watchmen, proclaiming "It’s way beyond cliché at this point to call Watchmen the greatest superhero comic ever written-slash-drawn.


The Watchmen: Motion Comic is a 2008 American animated short film series of motion comics for web and television based on the DC comic book series Watchmen, written by Alan Moore and illustrated by Dave Gibbons. The series consists of twelve abridged 25–30 minute segments, each based on and sharing a name with one of the twelve chapters of the book. Both male and female characters are voiced by actor Tom Stechschulte. It was released on DVD in March 2009 to coincide with the Watchmen movie’s release.

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In October 1985, during the Soviet invasion of Afghanistan and on the eve of nuclear war, a depressed Rorschach, one of several outlawed vigilante superheroes, begins to investigate why all former masked superheroes are either dead or have declined. When another one of his former colleagues is murdered, the outlawed but no less determined masked vigilante Rorschach sets out to uncover a plot to kill and discredit all past and present superheroes. As he reconnects with his former crime-fighting legion--a disbanded group of retired superheroes, only one of whom has true powers--Rorschach glimpses a wide-ranging and disturbing conspiracy with links to their shared past and catastrophic consequences for the future.



Watchmen The Motion Comic 08 Old Ghosts... (avi  233mb)

08 Old Ghosts... 25:31

The current Nite Owl (Dan Dreiberg) and Silk Spectre break Rorschach out of prison. Doctor Manhattan takes Silk Spectre to Mars. In retaliation for the prison break, gang members murder Hollis Mason, the retired original Nite Owl, believing him to be the one responsible for the prison break.


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previously

Watchmen The Motion Comic 01 At Midnight, All the Agents... (avi  233mb)
Watchmen The Motion Comic 02 Absent Friends... (avi  233mb)
Watchmen The Motion Comic 03 The Judge of All the Earth... (avi  233mb)
Watchmen The Motion Comic 04 Watchmaker... (avi  233mb)
Watchmen The Motion Comic 05 Fearful Symmetry... (avi  233mb)
Watchmen The Motion Comic 06 The Abyss Gazes Also... (avi  233mb)
Watchmen The Motion Comic 07 A Brother to Dragons... (avi  233mb)

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


Today an artist who fused samba, salsa, and bossa nova with rock and folk music, he's recognized today as one of the pioneers in world music. A multi-instrumentalist and singer/songwriter, Gil joined his first group, the Desafinados, in the mid-'50s and by the beginning of the 1960s was earning a living as a jingle composer. Although known mostly as a guitarist, he also holds his own with drums, trumpet, and accordion.. .....N'Joy

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Gil was born in Salvador, an industrial city in the northeast of Brazil, though he spent much of his childhood in nearby Ituaçu. Ituaçu was a small town of fewer than a thousand, located in the sertão, or countryside, of Bahia. His father, José Gil Moreira, was a doctor; his mother, Claudina Passos Gil Moreira, an elementary school teacher. As a young boy, he attended a Marist Brothers school. Gil remained in Ituaçu until he was nine years old, returning to Salvador for secondary school.

Gil's interest in music was precocious: "When I was only two or two and a half," he recalled, "I told my mother I was going to become a musician or a president of my country." He grew up listening to the forró music of his native northeast, and took an interest in the street performers of Salvador. Early on, he began to play the drums and the trumpet, through listening to Bob Nelson on the radio. Gil's mother was the "chief supporter" in his musical ambitions; she bought him an accordion and, when he was ten years old, sent him to music school in Salvador which he attended for four years  As an accordionist, Gil first played classical music, but grew more interested in the folk and popular music of Brazil. He was particularly influenced by singer and accordion player Luiz Gonzaga; he began to sing and play the accordion in an emulation of Gonzaga's recordings. Gil has noted that he grew to identify with Gonzaga "because he sang about the world around [him], the world that [he] encountered."

During his years in Salvador, Gil also encountered the music of songwriter Dorival Caymmi, who he says represented to him the "beach-oriented" samba music of Salvador. Gonzaga and Caymmi were Gil's formative influences. While in Salvador, Gil was introduced to many other styles of music, including American big band jazz and tango. In 1950 Gil moved back to Salvador with his family. It was there, while still in high school, that he joined his first band, Os Desafinados (The Out of Tunes), in which he played accordion and vibraphone and sang. Os Desafinados was influenced by American rock and roll musicians like Elvis Presley, as well as singing groups from Rio de Janeiro. The band was active for two to three years. Soon afterwards, inspired by Brazilian star João Gilberto, he settled on the guitar as his primary instrument and began to play bossa nova

Gil met guitarist and singer Caetano Veloso at the Universidade Federal da Bahia (Federal University of Bahia) in 1963. The two immediately began collaborating and performing together, releasing a single and EP soon afterwards. Along with Maria Bethânia (Veloso's sister), Gal Costa, and Tom Zé, Gil and Veloso performed bossa nova and traditional Brazilian songs at the Vila Velha Theatre's opening night in July 1964, a show entitled Nós, por Exemplo (Us, for Example). Gil and the group continued to perform at the venue and he eventually became a musical director of the concert series. Gil collaborated again with members of this collective on the landmark 1968 album Tropicália: ou Panis et Circenses, whose style was influenced by The Beatles' Sgt. Pepper's Lonely Hearts Club Band, an album Gil listened to constantly. Gil describes Tropicália: ou Panis et Circenses as the birth of the tropicália movement. As Gil describes it, tropicália (or Tropicalismo) was a conflation of musical and cultural developments that had occurred in Brazil during the 1950s and 1960s—primarily bossa nova and the Jovem Guarda (Young Wave) collective—with rock and roll music from the United States and Europe, a movement deemed threatening by the Brazilian government of the time.

Early on in the 1960s, Gil earned income primarily from selling bananas in a shopping mall and composing jingles for television advertisements;[5] he was also briefly employed by the Brazilian division of Unilever, Gessy-Lever.[6] He moved to São Paulo in 1965 and had a hit single when his song "Louvação" (which later appeared on the album of the same name) was released by Elis Regina. However, his first hit as a solo artist was the 1969 song "Aquele Abraço".[5] Gil also performed in several television programs throughout the 1960s, which often included other "tropicalistas", members of the Tropicalismo movement

In February 1969 Gil and Veloso were arrested by the Brazilian military government, brought from São Paulo to Rio de Janeiro, and spent three months in prison and another four under house arrest, before being freed on the condition that they leave the country. Veloso was the first to be arrested; the police moved to Gil's home soon afterward. Veloso had directed his then-wife Andréa Gadelha to warn Gil about the possibility of arrest, but Gil was eventually brought into the police van along with Veloso. They were given no reason or charge for their arrest. Gil believes that the government felt his actions "represent[ed] a threat [to them], something new, something that can't quite be understood, something that doesn't fit into any of the clear compartments of existing cultural practices, and that won't do. That is dangerous." During his prison sentence, Gil began to meditate, follow a macrobiotic diet, and read about Eastern philosophy. He composed four songs during his imprisonment, among them "Cérebro Electrônico" (Electronic Brain), which first appeared on his 1969 album Gilberto Gil 1969, and later on his 2006 album Gil Luminoso. Thereafter, Gil and Veloso were exiled to London, England after being offered to leave Brazil. The two played a last Brazilian concert together in Salvador in July 1969, then left to Portugal, Paris, and finally London. He and Veloso took a house in Chelsea, sharing it with their manager and wives. Gil was involved in the organisation of the 1971 Glastonbury Free Festival and was exposed to reggae while living in London; he recalls listening to Bob Marley (whose songs he later covered), Jimmy Cliff, and Burning Spear. He was heavily influenced by and involved with the city's rock scene as well. However, he also performed solo, recording Gilberto Gil (Nêga) while in London. In addition to involvement in the reggae and rock scenes, Gil attended performances by jazz artists, including Miles Davis and Sun Ra.  to be continued



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Gilberto Gil's debut album presented him as one of the brightest young performers and composers in Brazil. Composed just a few years before tropicalia hit, stripped-down songs like the title track, "Lunik 9," and "Roda" reflect the native influence of bossa nova and samba. Though it's clear he's not yet the enthusiastic performer he would soon become, Louvação is a solid debut, packed with intriguing songs.



Gilberto Gil - Louvação (flac  247mb)

01 Louvação 3:45
02 Beira Mar 3:55
03 Lunik 9 3:06
04 Ensaio Geral 2:08
05 Me Perdoe Maria 2:37
06 A Rua 3:34
07 Roda 2:41
08 Rancho Da Rosa Encarnada 2:36
09 Viramundo 2:20
10 Mancada 2:03
11 Água De Meninos 4:35
12 Procissáo 2:37
13 Minha Senhora 3:24
14 A Moreninha2:50

Gilberto Gil - Louvação   (ogg   105mb)

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Gilberto Gil's second album is packed with some of the best songs of his career -- jubilant pop extravaganzas like "Domingo No Parque,""Pega a Voga, Cabeludo," and "Frevo Rasgado" that were equally inspired by the irresistible, brassy bombast of Carnaval and intelligent rock & roll from America and Britain. Even more than the other tropicalistas, though, Gil blends his rock and native influences seamlessly, resulting in songs like "Êle Falava Nisso Todo Dia" that chart an intriguing fusion of Brazilian and British Invasion (before he breaks into Portuguese for the first verse, the intro sounds exactly like a few early Rolling Stones productions). Gil's occasional backing band, the teenage tropicalia breakouts known as Os Mutantes, join in on the feel-good Brazilian pop anthem "Domingou." Enjoyable and never as experimental as his work would soon become, Gilberto Gil is one of the best tropicalia albums ever released.



Gilberto Gil - 1968 (with Os Mutantes) (flac 291mb)

01 Frevo Rasgado 1:55
02 Coragem Pra Suportar 2:55
03 Domingou 2:55
04 Marginália II 2:39
05 Pega A Voga, Cabeludo 4:44
06 Êle Falava Nisso Todo Dia 2:33
07 Procissão 2:55
08 Luzia Luluza 4:03
09 Pé Da Roseira 3:03
10 Domingo No Parque 3:42
Bonus
11 Barca Grande 2:41
12 A Coisa Mais Linda Que Existe 3:59
13 Questão De Ordem 5:31
14 A Luta Contra A Lata Ou A Faléncia Do Café 2:49

Gilberto Gil - 1968 (with Os Mutantes) (ogg   109mb)

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It's not only ironic that the record with Gilberto Gil's first major hit ("Aquele Abraço") is also his most experimental album; it also speaks to the diversity of Brazil's emerging pop superstar. Beginning with the loose-jointed groove-pop of "Cérebro Eletrónico" (the album's subtitle), this second of three straight self-titled LPs includes a few Carnival-styled pop songs, as on his previous album. Most of the experimentation comes at the end of side two with "2001" and "Objeto Semi-Identificado," both of which are filled with odd tape-music portions, spoken-word elements, and a reliance on studio trickery rarely seen on any Western pop albums. Even the pop songs are produced with an eye toward noise; the tropicalia anthem "Volks Volkswagen Blue" features a few psychedelic guitar lines breaking into distortion, and a small but devastatingly brassy horn section punctuating the melody. It's a very disjointed album, not quite as consistently entertaining as last year's entry, but definitely a masterpiece of forward-looking pop.



Gilberto Gil - Cérebro Eletrónico (flac 472mb)

01 Cérebro Eletrônico 3:34
02 Volks-Volkswagen Blue 3:40
03 Aquele Abraço 5:23
04 17 Léguas E Meia 4:14
05 A Voz Do Vivo 3:46
06 Vitrines 3:35
07 2001 4:33
08 Futurível 5:46
09 Objeto Semi-identificado 5:16
Bônus
10 Omã Iaô 4:26
11 Aquele Abraço (Versão Integral) 6:59
12 Come Medo, Com Pedro (Demo) 4:22
13 Cultura E Civilização (Demo)16:21
14 Queremos Guerra with Jorge Ben e Caetano Veloso 3:17

Gilberto Gil - Cérebro Eletrónico (ogg   193mb)

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The first recordings of Gilberto Gil in London, during his period of exile from 1969 to 1972, the soundtrack of "Copacabana, Mon Amour" was requested by the filmmaker Rogério Sganzerla. A cash amount was sent so that Gil would enter the studio and record the songs for the film´s soundtrack. Recording voice and guitar in two channels, Gil later recorded voice and guitar again (for the effect of overdubbing, thanks to which we hear two voices and two guitars of the artist, as if he was singing to himself). Finally, Gil added percussion and invited flute player and friend David Linger to provide the finishing touch. Péricles Cavalcanti also featured. The result was excellent and two stereophonic master tapes were edited at the IBC London studio on 23 April 1970. A single copy was made and sent to Brazil, for Sganzerla to edit the soundtrack. This copy disappeared after some years and only in 1998, after countless investigations and thanks to selfless friends, was I able to locate the original master tape in the hands of an English collector - who had acquired a collection of which the tape had been part for many years after Gil´s return to Brazil. Its launch helps to further portray the London phase of Gilberto Gil .



Gilberto Gil - Copacabana Mon Amour (flac 281mb)

01 Diga A Ela (1ª Versão) 7:25
02 Mr. Sganzerla 7:41
03 Blind Faith 5:57
04 Yeh Yeh Yah Yah 14:20
05 Tomorrow Vai Ser Bacana 7:53
06 Diga A Ela (2ª Versão) 4:52

Gilberto Gil - Copacabana Mon Amour   (ogg   126mb)

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Hello, ah yes more news from the agents of terror formerly 'controlled' by the CIA, they lost control of Al Quada, just like the Mossad lost control of Hamas, but being american thickheads, the CIA convinced Obama that supporting Daesh would lead to Russia loosing its last beachhead in the Middle East and the Mediterranean Sea. The virtual bombing of Daesh was a joke the first year the US supposedly did, think one sortie a day. Putin would have none of it and started his own dropping of bombs which relatively quickly had success against the enemies of Assad. Believe or not i watched some politician calling the russian action illegal this when Russia was invited to by the Damascus regime-in contrast to others that bomb Syria. But hey demonizing Putin is all the rage these days..

None of the 'experts' will tell you these dirty 'secrets' , instead they talk of brainwashed religious nutters that have been convinced that Allah rejoices if they kill non believers. True that ! You know what, maybe it's time to put Allah on trial ! Not so crazy as it sounds, but it would mean that analysis of Allah would quickly find him out as being the same psychopath known as Yahweh, yes the Christian god (although some think him to be Anu~Enlil's father). Taking it further back to Abraham's days, we come to Enlil, known to have disliked humans and the one who forbade warning humans for the coming flood (caused by a comet impact on a 3km thick thick layer of ice circa 10,600 BC). However there was a warning by Enlil's brother, Enki/Ea, and creator of homo sapiens (as usable workers), he was vilified ever since, propaganda that still continues to this day, his symbol ~ the snake. Yes humans have been worshiping the wrong 'god' for the last 4,000 years. It must have given this psychopath much pleasure to witness the millions slaughtering eachother in his name, assuming he's still alive. Oh and please don't tell me that you can't live for 500,000 years, because once we learn how to keep our telomeres from shrinking we too become 'immortal' as in our bodies will keep on regenerating. Ok, so where are these aliens now, we know there was much infighting and i suspect a lot are dead or fled back to where they came from. That said I do believe some are still around.... and likely belong to Ea's clan.



Today's artists are a German industrial band, originally from West Berlin, formed in 1980. The group currently comprises Blixa Bargeld (lead vocals, guitar, keyboard), Alexander Hacke (bass, guitar, vocals), N.U. Unruh (custom-made instruments, percussion, vocals), Jochen Arbeit (guitar and vocals), and Rudolf Moser (custom-built instruments, percussion, and vocals).
One of their trademarks is the use of custom-built instruments, predominantly made out of scrap metal and building tools, and noises, in addition to standard musical instruments.. ..N'Joy

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On April 1, 1980, Einstürzende Neubauten made their first appearance in the Moon Club in Berlin. This first line-up featured Beate Bartel and Gudrun Gut, Blixa Bargeld, and N.U. Unruh. The two female members, Bartel and Gut, left the band after a short period of performing and founded Mania D. Alexander Hacke (alias Alexander von Borsig), a sound technician and multi-instrumentalist who was fifteen years old at that time, joined the band and became a long-time member.

In 1981, the percussionist F.M. Einheit (from the Hamburg band Abwärts) joined Einstürzende Neubauten and they released their first LP Kollaps, a mixture of rough punk tunes and industrial noises. The industrial noises were obtained from self-made music machines, electronics, and found objects such as metal plates. The live performances with Einheit in the 1980s included lots of metal banging and destruction on stage. During their first German tour, Mark Chung (previously the bass player with Abwärts) joined the group of musicians. This line-up lasted for nearly 15 years.

In 1983, Einstürzende Neubauten recorded their second album Zeichnungen des Patienten O. T. (English: "Drawings of Patient O.T."). The title came from a 1974 book by Leo Navratil, describing the drawings of Oswald Tschirtner. Also in 1983, Bargeld joined the band The Birthday Party (featuring Nick Cave and Mick Harvey) as a guitarist. This group was disbanded shortly after, but Bargeld became a long-time member of one of the bands that sprang from The Birthday Party – Nick Cave and the Bad Seeds (again featuring Nick Cave and Mick Harvey). Bargeld remained a full-time member of both bands, Einstürzende Neubauten and Nick Cave and the Bad Seeds, until 2003, when he quit the Bad Seeds in order to focus on Einstürzende Neubauten.

The band's next album, Halber Mensch ("Half Man") in 1985, may be seen as a developmental breakthrough. Musical structure became more evident, and Bargeld's lyrics and, especially, his singing changed. He moved from shouted words and phrases toward organized, poetic melodies. The band played a show in Vancouver, British Columbia, Canada, to kick off their third North American tour. The performance was sponsored by the German Goethe Institute as part of the German contribution to Expo 86. Also scheduled to appear were Test Dept and Skinny Puppy, though not everyone was able to play.

On the tour, the group's experimental and improvised live performance style occasionally caused difficulties with venue management and law enforcement. A performance at The Palladium in Manhattan ended 30 minutes into the set after an improvised pyrotechnics display. The band ignited lighter fluid in a couple of metal pans, and management stopped the performance and cleared the venue. The one-hour film Halber Mensch (1986) by Sōgo Ishii documents Einstürzende Neubauten's visit to Japan in 1985. The next two albums, Fünf auf der nach oben offenen Richterskala ("Five on the open-ended Richterscale") in 1987 and Haus der Lüge ("House of the Lie") in 1989, were great successes in the United States and Japan.

In 1990, the band tried something completely new, recording the soundtrack for East German playwright Heiner Müller's play Die Hamletmaschine ("The Hamlet Machine") for East German radio Rundfunk der DDR.[4] The band image of Einstürzende Neubauten changed: Blixa Bargeld, formerly wearing punk/industrial style clothes, appeared at the live concerts in a suit. 1991 also saw the release of the double album, a best-of and rarities album, Strategies Against Architecture II. This collection included a musical setting of Heiner Müller's piece "Bildbeschreibung" ("Explosion of a Memory" or "Description of a Picture" in English).

In Vienna, May 1992, Einstürzende Neubauten performed at The Academy of Fine Arts' 300th anniversary in a show by Erich Wonder, Das Auge des Taifun ("The eye of the typhoon").The next album Tabula Rasa (1993) was an important turning point in the band's history, their music becoming softer and containing more electronic sounds. In 1993, they were booked to support U2 during their European leg of the Zoo TV Tour, but were thrown off the stage and off the tour when a band member threw an iron bar into the booing crowd.

Mark Chung left the band in 1994 after the recording of Faustmusik for Werner Schwab's play, and made a
career in the music industry. F.M. Einheit, who contributed much to the music and sound of the band, left the band a short time later in 1995, during the recording of the Ende Neu album, at least partially because of a conflict with Bargeld. The last Einstürzende Neubauten track Einheit worked on was "Was ist ist". Roland Wolf replaced them on bass guitar and keyboards only a short time before dying in a car accident in 1995.

A short time later, the band released the album Ende Neu ("Ending New") in 1996. The album title is an example of word-play on the band's own name (i.e. "Einstürzende Neubauten"). The song "Stella Maris"– a duet between Bargeld and Hacke's then-wife, singer Meret Becker – became quite famous; a world tour followed the release. During this time, Jochen Arbeit and Rudi Moser (both members of Die Haut) joined the band: Arbeit on guitar, and Moser on drums, with Hacke switching to bass guitar. This line-up, accompanied by Ash Wednesday on keyboards for live concerts, has held ever since.

In 1997, the album Ende Neu Remixes was released, which featured remixes of the songs from Ende Neu by artists such as Barry Adamson, Pan Sonic and Darkus (alias Mark Rutherford); Darkus' remix tracks, with others not included on Ende Neu Remixes, were made available separately in the same year on The NNNAAAMMM Remixes By Darkus release.

A short time later, the band released the album Ende Neu ("Ending New") in 1996.The album title is an example of word-play on the band's own name (i.e. "Einstürzende Neubauten"). The song "Stella Maris"– a duet between Bargeld and Hacke's then-wife, singer Meret Becker – became quite famous; a world tour followed the release. During this time, Jochen Arbeit and Rudi Moser (both members of Die Haut) joined the band: Arbeit on guitar, and Moser on drums, with Hacke switching to bass guitar. This line-up, accompanied by Ash Wednesday on keyboards for live concerts, has held ever since.

In 1997, the album Ende Neu Remixes was released, which featured remixes of the songs from Ende Neu by artists such as Barry Adamson, Pan Sonic and Darkus (alias Mark Rutherford); Darkus' remix tracks, with others not included on Ende Neu Remixes, were made available separately in the same year on The NNNAAAMMM Remixes By Darkus release. From March 27 to May 23, 2000, Einstürzende Neubauten celebrated their 20th birthday with a "20th anniversary tour", playing in the Columbiahalle, Berlin on their exact birthday, April 1, and released the album Silence Is Sexy, followed by a world tour. 2001 also saw the release of another double best-of and rarities album, Strategies Against Architecture III.

Since 2001, Einstürzende Neubauten albums and web projects have been partially produced and supported by Bargeld's wife Erin Zhu, who also serves as webmaster of the official Einstürzende Neubauten website.In 2002, Einstürzende Neubauten began work on a new album without the backing of a record label, relying instead upon fan ("supporter") participation in an experiment of a type of Street Performer Protocol combined with an internet community and touches of the patronage system. An exclusive Supporter Album No. 1, and the Airplane Miniatures EP following, were made available in 2003.

Bargeld left Nick Cave and the Bad Seeds in 2003. In order to go on tour, the band reneged on the idea of creating a supporter-only album, and cooperated with Mute Records to go on tour and release Perpetuum Mobile in 2004. Air sounds, such as blowing the plastic pipes with an air compressor, were greatly explored and used for this album: the working title of the album was, for a long while, Luftveränderung ("Change of air"). A half an hour long documentary about the supporters project entitled 'Traumfestival' was made by Ste van Holm and Dihcar. The film is now available on YouTube.

The live shows of the Perpetuum Mobile Tour were recorded by the band's sound engineers, then burned on CDRs with individual pictures of each show taken by Danielle de Picciotto and sold directly after the concerts to the visitors; numerous "official" live albums were created during this tour as a result. In November 2004, the band went on a mini-tour, which included a supporters-only performance at Berlin's Palast der Republik. The performance was filmed and coordinated by Danielle de Picciotto and Ian Williamson and was released on the exclusive supporter's DVD at the end of Phase II.

The band also started a new project called Musterhaus in early 2005. The first CD Anarchitektur was sent out in May 2005, and was also available for download to Musterhaus subscribers. The Musterhaus project was a "line of releases intended to give the band an outlet for more experimental impulses and exploration." Musterhaus albums were released roughly every 3 months.
The second Musterhaus CD Unglaublicher Laerm ("Incredible noise") was finished on August 15, and shipped out (as well as posted for download) shortly after. Phase II of the Neubauten Supporter's project finished in August 2005, and the official site was taken down on September 20. The supporter album Grundstück ("Plot") and DVD (containing footage from the November 2004 Grundstück performance in Berlin) was shipped in early October 2005. Musterhaus No. 3 Solo Bassfeder ("Solo bass-spring"), released December 8, is a collection of bass spring compositions by the individual members of Einstürzende Neubauten.

Phase III of the Supporter's project started on February 10. On February 25, the fourth part of the Musterhaus series, called Redux Orchestra versus Einstürzende Neubauten was completed. One of the new additions to Phase III started in March 2006 was a piece-by-piece album called Jewels, finally finished in August 2007. Musterhaus No. 5 Kassetten ("Cassettes"), finished May 15 with release scheduled for May 31. At the same time, Alles was irgendwie nützt ("Everything of any use"), an album that had been in the work since Phase 2, were completed. The album consists of rare live tracks, handpicked by 6 supporters of Phase 2 and mixed by Boris Wilsdorf. This was quickly followed by Musterhaus No. 6 Klaviermusik ("Piano music"), released on August 31. In October, Neubauten released a public DVD, the recording made at Palast der Republik. Musterhaus No. 7 Stimmen Reste ("Voice Remainders") was released on December 2, consisting of vocal experiments, vocal recordings, and manipulations of voice recordings, enriched with leftover instrumental tracks made with polystyrene, electronic pulses, hammond organ, bass guitar, and metal percussion

It was announced on the band's website that they would be undertaking a "small (mostly) UK tour" in April 2007, but playing in Hannover on April 22 beforehand. Musterhaus No. 8 Weingeister ("Wine spirits") was released on April 6, forming the final instalment of the Musterhaus series.A new commercial album was made available later in the year,[7] the first release since 2004's Perpetuum Mobile. The new album, Alles wieder offen ("All open again"), was released in 2007[1] without the backing of a label, a move the band had intended to make with Perpetuum Mobile. Fans who were part of the paid EN community at neubauten.org received access to an album with the same tracks plus a number of extra songs, and an optional DVD about the making of the album.

Einstürzende Neubauten celebrated their 30th anniversary in 2010 with a tour through Europe. An American leg was also planned, however on November 29, 2010 the band announced the cancellation of all their U.S. dates due to visa scheduling problems. Silence Is Sexy was reissued on July 1, 2011. In May 2014, the band announced on their official website that they were back in the studio working on new material. They also announced dates for live shows to be held in November 2014. Their album Lament was released on 7 November.

The Einstürzende Neubauten's logo can be described as a human symbol with two arms, two legs (one much shorter than another), thin body and big round head with a circle in its middle. It was not created by or for the band, but is a cave drawing of probably Toltec origin.

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Einsturzende's first compilation album summed up all that was brilliant and thrilling about the young band, who perhaps more than anyone else encapsulated exactly what "industrial" consisted of -- honest-to-goodness mechanistic pummeling and musique concrete remade for a newer generation. Selections from Schwarz and Kollaps feature, along with single-only cuts and various live performances as well, giving a striking picture of the group's varying approaches. Bargeld's rasped, whispered vocals and sudden screams crawl with threat and dread in a consciously dramatic but never overtly hammy fashion, while the rough rhythms and harsh clattering which serves as a bed for his delivery touches on everything from free jazz to minimal Krautrock rhythms. That the volume often gets amped to its absolute highest is only to be expected, but silence and space between sound matters just as much, especially on a slew of songs toward the end. Guitars and bass appear more often than might be expected, but the way they're played is something else entirely, muddied deep in the mix or roaring as undifferentiated noise stabbing in here and there. It's also interesting to hear the earlier version of the band in contrast with the later, when a slightly more formal rock presentation took the fore. Given that on the recordings here the group consisted mostly of percussionists beating on metal and whatever else was to hand, it's little wonder things sound even more aggressive. Maybe for some this will only sound like the backing music on a Sprockets sketch, but the impact on any number of sound terrorists then and since from this album can't be measured.



Einstürzende Neubauten - 80-83 Strategies Against Architecture (flac  238mb)

01 Tanz Debil 3:20
02 Schmerzen Hören 2:31
03 Mikroben 1:31
04 Krieg In Den Städten 3:44
05 Zum Tier Machen 3:05
06 Draußen Ist Feindlich 0:48
07 Stahlversion 5:35
08 Schwarz 4:16
09 Negativ Nein 2:23
10 Kalte Sterne 4:11
11 Spaltung 2:25
12 U-Haft Muzak 3:41
13 Gestohlenes Band (ORF) 0:17
14 Schwarz (Mutiert) 3:26

Einstürzende Neubauten - 80-83 Strategies Against Architecture (ogg  94mb)

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Though it's a bit less intentionally noisy than previous Neubaten material, ½ Mensch is, in a way, the group's masterpiece. The inspired use of such "traditional" instruments as a grand piano alongside the band's characteristic blazing percussion make for a record similar more to their compositional influences like Stockhausen than their nearest contemporaries, Throbbing Gristle or Cabaret Voltaire. The record that showed Einstürzende Neubaten could rise above the concept of noise for its own sake to reach another level of noise-oriented post-punk music, ½ Mensch is an excellent feat of industrial music.



Einstürzende Neubauten - Halber Mensch (flac  388mb)

01 Halber Mensch 4:13
02 Yü-Gung (Fütter Mein Ego) 7:14
03 Trinklied 1:15
04 Z.N.S. 5:40
05 Seele Brennt 4:05
06 Sehnsucht (Zitternd) 2:55
07 Der Tod Ist Ein Dandy 6:41
08 Letztes Biest (Am Himmel) 3:28
09 Das Schaben 9:22
10 Sand 3:31
11 Yü-Gung (Adrian Sherwood Remix).7:29

Einstürzende Neubauten - Halber Mensch (ogg  132mb)

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Like watching a stalker cleverly follow its prey for miles, only to watch it shy away just short of lodging a knife into the back of the followed, Fünf Auf der Nach Oben Offenen Richterskala (Five on the Open-Ended Richter-Scale) is Einstürzende Neubauten at their unsettling, gripping, and tension-ridden best. It was also the group's most subdued and measured work to that point, organic dark ambient that rarely utilized the chaos and cacaphony for which they had become known. You expect the big release during the closer, "Kein Bestandteil Sein," but you don't get it.



Einstürzende Neubauten - Fünf auf der nach oben offenen Richterskala (flac  258mb)

01 Zerstörte Zelle (Destroyed Cell) 8:02
02 Morning Dew 4:55
03 Ich Bin's (It's Me) 3:22
04 MoDiMiDoFrSaSo (MonTuesWedThurFriSatSun) 4:52
05 12 Städte (Twelve Cities) 8:38
06 Keine Schönheit Ohne Gefahr (No Beauty Without Danger) 5:06
07 Kein Bestandteil Sein (To Be No Part Of It) 6:46

Einstürzende Neubauten - Fünf auf der nach oben offenen Richterskala (ogg   118mb)

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The final Einsturzende album of the 1980s found the group wrapping up that decade on a high note; while Haus der Luege barely lasts over half an hour, it's designed for maximum impact, and that it creates. The seasoned five-person lineup clatters and bangs away with fire, though the focus is more on straightforward industrial-tinged rock, as opposed to full-on industrial banging and relentless sonic experimentation. Things fully fire after an alternating voice/noise "Prolog" with "Feurio!," one of the band's strongest singles. With an ominous death-disco rhythm stop-starting under it all, swirling wails and cries in the mix, and sudden guitar lines filling out the sound, Bargeld's declamatory vocal approach in full effect. It's perhaps one of the most "industrial dance" songs the group's ever done, but it feels like a logical conclusion of their sound rather than a sudden embrace of Wax Trax! esthetics. Equally impressive is the title track, starting with a soft chime before turning into a dangerously funky aggro-crawl. Much of the album's second half is taken up by the lengthy "Fiat Lux," broken into three separate sections. Low in volume and astonishingly subtle until its final, overtly rhythmic conclusion, it's a testament to Einsturzende's abilities at the opposite end of where they are most often stereotyped as working, ambient instead of full-on noise. Bargeld's singing and a soft, central keyboard loop provides the main hooks for the piece, even when an array of random samples and noises starts surfacing about halfway through the track. Add in some blunt, interesting cover art and an appreciative essay from writer Biba Kopf, and Haus der Luege is another Einsturzende success.



Einstürzende Neubauten - Haus der Lüge (flac 208mb)

01 Prolog 2:08
02 Feurio ! 5:44
03 Ein Stuhl In Der Hœlle 2:09
04 Haus Der Luege 3:59
05 Epilog 0:29
06 Fiat Lux, Maifestspiele, Hirnlego 12:23
07 Schwindel 3:57
08 Der Kuss 3:38

Einstürzende Neubauten - Haus der Lüge   (ogg  87mb)

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Hello, the return of weekly re-ups here and once again i need to stress that requests need to be posted on the original page, posting requests elsewhere will be ignored by me. This blog hasn't got thousands of visitors that keep downloads live in a time where hosts are quick to delete and with re-ups the live time is considerably shorter, it can't be helped. That said regular visitors should have plenty of time to get what they want.

Storage maybe dirt cheap these days -compared to 5 years ago, but the hosts are much more money orientated and look at turnover and notice that keeping data longer than 1 month isn't making them money. Thus the coming months i'm making an effort to re-up, it will satisfy a small number of people which means its likely the update will  expire relatively quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section preferably at the page where the expired link resides....requests are satisfied on a first come first go basis. As my back up ogg hard disk is nonresponsive currently, i most likely will post a flac instead~for the the pre medio 2011 posts~ but i would think that is not really a problem...updates will be posted here and yes sign a name to your request and please do it from the page where the link died!

Looka here another batch of 15 re-ups, requests fullfilled up to March 13th ...N' Joy


4x Sundaze Back In Flac (Psychic TV - Themes 2 (Derek Jarman), Psychic TV - Kondole, Thee Majesty - A Hollow Cost, Psychic TV - Dreams Less Sweet)


8x Sherwoods-Forest NOW In Flac (Medium Medium - The Glitterhouse,  Looplizard - Into the sun,- Ministry - Twitch, Primal Scream - EchoDek still in ogg Suns of Arqa - Revenge of the Mozambites, Voice of Authoity - Very Big In America Right Now, Sherwood Branches, Fats Comet and the Big Sound - Bop Bop)



3x Into BPM NOW In Flac (Darren Emerson - Psychotrance 2- , Underworld - Second Toughest in the Infants (Rem), Underworld - Pearl's Girl)



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Hello,

Today, an American musical group from Philadelphia, Pennsylvania. formed in 1971, when the sisters' ages ranged from 12 to 16, the group consisted of sisters Debbie, Joni, Kim and Kathy Sledge. Best known for their work with Chic in the late '70s, the siblings reached the height of their popularity during the disco era but had been recording since the early '70s and were still active in the late '90s. ... N'joy

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Daughters of Broadway tap dancer Edwin Sledge (who died in Houston, Texas on July 1, 1996 at age 73) and actress Florez Sledge (who died of a stroke in Phoenix, Arizona on May 17, 2007 at age 79), Debbie, Joni, Kathy and Kim were given vocal training by their grandmother Viola Williams, a former lyric soprano opera singer and protégé of civil rights leader Mary McLeod Bethune. Under Viola’s guidance they regularly sang at their family church, Williams Temple Christian Methodist Episcopal (CME) until forming a band and performing at charity and political events throughout Philadelphia, aptly named ‘Mrs Williams’ Grandchildren’.

The group toured much of the East Coast including New York, New Jersey and home town Philadelphia with Florez acting as their manager (and tour bus driver) and Debbie as musical director. They released their first single "Time Will Tell" in 1971 on local music label Money Back. In 1973, they released the single "Mama Never Told Me", which became a top 20 hit in the UK in 1975, but it was with the Haras Fyre & Gwen Guthrie single "Love Don’t Go Through No Changes On Me" (released in 1974) that the siblings enjoyed their first taste of success. The song was a big hit in Japan and as a result the girls were flown to the country to perform at the Tokyo Music Festival where they won the Silver Prize. The sisters also performed at the Zaire '74 concert in Africa alongside James Brown during the infamous Rumble in the Jungle boxing event.

Sister Sledge’s first album Circle of Love was released by ATCO (a subsidiary of Atlantic Records) in 1975 and included songs written by Soul legend Gwen Guthrie and Gwen's then-boyfriend, studio bassist Haras Fyre. The group enjoyed some success in Europe and as a result, the album Together was recorded in Germany in 1977. Released through the Cotillion label, the album produced a minor hit with the single "Blockbuster Boy" reaching No. 61 on the US R&B chart. Nearing the end of the decade all four sisters graduated

At something of a cross roads in their careers, the future seemed a little uncertain for the group but Atlantic Records connected them with producers Nile Rodgers and Bernard Edwards of the band Chic, and all that changed. After some initial challenges in working collaboratively, the breakthrough album We Are Family was recorded and released by Cotillion. The lead single "He’s The Greatest Dancer" charted at No. 1 R&B and was a No. 9 crossover hit. In 1979, the records anthemic namesake "We Are Family" followed and became a worldwide smash charting at No. 2 pop and No. 1 R&B. The song and group were nominated for Grammys and "We Are Family" was adopted as the official anthem for The Pittsburgh Pirates who went on to win the World Series that year. The album was certified platinum by the RIAA and produced two more classic disco singles, "Lost In Music" and "Thinking Of You". Around this time, Debbie Sledge went on maternity leave and the eldest sister, Carol, filled in for her. In 1980, their follow up album Love Somebody Today (also written and produced by Nile Rodgers and Bernard Edwards) was released.

In 1981, Sister Sledge worked with Narada Michael Walden who produced their fifth studio album, All American Girls. The project was intended as a collaboration but the resulting album is generally attributed to Narada Michael Walden. The title track became a number-three R&B, hit but the following singles "Next Time You’ll Know" and "If You Really Want Me" only did moderate business.
The girls self-produced their next record The Sisters in 1982. The album spawned the No. 14 R&B and No. 23 pop hit "My Guy" (a cover of the Mary Wells classic). The group subsequently appeared on a popular episode of The Jeffersons, in which they performed the song.

The album Bet Cha Say That To All The Girls was released in 1983, the lead single from which featured American Jazz singer Al Jarreau. The group experienced some considerable success in 1984, when they re-released "Thinking of You" and "Lost in Music" in the UK, the latter peaking at No. 4. The following year saw the release of their 7th studio album When the Boys Meet the Girls and continued success in the UK. Released by Atlantic Records, lead single "Frankie" hit the top spot on the UK Singles Chart, spending four weeks at No. 1 and consequently going Gold.

In 1989, Kathy left the group to pursue a solo career. Debbie, Joni and Kim continued to perform as Sister Sledge and in 1992 collaborated with Bluey from UK acid jazz group Incognito on the single "World Rise and Shine". The song featured on their greatest hits album And Now…Sledge…Again. The single reached No. 1 in Italy and resulted in the trio hosting their own TV show there. The group (including Kathy) experienced a resurgence of success in the UK the following year when the Sure as Pure remix of "We Are Family" was released and peaked at No. 5. In 1996, after witnessing a shooting in LA, Joni Sledge wrote the protest song "Brother, Brother stop" that was recorded by the trio and featured on a new greatest hits CD. In 1997, Joni produced the group's 8th studio album African Eyes, that garnered critical acclaim and was nominated for a Grammy as best produced CD.

In December 2000, Sister Sledge performed at The White House for the President and First Lady at the final Christmas party of the Clinton Administration. The following year, in the aftermath of 9/11, all four sisters re-recorded "We Are Family" as a benefit record with a host of other artists, including Diana Ross and Patti Labelle. Debbie, Joni and Kim produced solo material during this period before being reunited in the studio to record the album Style in 2003. Due to legal difficulties, the project officially remains unreleased.[citation needed] Kim, an ordained minister, took some time out from the group and Joni and Debbie continued to tour (with various guest artists), and in 2005 performed on the famous pyramid stage at the The Glastonbury Music Festival in the UK.

With Kim re-joining in 2015, all three sisters performed at a large scale charity benefit in London for Save The Children and were invited to perform for Pope Francis along with Aretha Franklin and Andrea Bocelli at The world Festival of Families in Philadelphia, PA. The performance was covered by the worlds media and went viral due to crowds of Nuns in the audience dancing to "We Are Family". Controversy surrounded the event when stories appeared in the media claiming that Kathy had been banned from performing with her sisters. Debbie, Joni and Kim soon thereafter launched the brand concept, Nothing Is Greater Than Love, and posted a personal response to these allegations on the campaign blog.

The trio are currently in the studio working on new material including a single set for release in Spring 2016, and are also said to be in the process of setting up the Florez Sledge Foundation, a charity named in remembrance of their late mother.


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When Sister Sledge recorded their debut album Circle of Love in 1974, all four members of the group were still in their teens -- Debbie Sledge, the oldest member, was 19, while the youngest, Kathy, was only 15. However, there's nothing bubblegum about Circle of Love. If Sister Sledge sounded like a female equivalent of the early Jackson 5 on 1973's "Mama Never Told Me," this vinyl LP found the Philadelphians sounding more like a younger version of the Three Degrees (who were also from Philly). This LP had a gem of a single in the haunting "Love, Don't You Go Through No Changes on Me," which wasn't huge but did reach number 31 on the R&B charts. The rest of the album isn't that strong, nor is it in a class with Sister Sledge's late-1970s/early-1980s work with Chic and Narada Michael Walden. Nonetheless, it's a decent, if uneven, collection of Philly soul, and the siblings handle themselves well on material ranging from the Gamble & $Huff-minded "Pain Reliever" and the charming "Cross My Heart" to the Thom Bell/Linda Creed ballad "Give in to Love."



Sister Sledge - Circle Of Love (flac 213mb)

01 Circle Of Love (Caught In The Middle) 3:30
02 Cross My Heart 3:22
03 Protect Our Love 4:10
04 Give In The Love 4:55
05 Love Don't You Go Through No Changes On Me 3:24
06 Don't You Miss Him Now 3:15
07 Pain Reliever 3:30
08 You're Much Better Of Loving Me 3:17
09 Fireman 3:40

Sister Sledge - Circle Of Love  (ogg  81mb)

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On their second time around the Sledge's have jumped ship to the Munich scene,but it's not Giorgio Moroder and Pete Ballotte;they've hooked up with producers Michael Kunze and Sylvester Levay,who was also the keyboard and sax player on this album. So this album allowed them to not only stay contemporary and embrace eurodisco to a degree but also diversify their musical pallet. Unlike Circle of Love this album focuses on uptempo and dance tunes with a larger ammount of variety.The punchy "Blockbuster Boy",two Stevie Wonder covers in "I Was Made To Love Him" and "As" as well "Moondancer" and "My Favorite Song" certainly fit right into the then highly popular disco sound and,as always,the sisters inject more then enough of their own personalities and spunk to give these tunes a timeless feeling. But the sisters also get down with some heavy funk-namely on Kathie Sledge's self penned "Do The Funky Do"-with it's punching keyboards and seriously deep beats it actually qualifies as a funk classic along the same lines as The Bar-Kay's "Holy Ghost". They add a little more disco stylings to the same general pallet on "Funky Family",which could actually be seen as a somewhat more rowdy and less tame prelude to "We're A Family".A cover of "Sneaking Sally Through The Alley" is with little doubt one of the funkiest things on this album,and his made even more of a surprise since the sisters didn't alter the lyrics to a mans point of view as they did on their Stevie Wonder cover. This would be their final album before the pair of Chic productions that would make the Sledge's superstars and it will be obvious even on the first listen that the future starts here and the changes are coming fast.



Sister Sledge - Together (flac  327mb)

01 Blockbuster Boy 3:54
02 Do The Funky Do 4:31
03 I Was Made To Love Her (Him) 3:02
04 Hold On To This Feeling 3:59
05 As 4:56
06 Sneaking Sally Through The Alley 3:33
07 Funky Family 4:59
08 Baby It's The Rain 3:31
09 Can't Mess Around With Love 4:12
10 My Favorite Song 3:44
11 Hands Full Of Nothing 4:02
12 Moondancer 4:18

Sister Sledge - Together  (ogg 122mb)

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Before 1979's We Are Family, Sister Sledge wasn't a huge name in the R&B/disco world. The group had enjoyed a small following and scored a few minor hits, including "Love, Don't You Go Through No Changes on Me" in 1974 and "Blockbuster Boy" in 1977. But it wasn't until We Are Family that the Philadelphia siblings finally exploded commercially, and the people they have to thank for their commercial success are Chic leaders Nile Rodgers and Bernard Edwards. The Rodgers/Edwards team handles all of the writing, producing, and arranging on this album; so not surprisingly, almost everything on We Are Family is very Chic-sounding. That is true of the sexy "He's the Greatest Dancer" and the anthemic, uplifting title song (both of which soared to #1 on the R&B charts), as well as excellent album tracks like the lush "Easier to Love," the perky "One More Time," and the addictive "Thinking of You." The least Chic-sounding tune on the album is the ballad "Somebody Loves Me," which favors a classic sweet soul approach and is the type of song one would have expected from Thom Bell, Gamble & Huff, or Holland-Dozier-Holland rather than Rodgers/Edwards. Meanwhile, the intoxicating "Lost in Music" (a #35 R&B hit) is about as Chic-sounding as it gets. Both creatively and commercially, We Are Family is Sister Sledge's crowning achievement.



Sister Sledge - We Are Family (flac 208mb)

01 He's The Greatest Dancer 6:16
02 Lost In Music 4:52
03 Somebody Loves Me 4:59
04 Thinking Of You 4:31
05 We Are Family 8:24
06 Easier To Love 5:05
07 You're A Friend To Me 5:31
08 One More Time 3:17

Sister Sledge - We Are Family (ogg  81mb)

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A decline was inevitable after the platinum across-the-board success of We Are Family, but Love Somebody Today wasn't quite the dropoff many claimed at the time. Nile Rodgers and Bernard Edwards again properly kept the emphasis on their harmonies, interaction and vocal flexibility, and provided them with more fine material. But this time around, only "Got To Love Somebody" managed to click. The anti-disco backlash was in full bloom, and fine singles like "Easy Street,""How To Love" and "Reach Your Peak" were completely ignored. R&B stations reacted in a lukewarm fashion as well, even though "Reach Your Peak" did prove a moderate R&B hit.



Sister Sledge - Love Somebody Today (flac 249mb)

01 Got To Love Somebody 6:56
02 You Fooled Around 4:30
03 I'm A Good Girl 4:12
04 Easy Street 4:35
05 Reach Your Peak 4:59
06 Pretty Baby 4:04
07 How To Love 4:36
08 Let's Go On Vacation 5:10

Sister Sledge - Love Somebody Today (ogg  92mb)

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Hello,

Today's artist is an Japanese minimalist electronic composer, a leading figure among the new crop of computer-based musicians exploring the aesthetic possibilities opened up by digital production technologies. Rhythmically, Ikeda's music is highly imaginative, exploiting beat patterns and, at times, using a variety of discrete tones and noise to create the semblance of a drum machine. His work also encroaches on the world of ambient music; many tracks on his albums are concerned with slowly evolving soundscapes, with little or no sense of pulse........N'Joy

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Japan’s leading electronic composer and visual artist, Ryoji Ikeda, born in Gifu Japan in 1966, focuses on the minutiae of ultrasonics, frequencies and the essential characteristics of sound itself. Fascinated by data, light and sound, he shapes music, time and space by mathematical methods and explores these phenomena as sensation, pulling apart their physical properties to reveal their relationships with human perception. Ikeda has gained a reputation as one of the few international artists working convincingly across both visual and sonic media. Since 1995, he has been intensely active through concerts, installations, and recordings, integrating sound, acoustics and sublime imagery. He has been hailed by critics as one of the most radical and innovative contemporary composers for his live performances, sound installations and album releases. His albums +/- (Touch, 1996), 0°C (Touch, 1998) and matrix (Touch, 2000) pioneered a new minimal world of electronic music, employing sine waves, electronic sounds, and white noise. Using computer and digital technologies to the utmost limit, his audiovisual concerts datamatics (2006 – present), C 4 I (2004 – 2007) and formula (2000 – 2006) suggest a unique orientation for our future multimedia environment and culture. His ongoing body of work, datamatics, is a long-term programme of moving image, sculptural, sound and new media works that use data as their theme and material to explore the ways in which its abstracted view of reality is used to encode, understand and control the world. In spectra II (2002), a narrow, ceiling-covered corridor fitted with strobe lights and coursed by high frequency sounds, continuously alters the visitors’ sensory experience of the space. In a later adaptation, spectra [for Terminal 5, JFK], the installation emanates an aura of almost total invisibility and inaudibility due to its intense brightness and ultra-frequencies.

In Spring 2008, Ikeda presented his first solo exhibition in Japan at the Yamaguchi Center for Arts & Media, featuring a number of works in the datamatics series including data.film, a sculptural wall installation consisting of a series of 35mm film mounted in a light box, and data.tron, an audiovisual installation where each single pixel of visual image is strictly calculated by mathematical principle and projected onto a large screen. The exhibition premiered test pattern, an installation comprising visual patterns converted and generated from sound waveforms in real–time. Ikeda released his eighth solo album test pattern (raster-noton) in April 2008 to coincide with the exhibition.In Summer 2008, Ikeda produced a series of large-scale public realm works for Dream Amsterdam, lighting four cultural and civic spaces with intensely bright white light. This concept - spectra - was then adapted for Nuit Blanche, Paris’ all night arts festival. In this version, Ikeda installed powerful vertical beams of bright white light, and an accompanying sound installation within a grid next to Tour Montparnasse, the city’s tallest skyscraper. In June 2010, spectra formed part of Sonár / Grec Festival de Barcelona, and it was exhibited in September 2010 at the Aichi Triennale in Nagoya, Japan. Ikeda intends to continue the series through  site-specific works commissioned for locations across the world. A solo exhibition of Ryoji’s work was presented at Le Laboratoire in Paris (October 2008 – January 2009). The exhibition was inspired by discussions with Harvard number theorist Benedict Gross about mathematical definitions of infinity, and took for its title the mathematical and philosophical concept V≠L. The exhibition featured new works including a prime number, a natural number, line and spectra III.

In April 2009, Ikeda presented his largest solo exhibition to date at the Museum of Contemporary Art Tokyo. +/- [the infinite between 0 and 1] included three adaptations of a prime number / a natural number, in a series entitled the transcendental; data.film; data.matrix [no1-10], a ten- screen installation featuring video sequences from datamatics [ver.2.0]; matrix [5ch version], a pure sound installation formed by a grid of speakers through which visitors walked; and data.tron [3 SXGA+ version], a three -channel version of data.tron. A selection of these works toured to the Bangkok Art and Culture Centre (February – March 2010). data.tron [8K enhanced version] was commissioned for the Deep Space Gallery at Ars Electronica Center, Linz. It has been screened there regularly since January 2009. In September 2009 data.scan was exhibited at the Surrey Art Gallery, Vancouver, followed by exhibitions at the Victoria & Albert Museum, London (December 2009 – April 2010), Seconde Nature Festival, Aix en Provence (June – July 2010), Museum of the Central Academy of Fine Arts, Beijing (October – November 2010). data.scan is currently showing at the Garage Center for Contemporary Culture, Moscow. In September 2010 Ikeda presented his first New York Exhibition, the transcendental, at the FIAF Gallery. Ikeda was back in New York in May 2011 to present the transfinite, a new commission by the Park Avenue Armory. In the Wade Thompson Drill Hall, the artist created a visual and sonic environment where visitors are immersed in projected synchronised data. The versatile range of Ikeda’s research is demonstrated by his collaborations with Carsten Nicolai on the project cyclo. and with choreographer William orsythe/Frankfurt Ballett, artist Hiroshi Sugimoto, architect Toyo Ito and artist collective Dumb Type, among others. The first complete catalogue of Ikeda’s seminal work, formula [book + dvd] (Forma) was published in 2005. In 2009, a catalogue of +/- [the infinite between 0 and 1] was published alongside the exhibition at MOT, and provides a history of Ikeda’s work to date. In 2001, Ikeda was awarded the Ars Electronica Golden Nica prize in the digital music category and he was short-listed for a World Technology Award in 2003, and then again in 2010.


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This EP is Japanese composer Ryoji Ikeda's contribution to the 20' to 2000 series of minimalist electronica and noise, for which the label has won awards for its design and concept. What resembles a piece of computer hardware in its oblique package is in fact an album of equally discrete and alien music. Ikeda is best-known for his self-stylized computer music, which works as much on pulse and rhythm as it does upon the architecture in which it is played, using extreme contrasts of repetitive patterns in the high and low registers. At times, his music resembles Detroit techno -- were it stripped of all tonality and texture and reduced to the absolute essentials of pure tone and rhythm. Like the Finnish post-techno duo Pan Sonic, the sounds are like pure electricity. On the eight tracks here, Ikeda alters his formula somewhat, and presents short tracks that are less geometric than the detailed design of his +/- CD, the album that secured his place as one of Japan's greatest electronic musicians of the late '90s. On 20' to 2000, the untitled pieces are noisier with a more improvisational feel, and have a gritty quality more like Fennesz or Pita than the often sterile ambience associated with the glitch music movement.



Ryoji Ikeda - 20 to 2000 EP (flac  48mb)

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The collaboration between experimental electronica artists Ryoji Ikeda and Carsten Nicolai started in 1999 with a joint performance in the New Forms series of concerts held in Leipzig, Germany. A first track appeared on the Raster-Noton compilation CD New Forms: Contemporary Electronic Music in the Context of Art. Cyclo followed a few months later. Sine waves, computer glitches, and misplaced signals come together to form interesting and surprisingly accessible glitch electronica pieces -- accessible when one considers both artists' previous efforts. Nicolai's propensity for rhythm takes the lead over Ikeda's more abstract sonic landscapes. Beat patterns arise from overlapping loops and slowly disintegrate, thanks to calculated miscalculations. The title Cyclo gives a good indication of the importance of loops in the duo's music, but one should not think these ten untitled tracks are the least static. Transformations are aplenty, surprise beat patterns lurk in the corners and demanding noises (high-pitched whines, subthreshold basses, polluting sounds) constantly challenge the listener. The last piece features only a soft ruffling noise and sounds exactly the same whether it is listened normally or while holding the "scan forward" button of the CD player. The CD is packaged in what could be described as a slot-loading box, without booklet.



Ryoji Ikeda & Carsten Nicolai - Cyclo (flac 230mb)

01 C0 1:25
02 C1 5:26
03 C2 5:26
04 C3 1:09
05 C4 5:44
06 C5 2:25
07 C6 3:38
08 C7 5:18
09 C8 7:42
10 C9 3:35

 Ryoji Ikeda & Carsten Nicolai - Cyclo (ogg   126mb)

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Some records are designed to provide a peculiar listening experience. You won't listen to Matrix very often (at least not the first CD -- chances are you'll listen to it only once), but you might be glad you did. Disc one contains "Matrix (For Rooms)," a 60-minute piece. The concept is simple: the two stereo channels are completely separated, each one emitting a different frequency. They start in almost-unison and develop on top of each other. These frequencies are designed to fill the listening room with sound waves and the listener is invited to create his own music by moving into the room, especially by shifting the position of his head, changing the balance between frequencies, and thus altering the sound he hears. Simply put: Since the soundwaves overlap differently at any two points of the room, if four people are in the room, each one hears different music. Listening to "Matrix (For Rooms)" with headphones would strip it of any meaning. But it is perfect for tai chi exercises and avant-garde dancers might find something very stimulating here. Disc two contains ".Matrix," a 31-minute piece. More conventional in the fact that stereo channels are not isolated, this is an avant-garde electronic piece. A light low-frequency pulse gives it structure while pure tones bounce from left to right. Each one of the ten sections is different from the previous: tempos and rhythm structures change, although tone colors remain quite the same. The whole thing feels very dry and the hypnotic stereo games and pure electronic tones can even have a sickening effect on the listener. Matrix is extreme conceptual music, something that is better experienced in a large hall than in your living room, but curious minds might want to try it.



Ryoji Ikeda - Matrix (flac  220mb)

Matrix [For Rooms] (99-00)
101 0 0 0 0 0 0 0 0 0 112:00
102 0 0 0 0 0 0 0 0 1 05:30
103 0 0 0 0 0 0 0 1 0 04:30
104 0 0 0 0 0 0 1 0 0 05:30
105 0 0 0 0 0 1 0 0 0 04:30
106 0 0 0 0 1 0 0 0 0 05:30
107 0 0 0 1 0 0 0 0 0 04:30
108 0 0 1 0 0 0 0 0 0 05:30
109 0 1 0 0 0 0 0 0 0 04:30
110 1 0 0 0 0 0 0 0 0 07:57
Matrix (99-00)
201 1 1 1 1 1 1 1 1 1 03:02
202 1 1 1 1 1 1 1 1 0 12:24
203 1 1 1 1 1 1 1 0 1 11:00
204 1 1 1 1 1 1 0 1 1 11:27
205 1 1 1 1 1 0 1 1 1 13:34
206 1 1 1 1 0 1 1 1 1 12:42
207 1 1 1 0 1 1 1 1 1 14:55
208 1 1 0 1 1 1 1 1 1 15:22
209 1 0 1 1 1 1 1 1 1 10:59
210 0 1 1 1 1 1 1 1 1 15:32

 Ryoji Ikeda - Matrix  (ogg    81mb)

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Ryoji Ikeda deserved a prize for "surprise album of the year" in 2002. As a follow-up to the lavishly conceived sound art set Matrix, he released Op. -- as in opus. At the very bottom of the inner sleeve of the digipack is printed in tiny characters this shocking sentence: "No electronic sounds used." This album contains three acoustic works for string ensembles (quartets and nonet). The project started with a commission for "Expériences de Vol 3," part of a series of workshops organized by Art Zoyd and Ensemble Musiques Nouvelles. "Op. 1" (completed in 2001), scored for nine string players (members of the Ensemble Musiques Nouvelles ensemble), is the result of this experiment. Ikeda uses long and quiet chords, very delicate and chiselled like his most minimal electronic compositions. The effect is of violins being dragged by the waves on the shore, something very similar to some of Tibor Szemzó's works (particularly The Other Shore). This piece, here presented in four separate movements, had been released on the Sub Rosa triple set Expériences de Vol only two or three months before. "Op. 2" and "Op. 3" were recorded by a Japanese string quartet in May 2002. The second piece follows in the footsteps of the first one, but the third gets more luxurious, even expressionist, which makes it lose some of its appeal -- it evokes more conservative contemporary music. The disc is rounded up with a prototype version of "Op. 1" recorded with three members of Ensemble Musiques Nouvelles.



Ryoji Ikeda - Op (flac 184mb)

op. 1 (For 9 Strings)
01 I 2:20
02 II 4:34
03 III 4:46
04 IV 3:22
05 op. 2 (For String Quartet) 15:22
06 op. 3 (For String Quartet) 6:57
op.1 (Prototype)
07 I 2:18
08 II 4:39
09 III 3:59
10 IV 3:30

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His first full length since 2002's Op. and a supplemental piece to 2004's C4I DVD, Ryoji Ikeda's Dataplex deals with the idea of data and how it helps to shape our world. Concept framework aside this is also one of the most physically jarring pieces of sonic work in Ikeda's catalog, utilizing ultra high and low stabs of sound that are abrasive and stunning, especially on a clear sound system. These blips of sound eventually morph into rhythmic patterns that rigid, but funky in a very Kraftwerk fashion. The second in a series of audio and visual presentations, Dataplex is a promising to start to what could be one of the most ambitious projects of the post-glitch movement.



Ryoji Ikeda - Dataplex (flac 272mb)

01 data.index 1:39
02 data.simplex 1:02
03 data.duplex 0:53
04 data.triplex 1:45
05 data.multiplex 1:50
06 data.complex 0:49
07 data.hypercomplex 1:20
08 data.googolplex 0:51
09 data.microhelix 3:13
10 data.superhelix 2:28
11 data.minimax 3:09
12 data.syntax 4:17
13 data.telex 1:06
14 data.flex 2:28
15 data.reflex 4:16
16 data.convex 1:29
17 data.vertex 2:06
18 data.vortex 5:49
19 data.matrix 10:01
20 data.adaplex 5:00

Ryoji Ikeda - Dataplex (ogg  136mb)

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Hello,

Watched any great books lately? Now you can. The most celebrated graphic novel of all time that broke the conventional mold continues to break new ground. Watchmen illustrator Dave Gibbons oversees this digital version of the graphic novel that adds limited motion, voice and sound to the book's strikingly drawn panels. All 12 chapters of the story are here, nearly 5 hours spanning everything from the mysterious demise of the Comedian to the crisscrossed destinies of loosely allied superheroes to their fateful impact on the world. Be in the know. Be watching. With Watchmen: The Complete Motion Comic.... N'Joy

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A critical and commercial success, Watchmen is highly regarded in the comics industry and is frequently considered by several critics and reviewers as comics' greatest series and graphic novel. In time, the series has also become one of the best-selling graphic novels ever published. Watchmen was the only graphic novel to appear on Time's 2005 "All-Time 100 Greatest Novels" list, where Time critic Lev Grossman described the story as "a heart-pounding, heartbreaking read and a watershed in the evolution of a young medium." It later appeared on Time's 2009 "Top 10 Graphic Novels" list, where Grossman further praised Watchmen, proclaiming "It’s way beyond cliché at this point to call Watchmen the greatest superhero comic ever written-slash-drawn.


The Watchmen: Motion Comic is a 2008 American animated short film series of motion comics for web and television based on the DC comic book series Watchmen, written by Alan Moore and illustrated by Dave Gibbons. The series consists of twelve abridged 25–30 minute segments, each based on and sharing a name with one of the twelve chapters of the book. Both male and female characters are voiced by actor Tom Stechschulte. It was released on DVD in March 2009 to coincide with the Watchmen movie’s release.


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In October 1985, during the Soviet invasion of Afghanistan and on the eve of nuclear war, a depressed Rorschach, one of several outlawed vigilante superheroes, begins to investigate why all former masked superheroes are either dead or have declined. When another one of his former colleagues is murdered, the outlawed but no less determined masked vigilante Rorschach sets out to uncover a plot to kill and discredit all past and present superheroes. As he reconnects with his former crime-fighting legion--a disbanded group of retired superheroes, only one of whom has true powers--Rorschach glimpses a wide-ranging and disturbing conspiracy with links to their shared past and catastrophic consequences for the future.



Watchmen The Motion Comic 09 The Darkness of Mere Being... (avi  233mb)

09 The Darkness of Mere Being... 25:31

On Mars, Laurie (Silk Spectre) tries to convince Jon (Doctor Manhattan) to save the world, who insists life is unimportant. Laurie talks about her childhood, which is shown in a series of flashbacks. Laurie realises that the Comedian is her real father.

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previously

Watchmen The Motion Comic 01 At Midnight, All the Agents... (avi  233mb)
Watchmen The Motion Comic 02 Absent Friends... (avi  233mb)
Watchmen The Motion Comic 03 The Judge of All the Earth... (avi  233mb)
Watchmen The Motion Comic 04 Watchmaker... (avi  233mb)
Watchmen The Motion Comic 05 Fearful Symmetry... (avi  233mb)
Watchmen The Motion Comic 06 The Abyss Gazes Also... (avi  233mb)
Watchmen The Motion Comic 07 A Brother to Dragons... (avi  233mb)
Watchmen The Motion Comic 08 Old Ghosts... (avi  233mb)

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


Today an artist who fused samba, salsa, and bossa nova with rock and folk music, he's recognized today as one of the pioneers in world music. A multi-instrumentalist and singer/songwriter, Gil joined his first group, the Desafinados, in the mid-'50s and by the beginning of the 1960s was earning a living as a jingle composer. Although known mostly as a guitarist, he also holds his own with drums, trumpet, and accordion.. .....N'Joy

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continued from last week

When he went back to Bahia in 1972, Gil focused on his musical career and environmental advocacy work.[18] He released Expresso 2222 the same year, from which two popular singles were released. Gil toured the United States and recorded an English-language album as well, continuing to release a steady stream of albums throughout the 1970s, including Realce and Refazenda. In the early 1970s Gil participated in a resurgence of the Afro-Brazilian afoxé tradition in Carnaval, joining the Filhos de Gandhi (Sons of Gandhi) performance group which only allowed black Brazilians to join. Gil also recorded a song titled "Patuscada de Gandhi" written about the Filhos de Gandhi that appeared on his 1977 album Refavela. Greater attention was paid to afoxé groups in Carnaval because of the publicity that Gil had provided to them through his involvement; the groups increased in size as well. In the late 1970s he left Brazil for Africa and visited Senegal, Ivory Coast, and Nigeria. He also worked with Jimmy Cliff and released a cover of "No Woman, No Cry" with him in 1980, a number one hit that introduced reggae to Brazil.

In 1996, Gil contributed "Refazenda" to the AIDS-Benefit Album Red Hot + Rio produced by the Red Hot Organization. In 1998 the live version of his album Quanta won Gil the Grammy Award for Best World Music Album. In 2005 he won the Grammy Award for Best Contemporary World Music Album for Eletracústico. In May 2005 he was awarded the Polar Music Prize by Carl XVI Gustaf of Sweden in Stockholm, the prize's first Latin American recipient. On October 16 of the same year he received the Légion d'honneur from the French government, coinciding with the Année du Brésil en France (Brazil's Year in France).

In 2010 he released the album Fé Na Festa, a record devoted to forró, a style of music from Brazil's northeast. His tour to promote this album received some negative feedback from fans who were expecting to hear a set featuring his hits. In 2013, Gilberto Gil plays his own role as a singer and promoter of cultural diversity in a long feature documentary shot around the southern hemisphere by Swiss filmmaker Pierre-Yves Borgeaud, Viramundo: a musical journey with Gilberto Gil, distributed worldwide. The film also inaugurates the T.I.D.E. experiment for pan-European and multi-support releases.


Gil with former President of Brazil Luiz Inácio Lula da Silva

Gil describes his attitude towards politics thus: "I'd rather see my position in the government as that of an administrator or manager. But politics is a necessary ingredient." His political career began in 1987, when he was elected to a local post in Bahia and became the Salvador secretary of culture. In 1988, he was elected to the city council and subsequently became city commissioner for environmental protection. However, he left the office after one term and declined to run for the National Congress of Brazil. In 1990, Gil left the Brazilian Democratic Movement Party and joined the Green Party. During this period, Gil founded the environmental protection organization Onda Azul (Blue Wave), which worked to protect Brazilian waters. He maintained a full-time musical career at the same time, and withdrew temporarily from politics in 1992, following the release Parabolicamará, considered to be one of his most successful efforts. On October 16, 2001 Gil accepted his nomination to be a Goodwill Ambassador for the Food and Agriculture Organization (FAO) of the United Nations, having promoted the organization before his appointment.

When President Luiz Inácio Lula da Silva took office in January 2003, he chose Gil as Brazil's new Minister of Culture, only the second black person to serve in the country's cabinet. The appointment was controversial among political and artistic figures and the Brazilian press; a remark Gil made about difficulties with his salary received particular criticism. Gil is not a member of Lula's Workers' Party and did not participate in creating its cultural program. Shortly after becoming Minister, Gil began a partnership between Brazil and Creative Commons. As Minister, he has sponsored a program called Culture Points, which gives grants to provide music technology and education to people living in poor areas of the country's cities. Gil has since asserted that "You've now got young people who are becoming designers, who are making it into media and being used more and more by television and samba schools and revitalizing degraded neighborhoods. It's a different vision of the role of government, a new role." Gil has also expressed interest in a program that will establish an Internet repository of freely downloadable Brazilian music. Since Gil's appointment, the department's expenditures have increased by over 50 percent. In November 2007 Gil announced his intention to resign from his post due to a vocal cord polyp. Lula rejected Gil's first two attempts to resign, but accepted another request in July 2008. Lula said on this occasion that Gil was "going back to being a great artist, going back to giving priority to what is most important" to him.

Gil has been married four times. His fourth wife is Flora Nair Giordano Gil Moreira. The couple has five children, four of whom are still living. The fifth child – Pedro Gil, Egotrip's drummer – died in a car accident in 1990. Preta Gil, an actress and singer, is his daughter. Gil's religious beliefs have changed significantly over his lifetime. Originally, he was a Christian, but was later influenced by Eastern philosophy and religion, and, later still, explored African spirituality. He is now an agnostic. He practices yoga and is a vegetarian. Gil has been open about the fact that he has smoked marijuana for much of his life. He has said he believes "that drugs should be treated like pharmaceuticals, legalized, although under the same regulations and monitoring as medicines"

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As on Caetano Veloso's album from the same year, Gilberto Gil does not sound happy away from his homeland. Recorded in London, the eight songs on his final self-titled album are mostly blues and introspective, downbeat pop songs. Steve Winwood's "Can't Find My Way Home" is an inspired choice, delivered with a crushing sentimentality rarely found in other versions. Gil also reprises "Volks, Volkswagen Blues" from his 1969 LP. The effect isn't quite as doom-laden as Veloso's work, but Gil is definitely homesick, as the touching "Nêga (Photograph Blues)" shows. Most reisssues included three bonus tracks: a live version of "Can't Find My Way Home" along with "Up from the Skies" and "Sgt. Pepper's Lonely Hearts Club Band."



Gilberto Gil - Nega (flac  297mb)

01 Nêga (Photograph Blues) 5:50
02 Can't Find My Way Home 5:17
03 The Three Mushrooms 5:38
04 Babylon 4:19
05 Volkswagen Blues 4:08
06 Mamma 3:45
07 One O'clock Last Morning, 20th April 1970 4:39
08 Crazy Pop Rock 4:13
Bonus (Live) :
09 Can't Find My Way Home 6:34
10 Up From The Skies 5:11
11 Sgt. Pepper's Lonely Hearts Club Band 9:35

Gilberto Gil - Nega   (ogg   139mb)

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Expresso 2222, Gilberto Gil's first album back in Brazil after spending two years in exile, is a spirited return to form, filled with driving, funky bass, hammering piano, and percussive guitar work. Gil's compositions are on par with the best of his 1968 and 1969 self-titled albums, but is a more even overall affair forsaking the outright diversity Gil showed on those previous albums for a more cohesive set of songs, and while the performances aren't as outrageously groundbreaking, with Expresso 2222 Gil had already proved how far he was capable of pushing the envelope, and so the insane arrangements were no longer necessary. This makes Expresso 2222 one of Gil's most immediately palatable releases of his entire career, and compared to the standards of global rock & roll it is of the most compelling and complex yet accessible albums released in the 20th century. Gil's compositions are melodic and beautiful, and his arrangements are imaginative as always; from using a chorus of backing vocals to great effect on "O Canto de Ema" and "Sai do Sereno" to the rhythmic interplay between Gil's guitar, vocals, and layered percussion on the title track, Gil is in top form throughout the album.



Gilberto Gil - Expresso 2222 (flac 291mb)

01 Pipoca Moderna 1:59
02 Back In Bahia 4:37
03 O Canto De Ema 6:23
04 Chiclete Com Banana 3:25
05 Ele E Eu 2:20
06 Sai Do Sereno 3:21
07 Expresso 2222 2:40
08 O Sonho Acabou 3:33
09 Oriente 6:01
Bonus
10 Cada Macaco No Seu Galho 4:25
11 Vamos Passear No Astral 2:55
12 Está Na Cara, Está Na Cura 2:40

Gilberto Gil - Expresso 2222 (ogg   113mb)

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This album captures Gilberto Gil during a show in São Paulo in October 1974, performing very fine but rather rare songs such as the groovy "João Sabino," the acoustic "Cibernética," and the lovely "Menina Goiaba.""Lugar Comum" was written by Gil together with the talented pianist and composer João Donato. This CD shows Gil at the most vibrant, creative, and inspired point of his carreer, effortlessly mixing rock, baião, maracatu, xote, bossa nova, and samba to create his own unique and now world famous brand of Brazilizan pop. Apart from his own compositions, Gil also interprets "Sim Foi Você" by Caetano Veloso and "Herói das Estrelas" by Jorge Mautner. This is one of the least known but at the same time one of the best and most consistent albums by Gil, unlikely to leave any fan disappointed.



Gilberto Gil - Ao Vivo (flac 303mb)

01 João Sabino 11:33
02 Abra O Olho 4:49
03 Lugar Comum 4:49
04 Menina Goiaba 6:47
05 Sim, Foi Você 5:46
06 Herói Das Estrelas 6:01
Bônus (Estúdio)
07 Cibernética 7:45
08 Dos Pés À Cabeça 4:27
09 O Compositor Me Disse 4:01
10 Copo Vazio 6:39
11 Dia De Festa 5:05

Gilberto Gil - Ao Vivo (ogg   144mb)

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The end of the military dictatorship in Brazil left the country lost in its references and opened way for a period of wild hedonism. Realce, one of Gilberto Gil's most disco-influenced albums, is a document of that period. Released in LP format in 1979, it had the disco ideology expressed in several songs like "Realce" (which became slang for a dangerous drug frequently consumed in those places), "Sarará Miolo" (also a danceable tune, finds room for social criticism through black pride, where Gil reproaches the use of straightening and discoloring of hair by his brothers and sisters), "Marina" (featuring Dorival Caymmi), and "Toda Menina Baiana" (a hybrid of disco and Bahian samba). But there are other songs more faithful to Gil's style. "Superhomem - A Canção" is a sensitive ballad about the bisexual composition of human psyche, and the importance of the feminine in society. "Tradição" is a beautiful samba, richly harmonized, and the lyrics talk about Gil's fascination with a guy of the streets. "Rebento," another juicy samba with intelligent lyrics, was re-recorded by Elis Regina. And "Não Chore Mais," which was another big hit of the album, is a version of B. Vincent's "No Woman, No Cry" made famous by Bob Marley.



Gilberto Gil - Realce (flac 211mb)

01 Realce 4:48
02 Sarará Miolo 4:51
03 Superhomem - A Canção 4:06
04 Tradiçao 4:53
05 Marina 4:16
06 Rebento 2:55
07 Toda Menina Baiana 3:52
08 Logunedé 4:01
09 Não Chore Mais (No Woman, No Cry) 4:43

Gilberto Gil - Realce   (ogg   103mb)

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Hello, just had a rather uneventful Easter holiday, maybe it was that Shiva weed but i slept a lot. That said last week with the attacks from the Daesh death squads and the death of the greatest football player that ever lived, Johan Cruyf, the world had plenty to contend with. Curiously there was the discussion about weather Easter is a pagan or Christian holiday, well at the time when Christian faith was expanding across Europe, first thing they did was usurping the feasts the pagan's held and give it a Christian touch, be it Samhain which became All Souls day or the winter solstice which became Christ birthday . Easter then became the celebration of the Resurrection of Jesus Christ. As pagans celebrated the rebirth of nature on the equinox of 21st of March.equating it with the the rebirth of Christ is a shoe in, and that's how the Christian faith managed to usurp Europe, this and a cynical policy of keeping people ignorant....


Today's artists are an Australian industrial music and noise music group formed in 1978. They were fronted by mainstay member, Graeme Revell on keyboards and percussion. In 1980 the group travelled to the United Kingdom where they issued their debut album, Information Overload Unit. They were "at the forefront of the local post-punk, electronic/experimental movement of the late 1970s ... their music progressed from discordant, industrial-strength metal noise to sophisticated and restrained dance-rock with strange attributes".. ..N'Joy

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SPK was formed in 1978 in Sydney when New Zealand-born Graeme Revell (aka "EMS AKS", "Operator", "Oblivion") met Neil Hill (aka "Ne/H/il"). Revell was working as a nurse on a psychiatric ward at Callan Park Hospital where Hill was also working. Hill and Revell shared a house and an interest in the manifesto of the German radical Marxist group known as the Sozialistisches Patientenkollektiv (SPK). The duo were influenced by Kraftwerk, Can, Neu!, Faust, and John Cage – they started playing their own variety of industrial music as SPK. According to rock music historian, Ian McFarlane the acronym SPK is variously given as "SoliPsiK, SepPuKu, Surgical Penis Klinik, System Planning Korporation and Sozialistisches Patienten Kollektiv". The band recruited two teenagers, Danny Rumour on lead guitar and David Virgin on bass guitar (both ex-Ugly Mirrors, and went on to form Sekret Sekret), on early recordings by SPK in 1979. In that year they independently released three 7" pressings: SoliPsiK as a three-track extended play in April, "Factory" as a single in August and "Mekano" in November.

Dominik Guerin (aka "Tone Generator") joined on synthesisers in 1980, and later concentrated on the band's visual content. In May they issued an EP, Meat Processing Section, as Surgical Penis Klinik. Without Hill, SPK relocated to London where Guerin and Revell recorded their debut album, Information Overload Unit, in a Vauxhall squat with the help of Revell's brother Ashley Revell (aka "Mr.Clean") and Mike Wilkins (guitar, bass guitar, backing vocals). The album deals with psychotic states and mental retardation. The original 1981 release on Side Effects has a black cover with a small picture of head being operated on, the 1985 version on Normal is blue and pictures a man in a wheelchair and the 1992 CD reissue has System Planning Korporation with the initials SPK highlighted in red. McFarlane suggested "the album's harsh, thumping sound appealed to fans of Throbbing Gristle and early Cabaret Voltaire". In June 1980 they issued the single, "Slogun", with lyrics inspired by the Marxist manifesto: "Kill, Kill, Kill for inner peace / Bomb, Bomb, Bomb for mental health / Therapy through violence!" Other musicians working with SPK included James Pinker (drums, percussion) and Karel van Bergan (violin, vocals), who toured with them to the United States. In July 1981 in Australia, the M Squared label released another single, "See Saw". The cover depicts SoliPsiK with members given as Kitka (aka Kit Katalog), Sushi (aka Margaret Hill), Charlyiev (aka Paul Charlier) and Skorne (Neil Hill). Both tracks are co-written by Charlier and Hill.

In 1982 SPK's Guerin and Revell were joined by Brian Williams (aka Lustmord), John Murphy of Forresta di Ferro (aka "Kraang") and Derek Thompson (who later had a brief stint in The Cure and went on to record as Hoodlum Priest). SPK's second album, Leichenschrei (English: The Scream of the Corpse) (1982), shows Sozialistisches Patienten Kollektiv (English: Socialist Patients' Collective). After its recording they were joined by Sinan Leong on vocals, who had initially auditioned for a planned SPK side-project, Dance Macabre. Leong and Revell later married. In 1983 Thompson left SPK because Revell "wanted to make a very commercial sounding album which I did not". McFarlane found that "SPK had softened the approach somewhat with discernible synth melodies and dance beats coming to the fore amongst the noise". In August 1983, the group issued a compilation album, Auto Da Fé, showing SepPuKu written with SPK in red capital letters.[6] It included three studio tracks recorded in 1981. Bush suggested the album was the "beginning of a more organized approach for SPK material, Auto Da-Fé presents an intriguing industrial-disco fusion, reminiscent of prime contemporary material by Cabaret Voltaire and DAF ... Although fans probably thought of [it] as an unconscionable crossover attempt, it's still quite experimental in retrospect". The three-track EP, Dekompositiones (also by SepPuKu) followed soon after. Its tracks were added to a later version of Auto Da Fé.

In early February 1984, just before his 28th birthday, Neil Hill committed suicide.[citation needed] Two days later his wife Margaret Hill (née Nikitenko) died as a result of complications from anorexia.[citation needed] In March SPK issued another single, "Metal Dance", which was co-written by Revell, Leong and Thompson. SPK returned to Australia for a tour and recorded their third album, Machine Age Voodoo, in Sydney which was issued in 1984 on WEA Records. For the album, SPK's Revell and Leong were joined by Jeff Bartolomei on keyboards, Mary Bradfield-Taylor on vocals, Graham Jesse on saxophone, James Kelly on guitar, Sam McNally on keyboards and Phil Scorgie on bass guitar. McFarlane saw the album as "mixed mainstream disco-pop and sweet vocals with electronic experimentation (sort of like Blondie meets Kraftwerk)". While Bush felt it was "another leap towards dance-rock and away from the group's industrial past". The album spawned a single, "Junk Funk" in 1985.

Leong and Revell returned to Australia and added Karina Hayes as vocalist. They issued Zamia Lehmanni: Songs of Byzantine Flowers in 1986 which provided a single, "In Flagrante Delicto". It was followed by Digitalis Ambigua: Gold & Poison in 1987. Allmusic's Sean Carruthers observed that Revell "was in a period of transition... [s]omewhere between the industrial noise of the early years and his later soundtrack work".[9] In 1988, the band issued a live album, Oceania... In Performance 1987 but disbanded during the year. In 1989, Revell moved into work on scores and soundtracks. SPK's track "In Flagrante Delicto" was used by Revell for his work on the soundtrack for the 1989 film, Dead Calm. By 1991 Leong and Revell had moved to Los Angeles.

McFarlane regarded SPK to be "at the forefront of the local post-punk, electronic/experimental movement of the late 1970s ... [their] music progressed from discordant, industrial-strength metal noise to sophisticated and restrained dance-rock with strange attributes"

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Released in 1981, Information Overload Unit was the first album from Australian musical project SPK. Initially lumped in with the first wave industrial crowd, the groups dissonant noise experiments eventually gave way to a stab at commercial success with the heavily synth pop/new wave orientated 1984 release Machine Age Voodoo, later albums focusing on ambient and electronic territory such as Zamia Lehmanni: Songs of Byzantine Flowers and Digitalis Ambigua: Gold & Poison. It all started with SPK's best known works Information Overload Unit and Leichenschrei however, which first garnered Graeme Revell and a revolving door of musicians some recognition and helped pave his way to become the successful hollywood film composer he is today.

If there is one way to describe this album, it is horrifying. Information Overload Unit is a soundscape full of dread, coming from the mind of a drugged patient under a medical experiment gone wrong drifting in and out of consciousness occasionally punctuated by fits of pure terror and an inability to cope with it. It is comprised entirely of repetitive sounds treatments, first and foremost this a noise album and harsh, uncomfortable frequencies permeate throughout. Voice samples are heavily used, seemingly culled from sources such as medical documentaries and other esoteric material the group had sought an interest in whilst the sparse use of clanking, metallic percussion is the only real sense of rhythm to be found. The entire album runs along these lines, never missing a heartbeat when it comes to an uneasy atmosphere. I get the feeling of what I suspect dying on an operating table much be like from listening to Information Overload Unit, something I don't particularly want to immerse myself in that often but when I do it is always a visit I feel all the better for having endured.

If there is anything to flaw, SPK's approach here may be a little too repetitive for it's own good. Information Overload Unit is certainly a hard pill to swallow for the novice and veteran music listener alike, it is long, and about as far from easy listening as you can get with it's disjointed structures and sharp, painful textures. Although follow-up album Leichenschrei would ultimately eclipse it, it is worthy as a footnote in the early development of industrial and noise music, still standing up well enough today.



SPK - Information Overload Unit (flac  248mb)

Ultra-Face
01 Emanation Machine R. Gie 1916 5:23
02 Suture Obsession 5:06
03 Macht Schrecken 5:19
04 Beruftverböt 5:30
Hyper-Face
05 Ground Zero: Infinity Dose 4:18
06 Stammheim Torturkammer 4:33
07 Retard 4:25
08 Epilept: Convulse 2:32
09 Kaltbruchig Acideath 4:32

SPK - Information Overload Unit (ogg  94mb)

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Songs that just penetrate your psyche and compel you to do gruesomely illegal things and unforgivable things to the ones you love. Vocals subliminally voicing messages into your mind under a wall of ominous percussion and synthesized noise. The only line I could really make out on this whole record was "He tried giving me syphilis by rubbing his cock on my sandwich". Now that's the kind of imagery that makes me want to go into a nursing home during lunchtime and just fucking reek STD-fueled havoc.

Musically however, the album is bloody brilliant. You've got your percussion that sounds like it came straight from hell or the fields of some steel plant. The best songs are those that seem relatively calm, but lead into a demented world of screeching feedback and the blood-curdling screams of the innocent. It's like this is some sick industry that's creating a giant cage to lock up a random assortment of innocent stockbrokers. It's fierce, it's intimidating, and best of all, it's bloody excellent. You have to be one twisted fuck to enjoy this stuff in its entirety, and it just so happens to be that I am one twisted fucker. Oh happy day! I particularly like "Despair" with its occult chanting and orgasming women. Ooh, and I also particularly like the out of control "The Agony of Plasma", with its tribal drumming and a woman screaming bloody murder. And how can I forget "Wars of Islam", which is like Mozart; albeit a criminally insane Mozart. Heck, I particularly like this entire album and all of its primal rape energy.



SPK - Leichenschrei (flac  255mb)

01 Genetic Transmission 3:17
02 Post- Mortem 2:24
03 Desolation 1:18
04 Napalm (Terminal Patient) 2:39
05 Cry From The Sanatorium 2:26
06 Baby Blue Eyes 2:38
07 Israel 2:46
08 Internal Bleeding 1:46
09 Chamber Music 3:27
10 Despair 4:45
11 The Agony Of The Plasma 3:03
12 Day Of Pigs 4:18
13 Wars Of Islam 4:32
14 Maladia Europa (The European Sickness) 3:50

SPK - Leichenschrei  (ogg  97mb)

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The beginning of a more organized approach for SPK material, Auto Da-Fe presents an intriguing industrial-disco fusion, reminiscent of prime contemporary material by Cabaret Voltaire and DAF. An assortment of synthesizer stabs and progressive beats are the backing for lyrics best explained by titles like "Retard" and "Heart That Breaks." Although fans probably thought of Auto Da-Fe as an unconscionable crossover attempt, it's still quite experimental in retrospect. Mute's CD reissue of the album also includes tracks from SPK's 1978 single "Surgical Penis Klinik," 1979's Meat Processing Sektion EP, and 1983's Dekompositions EP.



SPK - Auto Da Fe (flac  342mb)

01 Contact 4:22
02 Germanik 6:09
03 Mekano 2:13
04 Retard 3:01
05 Slogun 6:14
06 Metal Field 5:57
07 Walking On Dead Steps 6:15
08 A Heart That Breaks (In No Time Or Place) 4:30
09 Another Dark Age 6:59
10 Twilight Of The Idols 4:24
11 Culturecide 4:49

SPK - Auto Da Fe (ogg   127mb)

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This is SPK's attempt at a commercial album. For anyone familiar with Information Overload Unit, and Leichenschrei, two defining industrial/noise albums if there ever were any, Machine Age Voodoo may come as a bit of a shock. Hiring a female vocalist in the form of Sinan Leong (who later went on to become Revell's wife), gone is the harsh sound frequencies, mechanical dark ambience and disturbing samples of old. In is 80's dance pop, and damn, is it upbeat and energetic. Hell, the opening title track may be one of the best New Wave songs i've ever heard with it's tribal beats, horns and vocals. Machine Age Voodoo, the song, sets a high standard for industrialised synthpop. Flesh & Steel is what I would consider another essential cut on here. With it's infectious bassline and percussion, and sensual vocals it rivals the title track on a whole different level.

Unfortunately whilst not quite as good, the rest of the album is no slouch either. High Tension, Metal Dance, Seduction and One World are highly energetic and could have been minor club hits back in the day. With Love From China sticks out like a sore thumb almost, for one it's much slower than anything else on here and feels more like a New Wave ballad, even if it wouldn't be correct to label it as such. It is still good though. The two mid-paced songs on here, Metropolis and Crime of Passion, provide a nice break, the latter predominantly featuring bluesy guitar licks completely unlike anything else on the album. All these songs are a mixed bag of stuff that kind of blends into one another, but as a whole it sort of works.

Overall, Machine Age Voodoo is just kind of patchy. It's a refreshing listen for anyone who enjoys new wave and 80's dance pop, but may find itself at odds with anyone who is seeking more of the soul-crushing noise which was predominant on Information Overload Unit and Leichenschrei. Hell, this album is all about the hooks. To me, along with other seminal 80's releases by industrial artists who went synthpop (such as Cabaret Voltaire's Micro-Phonies and Chris & Cosey's Heartbeat), I find Machine Age Voodoo a slight, but worthwhile listen for gauging the direction of industrial music at the time. The title track and Flesh & Steel are essential, though.



SPK - Machine Age Voodoo (flac 282mb)

01 Machine Age Voodoo 4:07
02 With Love From China 5:48
03 High Tension 4:30
04 One World 4:29
05 Flesh And Steel 5:24
06 Metropolis 4:27
07 Metal Dance 3:42
08 Seduction 4:27
09 Crime Of Passion 4:16
10 Machine Age Voodoo (Junk Funk) (special crash mix) 5:53

SPK - Machine Age Voodoo  (ogg  113mb)

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Hello, the return of weekly re-ups here and once again i need to stress that requests need to be posted on the original page, posting requests elsewhere will be ignored by me. This blog hasn't got thousands of visitors that keep downloads live in a time where hosts are quick to delete and with re-ups the live time is considerably shorter, it can't be helped. That said regular visitors should have plenty of time to get what they want.

Storage maybe dirt cheap these days -compared to 5 years ago, but the hosts are much more money orientated and look at turnover and notice that keeping data longer than 1 month isn't making them money. Thus the coming months i'm making an effort to re-up, it will satisfy a small number of people which means its likely the update will  expire relatively quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section preferably at the page where the expired link resides....requests are satisfied on a first come first go basis. As my back up ogg hard disk is nonresponsive currently, i most likely will post a flac instead~for the the pre medio 2011 posts~ but i would think that is not really a problem...updates will be posted here and yes sign a name to your request and please do it from the page where the link died!

Looka here another batch of 20 re-ups, requests fullfilled up to March 23th ...N' Joy


3x Beats Back In Flac (Sabres Of Paradise - Sabresonic, Sabres Of Paradise - Haunted Dancehall, Sabres Of Paradise - Sabresonic II)


5x J-Aetix NOW In Flac (YMO – Faker Holic ( London-Paris), YMO – Faker Holic (New York), Ryuichi Sakamoto - B-2 Unit, Yellow Magic Orchestra - BGM, Yellow Magic Orchestra - Naughty Boys)


3x Roots Back In Flac (Orchestra Baobab - Bamba, Orchestra Baobab - Pirate's Choice , Orchestra Baobab - Specialist In All Styles)


3x Aetix Back In Flac  ( John Foxx - Metamatic, John Foxx - The Garden, John Foxx - The Golden Section )


6x Inside Out, Worlds ( Shapeshifter - DNA_Activation (Initation) Level 1 - 3, Shapeshifter - DNA_Activation (Initation) Level 1 - 4, Gaia (Hemi-Sync Meditation), Jon Hassell / Brian Eno - Fourth World Vol. 1 - Possible Musics, Jon Hassell - Fourth World Vol. 2 - Dream Theory In Malaya, Robert Monroe - Ultimate Journey PDF)


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Hello,

Today, an American musical group from Philadelphia, Pennsylvania. formed in 1971, when the sisters' ages ranged from 12 to 16, the group consisted of sisters Debbie, Joni, Kim and Kathy Sledge. Best known for their work with Chic in the late '70s, the siblings reached the height of their popularity during the disco era but had been recording since the early '70s and were still active in the late '90s. ... N'joy

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Daughters of Broadway tap dancer Edwin Sledge (who died in Houston, Texas on July 1, 1996 at age 73) and actress Florez Sledge (who died of a stroke in Phoenix, Arizona on May 17, 2007 at age 79), Debbie, Joni, Kathy and Kim were given vocal training by their grandmother Viola Williams, a former lyric soprano opera singer and protégé of civil rights leader Mary McLeod Bethune. Under Viola’s guidance they regularly sang at their family church, Williams Temple Christian Methodist Episcopal (CME) until forming a band and performing at charity and political events throughout Philadelphia, aptly named ‘Mrs Williams’ Grandchildren’.

The group toured much of the East Coast including New York, New Jersey and home town Philadelphia with Florez acting as their manager (and tour bus driver) and Debbie as musical director. They released their first single "Time Will Tell" in 1971 on local music label Money Back. In 1973, they released the single "Mama Never Told Me", which became a top 20 hit in the UK in 1975, but it was with the Haras Fyre & Gwen Guthrie single "Love Don’t Go Through No Changes On Me" (released in 1974) that the siblings enjoyed their first taste of success. The song was a big hit in Japan and as a result the girls were flown to the country to perform at the Tokyo Music Festival where they won the Silver Prize. The sisters also performed at the Zaire '74 concert in Africa alongside James Brown during the infamous Rumble in the Jungle boxing event.

Sister Sledge’s first album Circle of Love was released by ATCO (a subsidiary of Atlantic Records) in 1975 and included songs written by Soul legend Gwen Guthrie and Gwen's then-boyfriend, studio bassist Haras Fyre. The group enjoyed some success in Europe and as a result, the album Together was recorded in Germany in 1977. Released through the Cotillion label, the album produced a minor hit with the single "Blockbuster Boy" reaching No. 61 on the US R&B chart. Nearing the end of the decade all four sisters graduated

At something of a cross roads in their careers, the future seemed a little uncertain for the group but Atlantic Records connected them with producers Nile Rodgers and Bernard Edwards of the band Chic, and all that changed. After some initial challenges in working collaboratively, the breakthrough album We Are Family was recorded and released by Cotillion. The lead single "He’s The Greatest Dancer" charted at No. 1 R&B and was a No. 9 crossover hit. In 1979, the records anthemic namesake "We Are Family" followed and became a worldwide smash charting at No. 2 pop and No. 1 R&B. The song and group were nominated for Grammys and "We Are Family" was adopted as the official anthem for The Pittsburgh Pirates who went on to win the World Series that year. The album was certified platinum by the RIAA and produced two more classic disco singles, "Lost In Music" and "Thinking Of You". Around this time, Debbie Sledge went on maternity leave and the eldest sister, Carol, filled in for her. In 1980, their follow up album Love Somebody Today (also written and produced by Nile Rodgers and Bernard Edwards) was released.

In 1981, Sister Sledge worked with Narada Michael Walden who produced their fifth studio album, All American Girls. The project was intended as a collaboration but the resulting album is generally attributed to Narada Michael Walden. The title track became a number-three R&B, hit but the following singles "Next Time You’ll Know" and "If You Really Want Me" only did moderate business.
The girls self-produced their next record The Sisters in 1982. The album spawned the No. 14 R&B and No. 23 pop hit "My Guy" (a cover of the Mary Wells classic). The group subsequently appeared on a popular episode of The Jeffersons, in which they performed the song.

The album Bet Cha Say That To All The Girls was released in 1983, the lead single from which featured American Jazz singer Al Jarreau. The group experienced some considerable success in 1984, when they re-released "Thinking of You" and "Lost in Music" in the UK, the latter peaking at No. 4. The following year saw the release of their 7th studio album When the Boys Meet the Girls and continued success in the UK. Released by Atlantic Records, lead single "Frankie" hit the top spot on the UK Singles Chart, spending four weeks at No. 1 and consequently going Gold.

In 1989, Kathy left the group to pursue a solo career. Debbie, Joni and Kim continued to perform as Sister Sledge and in 1992 collaborated with Bluey from UK acid jazz group Incognito on the single "World Rise and Shine". The song featured on their greatest hits album And Now…Sledge…Again. The single reached No. 1 in Italy and resulted in the trio hosting their own TV show there. The group (including Kathy) experienced a resurgence of success in the UK the following year when the Sure as Pure remix of "We Are Family" was released and peaked at No. 5. In 1996, after witnessing a shooting in LA, Joni Sledge wrote the protest song "Brother, Brother stop" that was recorded by the trio and featured on a new greatest hits CD. In 1997, Joni produced the group's 8th studio album African Eyes, that garnered critical acclaim and was nominated for a Grammy as best produced CD.

In December 2000, Sister Sledge performed at The White House for the President and First Lady at the final Christmas party of the Clinton Administration. The following year, in the aftermath of 9/11, all four sisters re-recorded "We Are Family" as a benefit record with a host of other artists, including Diana Ross and Patti Labelle. Debbie, Joni and Kim produced solo material during this period before being reunited in the studio to record the album Style in 2003. Due to legal difficulties, the project officially remains unreleased.[citation needed] Kim, an ordained minister, took some time out from the group and Joni and Debbie continued to tour (with various guest artists), and in 2005 performed on the famous pyramid stage at the The Glastonbury Music Festival in the UK.

With Kim re-joining in 2015, all three sisters performed at a large scale charity benefit in London for Save The Children and were invited to perform for Pope Francis along with Aretha Franklin and Andrea Bocelli at The world Festival of Families in Philadelphia, PA. The performance was covered by the worlds media and went viral due to crowds of Nuns in the audience dancing to "We Are Family". Controversy surrounded the event when stories appeared in the media claiming that Kathy had been banned from performing with her sisters. Debbie, Joni and Kim soon thereafter launched the brand concept, Nothing Is Greater Than Love, and posted a personal response to these allegations on the campaign blog.

The trio are currently in the studio working on new material including a single set for release in Spring 2016, and are also said to be in the process of setting up the Florez Sledge Foundation, a charity named in remembrance of their late mother.


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After recording two albums under the direction of Chic leaders Nile Rodgers and Bernard Edwards, Sister Sledge surprised the R&B world by working with Narada Michael Walden on All American Girls. The Philadelphia siblings had become identified with the Chic sound, and were ready for a change. It was a gamble that paid off artistically more than commercially. Far from a bomb but not as successful as it deserved to be, the album (reissued on CD in 1995 with informative liner notes by music journalist Gary Jackson) boasts its share of gems, including the hit title song (which, ironically, does have a few Chic-ish touches), the rock-influenced "He's Just a Runaway" and the infectiously funky "Make a Move." Interestingly, "Runaway" didn't became a hit until given a reggae remix that isn't nearly as exciting as the version heard on All American Girls, clearly one of the group's finest accomplishments.



Sister Sledge - All American Girls (flac 283mb)

01 All American Girls 4:43
02 He's Just A Runaway 3:57
03 If You Really Want Me 4:38
04 Next Time You'll Know 4:01
05 Happy Feeling 3:39
06 Ooh, You Caught My Heart 4:25
07 Make A Move 3:48
08 Don't You Let Me Lose It 2:53
09 Music Makes Me Feel Good 4:25
10 I Don't Want To Say Goodbye 3:40

Sister Sledge - All American Girls  (ogg  98mb)

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Keeping to their regular routine of releasing an album a year, Sister Sledge emerged in 1982 with The Sisters, their first self-produced effort. Keeping their disco-fied R&B in place, the sisters added a few contemporary kicks to hold their own in a decade fast leaving them behind. The move proved correct, as the group was rewarded with another Top 20 hit. The punchy, horn-heavy, and lightly funky "Super Bad Sisters" not only opens the album in fine style, but also adds a surprising sonic update via a rap from Kenneth and James Williams. Following that feat, though, the rest of the set settles down to soft-edged R&B and mediocre ballads. A less-than-stellar remake of the Mary Wells classic "My Guy" managed to reach number 14 R&B, while a passable duet between Kathy Sledge and David Simmons actually emerges as one of The Sisters' best moments. "Jacki's Theme: There's No Stopping Us," meanwhile, brought the set to a close with its quirky, snap-happy disco grooves. At the end of the day, and despite the fact that it's obvious that the band was still full of good ideas, The Sisters just doesn't reach its full potential. It could be that the band was too far out of its time and place.



Sister Sledge - The Sisters (flac  273mb)

01 Super Bad Sisters 4:36
02 My Guy 3:44
03 Lightfootin' 3:58
04 My Special Way 5:02
05 Grandma 3:48
06 Get You In Our Love 3:41
07 Il Máquillage Lady 4:31
08 Everybody's Friend 4:31
09 All The Man I Need 4:39
10 Jacki's Theme: There's No Stopping Us 4:06

Sister Sledge - The Sisters  (ogg 99mb)

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Their last album to hit the charts, 1985's When the Boys Meet the Girls found Sister Sledge attempting to return to past form as they brought Chic's Nile Rodgers back onboard to produce and perform. And although the move would ultimately prove ineffective, as the album appeared and hovered just out of the Top 50, this easy pairing returned the sisters to an earlier edge. With the title track backed by an eclectic arrangement, those classic punchy Sister Sledge vocals were pushed well into the front of the action. The album birthed two further standouts, as both "Frankie," which is spun to become reggae-lite, and the heavily Rodgers-influenced club hit "Dancing on the Jagged Edge" rippled off the grooves. The latter, just barely limping to a paltry number 73 R&B, would prove the band's last hit until their comeback in the early '90s. Elsewhere, the Kathy Sledge-led ballad "You Need Me" emerges the best of the bunch, while the snappy "Peer Pressure" wades into wave territory, leaving the frenetic and not-quite-pleasing "Hold out Poppy" well out of the loop. When the Boys Meet the Girls is a fine effort, but this late in the day it just doesn't pull enough tricks out of the hat to make it worthwhile. And even through it's a major step up from their last effort, Sister Sledge is far better sampled across their earlier R&B heyday.



Sister Sledge - When The Boys Meet The Girls (flac 283mb)

01 When The Boys Meet The Girls 5:28
02 Dancing On The Jagged Edge 5:44
03 Frankie 4:16
04 You're Fine 5:23
05 Hold Out Poppy 3:57
06 The Boy Most Likely 4:12
07 You Need Me 4:43
08 Following The Leader 5:06
09 Peer Pressure 3:20

Sister Sledge - When The Boys Meet The Girls (ogg  106mb)

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Sure Is Pure Remixes here, bring that nineties feeling into these 79 discofunk classics by Sister Sledge. I mixed up the seperate 12" releases and omitted the original versions. For the dancefloor.......



Sister Sledge - 93 Mixes (flac 299mb)

01 We Are Family (Sure Is Pure Remix Edit) 3:58
02 Lost In Music (Sure Is Pure Remix Edit) 3:56
03 We Are Family (Sure Is Pure Remix)8:02
04 Lost In Music (Nile Rodgers 1984 Remix) 6:38
05 We Are Family  (Steve Anderson DMC Remix) 8:11
06 Lost In Music (Sure Is Pure Remix) 8:35
07 Lost In Music (Philip Kelsey DMC Mix) 7:47

Sister Sledge - 93 Mixes (ogg  92mb)

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Hello,

Today's artist for the third and final time, is that Japanese minimalist electronic composer, a leading figure among the new crop of computer-based musicians exploring the aesthetic possibilities opened up by digital production technologies. Rhythmically, his music is highly imaginative, exploiting beat patterns and, at times, using a variety of discrete tones and noise to create the semblance of a drum machine. His work also encroaches on the world of ambient music; many tracks on his albums are concerned with slowly evolving soundscapes, with little or no sense of pulse........N'Joy

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Japan’s leading electronic composer and visual artist, Ryoji Ikeda, born in Gifu Japan in 1966, focuses on the minutiae of ultrasonics, frequencies and the essential characteristics of sound itself. Fascinated by data, light and sound, he shapes music, time and space by mathematical methods and explores these phenomena as sensation, pulling apart their physical properties to reveal their relationships with human perception. Ikeda has gained a reputation as one of the few international artists working convincingly across both visual and sonic media. Since 1995, he has been intensely active through concerts, installations, and recordings, integrating sound, acoustics and sublime imagery. He has been hailed by critics as one of the most radical and innovative contemporary composers for his live performances, sound installations and album releases. His albums +/- (Touch, 1996), 0°C (Touch, 1998) and matrix (Touch, 2000) pioneered a new minimal world of electronic music, employing sine waves, electronic sounds, and white noise. Using computer and digital technologies to the utmost limit, his audiovisual concerts datamatics (2006 – present), C 4 I (2004 – 2007) and formula (2000 – 2006) suggest a unique orientation for our future multimedia environment and culture. His ongoing body of work, datamatics, is a long-term programme of moving image, sculptural, sound and new media works that use data as their theme and material to explore the ways in which its abstracted view of reality is used to encode, understand and control the world. In spectra II (2002), a narrow, ceiling-covered corridor fitted with strobe lights and coursed by high frequency sounds, continuously alters the visitors’ sensory experience of the space. In a later adaptation, spectra [for Terminal 5, JFK], the installation emanates an aura of almost total invisibility and inaudibility due to its intense brightness and ultra-frequencies.

In Spring 2008, Ikeda presented his first solo exhibition in Japan at the Yamaguchi Center for Arts & Media, featuring a number of works in the datamatics series including data.film, a sculptural wall installation consisting of a series of 35mm film mounted in a light box, and data.tron, an audiovisual installation where each single pixel of visual image is strictly calculated by mathematical principle and projected onto a large screen. The exhibition premiered test pattern, an installation comprising visual patterns converted and generated from sound waveforms in real–time. Ikeda released his eighth solo album test pattern (raster-noton) in April 2008 to coincide with the exhibition.In Summer 2008, Ikeda produced a series of large-scale public realm works for Dream Amsterdam, lighting four cultural and civic spaces with intensely bright white light. This concept - spectra - was then adapted for Nuit Blanche, Paris’ all night arts festival. In this version, Ikeda installed powerful vertical beams of bright white light, and an accompanying sound installation within a grid next to Tour Montparnasse, the city’s tallest skyscraper. In June 2010, spectra formed part of Sonár / Grec Festival de Barcelona, and it was exhibited in September 2010 at the Aichi Triennale in Nagoya, Japan. Ikeda intends to continue the series through  site-specific works commissioned for locations across the world. A solo exhibition of Ryoji’s work was presented at Le Laboratoire in Paris (October 2008 – January 2009). The exhibition was inspired by discussions with Harvard number theorist Benedict Gross about mathematical definitions of infinity, and took for its title the mathematical and philosophical concept V≠L. The exhibition featured new works including a prime number, a natural number, line and spectra III.

In April 2009, Ikeda presented his largest solo exhibition to date at the Museum of Contemporary Art Tokyo. +/- [the infinite between 0 and 1] included three adaptations of a prime number / a natural number, in a series entitled the transcendental; data.film; data.matrix [no1-10], a ten- screen installation featuring video sequences from datamatics [ver.2.0]; matrix [5ch version], a pure sound installation formed by a grid of speakers through which visitors walked; and data.tron [3 SXGA+ version], a three -channel version of data.tron. A selection of these works toured to the Bangkok Art and Culture Centre (February – March 2010). data.tron [8K enhanced version] was commissioned for the Deep Space Gallery at Ars Electronica Center, Linz. It has been screened there regularly since January 2009. In September 2009 data.scan was exhibited at the Surrey Art Gallery, Vancouver, followed by exhibitions at the Victoria & Albert Museum, London (December 2009 – April 2010), Seconde Nature Festival, Aix en Provence (June – July 2010), Museum of the Central Academy of Fine Arts, Beijing (October – November 2010). data.scan is currently showing at the Garage Center for Contemporary Culture, Moscow. In September 2010 Ikeda presented his first New York Exhibition, the transcendental, at the FIAF Gallery. Ikeda was back in New York in May 2011 to present the transfinite, a new commission by the Park Avenue Armory. In the Wade Thompson Drill Hall, the artist created a visual and sonic environment where visitors are immersed in projected synchronised data. The versatile range of Ikeda’s research is demonstrated by his collaborations with Carsten Nicolai on the project cyclo. and with choreographer William orsythe/Frankfurt Ballett, artist Hiroshi Sugimoto, architect Toyo Ito and artist collective Dumb Type, among others. The first complete catalogue of Ikeda’s seminal work, formula [book + dvd] (Forma) was published in 2005. In 2009, a catalogue of +/- [the infinite between 0 and 1] was published alongside the exhibition at MOT, and provides a history of Ikeda’s work to date. In 2001, Ikeda was awarded the Ars Electronica Golden Nica prize in the digital music category and he was short-listed for a World Technology Award in 2003, and then again in 2010.


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For many popular films, the soundtrack, it seems, has been reduced to a crass marketing ploy—stuffed with filler from big-name acts “inspired” by the movie (or, if you’re lucky, stuffed in to the end credits), a soundtrack becomes a compilation of mostly C-grade material from the top 40. Put See You at Regis Debray, Ryoji Ikeda’s soundtrack to CS Leigh’s film, at the opposite end of this spectrum: over two discs, Debray includes the entire sound reel from the film, including both Ikeda’s soundtrack and moments of only natural sound.

To begin with, your suspicions are correct—the passages which feature only the sounds of the one actor in Leigh’s dialogue-less movie are generally dull and, while the idea of the inclusion of said sounds is interesting on paper, in practice it proves easily skippable. The other half of the soundtrack belongs entirely to Ikeda, and features some of his most gorgeous and, it must be said, accessible work. Leigh’s film portrays Lars Eidinger as German radical communist Andreas Baader, of the Baader-Meinhof group, and the things he might have done while staying alone at the French apartment of philosopher Regis Debray in 1969; the liner notes explain which sounds accompany which visual action.

Not having seen the film, I can’t say whether Ikeda’s music fits, but the epic minimalist synthesizer swells he’s prone to appear fascinatingly appropriate to accompany one man’s engrossment in the act of “Listening”, while “Tearing” features the crisp sounds of paper being ripped over Ikeda’s bet of reverb-heavy, western-style guitar plucks. “Tearing” is further aided by the progression of the piece to include a bass part and more guitars, which lead into “Polaroiding”, shockingly non-experimental coming from someone like Ikeda. “Masturbating”, of course, appears awkwardly without any musical accompaniment. All in all, it sounds like one hell of a series of emotionally intense, yet physically minute events, which makes Ikeda a perfect sonic counterpart.

This album was illegally released without the artist's consent. Ryoji Ikeda states: "After the post-production of this film, the director and his team disappeared. A few months later, this CD was suddenly released without any permission or contract. I do not have a copy of it."



Ryoji Ikeda - See You At Regis Debray (flac  365mb)

01 Staring Writing Cooking Sleeping Listening 48:26
02 Tearing Polaroiding Masturbating Dancing Pissing 46:57

 Ryoji Ikeda - See You At Regis Debray   (ogg  165 mb)

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Following 2005's Dataplex CD on Raster-Noton, Test Pattern is the second audio release in Ryoji Ikeda's multimedia project, Datamatics, an ongoing exploration of the potential to perceive the invisible multi-substance of data that permeates our world. Test Pattern acts as a system that converts any type of data (text, sounds, photos and movies) into barcode patterns and binary patterns of 0s and 1s. Through the conversion of raw data into digital audio files, Ikeda enables us to listen to the flow of data, creating an extraordinary and unexpected soundtrack. These sequences of data reveal a rich variety of microscopic structures which form Ikeda's raw material; working with these micro-structures, they sometimes form the basis of chronological sequences, and sometimes he focuses on their rhythmic qualities. All sounds are the result of Ikeda's manipulation of this raw data. Test Pattern aims to examine the relationship between critical points of device performance and the threshold of human perception, pushing both to their absolute limits. Almost all tracks on this release are unsuitable for conversion into high-quality mp3 files. The velocity of the audio files is ultra-fast, some hundreds of frames per second, so that the album provides a performance test for the audio equipment, as well as a response test for the audience's perceptions. A sticker on the CD jacket warns "Caution!" , this CD contains specific waveform, impulse and burst data that perform a response test for loudspeakers and headphones. High volume listening of the last track may cause damage to equipment and eardrums.



Ryoji Ikeda - Test Pattern (flac 370mb)

01 Test Pattern #0001 1:00
02 Test Pattern #0010 1:21
03 Test Pattern #0011 3:52
04 Test Pattern #0100 3:43
05 Test Pattern #0101 4:06
06 Test Pattern #0110 4:00
07 Test Pattern #0111 5:00
08 Test Pattern #1000 5:00
09 Test Pattern #1001 5:10
10 Test Pattern #1010 5:02
11 Test Pattern #1011 5:03
12 Test Pattern #1100 5:08
13 Test Pattern #1101 5:11
14 Test Pattern #1110 2:35
15 Test Pattern #1111 7:12
16 Test Pattern #0000 3:55

 Ryoji Ikeda - Test Pattern (ogg   184mb)

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"dataphonics" [radio program series] consists of 10 six-minutes segments, each one is narrow-focused into a single parameter that is one of the significant elements what music/sound is. All sounds generated from non-audio file formats.

A star of minimalist electronica and sound art, Ryoji Ikeda (born 1966) focuses on the building blocks of sound and aural minutiae, often deploying frequencies at the very edges of human hearing-sound that, as he puts it, "the listener becomes aware of only upon its disappearance." His albums +/- (1997) and Matrix (2001) spread this soundworld of sine waves and ambient glitchery to a wider audience; since then, he has exhibited and collaborated (notably with Carsten Nicolai) across the world. A homage to Musique Concrète pioneer Pierre Schaeffer's Solfege de l'objet sonore, Dataphonics began as a monthly broadcast on France culture's Atelier de Création Radiophonique, in which Ikeda created a highly physical auditory experience based on the idea of binary-logic data made audible, "to materialize the invisible domain of 'totally pure digital data.'" This book and CD includes spreads of graphic scores, codes, symbols and the composition itself, recomposed from the ten segments in which it was originally conceived.

Commissioned by "Atelier de création radiophonique" (ACR) for France Culture. Broadcast monthly from November 5 of 2006 to July 1 of 2007 and eventually remixed as a special version broadcast September 2 of 2007.



Ryoji Ikeda - Dataphonics (flac  282mb)

01 Principle 6:00
02 Spectrum 6:00
03 Transmission 6:00
04 Transformation 6:00
05 Rhythmics 6:00
06 Automatic 6:00
07 Quantization 6:00
08 Harmonics 6:00
09 Counterpoint 6:00
10 Structure 6:00

 Ryoji Ikeda - Dataphonics  (ogg    136mb)

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Cyclo. is a collaborative research project by Ikeda and Nicolai which focuses on the visualisation of sound. The artists are developing a database of sounds that they are composing for the visual responses these produce when analysed in real time using equipment developed originally for phase correlation in mastering vinyl records. With such stereo image monitoring equipment, the phase and amplitude of stereo signals can be illustrated graphically.

The audio elements have been constructed and chosen through agendas concerned with the minute editing of frequencies (often beyond the physical range of human hearing) and the perceptual amassing of audio elements to an undefined point. For Nicolai and Ikeda an 'infinity index’ of sound fragments is a conscious motivation forming the basis of their research and feeding cyclo. with the audio material required for visuality.

In amassing this archive, Nicolai and Ikeda transcend the usual dynamic whereby image acts merely as a functional accompaniment to sound. They arrive at a standpoint from which the audio element in the process is subservient to the desire and appetite of the image. Although this imaging is purely 2-D in display, the process proposes 3-D possibilities. Their proposition is that the structural complexities of these visual metered shapes, born and examined from the perspective of audio metering, may have in them a rich potential for architects, designers and engineers to find starting points for structural readings.



Cyclo. - Id (flac 252mb)

01 Id#00 6:56
02 Id#01 4:09
03 Id#02 2:05
04 Id#03 2:44
05 Id#04 4:23
06 Id#05 2:03
07 Id#06 4:51
08 Id#07 3:52
09 Id#08 5:36
10 Id#09 4:09
11 Id#10 3:31

Cyclo. - Id  (ogg  134mb)

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Hello,  the 100th Tour Of Flanders, probably the most gruiling and revered one day cycle race, was won today by the reigning World Champion proving once more he really is the strongest rider out there, Peter Sagan . Respekt ! The F1 was in Bahrein this weekend, Hamilton once again fukked up his start, a start Vettel didn't reach as his motor gave up in the warm up lap. Rosberg cruised to his fifth consecutive victory not really troubled by Kimi Räikkönen who came in 2nd before slowstarter Hamilton. Grosjean 'fluked' another good result for new team Haas, he came in just before the last unlapped driver Verstappen at 6th. Who's team mate Sainz immediately collected the bad karma he caused in the previous race no finish for him. However biggest news of the day, Mclaren scoring a point ! After years in the wildernis with 2 former worldchampions in the car, that honor fell to rookie Stoffel Vandoorne , well done indeed, now will Alonso get his seat back?



Watched any great books lately? Now you can. The most celebrated graphic novel of all time that broke the conventional mold continues to break new ground. Watchmen illustrator Dave Gibbons oversees this digital version of the graphic novel that adds limited motion, voice and sound to the book's strikingly drawn panels. All 12 chapters of the story are here, nearly 5 hours spanning everything from the mysterious demise of the Comedian to the crisscrossed destinies of loosely allied superheroes to their fateful impact on the world. Be in the know. Be watching. With Watchmen: The Complete Motion Comic.... N'Joy

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A critical and commercial success, Watchmen is highly regarded in the comics industry and is frequently considered by several critics and reviewers as comics' greatest series and graphic novel. In time, the series has also become one of the best-selling graphic novels ever published. Watchmen was the only graphic novel to appear on Time's 2005 "All-Time 100 Greatest Novels" list, where Time critic Lev Grossman described the story as "a heart-pounding, heartbreaking read and a watershed in the evolution of a young medium." It later appeared on Time's 2009 "Top 10 Graphic Novels" list, where Grossman further praised Watchmen, proclaiming "It’s way beyond cliché at this point to call Watchmen the greatest superhero comic ever written-slash-drawn.




The Watchmen: Motion Comic is a 2008 American animated short film series of motion comics for web and television based on the DC comic book series Watchmen, written by Alan Moore and illustrated by Dave Gibbons. The series consists of twelve abridged 25–30 minute segments, each based on and sharing a name with one of the twelve chapters of the book. Both male and female characters are voiced by actor Tom Stechschulte. It was released on DVD in March 2009 to coincide with the Watchmen movie’s release.

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In October 1985, during the Soviet invasion of Afghanistan and on the eve of nuclear war, a depressed Rorschach, one of several outlawed vigilante superheroes, begins to investigate why all former masked superheroes are either dead or have declined. When another one of his former colleagues is murdered, the outlawed but no less determined masked vigilante Rorschach sets out to uncover a plot to kill and discredit all past and present superheroes. As he reconnects with his former crime-fighting legion--a disbanded group of retired superheroes, only one of whom has true powers--Rorschach glimpses a wide-ranging and disturbing conspiracy with links to their shared past and catastrophic consequences for the future.



Watchmen 10 Two Riders Were Approaching... (avi  233mb)

Watchmen 10 Two Riders Were Approaching... 25:31

Nite Owl and Rorschach continue to investigate the "mask killer" conspiracy theory, reaching the conclusion that Veidt (Ozymandias) is behind it. Rorschach mails his journal to the New Frontiersman, a right-wing newspaper.
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previously

Watchmen 01 At Midnight, All the Agents... (avi  233mb)
Watchmen 02 Absent Friends... (avi  233mb)
Watchmen 03 The Judge of All the Earth... (avi  233mb)
Watchmen 04 Watchmaker... (avi  233mb)
Watchmen 05 Fearful Symmetry... (avi  233mb)
Watchmen 06 The Abyss Gazes Also... (avi  233mb)
Watchmen 07 A Brother to Dragons... (avi  233mb)
Watchmen 08 Old Ghosts... (avi  233mb)
Watchmen 09 The Darkness of Mere Being... (avi  233mb)

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


Today an artist who fused samba, salsa, and bossa nova with rock and folk music, he's recognized today as one of the pioneers in world music. A multi-instrumentalist and singer/songwriter, Gil joined his first group, the Desafinados, in the mid-'50s and by the beginning of the 1960s was earning a living as a jingle composer. Although known mostly as a guitarist, he also holds his own with drums, trumpet, and accordion.. .....N'Joy

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Gil was born in Salvador, an industrial city in the northeast of Brazil, though he spent much of his childhood in nearby Ituaçu. Ituaçu was a small town of fewer than a thousand, located in the sertão, or countryside, of Bahia. His father, José Gil Moreira, was a doctor; his mother, Claudina Passos Gil Moreira, an elementary school teacher. As a young boy, he attended a Marist Brothers school. Gil remained in Ituaçu until he was nine years old, returning to Salvador for secondary school.

Gil's interest in music was precocious: "When I was only two or two and a half," he recalled, "I told my mother I was going to become a musician or a president of my country." He grew up listening to the forró music of his native northeast, and took an interest in the street performers of Salvador. Early on, he began to play the drums and the trumpet, through listening to Bob Nelson on the radio. Gil's mother was the "chief supporter" in his musical ambitions; she bought him an accordion and, when he was ten years old, sent him to music school in Salvador which he attended for four years  As an accordionist, Gil first played classical music, but grew more interested in the folk and popular music of Brazil. He was particularly influenced by singer and accordion player Luiz Gonzaga; he began to sing and play the accordion in an emulation of Gonzaga's recordings. Gil has noted that he grew to identify with Gonzaga "because he sang about the world around [him], the world that [he] encountered."

During his years in Salvador, Gil also encountered the music of songwriter Dorival Caymmi, who he says represented to him the "beach-oriented" samba music of Salvador. Gonzaga and Caymmi were Gil's formative influences. While in Salvador, Gil was introduced to many other styles of music, including American big band jazz and tango. In 1950 Gil moved back to Salvador with his family. It was there, while still in high school, that he joined his first band, Os Desafinados (The Out of Tunes), in which he played accordion and vibraphone and sang. Os Desafinados was influenced by American rock and roll musicians like Elvis Presley, as well as singing groups from Rio de Janeiro. The band was active for two to three years. Soon afterwards, inspired by Brazilian star João Gilberto, he settled on the guitar as his primary instrument and began to play bossa nova

Gil met guitarist and singer Caetano Veloso at the Universidade Federal da Bahia (Federal University of Bahia) in 1963. The two immediately began collaborating and performing together, releasing a single and EP soon afterwards. Along with Maria Bethânia (Veloso's sister), Gal Costa, and Tom Zé, Gil and Veloso performed bossa nova and traditional Brazilian songs at the Vila Velha Theatre's opening night in July 1964, a show entitled Nós, por Exemplo (Us, for Example). Gil and the group continued to perform at the venue and he eventually became a musical director of the concert series. Gil collaborated again with members of this collective on the landmark 1968 album Tropicália: ou Panis et Circenses, whose style was influenced by The Beatles' Sgt. Pepper's Lonely Hearts Club Band, an album Gil listened to constantly. Gil describes Tropicália: ou Panis et Circenses as the birth of the tropicália movement. As Gil describes it, tropicália (or Tropicalismo) was a conflation of musical and cultural developments that had occurred in Brazil during the 1950s and 1960s—primarily bossa nova and the Jovem Guarda (Young Wave) collective—with rock and roll music from the United States and Europe, a movement deemed threatening by the Brazilian government of the time.

Early on in the 1960s, Gil earned income primarily from selling bananas in a shopping mall and composing jingles for television advertisements;[5] he was also briefly employed by the Brazilian division of Unilever, Gessy-Lever.[6] He moved to São Paulo in 1965 and had a hit single when his song "Louvação" (which later appeared on the album of the same name) was released by Elis Regina. However, his first hit as a solo artist was the 1969 song "Aquele Abraço".[5] Gil also performed in several television programs throughout the 1960s, which often included other "tropicalistas", members of the Tropicalismo movement

In February 1969 Gil and Veloso were arrested by the Brazilian military government, brought from São Paulo to Rio de Janeiro, and spent three months in prison and another four under house arrest, before being freed on the condition that they leave the country. Veloso was the first to be arrested; the police moved to Gil's home soon afterward. Veloso had directed his then-wife Andréa Gadelha to warn Gil about the possibility of arrest, but Gil was eventually brought into the police van along with Veloso. They were given no reason or charge for their arrest. Gil believes that the government felt his actions "represent[ed] a threat [to them], something new, something that can't quite be understood, something that doesn't fit into any of the clear compartments of existing cultural practices, and that won't do. That is dangerous." During his prison sentence, Gil began to meditate, follow a macrobiotic diet, and read about Eastern philosophy. He composed four songs during his imprisonment, among them "Cérebro Electrônico" (Electronic Brain), which first appeared on his 1969 album Gilberto Gil 1969, and later on his 2006 album Gil Luminoso. Thereafter, Gil and Veloso were exiled to London, England after being offered to leave Brazil. The two played a last Brazilian concert together in Salvador in July 1969, then left to Portugal, Paris, and finally London. He and Veloso took a house in Chelsea, sharing it with their manager and wives. Gil was involved in the organisation of the 1971 Glastonbury Free Festival and was exposed to reggae while living in London; he recalls listening to Bob Marley (whose songs he later covered), Jimmy Cliff, and Burning Spear. He was heavily influenced by and involved with the city's rock scene as well. However, he also performed solo, recording Gilberto Gil (Nêga) while in London. In addition to involvement in the reggae and rock scenes, Gil attended performances by jazz artists, including Miles Davis and Sun Ra.  to be continued


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A great early 80s set from Gilberto Gil – and one that has him fully assuming the soul singer mode that would carry him strongly through the rest of the decade! There's still a samba soul sense of funk at the core, but the overall instrumentation is a bit fuller and more electric – a bit like the grooves Marcos Valle was using in the early 80s – a very nice hybrid of Brazilian roots and American soul – with traditional percussion moving alongside warmer keyboards and guitars. Production is by Liminha – and titles include "Banda Um", "Metafora", "Pula Caminha", "Deixar Voce", "Nossa", and "Andar Com Fe".



Gilberto Gil - Um Banda Um (flac  209mb)

01 Banda Um 4:38
02 Afoxé É 4:02
03 Metáfora 4:21
04 Deixar Você 4:45
05 Pula, Caminha 3:40
06 Andar Com Fé 3:20
07 Drão 3:17
08 Esotérico 4:22
09 Menina Do Sonho 4:53
10 Ê Menina 3:51
11 Nossa 2:46

Gilberto Gil - Um Banda Um   (ogg   105mb)

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In the early '90s, in the middle of his mandate as councilman for Salvador, Gil was again concerned with the Afro roots of Brazilian people, and this album strongly reflects that. "Madalena" brings social criticism through Afro soca grooves. "Parabolicamará" builds a discourse about communications over a beautiful ponto de macumba melody with enriched harmonies. "Um Sonho" is a doleful toada about the lack of understanding of the popular soul by politicians and technocrats. "Buda Nagô" is a tribute to Dorival Caymmi in Afro-Bahian style, which features the guest singer Nana Caymmi (Dorival's daughter and Gil's former wife). "Serafim" brings Afro sounds together with a beautiful flamenco-influenced violão solo by Marco Pereira, suggesting the Moorish/Iberian influences received by Brazilian music. "Quero Ser Teu Funk" is the apology of funk in the modern setting of Rio. "Yá Olokun" brings more Afro inspirations, and "O Fim da História" uses again the ponto de macumba style to defend the mistaken post-modernist theory of the end of history. The soulful traditional values of northeastern community are celebrated in the beautiful baião "De Onde Vem O Baião.""Falso Toureiro" is a curious mix of northeastern forró and Afro-beat. "Sina" brings the beautiful reggae by Djavan in a subtler version which was included in the TV series Confissões De Uma Adolescente.



Gilberto Gil - Parabolicamará (flac 308mb)

01 Madalena (Into A Dead End And Out Again) (Entra Em Beco, Sai Em Beco) 3:59
02 Parabolicamará 4:27
03 A Dream (Um Sonho) 4:47
04 Nagô Buddha (Buda Nagô) 3:28
05 Serafim 3:49
06 I Wanna Be You Funk (Quero Ser Teu Funk) 5:57
07 Snow In Bahia (Neve Na Bahia) 3:39
08 Yá Olokun 3:41
09 The End Of History (O Fim Da História) 3:18
10 Where The Baião Comes From (De Onde Vem O Baião) 3:11
11 Phony Bullfighter (Falso Toureiro) 3:28
12 Fate (Sina) 3:55

Gilberto Gil - Parabolicamará (ogg   122mb)

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Afoxé (pronounced ah-fo-SHAY), much like the music Ernie Watts, Gilberto Gil and their friends have created here and in Brazil itself, is the sum of striking contradictions.

In Bahia, the vast coastal state known as the heartland of African culture in Brazil contemporary secular version of sacred Afo-Brazilian candomblé hymns are called afoxés. (The ritualistic candomblé sect is the product of an innovative blending of Catholic tradition and the beliefs of the secretive African religious societies.) The procession of musicians and singers who bring the candomblé message to the streets of Salvador every year during carnaval is itself known as an afoxé. And so are the drums, Brazil's answer to the Cuban conga. Even a popular percussion instrument today as much at home in high school band rooms in the U.S. Midwest as it is in the winding back alleys of Salvador's historic Pelourinho neighborhood, has taken the name afoxé.



Ernie Watts & Gilberto Gil - Afoxe (flac 334mb)

01  The Green Giant, Part I 04:35
02  Show Me 03:32
03  You're My Thrill 05:01
04  From Japan 07:37
05  Meditation 01:50
06  Rituals Of Spring 03:49
07  A Raca Humana 07:45
08  Free Afoxé 04:14
09  Gondwana 04:33
10  Oriente 05:32
11  The Green Giant, Part II 03:07
12  From Japan (Portuguese version) 04:28

Ernie Watts & Gilberto Gil - Afoxe (ogg   132mb)

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This is undoubtedly the equivalent of Gilberto Gil "Unplugged" -- Gil, his acoustic guitar, and a nonelectric five-piece band recorded live in a studio -- and it is a thoroughly musical triumph as Gil mesmerizes his attentive audience for some 74 minutes. He starts out with the nearly pure reggae of "A Novidade," but before long, he establishes himself in a mostly consistent, loping set of intimate grooves thoroughly rooted in Brazil. Gil had a hand in writing all of this tuneful material except Anastacia Dominguinhos'"Tenho Sede," Caetano Veloso's "Sampa," and a left-field choice, Stevie Wonder's "The Secret Life of Plants," which lends itself very well to Gil's bossa nova approach and proenvironmental position. It is not a complete live portrait of Gil, though; the astounding quickness and flexibility of his voice is fully vented only toward the end of the concert. The later Quanta Live album will give you a wider panorama of Gil's range.



Gilberto Gil - Unplugged (flac 413mb)

01 A Novidade 5:24
02 Tenho Sede 4:21
03 Refazenda 3:38
04 Realce 4:24
05 Esotérico 5:17
06 Drão 4:03
07 A Paz 4:53
08 Beira Mar 4:55
09 Sampa 3:45
10 Parabolicamará 4:37
11 The Secret Life Of Plants 5:11
12 Tempo Rei 5:02
13 Expresso 2222 4:44
14 Aquele Abraço 4:23
15 Palco 4:31
16 Toda Menina Baiana 4:37

Gilberto Gil - Unplugged   (ogg   169mb)

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Hello, super creep Cruz managed to win big against Trump who somehow got mired into an mysoginest swamp over abortion, he got the flack for saying the obvious if abortion is illegal the woman should go to jail. However it's not his plan to make abortion illegal, it's Cruz and his superpac creeps that demand a steady flow of slaves and losers in jail to make money from. Meanwhile the Clinton News Network (CNN) keeps losing face in their ignoring of Sanders who won again with double digits in Wisconsin, if the blacks in the south hadn't been so dumb to vote again against their own interests, the Democratic race would have been over now. Mrs Wallstreet Clinton should look past herself and acknowledge that if she really wants the best for the USA citizens, she should step aside and let the candidate that is supported by real Americans lead the country into a bright future.


Today's artists an industrial group whose members prefer to be known as a collective rather than reveal individual names; they've been seen as fascists and of practicing Germanophilia because of their music's Wagnerian thunder and their military attire. According to them, "We are fascists as much as Hitler was a painter." Since fascism needs a scapegoat to flourish, the members mocked it by becoming their own scapegoat and willingly sought alienation. Showing a ridiculous lust for authority, their releases featured artwork influenced by anti-Nazi photomontage artist John Heartfield, and the group's live shows portray rock concerts as absurd political rallies. In interviews their answers are wry manifestos, and they never break character... ..N'Joy

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Laibach was formed on June 1, 1980, in Trbovlje, a mining-industry town. Laibach is the German language name of the city of Ljubljana, a name used during the period when Slovenia was a part of the Habsburg Monarchy and the World War II occupation of Yugoslavia. At the time, the group collaborated with art groups Irwin (painting) and Rdeči Pilot (theatre).

Since its formation, Laibach had been preparing a multimedia project "Rdeči revirji" ("Red District"), a piece intended to aiming to challenge and provoke the current political structures in Trbovlje. The group's use of Malevich's black crosses on their posters was determined to be "improper and irresponsible," leading to the cancellation of the performance of Red District, an action which was met with considerable negative reaction in the media and by the general public. At this early stage of their career, Laibach's visuals employed mining iconography. Eventually, the group would add such symbols as Triglav, deer horns and the Malevich's black cross rounded with a gear.

The first live appearance and an exhibition entitled "Žrtve letalske nesreče" ("Victims of an Air Accident") took place in January 1982 at the Ljubljana club FV, followed by performances in Belgrade and Zagreb. At the time, the group's musical style was characterized by critics as "industrial rock", and for their live performances they used gramophones, radio devices and electronic instruments constructed by themselves. Instead of the dry ice stage effect, the group used original military smoke bombs which was as unpleasant for themselves as for the audience. At the Novi Rock festival in Ljubljana during the same year, the frontman Tomaž Hostnik appeared in a military uniform and despite being hit by a bottle in the face, causing him serious injuries, he managed to bring the performance to an end. However, Hostnik committed ritual suicide in December 1982 by hanging himself from one of the most powerful Slovenian national symbols – the kozolec near his hometown, Medvode. Laibach disapproved of his act of suicide and posthumously expelled Hostnik from the group, returning him to his private identity. Despite this, the group often referred to him and dedicated various projects to him, including an installation entitled Apologia Laibach, created around Hostnik’s self-portrait.

In April 1983 the group resumed its activities with a live appearance in Ljubljana, featuring guest performances by the English bands The Last Few Days and 23 Skidoo, for which recordings of dogs barking and snarling were used as the concert intro. The day after the performance, the group received considerable media coverage for a concert at the Zagreb Biennale entitled "Mi kujemo bodočnost" ("We Forge the Future"), during which the group used simultaneous projections of a pornographic movie and the film Revolucija še traja (The Revolution is Still Going On). The performance was eventually interrupted by the police, forcing the group to leave the stage after the appearance of a penis and Josip Broz Tito at the same time on the screens. The subsequent debut television appearance on June 23, 1983, in the informative-political program TV Tednik, caused major negative reactions after which they were banned from using the name Laibach as well as performing in public.

The group then started an international The Occupied Europe Tour '83, with the group The Last Few Days, which included sixteen dates in eight Eastern and Western European countries. The performances provoked a lot of interest in the European media, especially with the totalitarian musical and visual style. The socialist realism background, effective live appearances and a dissident status in their home country provided the group with a swift increase of interest of the Western countries. Their provocative usage of symbols from Nazi Germany firstly provoked the Slovene WW2 Veteran Organization in Yugoslavia. By combining the imagery of socialist realism, Nazism and Italian futurism, the group created a unique aesthetic style which could not pass unnoticed by the public. The song lyrics were initially written in German language, but having included cover versions of English language songs, the group focused more on the latter language.

In 1984, the group moved to London and started working as labourers, acted as soldiers in Stanley
Kubrick's Full Metal Jacket and worked at a pier in Belfast. Due to the fact that they were banned from using the name Laibach, the group held a secret concert at the Ljubljana Malči Belič hall dedicated to the deceased Tomaž Hostnik. During that period, the group, with their early collaborators Irwin and Rdeči Pilot founded the informal art organization Neue Slowenische Kunst (German for New Slovene Art).

The following year, the group released their debut studio album, Laibach, through the Ljubljana ŠKUC Ropot label, which did not feature the group name on the album cover, due to its ban, and a sample from a speech by Tito on one of the album tracks was also censored. During the same year, the German label WUS released a compilation album Rekapitulacija 1980–1984 (Recapitulation 1980-1984). With the Gledališče Sester Scipion Nasice, the group performed in their own play Krst pod Triglavom (A Baptism Under Triglav) at the Ljubljana Cankarjev dom. During 1985, the group also released its second album Nova Akropola (The New Acropolis) via British independent record label Cherry Red. After the album release, the group performed its first legal concert in Hum (Slovenia), entitled "Krvava gruda, plodna zemlja" ("Bloody Land, Fertile Soil"). They had asked the 12th congress of the SSO of Slovenia to be allowed to use the name Laibach and have public performances, a request which had been accepted. The group subsequently got the "Zlata ptica" ("The Golden Bird") award at the Yugoslav Youth Day.

In London, the famous disc jockey John Peel recorded three songs with the group for his show, and the group performed in the Michael Clark play No Fire Escape from Hell. Having signed for Mute Records, the group started recording their third studio album, Opus Dei, with Slavko Avsenik Jr. The inner sleeve of the cover featured a swastika consisting of four bloodied axes designed by John Heartfield, an anti-Nazi artist. The record was sold secretly in some European countries, as the meaning of the cover was not recognised. The usage of Nazi symbols and the name "Opus Dei" caused the Catholic institution of the same name to sue the group but the case was eventually decided in favour of Laibach. Following the album release, the group embarked on a European tour, during which they stated at a press conference in France that their influences are Tito, Toto and Tati.

In Hamburg, the group performed and wrote the music for an adaptation of William Shakespeare's Macbeth at the Deutsches Schauspielhaus, which was eventually released in 1989 as Macbeth. In 1988, the group released the album Let It Be, featuring cover versions of all the songs from the Beatles album of the same name, with the exception of the title track, which they did not record owing to lack of studio time, and "Maggie Mae", which was replaced by the German anthems "Auf der Lüneburger Heide" and "Was Gleicht Wohl Auf Erden". A part of the recorded material from the album was broadcast by Paul McCartney before his concerts.

In 1989, their performance in Zagreb started with the Serbian instrument the gusle and in Belgrade, the NSK philosopher Peter Mlakar held a speech as a cynical parody of Slobodan Milošević's speeches in SAP Kosovo. The following year, the group released the EP Sympathy for the Devil, an album of different cover versions of the Rolling Stones song of the same name. The group also achieved a commercial success with the cover versions of "Live is Life" by Opus and "One Vision" by Queen. During the same year, on December 21, the group celebrated their tenth anniversary with a first ever live performance in their hometown Trbovlje. The concert also marked the official foundation of the state of the Neue Slowenische Kunst movement, complete with its own currency, flag and passport. After this concert, the group undertook a tour of Bosnia and Herzegovina.

to be continued next week

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Despite their eventual transformation into one of the more entertaining and accessible groups in the industrial underground, the first few years of Laibach's career produced some of the most challenging music ever committed to record. Much like the early work of Einstürzende Neubauten or Throbbing Gristle, this is a very politically motivated form of expression that utilizes terror, unease, and fear to motivate listeners. On Rekapitulacija 1980-84, these early years are documented into a collection that sums up this period accurately, from the gruff chalk-drawings that adorn the packaging to the militaristic imagery found in the booklet. The music inside is nearly impossible to penetrate, from the harsh sounds of metal scraping (a commonly used "instrument") to the deep-voiced groans that spew words of political uprising in their native language. Hailing from the Republic of Slovenia (which was still a part of the Socialist Federative Republic of Yugoslavia), the group's unconventional approach seems appropriate considering the grim political situation of the time. These songs have meaning on several levels, since the band's inception was part of a high-concept idea that the Western music industry was a capitalist business plan that thrived on political rallies disguised as rock concerts and media manipulation based in repetition. On top of that, their homeland had been ravaged by Nazi Germany in the '40s, and the memory of those events had plagued their population for years after. So the music here is not only extreme in the sense that it barely resembles known recorded music, but the use of this sort of imagery and language brought to mind the German propaganda that was feared even in the early '80s. Extreme in almost every way, Rekapitulacija was also a significant step forward in the evolution of industrial music. By showing that the genre had the ability to make a significant political statement, they not only made an impact in Europe but gained the ability to break into the Western market, their intended target. Although hard to take even years later, Rekapitulacija is an important record that reflects how vital and passionate the genre felt at the time, and why this would inspire legions of angry youth to pick up samplers and make their own statement.



Laibach - Rekapitulacija 1980-84 (flac  463mb)

01 Cari Amici Soldati 2:17
02 Zmagoslavje Volje 5:00
03 Jaruzelsky 5:02
04 Smrt Za Smrt 2:46
05 Sila 4:00
06 Dokumenti 4:25
07 Sredi Bojev 8:16
08 Panorama 14 0:52
09 Mi Kujemo Bodočnost 4:44
10 Brat Moj 6:01
11 Slovenska Žena 4:25
12 Boji 8:20
13 Ti, Ki Izzivaš5:44
14 Perspektive 4:39
15 Mars0:22
16 Vade Retro Satanas 4:30
17 Smrt Za Smrt 7:29

Laibach - Rekapitulacija 1980-84  (ogg  177mb)

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Laibach's self-titled 1985 debut was regarded as an early industrial album, you can definitely hear where future alterna-electronic stars (Nine Inch Nails, Prodigy, etc.) learned their stuff. Since the band hailed from a small industrial town in Yugoslavia, it was only natural for their music to reflect their surroundings (look no further than the repetitive, pulsating factory-clang of the track "Battles"). But the band was also bent on incorporating politics into the mix, with songs like "Panorama," which cuts up a speech by a Yugoslavian president, and re-arranges it as a nonsensical narrative. The band also caused a stir visually by wearing traditional Alpine outfits and using the anti-Nazi art of Jon Heartfield (many people, especially outside Europe, mistakenly interpreted the band as a bunch of neo-Nazis). The music is consistently dark, creepy, and stark, which shows that Laibach were extremely cutting edge, and sadly far ahead of their time.



Laibach - Laibach (flac  360mb)

01 Cari Amici Soldati 1:51
02 Sila 4:03
03 Sredi Bojev 8:09
04 Država 4:20
05 Dekret 4:27
06 Mi Kujemo Bodočnost! 4:47
07 Brat Moj 5:59
08 Panorama 4:57
09 N.Y. 1984 - Policijski Hit (300,000 V.K.) 3:28
10 Prva TV Generacija (300,000 V.K.) 3:03
11 Der Zivilisation (Strom Und Klang) 4:50
12 L'Homme Arme (Strom Und Klang) 4:19
13 One Plus One (Strom Und Klang) 9:06

Laibach - Laibach  (ogg  144mb)

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A complete concert recorded Live In Hamburg in 1985 during "Die Erste Bombardierung über dem Deutschland Tour". The official release of the semi-official, legendary 1000 only vinyl from 1985. Remastered, with an 12-page booklet including a new text about LAIBACH and NSK of the time by Alexei Monroe (commissioned exclusively for this release by Laibach), plus never before seen images from the NSK archive.



Laibach - Neu konservatiw (flac  270mb)

01 Vier Personen 5:37
02 Nova Akropola 13:12
03 Vade Retro Satanas 4:47
04 Die Liebe 5:19
05 Du Der Du Herausforderst 4:12
06 Der Staat 10:18

Laibach - Neu konservatiw (ogg   108mb)

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Hello, the return of weekly re-ups here and once again i need to stress that requests need to be posted on the original page, posting requests elsewhere will be ignored by me. This blog hasn't got thousands of visitors that keep downloads live in a time where hosts are quick to delete and with re-ups the live time is considerably shorter, it can't be helped. That said regular visitors should have plenty of time to get what they want.

Storage maybe dirt cheap these days -compared to 5 years ago, but the hosts are much more money orientated and look at turnover and notice that keeping data longer than 1 month isn't making them money. Thus the coming months i'm making an effort to re-up, it will satisfy a small number of people which means its likely the update will  expire relatively quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section preferably at the page where the expired link resides....requests are satisfied on a first come first go basis. As my back up ogg hard disk is nonresponsive currently, i most likely will post a flac instead~for the the pre medio 2011 posts~ but i would think that is not really a problem...updates will be posted here and yes sign a name to your request and please do it from the page where the link died!

Looka here another batch of 20 re-ups, requests fullfilled up to April 4th ...N' Joy


3x Roots Back In Flac (VA - The Rough Guide - Madagascar, Oliver Mtukudzi -- Tuku Music, Mokoomba - Rising Tide)


3x Aetix Back In Flac (Throwing Muses - Throwing Muses, Throwing Muses - House Tornado, Throwing Muses - Hunkpapa)


5x Aetix Back In Flac (The Clash - The Singles Hitsville/Call Up, The Clash - Magnificent 7, The Clash - Radio Clash/Know Yr Rights, The Clash  - Rock The Casbah, The Clash - Should I Stay Or Should I Go/This Is England)


3x Aetix Back In Flac  ( True West - Hollywood Holiday Revisited,  Opal - Happy Nightmare Baby, Plimsouls - Everywhere At Once)


3x Eight-X Now in flac ( Siouxsie And The Banshees - Kaleidoscope now expanded, Interview - Snakes & Lovers (still in ogg), The Fun Boy Three - FB3 now expanded)

3x Aetix Back in Flac ( The Creatures - A Bestiary Of, Siouxsie And The Banshees - Tinderbox, Siouxsie And The Banshees - Through The Looking Glass)


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Hello, divine grooves here today to cleanse your soul from the negatives projected on you by crazy US politics,  tax evaders and the minions that enable them. Meanwhile the refugee crises in Europe remains a miserey.


Today's music in general is characterized by dominant vocals (often with strong use of harmony) referencing lyrics of a Christian nature. The creation, performance, significance, and even the definition of gospel music varies according to culture and social context. Gospel music is composed and performed for many purposes, including aesthetic pleasure, religious or ceremonial purposes, and as an entertainment product for the marketplace. Gospel music usually has dominant vocals (often with strong use of harmony) with Christian lyrics.. ... N'joy

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Coming out of the African American religious experience, gospel music can be traced to the early 17th century Gospel music has roots in the black oral tradition, and typically utilizes a great deal of repetition. The repetition of the words allowed those who could not read the opportunity to participate in worship. During this time, hymns and sacred songs were lined and repeated in a call and response fashion, and the Negro spirituals and work songs emerged. Repetition and "call and response" are accepted elements in African music, designed to achieve an altered state of consciousness we sometimes refer to as "trance", and strengthen communal bonds.

The first published use of the term ″Gospel Song" probably appeared in 1874 when Philip Bliss released a songbook entitled Gospel Songs. A Choice Collection of Hymns and Tunes. It was used to describe a new style of church music, songs that were easy to grasp and more easily singable than the traditional church hymns. The revival movement employed popular singers and song leaders, the most famous of them being Ira D. Sankey. The original gospel songs were written and composed by authors such as George F. Root, Philip Bliss, Charles H. Gabriel, William Howard Doane, and Fanny Crosby. As an extension to his initial publication Gospel Songs, Philip Bliss, in collaboration with Ira D. Sankey issued no’s. 1 to 6 of Gospel Hymns in 1875.

The holiness-Pentecostal movement, or sanctified movement, appealed to people who were not attuned to the Europeanized version of black church music. Pentecostal churches readily adopted and contributed to the gospel music publications of the early 20th century. Late 20th-century musicians such as Elvis Presley, Jerry Lee Lewis, Mahalia Jackson, Andrae Crouch, and the Blackwood Brothers either were raised in a Pentecostal environment, or have acknowledged the influence of that tradition.

The advent of radio in the 1920s greatly increased the audience for gospel music. In African-American music, gospel quartets developed an a cappella style following the earlier success of the Fisk Jubilee Singers. The 1930s saw the Fairfield Four, the Dixie Hummingbirds, the Five Blind Boys of Mississippi, the Five Blind Boys of Alabama, The Soul Stirrers, the Swan Silvertones, the Charioteers, and the Golden Gate Quartet. Racism divided the nation, and this division did not skip the church. If during slavery blacks were treated as inferior inside the white churches, after emancipation they formed their own separate churches. The gospel groups which were very popular within the black community, were virtually unknown to the white community.

In addition to these high-profile quartets, there were many black gospel musicians performing in the 1920s and 30s, usually playing the guitar and singing in the streets of Southern cities. Famous among them were Blind Willie Johnson, Blind Joe Taggart and others. It has been said that 1930 was the year when modern gospel music began, because the National Baptist Convention first publicly endorsed the music at its 1930 meeting.


Following the Second World War, gospel music moved into major auditoriums, and gospel music concerts became quite elaborate. In 1950, black gospel was featured at Carnegie Hall when Joe Bostic produced the Negro Gospel and Religious Music Festival. He repeated it the next year with an expanded list of performing artists, and in 1959 moved to Madison Square Garden. Several forms of gospel music utilize choirs, use piano or Hammond organ, tambourines, drums, bass guitar and, increasingly, electric guitar.

Today, black gospel and white gospel are distinct genres, with distinct audiences. In white gospel, there is a large Gospel Music Association and a Gospel Music Hall of Fame, which includes a few black artists, such as Mahalia Jackson, but which ignores most black artists in the black community, James Cleveland established the Gospel Music Workshop of America in 1969.


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Rhino set their tasteful, selective hands on African American gospel music with this three-CD set, elaborately packaged to resemble a hardcover Bible. The reach of this collection is wide, beginning with a cappella jubilee-style singing from the '30s and ending with 1990s funk soul and gospel-flavored R&B. The selections are superb (Golden Gate Quartet, Highway Q.C.'s, Swan Silvertones, Reverend Cleveland, Inez Andrews, Shirley Caesar, Andraé Crouch, Oleta Adams, the Winans) and the sound quality surprising (you've never heard the Trumpeteers' gorgeous "Milky White Way" till you've heard this restored version). While this set offers few discoveries for the true fan, the 70-page book's essays are topnotch (notably those by Opal Louis Nations and Carol Cooper). As an introduction to an innovative, hugely influential, vital, thoroughly spiritual, and frequently misunderstood music, this collection delivers.



VA - Testify! The Gospel Box 1  (flac 185mb)

01 Praise The Lord And Pass The Ammunition - The Southern Sons Quartette
02 Stalin Wasn't Stallin' - The Golden Gate Jubilee Quartet
03 Milky White Way - The Trumpeteers
04 Don't Let Nobody Turn You Around - The Fairfield Four
05 That's Enough - Dorothy Love Coates & The Original Gospel Harmonettes
06 Just A Closer Walk WIth Thee - Sallie Martin Singers
07 Our Father - Original Five Blind Boys
08 Too Close To Heaven - The Bradford Special
09 Let's Go Out To The Programs - Dixie Hummingbirds
10 Amazing Grace - Rev. Maceo Woods
11 Alone And Motherless - The Original Five Blind Boys Of Alabama
12 Somewhere To Lay My Head - The Highway Q.C.'s
13 Uncloudy Day - The Staple Singers
14 All Things Are Possible - The Harmonizing Four
15 Didn't It Rain - Mahalia Jackson
16 The Love Of God - Voices Of The Tabernacle
17 Precious Lord - LaVern Baker
18 Mary Don't You Weep - The Swan Silvertones
19 One More River To Cross - The Meditation Singers
20 Good Enough For Me - Rev. James Cleveland & The Gosphel Chimes

    (ogg  mb)

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VA - Testify! The Gospel Box 2  (flac  448mb)

01 Mighty High - Mighty Clouds Of Joy
02 Oh Happy Day - The Edwin Hawkins Singers
03 Lord, Don't Move The Mountain - Inez Andrews
04 Mary, Don't You Weep - Aretha Franklin
05 I'll Trade A Lifetime - The O'Neal Twins
06 I Go To The Rock - Danniebelle Hall
07 Goin' Up Yonder - Walter Hawkins & The Love Center Choir
08 No Charge - Shirley Caesar
09 Peace In The Valley - The Gate City singers
10 Take My Hand, Precious Lord - Marion Williamswith Prof. Thomas A. Dorsey
11 How I Got Over - Clara Ward & The Ward Singers
12 Walk Around Heaven All Day - The Caravans
13 Strange Man - Dorothy Love Coates
14 Changed - Walter Hawkins & The Love Center Choir
15 My Tribute - Andrae Crouch

VA - Testify! The Gospel Box 2   (ogg 176mb)

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VA - Testify! The Gospel Box 3  (flac 486mb)

01 Show Up! - The New Life Community Choir
02 Stand - Ron Winans Presents Family & Friends IV
03 Spread Love - Take 6
04 Tomorrow - The Winans
05 Rough Side Of The Mountain - Rev. F.C. Barnes & The Red Budd Combined Choir
06 Be Encouraged - William Becton & Friends
07 A Message For The Saints - Donald Lawrence & The Tri-City Singers
08 I Believe - Sounds Of Blackness
09 Deep River/Campground - Cissy Houston
10 How I Depend On You - The Williams Brothers
11 Holy Is The Lamb - Oleta Adams
12 Order My Steps - GMWA Women Of Worship
13 The Battle Is The Lord's - Yolanda Adams
14 Dear God - Boyz II Men
15 I Love The Lord - Whitney Houston With The Georgia Mass Choir

VA - Testify! The Gospel Box 3 (ogg  170mb)

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Hello,

Psybient, also known as “Ambient Psy”, “Psychedelic Ambient”, “Ambient Goa”, “Ambient Psytrance” or simply chill out and more commonly within the Goa- Psytrance scene as “Psychill” & “Psydub”, is a genre of electronic music that combines elements of psychedelic trance, ambient, world music, new age and even ethereal wave. It often has many dub influences and can also sound somewhat like glitch. Psybient pieces are often structured around the concept of creating a “sonic voyage” or “musical journey”. Although similar to psytrance’s emphasis on maintaining non-stop rhythm throughout the night, psybient is far more focused on creating a vast soundscape that can be experienced over the length of an album, focusing less on beatmatching and allowing for a myriad of tempo changes. ........N'Joy

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Raja Ram (b. Ron Rothfield), who had trained as a jazz flautist in the 50s and played in the band Quintessence in the 60s, began making music with Graham Wood as the Infinity Project in 1989. Over the next few years they experimented with a kind of abstract techno gradually forming a sound that became known as the psychedelic or ‘Goa’ trance, often in collaboration with Simon Posford (Hallucinogen), Nick Barber (Doof) and Martin Freeland (Man With No Name). After producing material on DATs and white labels, in 1992 they started to release their music via the labels Fabulous (‘Freedom From The Flesh’), Spiritzone (‘Telepathy/Binary Neuronaut’) and Dragonfly Records (‘Bizarro’, ‘Time And Space’, ‘Super Booster’ and ‘Feeling Very Wierd’). In 1994, with Ian St. Paul they formed TIP Records and launched the label with ‘Stimuli/Uforica’. At the same time they worked on projects with Posford and others, including the Mystery Of The Yeti album (TIP 1996) and various releases as Total Eclipse. After an ambient album Mystical Experiences (1995) for Blue Room Released, they released ‘Alien Airport/Hyperspaced’ on TIP followed by the album Feeling Wierd which was mostly made up of their previous releases. In the spirit of the Goa scene Feeling Wierd was steeped in psychedelic hippie/sci-fi imagery. While tracks such as ‘Telepathy’, ‘Stimuli’ and the Doof remix of ‘Hyperspaced’ successfully blend the rigid four-on-the-floor rhythms, modal riffs, mysterious dialogue and abstract electronic phasing and filter sweeps that characterize the early psy-trance sound, ‘Noises From The Darkness’ and the early track ‘Freedom From The Flesh’ (written 1992) sound rather limp in comparison. In 1997, the group released the single ‘Overwind/Incandescence’ and contributed the excellent, but rather dark ‘Mindboggler’ to the TIP compilation 3D Wood also began recording as Excess Head for TIP’s subsidiary 10 Kilo while Ram continued to work with Posford as Shpongle. By 1998 the Infinity Project had split-up to concentrate on individual projects.

The Mystery of the Yeti is a Goa trance concept album conceived and arranged by Ron Rothfield (a.k.a. Raja Ram). It was collaboratively produced by Raja Ram and Graham Wood of The Infinity Project; Stéphane Holweck, Loïc Van Poucke, and Serge Souque (the founding members of Total Eclipse); and Simon Posford (aka Hallucinogen). The Mystery of the Yeti was an early and influential concept album in psychedelic trance music. Three years after recording it, all the Mystery of the Yeti artists, except for Graham Wood, collaborated on a follow-up album: The Mystery of the Yeti, Part 2

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This album is the definition of “psychedelic” ambient. You don’t find the sounds of nature as in normal ambient. Except for the magical flute of Raja Ram, and occasionally some ethnic sounds, the most part of it is made of multiple sound layers and lots of melodies which are always in motion. It’s complimented with loads of psychedelic effects and some tracks have a broken beat. Also there is a heavy dubby bass most times which when coupled with some broken beat as explained above the music will surprisingly move you and still kick ass despite this being ambient. With Simon Posford's presence It gives off the vibe of being a precursor to Shpongle due to both his influence and Raja Ram's flute playing. Great sober, high, and while tripping on a psychedelic substance. Even in 2016, a full 20 years later, this album still sounds mystical and futuristic.



Infinity Project - Mystical Experiences (flac  407mb)

01 When Sound Becomes Colour 6:14
02 Mystical Experiences 10:34
03 The Answer 10:35
04 High Insert 0:06
05 Morfioso 4:54
06 Flute Line 2:21
07 Flying 6:21
08 Blue Aura 3:19
09 Alien Patrol 6:24
10 Under The Overtones 19:58
11 Blue Aura (Weird Meeting) 2:38

Infinity Project - Mystical Experiences  (ogg  174 mb)

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As we catapault towards the millenium on a sonic search for the ultimate musical mindflip, T.I.P. (truffle hunters extraordinaire...) continue to discover further levels, exploring the sparkling  arena of third dimensional aural travelling.  "3D".  What is it?  The Third Dimension is non-flat, has space, height, backs & fronts, ups and downs, ins and outs, sculptured, moulded, raised, light and shaded graded with depth

Deeper more powerful, round the corner soundage, the curve of the threshold; growling, grunting, grinding hyper stuff, the sounds of the universe  being torn apart, cosmic births, ripping, tearing, pumping with a million suns in harmony as the eternal parties gratify a thousand screaming senses.  Crystallisation of electro, global trance becomes clear!  This is the super secret stash of maha creamage. Gravity sucks so this music may be dangerous for ultra straights, the feeble minded, the fainthearted or cunning linguists.  It may give you the munchies and will definitely grab you by the balls... of your feet, reverberating the full spectrum of your cranium.



The Infinity Project - Feeling Weird (flac 419mb) (Warning this psy trance)

01 Telepathy 6:56
02 Hyperspaced (Doof Remix) 7:07
03 Freedom From The Flesh 7:00
04 Stimuli 5:32
05 Cybertropic 6:04
06 Uforica (Paul Jackson Remix) 6:31
07 Binary Neuronaut 4:44
08 Noises From The Darkness 6:27
09 Feeling Very Weird 6:21
10 Noises From The Darkness (Dub) 7:35

The Infinity Project - Feeling Weird (ogg   156mb)

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The members of Mystery of the Yeti have made an ancient, mystical and spiritual album. Mystery of the Yeti is an ambient goa trance/tribal/downtempo group that focuses on creating immersive soundscapes. Their only release, 1996's "The Mystery of the Yeti", is a chronicling of the legend of twelve Himalayan tribes making a journey to a sacred mountain, with hopes to discover the mystery of the yeti. In this journey the provide us, ambient and goa trance are the two leading forces. From completely beatless ambient companied with natural elements such as water and thunder, animals, chants and roars to full blown goa tunes with climbing liquid melodies. This album is made as an journey, listen it from start to finish and climb to the Himalayas in the search of the Abominable Snowman. Always accompanied with Raja Ram's flute each of these songs are perfect.



The Mystery Of The Yeti - The Mystery Of The Yeti (flac  313mb)

01 The Call-The Journey15:30
02 Tribal Gathering 14:32
03 The Yeti Revelation-Sacred Communication 12:00
04 A 'Welcome' To All Extra Terrestrials 14:55

 The Mystery Of The Yeti - The Mystery Of The Yeti   (ogg    127mb)

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This is a serious 4 part electronic fable performed & composed by the 4 leading tech-trance artists in the world today. Process - Hallucinogen - Total Eclipse - Doof; with a little help from Raja Ram - TIP & Shpongle. This musical epic is the journey to find the fabled yeti high up in the himalayas and beyond.

I think this Mystery of the Yeti misses something, that the first one had, where all the artists worked together on all the tracks. Every song vary quite a bit from each other and that always bothers the journey, that a compilation of this kind is supposed to produce. The first two songs are very promising and lifts onee up to different dimensions, especially Hallucinogen's Herb Garden, which is one of the best tracks he's made.



The Mystery Of The Yeti II (Extra Terrestrial Ambience) (flac 276mb)

01 Process - Under Mount Kailash 16:45
02 Hallucinogen - The Herb Garden 14:37
03 Total Eclipse - Freefalling Upwards 15:21
04 Doof - High On Mount Kailash 13:24

The Mystery Of The Yeti II (Extra Terrestrial Ambience) (ogg  125mb)

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Hello,

Watched any great books lately? Now you can. The most celebrated graphic novel of all time that broke the conventional mold continues to break new ground. Watchmen illustrator Dave Gibbons oversees this digital version of the graphic novel that adds limited motion, voice and sound to the book's strikingly drawn panels. All 12 chapters of the story are here, nearly 5 hours spanning everything from the mysterious demise of the Comedian to the crisscrossed destinies of loosely allied superheroes to their fateful impact on the world. Be in the know. Be watching. With Watchmen: The Complete Motion Comic.... N'Joy

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A critical and commercial success, Watchmen is highly regarded in the comics industry and is frequently considered by several critics and reviewers as comics' greatest series and graphic novel. In time, the series has also become one of the best-selling graphic novels ever published. Watchmen was the only graphic novel to appear on Time's 2005 "All-Time 100 Greatest Novels" list, where Time critic Lev Grossman described the story as "a heart-pounding, heartbreaking read and a watershed in the evolution of a young medium." It later appeared on Time's 2009 "Top 10 Graphic Novels" list, where Grossman further praised Watchmen, proclaiming "It’s way beyond cliché at this point to call Watchmen the greatest superhero comic ever written-slash-drawn.


The Watchmen: Motion Comic is a 2008 American animated short film series of motion comics for web and television based on the DC comic book series Watchmen, written by Alan Moore and illustrated by Dave Gibbons. The series consists of twelve abridged 25–30 minute segments, each based on and sharing a name with one of the twelve chapters of the book. Both male and female characters are voiced by actor Tom Stechschulte. It was released on DVD in March 2009 to coincide with the Watchmen movie’s release.


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In October 1985, during the Soviet invasion of Afghanistan and on the eve of nuclear war, a depressed Rorschach, one of several outlawed vigilante superheroes, begins to investigate why all former masked superheroes are either dead or have declined. When another one of his former colleagues is murdered, the outlawed but no less determined masked vigilante Rorschach sets out to uncover a plot to kill and discredit all past and present superheroes. As he reconnects with his former crime-fighting legion--a disbanded group of retired superheroes, only one of whom has true powers--Rorschach glimpses a wide-ranging and disturbing conspiracy with links to their shared past and catastrophic consequences for the future.



Watchmen 11 Look on My Works, Ye Mighty...... (avi  233mb)

Watchmen 11 Look on My Works, Ye Mighty... 25:31

In Karnak, his antarctic base, Ozymandias narrates his history. When Nite Owl and Rorschach confront him, believing that he planned to start World War 3, he fights them off while explaining his plan to end the Cold War by faking an alien invasion, and reveals that his plan has already been set into motion.


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previously

Watchmen 01 At Midnight, All the Agents... (avi  233mb)
Watchmen 02 Absent Friends... (avi  233mb)
Watchmen 03 The Judge of All the Earth... (avi  233mb)
Watchmen 04 Watchmaker... (avi  233mb)
Watchmen 05 Fearful Symmetry... (avi  233mb)
Watchmen 06 The Abyss Gazes Also... (avi  233mb)
Watchmen 07 A Brother to Dragons... (avi  233mb)
Watchmen 08 Old Ghosts... (avi  233mb)
Watchmen 09 The Darkness of Mere Being... (avi  233mb)
Watchmen 10 Two Riders Were Approaching... (avi  233mb)


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