Hello, quite a contrast with last weeks Public Enemy, a group that largely held together for 30 years, their West Coast counterparts were into violence consequently made lot's of money and broke up within 5 years, no surprise there.....




Today's Artists were Niggaz Wit Attitudes an American hip hop group from Compton, California. They were among the earliest and most significant popularizers and controversial figures of the gangsta rap subgenre, and are widely considered one of the greatest and most influential groups in the history of hip hop music. Rolling Stone ranked N.W.A number 83 on their list of the "100 Greatest Artists of All Time". In 2016, the group was inducted into the Rock and Roll Hall of Fame, following three previous nominations....... N Joy

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 N.W.A, the unapologetically violent and sexist pioneers of gangsta rap, are in many ways the most notorious group in the history of rap. Emerging in the late '80s, when Public Enemy had rewritten the rules of hardcore rap by proving that it could be intelligent, revolutionary, and socially aware, N.W.A capitalized on PE's sonic breakthroughs while ignoring their message. Instead, the five-piece crew celebrated the violence and hedonism of the criminal life, capturing it all in blunt, harsh language. Initially, the group's relentless attack appeared to be serious, vital commentary, and it even provoked the FBI to caution N.W.A's record company, but following Ice Cube's departure in late 1989, the group began to turn to self-parody. With his high-pitched whine, Eazy-E's urban nightmares now seemed like comic book fantasies, but ones that fulfilled the fantasies of the teenage white suburbanites who had become their core audience, and the group became more popular than ever. Nevertheless, clashing egos prevented the band from recording a third album, and they fell apart once producer Dr. Dre left for a solo career in 1992. Although N.W.A were no longer active, their influence -- from their funky, bass-driven beats to their exaggerated lyrics -- was evident throughout the '90s, while their story was told in the critically acclaimed 2015 film Straight Outta Compton.

Ironically, in their original incarnation N.W.A were hardly revolutionary. Eazy-E (born Eric Wright), a former drug dealer who started Ruthless Records with money he earned by pushing, was attempting to start a rap empire by building a roster of successful rap artists. However, he wasn't having much success until Dr. Dre (born Andre Young) -- a member of the World Class Wreckin' Cru -- and Ice Cube (born O'Shea Jackson) began writing songs for Ruthless. Eazy tried to give one of the duo's songs, "Boyz-n-the Hood," to Ruthless signees HBO, and when the group refused, Eazy formed N.W.A -- an acronym for Niggaz With Attitude -- with Dre and Cube, adding World Class Wreckin' Cru member DJ Yella (born Antoine Carraby), the Arabian Prince, and the D.O.C. to the group. N.W.A's first album, N.W.A. and the Posse, was a party-oriented jam record that largely went ignored upon its 1987 release.

In the following year, the group added MC Ren (born Lorenzo Patterson) and revamped its sound, bringing in many of the noisy, extreme sonic innovations of Public Enemy and adopting a self-consciously violent and dangerous lyrical stance. Late in 1988, N.W.A delivered Straight Outta Compton, a vicious hardcore record that became an underground hit with virtually no support from radio, the press, or MTV. N.W.A became notorious for their hardcore lyrics, especially those of "Fuck tha Police," which resulted in the FBI sending a warning letter to Ruthless and its parent company, Priority, suggesting that N.W.A should watch their step.

Most of the group's political threat left with Cube when he departed in late 1989 amid many financial disagreements. A nasty feud between N.W.A and the departed rapper began that would culminate with Cube's "No Vaseline," an attack on the group's management released on his 1991 Death Certificate album. By the time the song was released, N.W.A, for all intents and purposes, were finished. In the two years between Cube's departure and the group's dissolution, N.W.A were dominated by Eazy's near-parodic lyrics and Dre's increasingly subtle and complex productions. The group quickly released an EP, 100 Miles and Runnin', in 1990 before following it up early the next year with Efil4zaggin ("Niggaz 4 Life" spelled backward). Efil4zaggin was teeming with dense, funky soundscapes and ridiculously violent and misogynist lyrics. Naturally, the lyrics provoked outrage from many critics and conservative watchdogs, but that only increased the group's predominately male, white suburban audience. Even though the group was at the peak of its popularity, Dre began to make efforts to leave the crew, due to conflicting egos and what he perceived as an unfair record deal.

Dre left the group to form Death Row Records with Suge Knight and The D.O.C. in early 1992. According to legend, Knight threatened to kill N.W.A's manager Jerry Heller if he refused to let Dre out of his contract. Over the next few years, Dre and Eazy engaged in a highly publicized feud, which included both of the rappers attacking each other on their respective solo albums. Ren and Yella both released solo albums, which were largely ignored, and Eazy continued to record albums that turned him into a complete self-parody until his tragic death from AIDS in March 1995. Before he died, Dre and Cube both made amends with Eazy. With his first solo album, 1992's The Chronic, Dre established himself as the premier hip-hop producer of the mid-'90s, setting the pace for much of hardcore rap with its elastic bass and deep, rolling grooves. Gangsta rap established itself as the most popular form of hip-hop during the '90s -- in other words, N.W.A's amoralistic, hedonistic stance temporarily triumphed over the socially conscious hip-hop of Public Enemy, and it completely rewrote the rules of hip-hop for the '90s. A 2015 biopic, the critically acclaimed, Academy-Award-nominated Straight Outta Compton, made over $200 million worldwide at the box office and inspired Dr. Dre's third solo album, Compton, released that same year. With N.W.A.'s cultural resurgence and mainstream recognition of their legacy in the history of rap and hip-hop, the group received another honor with their induction into the Rock 'N Roll Hall of Fame in 2016.



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Hip-hop was still very much dominated by New York in 1987 when Macola Records (a company that distributed numerous L.A. rap labels in the 1980s, including Eazy-E's Ruthless Records) distributed N.W.A's groundbreaking debut album, N.W.A and the Posse. Ice-T was among the few West Coast rappers enjoying national exposure, and gangsta rap was far from the phenomenon it would become a few years later. A number of the songs -- including the brutally honest "Dopeman" -- would be reissued on Straight Outta Compton, while Eazy-E's first single, "Boyz-n-the Hood" would be included on his 1988 solo album, Eazy-Duz-It. And the entire album would be reissued by Priority in 1989. This CD ranges from those early and seminal examples of gangsta rap to songs that are pure, unapologetic fun -- such as the outrageously humorous "Fat Girl" and N.W.A associates the Fila Fresh Crew's "Drink It Up," an infectious ode to booze employing the melody from the Isley Brothers'"Twist and Shout." One of the Crew's members was the D.O.C., who Dr. Dre and Eazy-E took to the top of the charts in 1989. Though not quite on a par with Straight Outta Compton, this is an engaging and historically important CD that's well worth acquiring.



VA - N.W.A and The Posse  (flac   320mb)

01 Eazy-E - Boyz-N-The Hood 5:40
02 N.W.A. - 8-Ball 4:26
03 The Fila Fresh Crew feat The D.O.C. - Dunk The Funk 5:03
04 N.W.A. - A Bitch Iz A Bitch 3:09
05 The Fila Fresh Crew feat The D.O.C. - Drink It Up 4:45
06 N.W.A. - Panic Zone 3:32
07 Eazy-E & Ron-De-Vu - L.A. Is The Place 4:33
08 N.W.A. - Dope Man 6:18
09 The Fila Fresh Crew feat The D.O.C. - Tuffest Man Alive 2:16
10 Eazy-E & Ron-De-Vu - Fat Girl 2:49
11 The Fila Fresh Crew feat The D.O.C. -3 The Hard Way 4:13

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Straight Outta Compton wasn't quite the first gangsta rap album, but it was the first one to find a popular audience, and its sensibility virtually defined the genre from its 1988 release on. It established gangsta rap -- and, moreover, West Coast rap in general -- as a commercial force, going platinum with no airplay and crossing over with shock-hungry white teenagers. Unlike Ice-T, there's little social criticism or reflection on the gangsta lifestyle; most of the record is about raising hell -- harassing women, driving drunk, shooting it out with cops and partygoers. All of that directionless rebellion and rage produces some of the most frightening, visceral moments in all of rap, especially the amazing opening trio of songs, which threaten to dwarf everything that follows. Given the album's sheer force, the production is surprisingly spare, even a little low-budget -- mostly DJ scratches and a drum machine, plus a few sampled horn blasts and bits of funk guitar. Although they were as much a reaction against pop-friendly rap, Straight Outta Compton's insistent claims of reality ring a little hollow today, since it hardly ever depicts consequences. But despite all the romanticized invincibility, the force and detail of Ice Cube's writing makes the exaggerations resonate. Although Cube wrote some of his bandmates' raps, including nearly all of Eazy-E's, each member has a distinct delivery and character, and the energy of their individual personalities puts their generic imitators to shame. But although Straight Outta Compton has its own share of posturing, it still sounds refreshingly uncalculated because of its irreverent, gonzo sense of humor, still unfortunately rare in hardcore rap. There are several undistinguished misfires during the second half, but they aren't nearly enough to detract from the overall magnitude. It's impossible to overstate the enduring impact of Straight Outta Compton; as polarizing as its outlook may be, it remains an essential landmark, one of hip-hop's all-time greatest.

Despite not being a success at first and the lack of airplay, "Straight Outta Compton" sold over three million copies, thanks to the hits "Straight Outta Compton", "Gangsta Gangsta" and "Express Yourself". The album itself reached number 37 in the Billboard Top 200 in the spring of 1989, while it reached number 9 on Billboard's Top Soul LPs.



NWA - Straight Outta Compton   (flac   375mb)

01 Straight Outta Compton 4:16
02 Fuck Tha Police 5:45
03 Gangsta Gangsta 5:35
04 If It Ain't Ruff 3:33
05 Parental Discretion Iz Advised 5:15
06 8 Ball (Remix) 4:51
07 Something Like That 3:33
08 Express Yourself 4:23
09 Compton's In The House (Remix) 5:19
10 I Ain't Tha 1 4:53
11 Dopeman (Remix) 5:19
12 Quiet On Tha Set 3:56
13 Something 2 Dance 2 3:22

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Following a round of Ruthless Records releases (Eazy-E's Eazy-Duz-It, 1988; the D.O.C.'s No One Can Do It Better, 1989; Above the Law's Livin' Like Hustlers, 1990) and the departure of group member Ice Cube (who released a very successful debut, AmeriKKKa's Most Wanted, 1990), Dr. Dre went about producing new N.W.A music for a follow-up to Straight Outta Compton (1988). 100 Miles and Runnin', a five-track EP, was the first material to surface from the recording sessions, released in summer 1990 partly as a response to Ice Cube's departure (both Dr. Dre and MC Ren take verbal shots at him), a preview of what fans could expect on the group's forthcoming album (promoted on the two-minute, EP-closing "Kamurshol"), and a stopgap measure for a marketplace hungry for cutting-edge gangsta rap. The EP's title track is a clear highlight and is among N.W.A's all-time greatest efforts. Driven by a densely layered, fast-paced production, "100 Miles and Runnin'" is perhaps most noteworthy for its second verse, where Dr. Dre uncharacteristically delivers a fierce verse that stylistically resembles Ice Cube's classic opening verse from "Straight Outta Compton." The second song, "Just Don't Bite It," is another highlight, an alarming porno rap that at the time of its release was as explicit as anything out there, including 2 Live Crew. The third song, "Sa Prize, Pt. 2," is a passable "Fuck tha Police" rehash that suffers for the absence of Ice Cube, while next and final song on the EP, "Real Niggaz," is a fairly uneventful hardcore rap purposefully laden with the N-word. In little over 20 minutes, 100 Miles and Runnin' manages to broach the key gangsta rap points of controversy -- fleeing and/or killing the police, pornographic sex, obscenity, and extreme aggression -- as well as diss Ice Cube and promote the upcoming album. Years later, the controversial aspects of 100 Miles and Runnin' may seem ho-hum -- at least to anyone conditioned to expect such rhetoric from hardcore rap music -- but it's important to put this EP into its proper context, for the boundary-pushing showcased here was alarming for its time and a major reason why N.W.A earned such renown.



100 Miles And Runnin' EP (flac   154mb)

01 100 Miles And Runnin' 4:32
02 Just Don't Bite It 5:28
03 Sa Prize (Part 2) 5:58
04 Real Niggaz 5:27
05 Kamurshol 1:56

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Like 100 Miles and Runnin' (1990), the five-track EP that preceded it, N.W.A's third full-length album, Niggaz4life, courts controversy in every imaginable way, from its title (printed backward on the cover, as a mirror image) down to its mercilessly misogynistic second half, and it remains shocking years later, no matter how many times the controversial aspects of the album have been exploited again and again by others. Unfortunately, the shocking rhetoric -- which, to a degree unprecedented at the time of the album's release, revels in relentless obscenity, graphic sex, and extreme violence -- tends to overshadow the remarkable production work of Dr. Dre here. Similar in practice to the concurrent production work of the Bomb Squad, Dr. Dre and co-producer DJ Yella densely layer soul-funk samples from the 1970s over hard-hitting beats. As he had on his previous productions, Dr. Dre mines the Parliament-Funkadelic back catalog in particular for sample material: for instance, two Eazy-E solo showcases, "Automobile" and "I'd Rather Fuck You," are satirical interpolations of Parliament's "My Automobile" and Bootsy Collins'"I'd Rather Be with You," respectively, while the skits "Don't Drink That Wine" and "1-900-2-Compton" are likewise homage to George Clinton and company -- and, if you're keeping tabs, "Niggaz 4 Life" borrows an elastic bassline from Parliament's "Sir Nose d'Voidoffunk." The album-opening "Real Niggaz Don't Die" is one of the most remarkable productions, comprised of multiple samples, most evidently Rare Earth's "I Just Want to Celebrate," a joyous song whose sampled hook is in great juxtaposition to the overriding dire tone of the production, best characterized by one of the other songs sampled on the track, the Last Poets'"Die Nigger!!!" In terms of rapping, Niggaz4life suffers for the absence of Ice Cube, even as the D.O.C. assumes his position as the in-house ghostwriter. There's a lot of Eazy-E to be heard throughout the album, for better and for worse, as his sense of humorous menace is amusing as well as unsettling. In the end, it's easy to understand why N.W.A unraveled shortly after Niggaz4life: on the one hand, the group had become a vehicle for exploiting the taboos of gangsta rap, to significant commercial success (this was a chart-topping album, after all), while on the other hand, it had become less about the production talent of Dr. Dre, whose work was being sorely overshadowed by all the controversy



NWA - Niggaz4Life  (flac   401mb)

01 Prelude 2:27
02 Real Niggaz Don't Die 3:40
03 Niggaz 4 Life 4:58
04 Protest 0:53
05 Appetite For Destruction 3:22
06 Don't Drink That Wine 1:07
07 Alwayz Into Somethin' 4:24
08 Message To B.A. 0:48
09 Real Niggaz 4:27
10 To Kill A Hooker 0:50
11 One Less Bitch 4:47
12 Findum, Fuckum & Flee 3:54
13 Automobile 3:15
14 She Swallowed It 4:13
15 I'd Rather Fuck You 3:57
16 Approach To Danger 2:45
17 1-900-2-Compton 1:27
18 The Dayz Of Wayback 4:19

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This is a remastered version of Straight Outta Compton topped up with cover versions by friends and the infamous live call Compton's N The House .



NWA - Straight Outta Compton (20th Anniversary) (flac   547mb)

Remastered
01 Straight Outta Compton 4:03
02 F**k The Police 5:15
03 Gangsta Gangsta 4:06
04 If It Ain't Ruff 3:34
05 Parental Discretion Iz Advised 5:12
06 8 Ball (Remix) 4:33
07 Something Like That 3:34
08 Express Yourself 4:23
09 Compton's N The House 5:16
10 I Ain't Tha 1 4:54
11 Dopeman (Remix) 5:50
12 Quiet On Tha Set 3:58
13 Something 2 Dance 2 3:24
Bonus
14 Bone Thugs-N-Harmony - F**k Tha Police 5:03
15 Snoop Dogg / C-Murder - Gangsta Gangsta 4:40
16 Mack 10 - Dopeman 4:02
17 WC - If It Ain't Ruff 3:45
18 N.W.A - Compton's N The House (Live) 2:02


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Hello, no re-ups tomorrow as i am away, not to worry , expect more next week..


Today's artist has been growing up in Norfolk and attending a school where being into music made you an outsider, his early interest in the electronic scene came from hearing acts like Aphex Twin and Orbital on the radio and reading about the equipment they used in music magazines.

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Nathan Fake is a British electronic musician whose lush, moody recordings range from atmospheric tech-house to vivid, shoegaze-influenced downtempo. Fake (his actual last name) began his career in the farm country of Norfolk in the U.K., where he learned how to play basic acoustic instruments before finding a love of the electronic genres. He moved to Reading at the age of 19, which gained his recordings significantly more exposure, and his demos found their way to producer/remixer/DJ James Holden. Holden immediately signed Fake to his Border Community imprint and released a set of 12"s (Outhouse and The Sky Was Pink) that put him on the global dance scale in terms of recognition. Fans from all electronic genres immediately took to Fake's distinctive sound (including luminaries like François K and Satoshi Tomiie), and his recordings began to be some of the most in demand of 2004.

Several 12"s on the Traum imprint followed in 2005, and Fake released his debut full-length, Drowning in a Sea of Love on Border Community, in March of 2006. Garnering favorable comparisons to Boards of Canada and Ulrich Schnauss, the album was a critical success, earning rave reviews from Pitchfork and Mixmag, among others. Drowning in a Sea of Remixes (featuring reworks by Apparat and Fairmont) followed, and Four Tet remixed album track "You Are Here" in 2007.

Fake subsequently moved to London, and his second album Hard Islands appeared in 2009. The album was significantly more stripped-down and club-friendly than his debut, but still demonstrated his talents for sophisticated sound design. Third full-length Steam Days, featuring singles "Paean" and "Iceni Strings," followed in 2012. The album retained the club-focused energy and rough edge of its predecessor, but its tracks generally had shorter running times, and were more focused and concise. Fake and Wesley Matsell started a label called Cambria Instruments in 2014, debuting with a split 12", followed by Fake's Glaive EP in 2015.

In 2016, Fake signed to Ninja Tune, having previously remixed Ninja Tune-signed artist Dorian Concept the previous year. Fake's first release for the label was Degreelessness, a collaboration with Prurient, which was issued at the tail-end of the year. Providence, Fake's most experimental full-length to date, appeared in March of 2017. This was followed by two Providence Reworks EPs and the more dancefloor-oriented Sunder EP, which appeared in 2018.



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IDM is a dangerous field. In order to make it right, you need just the perfect amount of balance between experimentation, rhythm and accessibility. And I think that's one of the main reasons why most producers fail at it, it's always too much of something or too little of something where it either sounds boring and just plain unlistenable.

And this is where Nathan Fake succeeds. Steam Days is an album that is all over the place, yet it manages to keep steady rhythms, sound weird as hell and still be cohesive enough to be an approachable release. It's quite an impressive feat actually and in a way reminds me of the styles golden age more than 20 years ago. Every song sound unusual with a bunch of things going on, but never with the impression that he's doing weird things just for the sake of it. Plus the album is pretty varied and overall it might actually challenge his debut for being his best. Definitely worth a shot, well done again Mr. Fake.



Nathan Fake - Steam Days ( flac   368mb)

01 Paean 3:54
02 Cascade Airways 2:44
03 Iceni Strings 5:30
04 Old Light 3:07
05 Harnser 4:32
06 World of Spectrum 3:50
07 Rue 3:49
08 Sad Vember 3:54
09 Neketona 3:53
10 Glow Hole 7:56
11 Warble Epics 5:47

12 Paean (Lone Remix) 5:00
13 Paean (Lukid Remix) 5:47
14 Paean (Coda) 1:11

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In 2014, Nathan founded the label Cambria Instruments with Wesley Matsell, the inaugural release being a split single between the two artists.



Nathan Fake - Black Drift + Glaive + RVK ( flac   341mb)

01 Black Drift 4:20
02 Bismuth 5:55 (by Wesley Matsell)

03 Fortune Bru 7:40
04 Glaive 4:53
05 Audio Gold 5:02
06 Ffantasi 6:46
07 Nuuk 8:39

08 RVK 5:25
09 RVK (Edit) 2:52


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Nathan Fake's album, Providence, is a reference to the gear used to make the album—Korg's Prophecy synth—and his belief in a kind of guiding hand that led him out of a year-long bout of writer's block. (His last album, Steam Days, came out five years ago.) Providence is a notable sonic shift for Fake, whose confidence seems renewed. The wide-eyed electronica of Drowning In A Sea of Love, from 11 years ago, has grown more urgent and aggressive.

Gone, for the most part, are the yearning cinematic vistas of his youth, reflected in older tracks like "Charlie's House" or "The Sky Is Pink." Providence is more beholden to greyscale textures and noisy blurts of sonic unease. Aspects of the album reflect the cathedral hymn blasts of artists like Tim Hecker or Ben Frost, and the album's lead single, "DEGREELESSNESS," enlists Prurient for a rain-soaked exercise in dance floor dystopia. Elsewhere, the tellingly titled "Feelings 1," with its boiling electronics and short clips of distortion, is a sonic snarl, and the warbling synths and martial drums of the title track that follows seem to take the equivalent of a deep breath. There's a sense of hostility and frustration to these tracks, particularly on the squealing tones of "SmallCityLights," as close as Fake might get to an '80s stadium guitar solo. Beyond the acquisition of new equipment, it's unclear what's led to this change in approach—perhaps he'd accomplished all he could with the pastoral excursions of past records. Providence marks a muscular new path for Fake, but he sounds as singular as always.



Nathan Fake - Providence ( flac   322mb)

01 Feelings 1 1:42
02 Providence 4:59
03 HoursDaysMonthsSeasons 5:45
04 Degreelessness 8:06
05 The Equator & I 2:25
06 unen 2:04
07 SmallCityLights 4:10
08 Radio Spiritworld 2:36
09 Connectivity 2:51
10 Rvk 5:25
11 Remain 3:40
12 Feelings 2 3:17

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Nathan Fake enlists the help of Overmono and Huerco S. to twist and mould recent album Providence highlight and Prurient collaboration (possibly best collab of the year?) DEGREELESSNESS into bold new shapes of breakbeat techno and dubwise smoker's delight ambience. While he has always been an artist who would always step out further than most, Providence saw a real upsurge in Nathan Fake's sound. Saving the re-up of his work for Ninja Tune, Province found Nathan stepping into entirely new dimensions of scene crossing sound. This is no more perfectly reflected than on his choice of remixers, the choices offer a brilliant viewpoint into his musical mind. First up is the fierce jacking pound of Tessela and Truss's Overmono, keeping a subtle DNB snare in the middle of the sequence they work in a euphoric build that when it hits its stride, the sense that this was designed for use within the confines of the nearest warehouse that boasts a giant oiled up rig really shows off the muscles rippling under the surface. A killer version set to execute everything in its path with a deadly techno sensibility.

Offering an alternative escape in the after hours, Huerco S. turns in a rare remix with his DEGREELESSNESS Backyard Interpretation. Diluting Prurient's roar down to a humming almost inaudible whisper, the floating sheen of his For Those Of You Who Have Never (And Also Those Who Have) album hangs thick in the air like sweet smoke, at once thick and muggy yet turning wonderfully addictive the more of it that you breathe in. Not content with just turning in two reworks, Nathan's first new track since Providence Bosky gives a scratchy acidic blend to a tight, almost Randomer style jagged electro beat. Yet the colourway blend of his recent work shines through while offering another exciting new path ahead for what lies ahead.

Nathan Fake puts together the second session of reworkings and remixes from his debut Ninja Tune LP Providence, where as the first volume saw Truss and Tessela's Overmono project turn his radioactive electronics into a stomping two part techno session, backed with Huerco S. to ambient it out. Volume 2 brings a new name to the forefront with four utterly stunning reworkings by Polish composer and multi-instrumentalist Olga Wojciechowska. And as a bonus, these are backed with a brilliant Konx-Om-Pax mix and some alt versions from Nathan himself. While Olga Wojciechowska is a name new to our ears, Nathan came across Olga's music via The Wire Tapper 40 CD, the blend of modern classical yet experimental sounds made an impact on Nathan as he explains: “It really stopped me in my tracks and hit me quite emotionally so I bought her album, I can honestly admit that it awoke me from the creative block which I had been experiencing at that time”. Turning in not one or two but four reworking, Olga pushes the original pieces electronics into a searching trip through a barrage of acoustic worlds littered with prepared piano notes and a slow-form sombreness that draws out the quieter moments of the album beautifully. Elsewhere Konx-Om-Pax turns in a rare remix that sees him distilling the UK hardcore dynamics of his Planet Mu material into a shimmering aquatic haze, while Nathan's dub and live reworkings add new avenues to the album, making us ready for a revisit to the original material. For us though, this one is all about Olga Wojciechowska, a name we hope to be seeing more of in the, not too distant future.



Nathan Fake - Providence Reworks I+II ( flac   330mb)

01 Bosky
02 Degreelessness (Feat. Prurient) (Overmono Remix)
03 Degreelessness (Feat. Prurient) (Huerco S. Backyard Interpretation)
04 HoursDaysMonthsSeasons (Olga Wojciechowska Rework)

05 Connectivity (Olga Wojciechowska Rework)
06 Remain (Olga Wojciechowska Rework)
07 Radio Spiritworld (Olga Wojciechowska Rework)
08 Degreelessness (Konx-Om-Pax Remix)
09 Feelings 1 (August Rub)
10 Remain (Live Version)

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Hello,




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Source Vibrations sound technologies use 432Hz tuning, Solfeggio frequencies and brainwave entrainment to support your healing and meditation practice. Through the use of sound technologies listeners are able to improve brain function, deepen their meditation practice and fill ceremonial spaces with intentional sound. Combining neuro-acoustic science and insights from the wisdom traditions around the world, our audio sessions are designed to help listener enter states of consciousness known to accelerate the natural process of healing and spiritual evolution.

* Reduce anxiety, heal depression and get a better nights sleep.

* Begin or deepen your meditation practice.

* Use conscious music in your ceremonial practices.

* Discover non-ordinary states of consciousness.

* Transcend limiting patterns of thinking and feeling.

Source Vibration features advanced, mathematically, and spiritually based approaches to brainwave and subtle energetic entrainment. The programs are enriching the emerging field of vibro-acoustic technologies to support you in experiencing deeper states of consciousness, emotional healing, personal transformation.



Source Vibrations - Secret Fire ~ Live 432Hz Transmission   ( 65min flac    314mb)

part 1 30:13
part 2 35:17

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Here we offer David Talbott's first glimpses of celestial dramas in ancient times. Just a few thousand years ago a gathering of planets hung as towering forms in the ancient sky close to the earth, provoking spectacular electric discharge formations above our forebears and inspiring the vast complex of world myths and symbols. David Talbott's film 'Symbols of an Alien Sky' goes far beyond merely identifying "the celestial provocation" of our true history. Symbols resurrects and confirms the genius of Immanuel Velikovsky. With excruciating attention to detail Talbott rivals the intellectual obsession and integrity of the thousands of ancient chroniclers that are "urging us to remember." The credibility of Symbols is uniquely formidable as it firmly connects the library of the Stone Age to the Modern Age cosmology of leading edge plasma physicists Anthony Peratt , Wal Thornhill and others. With erudition Symbols defines an overdue and not-so-subtle challenge to modern institutional assumptions, promoted and guarded by the gamut from religion to politics to academia and beyond. As such Talbott’s most fundamental accomplishment in 'Symbols of an Alien Sky' is the reconnecting of global humanity to itself; to its true history, and what that reconnection implies for our future peace and well-being.

Symbols of an Alien Sky (Full Documentary) 76min






See the next two full documentaries in the Symbols of an Alien Sky series:

 Episode 2, Symbols of an Alien Sky: The Lightning-Scarred Planet, Mars  
 Episode 3, Symbols of an Alien Sky: The Electric Comet  



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 the 5th part of the 2nd sc-world tale Light Fantastic..... N-Joy



Sir Terence David John Pratchett OBE (28 April 1948 – 12 March 2015) was an English author of fantasy novels, especially comical works. He is best known for his Discworld series of 41 novels.

Pratchett's first novel, The Carpet People, was published in 1971. The first Discworld novel, The Colour of Magic, was published in 1983, after which Pratchett wrote an average of two books a year. His 2011 Discworld novel Snuff became the third-fastest-selling hardback adult-readership novel since records began in the UK, selling 55,000 copies in the first three days. The final Discworld novel, The Shepherd's Crown, was published in August 2015, five months after his death.

Pratchett, with more than 85 million books sold worldwide in 37 languages, was the UK's best-selling author of the 1990s. He was appointed Officer of the Order of the British Empire (OBE) in 1998 and was knighted for services to literature in the 2009 New Year Honours. In 2001 he won the annual Carnegie Medal for The Amazing Maurice and his Educated Rodents, the first Discworld book marketed for children. He received the World Fantasy Award for Life Achievement in 2010.

In December 2007, Pratchett announced that he had been diagnosed with early-onset Alzheimer's disease. He later made a substantial public donation to the Alzheimer's Research Trust (now Alzheimer's Research UK), filmed a television programme chronicling his experiences with the condition for the BBC, and became a patron for Alzheimer's Research UK. Pratchett died on 12 March 2015, aged 66.


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Discworld is a comic fantasy book series written by the English author Terry Pratchett, set on the Discworld, a flat planet balanced on the backs of four elephants which in turn stand on the back of a giant turtle. The books frequently parody or take inspiration from J. R. R. Tolkien, Robert E. Howard, H. P. Lovecraft, Charles Dickens and William Shakespeare, as well as mythology, folklore and fairy tales, often using them for satirical parallels with cultural, political and scientific issues.

Forty-one Discworld novels have been published. The original British editions of the first 26 novels, up to Thief of Time (2001), had cover art by Josh Kirby. The American editions, published by Harper Collins, used their own cover art. Since Kirby's death in 2001, the covers have been designed by Paul Kidby. Companion publications include eleven short stories (some only loosely related to the Discworld), four popular science books, and a number of supplementary books and reference guides. The series has been adapted for graphic novels, theatre, computer and board games, and television.

Newly released Discworld books regularly topped The Sunday Times best-sellers list, making Pratchett the UK's best-selling author in the 1990s. Discworld novels have also won awards such as the Prometheus Award and the Carnegie Medal. In the BBC's Big Read, four Discworld novels were in the top 100, and a total of fourteen in the top 200. More than 80 million Discworld books have been sold in 37 languages

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The Light Fantastic is a comic fantasy novel by Terry Pratchett, the second of the Discworld series. It was published on 2 June 1986, the first printing being of 1,034 copies. The title is a quote from a poem by John Milton and in the original context referred to dancing lightly with extravagance. The events of the novel are a direct continuation of those in the preceding book, The Colour of Magic (the only Discworld novel to follow on in this manner).

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Setting

The story takes place on the Discworld, a planet-sized flat disc carried through space on the backs of four gargantuan elephants – Berilia, Tubul, Great T'Phon and Jerakeen – who themselves stand on the shell of Great A'Tuin, a gigantic sea turtle. The surface of the disc contains oceans and continents, and with them, civilizations, cities, forests and mountains.

The Light Fantastic begins shortly after the ending of The Colour of Magic, with wizard Rincewind, Twoflower and the Luggage falling from the Discworld. They are saved when the Octavo, the most powerful book of magic on the Discworld, readjusts reality to prevent the loss of one of its eight spells, which has resided in Rincewind's head since his expulsion from Unseen University: Rincewind, Twoflower and the Luggage end up in the Forest of Skund. Meanwhile, the wizards of Ankh-Morpork use the Rite of Ashk-Ente to summon Death to find an explanation for the Octavo's actions. Death warns them that the Discworld will soon be destroyed by a huge red star unless the eight spells of the Octavo are read.

Several orders of wizards travel to the forest of Skund to try and capture Rincewind, who is currently staying with Twoflower and the Luggage in a gingerbread house in the forest. In the subsequent chaos, Rincewind and Twoflower escape on an old witch's broom, while the Archchancellor of Unseen University is killed when his attempt to obtain the spell accidentally summons the Luggage on top of him, crushing him to death. His apprentice, Ymper Trymon, uses the opportunity to advance his own power, intending to obtain the eight spells for his own good.

Rincewind and Twoflower run into a group of druids who have assembled a "computer" formed from large standing stones, and learn of the approaching red star. As Twoflower attempts to stop the druids from sacrificing a young woman named Bethan, Cohen the Barbarian, an octogenarian parody of Conan, attacks the druids. Twoflower is poisoned in the battle, forcing Rincewind to travel to Death's Domain to rescue him. The pair narrowly avoid being killed by Ysabell, Death's adopted daughter, and as they escape Death's Domain, Rincewind learns from the Octavo itself that it had arranged for its eighth spell to escape into his head, to ensure the spells would not be used before the right time.

Rincewind and Twoflower travel with Cohen and Bethan to a nearby town, where the toothless Cohen leaves to have some dentures made for him, having learned of them from Twoflower. While he is gone, Rincewind, Twoflower and Bethan are attacked by a mob of people who believe the star is coming to destroy the Discworld in response to the presence of magic. The trio escape into one of many shops that sell strange and sinister goods and inexplicably vanish the next time a customer tries to find them. The existence of these shops is explained as being a curse by a sorcerer upon the shopkeeper for not having something in stock. They are able to return to Ankh-Morpork via the shop.

As the star comes nearer and the magic on the Discworld becomes weaker, Trymon tries to put the seven spells still in the Octavo into his mind, in an attempt to save the world and gain ultimate power. However, the spells prove too strong for him and his mind becomes a door into the "Dungeon Dimensions", home to all manner of eldritch creatures. Rincewind and Twoflower manage to kill the now-mutated Trymon, and Rincewind reads all eight of the Octavo's spells aloud. This causes eight moons of the red star to crack open and reveal eight tiny world-turtles that follow their parent A'Tuin on a course away from the star. The Octavo then falls and is eaten by the Luggage.

Twoflower and Rincewind part company as Twoflower decides to return home, leaving the Luggage with Rincewind as a parting gift. Cohen and Bethan also leave to get married. Rincewind decides to re-enroll in the university, believing that with the spell out of his head, he will finally be able to learn magic.


Terry Pratchett -  Light Fantastic part 9,10 ( 71min mp3     28mb).


09 Light Fantastic 09  35min
10 Light Fantastic 10  36min


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previously

Terry Pratchett - The Colour of Magic part 1 ( 69min mp3     38mb).
Terry Pratchett - The Colour of Magic part 2 ( 69min mp3     38mb).
Terry Pratchett - The Colour of Magic part 3 ( 68min mp3     38mb).
Terry Pratchett - The Colour of Magic part 4 ( 69min mp3     38mb).
Terry Pratchett - The Colour of Magic part 5 ( 66min mp3     36mb).
Terry Pratchett - The Colour of Magic part 6 ( 69min mp3     36mb).
Terry Pratchett - The Colour of Magic movie ( 97min avi     698mb).

Terry Pratchett -  Light Fantastic part 1,2 ( 68min mp3     31mb).
Terry Pratchett -  Light Fantastic part 3,4 ( 68min mp3     31mb).
Terry Pratchett -  Light Fantastic part 5,6 ( 71min mp3     28mb).
Terry Pratchett -  Light Fantastic part 7,8 ( 71min mp3     28mb).

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Hello,




Today's Artists initially gained recognition in 1986 as a member of the hip hop group C.I.A., which gained limited commercial success prior to disbanding around the time N.W.A formed. Ice Cube, alongside Dr. Dre and Eazy E, formed the group N.W.A, where he gained extreme notoriety as the group's primary songwriter and performer, noted for becoming one of the founding artists of gangsta rap, and pushing the boundaries of lyrical content in mainstream popular music, as well as visual imagery in music videos...... N Joy

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Ice Cube is one of the most crucial artists in rap history. A razor-sharp lyricist, alternately furious and humorous MC, and accomplished producer, Cube laid the foundation for the legacy of pioneering gangsta rap group N.W.A by writing "Boyz-N-the-Hood" for partner Eazy-E and making his first big splash as an MC with the subsequent "Dope Man." After N.W.A's Straight Outta Compton (1988) infiltrated suburban America and attracted the scrutiny of the FBI with "Fuck tha Police," Ice Cube launched a solo career that has entailed five platinum albums and one platinum EP, including AmeriKKKa's Most Wanted (1990), Death Certificate (1991), and The Predator (1992). A month before Cube released the first LP in that series, he appeared on Public Enemy's critical "Burn Hollywood Burn" and within a year aided in the disruption of the track's target with a co-starring role in John Singleton's Boyz N the Hood. While Cube added to his filmography with projects such as the Friday franchise, directorial debut The Players Club, and Barbershop, he devoted less time to music. He continued to record occasionally as a solo artist and member of Westside Connection, and extended a streak of RIAA-certified releases that lasted through Laugh Now, Cry Later (2006). The next decade, Cube and Dr. Dre co-produced the acclaimed Straight Outta Compton (2015), a biographical film about N.W.A, whose resurgence culminated with an induction into the Rock and Roll Hall of Fame. Cube soon returned with his first solo album in eight years, Everythangs Corrupt (2018).

Raised in South Central Los Angeles, California by working class parents, Ice Cube, born O'Shea Jackson, became involved with b-boy culture in his early teens and in high school began writing rhymes. Cube rapped at parties hosted by Dr. Dre, who soon produced his first recordings: Stereo Crew's "She's a Skag," released on major-label Epic in 1986, and an EP by C.I.A., issued in 1987 on the small independent Kru-Cut. Stereo Crew and C.I.A. also featured K-Dee, while the latter added Sir Jinx. Along the line, Cube met Eazy-E through Dre, and that trio, along with Arabian Prince, formed the first lineup of N.W.A., bolstered soon thereafter by MC Ren and DJ Yella. Eazy and music industry veteran Jerry Heller set up Ruthless Records, launched later in 1987 with a pair of 12" releases: Eazy's "Boyz-N-the-Hood," and an EP from N.W.A. containing "8 Ball" and "Dope Man." Cube was the MC only on "Dope Man," but he was credited as sole lyricist on the three tracks, all of which demonstrated the writer's flair for pointed narratives illustrated with irreverent humor.

By the time the Macola label expanded the Ruthless tracks for the compilation N.W.A. and the Posse, Cube had headed to Arizona to study architectural drafting at Phoenix Institute of Technology. After he obtained a one-year degree, he returned to work on N.W.A's Straight Outta Compton and Eazy-E's Eazy-Duz-It. Released by Ruthless in August and September, respectively, 1988, the albums gradually crept into the mainstream, thanks in significant part to word of mouth and eventual support from Yo! MTV Raps. Nine months after its release, Straight Outta Compton peaked at number nine on Billboard's R&B/hip-hop chart (trumping Eazy-Duz-It, which in March topped out at number 12). The extreme lyrical content of "Fuck Tha Police," courtesy of Cube and MC Ren, attracted scrutiny from the Los Angeles Police Department and eventually the assistant director of the FBI office of public affairs, who sent the group a strongly worded letter.

Deep conflicts with Jerry Heller prompted Cube to leave N.W.A in late 1989. He went to New York with fellow producer Sir Jinx and recorded his first solo album, heralded by an appearance on Public Enemy's "Burn Hollywood Burn," with the Bomb Squad. Released on Priority in May 1990, AmeriKKKa's Most Wanted was an instant Top 20 Billboard 200 hit and went gold within four months. While the album's production and Cube's mike skills were praised, the often violent, homophobic, and misogynist lyrics were criticized, particularly by the rock press and moral watchdogs. Even amid such controversy, the album was hailed as a groundbreaking classic -- led by the title track, a number one hit on Billboard's Hot Rap Singles chart -- and established Cube as a recognized individual force. He began his own corporation, which was run by a woman, and by the end of 1990 co-produced a 12" for Yo-Yo and released the platinum Kill at Will EP. Yo-Yo's Make Way for the Motherlode, produced entirely by Ice Cube and Sir Jinx, arrived the following year, as did another Cube-related project, I Wish My Brother George Was Here, the debut from cousin Del the Funky Homosapien. Moreover, Cube made his widely praised acting debut in John Singleton's groundbreaking urban drama Boyz N the Hood, titled after the song he wrote, filmed in his native South Central Los Angeles.

Cube's first album may have been controversial, but its reception paled compared to that of his follow-up, Death Certificate. Released in October 1991, just after the debut went platinum, Death Certificate was more political, antagonistic, and vulgar than its predecessor, causing more scrutiny and outrage. In particular, "No Vaseline," a vicious attack on N.W.A and Jerry Heller, was perceived as anti-Semitic, and "Black Korea" was taken as an instruction to burn down Korean-owned grocery stores. The songs provoked a condemnation from the trade publication Billboard -- the first time an artist had been singled out by the magazine. None of this prevented the album from reaching number two and going platinum with momentum maintained well into 1992 by "Steady Mobbin'," a Top Ten rap hit. During 1992, Cube also performed in the second Lollapalooza tour to consolidate his white rock audience, executive-produced Da Lench Mob's radical Guerillas in tha Mist, and that December appeared in Trespass and released The Predator. Cube's third album, The Predator, became the first to debut at number one on both the pop and R&B/hip-hop charts. Promoted with three Top Ten rap singles -- the ferocious Los Angeles riots response "Wicked," the steady-rolling "It Was a Good Day," and the Das EFX collaboration "Check Yo Self" -- the album eventually went double platinum.

Lethal Injection, Cube's fourth album, was released in December 1993 and became the rapper's third straight LP to debut within the Top Ten of the pop and R&B/hip-hop charts. Its biggest single, "Bop Gun (One Nation)," paid tribute to the enduring influence of Parliament-Funkadelic and featured leader George Clinton. By the end of that year, Cube's production discography included more material from Yo-Yo, as well as Kam's Neva Again. Having released four albums in four years, Cube took a break from making solo LPs, but during 1994 reunited with Dr. Dre for "Natural Born Killaz," recorded for the Murder Was the Case soundtrack. Also that year, the November release Bootlegs & B-Sides bundled stray cuts. Cube was visible as ever throughout 1995. He acted in Singleton's film Higher Learning, wrote and starred in the cult classic stoner comedy Friday, and appeared on tracks by Westside Connection partners Mack 10 and WC. Bow Down, Westside Connection's first album, followed in 1996, narrowly missed the top of the pop chart, and went platinum on the strength of the hits "Bow Down" and "Gangstas Make the World Go Round." In 1997, Cube starred in the action thriller Dangerous Ground and in the surprise hit horror film Anaconda, and contributed music to the soundtrack of the former, including "The World Is Mine," joined by K-Dee and Mack 10. Another anthology, Featuring...Ice Cube, was out that December.

The Players Club, Cube's directorial debut -- which he also wrote -- premiered in 1998, promoted with a Top Ten soundtrack featuring his own "We Be Clubbin'." That November, just after he made a featured appearance on nu metal leaders Korn's "Children of the Korn," Cube's solo LP dry spell was broken with War & Peace, Vol. 1, the source of another rap number one, "Pushin' Weight," and an additional Korn collaboration, "Fuck Dying." Like all his previous LPs, it went platinum. Film work resumed with Next Friday, written and produced by Cube, who also reprised his starring role from the original and was present on the soundtrack. War & Peace, Vol. 2, containing a collaboration with Dr. Dre and MC Ren on "Hello," followed in March 2000 and completed his prosperous phase with Priority Records, swiftly summarized with Greatest Hits in 2001. Between studio albums, Cube devoted most of his creative energy to films. David O'Russell's Three Kings, John Carpenter's Ghosts of Mars, and Tim Story's Barbershop, as well as a third Cube-written Friday film, Friday After Next -- among several other titles -- all appeared in theaters before he returned to music with Westside Connection's second album, Terrorist Threats, in December 2003.


Signed to EMI, Cube lengthened his solo discography in June 2006 with Laugh Now, Cry Later. In the Movies, a compilation of soundtrack cuts, was put together by Priority for a 2007 release. The following August, Cube returned with Raw Footage, his seventh consecutive solo studio album to enter the Billboard 200 and R&B/hip-hop charts within the Top Ten. Yet another catalog title from Priority, The Essentials, appeared in 2008. Cube's September 2010 effort I Am the West was a family affair, with sons Darrell Jackson (aka Doughboy, named after Cube's Boyz N the Hood character) and O'Shea Jackson, Jr. (aka OMG) among the guests, who also included longtime associate WC. By the end of 2011, Cube had also acted in and/or produced a multitude of projects for the large and small screens, including Are We There Yet?, Beauty Shop, Friday: The Animated Series, and The Longshots.

In 2012, Cube announced the imminence of a tenth solo album, Everythangs Corrupt. Despite several singles issued across 2013 and 2014, its release was delayed as Cube focused on film and television pursuits, as well as the legacy of N.W.A. Along with Dr. Dre, Cube worked on a biopic about the origin and rise of the trailblazing group, with son O'Shea Jackson, Jr. cast to portray him. Named after their breakthrough album, Straight Outta Compton was released in 2015 to critical acclaim. The film made over $200 million worldwide, and was nominated for an Academy Award in the category of Best Original Screenplay. The film inspired Dr. Dre's solo album Compton, which included Cube on the track "Issues." A Rock and Roll Hall of Fame induction followed for N.W.A in 2016. A 25th anniversary reissue of Death Certificate was released the next year by Interscope, Cube's new home. The week of the 2018 midterm elections, Cube issued the single "Arrest the President," a prelude to the characteristically scathing, humorous, and funky Everythangs Corrupt, which finally arrived the next month.




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When Ice Cube split from N.W.A after the group's seminal Straight Outta Compton album changed the world forever, expectations were high, too high to ever be met by anyone but the most talented of artists, and at his most inspired. At the time Cube was just that. With AmeriKKKa's Most Wanted the rapper expanded upon Compton, making a more full-bodied album that helped boost the role of the individual in hip-hop. Save the dramatic intro where a mythical Ice Cube is fried in the electric chair, his debut is filled with eye-level views of the inner city that are always vivid, generally frightening, generally personal, and sometimes humorous in the gallows style. Ripping it quickly over a loop from George Clinton's "Atomic Dog," Cube asks the question that would be central to his early career, "Why there more niggas in the pen than in college?," while sticking with the mutual distrust and scare tactics N.W.A used to wipe away any hopes of reconciliation ("They all scared of the Ice Cube/And what I say what I portray and all that/And ain't even seen the gat"). "What I'm kicking to you won't get rotation/Nowhere in the nation" he spits on the classic "Turn Off the Radio," which when coupled with the intoxicating Bomb Squad production and Cube's cocksure delivery that's just below a shout, makes one think he's the only radio the inner city needs. The Bomb Squad's amazing work on the album proves they've been overly associated with Public Enemy, since their ability to adapt to AmeriKKKa's more violent and quick revolution is underappreciated. Their high point is the intense "Endangered Species," a "live by the trigger" song that offers "It's a shame, that niggas die young/But to the light side it don't matter none." This street knowledge venom with ultra fast funk works splendidly throughout the album, with every track hitting home, although the joyless "You Can't Fade Me" has alienated many a listener since kicking a possibly pregnant woman in the stomach is a very hard one to take. Just to be as confusing as the world he lives in, the supposedly misogynistic Cube introduces female protégé Yo-Yo with "It's a Man's World" before exiting with "The Bomb," a perfectly unforgiving and visceral closer. Save a couple Arsenio Hall disses, AmeriKKKa's Most Wanted is a timeless, riveting exercise in anger, honesty, and the sociopolitical possibilities of hip-hop.

Ice Cube's riveting debut album, AmeriKKKa's Most Wanted, was still burning up the charts when Priority Records released this EP, which lacks that album's overall excellence but has its moments. With Kill at Will, Cube unveiled his engaging "The Product" and "Dead Homiez," a poignant lament for the victims of black-on-black crime that is among the best songs he's ever written. Enjoyable but not essential are remixes of "Endangered Species (Tales From the Darkside)" and the outrageous "Get Off My Dick and Tell Yo Bitch to Come Here." Clearly, Kill at Will was intended for hardcore fans rather than casual listeners.



Ice Cube - AmeriKKKa's Most Wanted  (flac   492mb)

01 Better Off Dead 1:02
02 The Nigga Ya Love to Hate 3:12
03 AmeriKKKa's Most Wanted 4:08
04 What They Hittin' Foe? 1:22
05 You Can't Fade Me 5:12
06 Once Upon a Time in the Projects 3:40
07 Turn Off the Radio 2:37
08 Endangered Species (Tales From the Darkside) feat. Chuck D 3:21
09 A Gangsta's Fairytale 3:16
10 I'm Only Out for One Thang feat. Flavor Flav 2:10
11 Get Off My Dick and Tell Yo Bitch to Come Here 0:56
12 The Drive-By 1:01
13 Rollin' Wit the Lench Mob 3:43
14 Who's the Mack? 4:33
15 It's a Man's World feat. Yo-Yo 5:26
16 The Bomb 3:27
Bonus EP: Kill At Will
17 Endangered Species (Tales From The Darkside) [Remix] 4:11
18 Jackin' For Beats 2:57
19 Get Off My D*** And Tell Yo B**** To Come Here [Remix] 3:38
20 The Product 3:35
21 Dead Homiez 3:55
22 JD's Gaffilin' (Part 2) 0:32
23 I Gotta Say What Up!!! 3:06

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Ice Cube's second solo album, Death Certificate, captures the rage in the black community that lead to the Los Angeles Riots some sixth months after it was released.  Separated into two sections -- The Death Side and The Life Side -- the album is essentially a coming-of-age tale produced by the most pissed off man in the history of hip-hop.  Sure, the album is ripe with misogyny, homophobia, and cultural chauvinism (whites and Asians are frequent targets here, as are "Uncle Toms," and, interestingly, Cube dabbles with the philosophy of The Nation of Islam); but, prior to 2Pac's great output about five years later, no other rapper better captures the mood, the oppression, and the misery of the inner city as well as Ice Cube. Sharing historically similar attitudes with other black nationalists, Ice Cube is, on this album, advocating black pride, economic self-sufficiency, and distance from the white community.

When Ice Cube isn't offering up some valuable insight about the blighted black community in Los Angeles, he's busy making himself seem as threatening as ever, especially on the aptly titled track "The Wrong Nigga to Fuck Wit." "Steady Mobbin'" continues in this vein, and is the most booty-shakin' track on the album.  "A Bird in the Hand," which samples Big Bird from Sesame Street (of all things!), is about as rousing as he gets (thanks to a well-chosen sample from B.B. King's "Chains and Things"), as he relates that "Blacks are too fucking broke to be Republican." On The Life Side, "Horny Lil' Devil" re-articulates the painful history of white men sexually exploiting black women in the United States, though he does it in fairly tepid and predictable ways.  My favorite track on the album is the epitome of the coming-of-age theme: "Doing Dumb Shit." The track is a catalog of youthful indiscretions and lessons learned, featuring a wonderful sample of Parliament's "Funkentelechy." Death Certificate is not without flaws.  Most notably is his observation in "The Wrong Nigga to Fuck Wit" that "I'm platinum bitch and I didn't have to sell out." While true at the time, I'm sure the rapper who uttered this wouldn't recognize the star of Are We Done Yet?  But I will forgive him for his latter-day sins.  Also, tracks likes "Givin' Up the Nappy Dug Out" and "Black Korea," I feel, are beneath him.  Plus, at an hour long, it can become a grind at the end, especially as he rips of fellow rappers like MC Hammer and his former colleagues in N.W.A.  Criticisms aside, Death Certificate represents, along with his former group's Straight Outta Compton, 2Pac's All Eyez on Me, and Dr. Dre's The Chronic, the apex of West Coast rap.



Ice Cube - Death Certificate  (flac   420mb)

The Death Side
1 The Funeral 1:37
2 The Wrong Nigga to Fuck Wit 2:48
3 My Summer Vacation 3:56
4 Steady Mobbin' 4:10
5 Robin Lench 1:13
6 Givin' Up the Nappy Dug Out 4:15
7 Look Who's Burnin' 3:53
8 A Bird in the Hand 2:17
9 Man's Best Friend 2:06
10 Alive on Arrival 3:11
11 Death 1:03

The Life Side
12 The Birth 1:21
13 I Wanna Kill Sam 3:22
14 Horny Lil' Devil 3:42
15 Black Korea 0:46
16 True to the Game 4:10
17 Color Blind 4:29
18 Doing Dumb Shit 3:45
19 Us 3:43
20 No Vaseline 5:15
Bonus
21 How To Survive In South Central 3:40

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It's a strange album to listen to, because in some ways it's Cube's most adventurous album yet. After returning to funky, simpler west coast sounds on Death Certificate, this album finds Cube returning to the incredibly dense samplescape of the Bomb Squad, through the eyes of the his west coast production homies DJ Pooh and Sir Jinx. For example, the familiar whine of a synth keyboard is in the back of "Wicked"'s mix, but the track is a lot more focused on the drums, air siren and other various affects than that funk. There are also dancehall features, east coast rappers Das Efx and their stiggity style, and a few different experimental flows from Cube. Unfortunately, I don't believe that Pooh and Jinx are as good at those super dense productions. The album takes a lot of time to gain energy, and a lot of that has to do with the beat for "When Will They Shoot?" being close to whack status, and many of the rest following a sort of generic west coast template that just sounds stale in the face of Dr. Dre's dominating Chronic. Cube toes the line very carefully between too much and not enough.

So perhaps it's no surprise the best tracks are more laid back. Singles "Now I Gotta Wet 'Cha", "The Predator" and "It Was a Good Day" are the album's obvious highlights, each boasting laid back grooves supporting story tracks that do nothing but stand the test of time and entertain every time they play. The main problem Cube fans will probably find is that his lyricism here is not as insightful, or descriptive, as it was a few years ago. His voice still dominates, his sense of humor is still present, but there's something strange missing. There's that inter-connective spark missing. The album just doesn't feel like Cube is really building to anything, in that sense it's more like a collection of tracks (ie. a regular hip-hop album) than anything he'd done previously. This isn't a bad album by any means, but in the face of Cube's early discography it stands as a somewhat sloppy, somewhat undercooked facsimile of Cube's style. Grab it, spin the fuck out of it, love the singles and feel the rest. Just don't expect Cube to blow you off your ass once again. I don't hold it against him, it's the arc of an artist.

Ultimately, I'm down on this album as much because of my expectations of an Ice Cube album as what's actually on the disc, so don't take all the criticism as my only thoughts on the album. There's not a true dud on the disc and Cube is still spitting those hardcore lyrics, it's just a little retreaded and a little less insightful than previous discs, opting instead for a more blanket, observant gangster that's less obviously involved in his environment, less obviously a part of the mayhem he's describing. I think the album really picks up after "It Was a Good Day", though - the beats get kind of jazzy for a moment, and tracks like "Don't Trust 'Em" carry Ice Cube's classic talents for weaving stories through a social commentary. By the end of the album, it's most likely I'd be able to counterpoint most of my review if I were inclined.



Ice Cube - The Predator (flac   495mb)

01 The First Day of School (Intro) 1:20
02 When Will They Shoot? 4:36
03 I'm Scared (Insert) 1:32
04 Wicked 3:55
05 Now I Gotta Wet 'Cha 4:02
06 The Predator 4:03
07 It Was a Good Day 4:20
08 We Had to Tear This Mothafucka Up 4:23
09 Fuck 'Em (Insert) 2:02
10 Dirty Mack 4:33
11 Don't Trust 'Em 4:06
12 Gangsta's Fairytale 2 3:19
13 Check Yo Self feat. Das EFX 3:42
14 Who Got the Camera? 4:37
15 Integration (Insert) 2:32
16 Say Hi to the Bad Guy 3:19
Bonus
17 Check Yo Self ('The Message' Remix)3:54
18 It Was A Good Day (Remix) 4:28
19 24 Wit An L 3:25
20 U Ain't Gonna Take My Life 4:07

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Lethal Injection was one of the first hip-hop LPs where audience expectations kept an extremely solid work from getting the respect it demanded. Ice Cube isn't quite the same rapper here as he'd been on past releases, true, but he's still quite an angry guy and I think it's pretty refreshing after three classic albums of extreme vitriol that he decides to flow with a more melodic, bouncy attitude here. What helps him out here is that Lethal Injection features much of the most accessible production of his career, the names on the boards may not be huge but the sound they put out sure is. This shit is just funky as hell, it's really hard for me to see flaws in a track like "Ghetto Bird" and "Make It Ruff, Make It Smooth". Some folks seem to have a problem with Ice Cube basically listening to "One Nation Under a Groove" and rambling along with George Clinton about "Bop Gun (Endangered Species)" for eleven minutes, but I've always had an odd appreciation for that joint, probably because I didn't grow up on Funkadelic and have any predilection to just grab the LP and listen to that instead.

Lethal Injection may be a somewhat modest LP by Ice Cube's early standards but that's nothing to hold against what's actually here. As a big Curren$y fan I've always had a huge appreciation for "You Know How We Do It" too (seriously, count the phrases he's lifted from this track)...really, the only bomb here is "Cave Bitch" with its blatantly ridiculous lyrics. It's even less socially sensitive than "Black Korea", which is kind of a major accomplishment. When I was younger and didn't care as much (read: wasn't aware of) about politics and social woes, Lethal Injection was easily my favorite Ice Cube LP because it's just so much more fun to listen to, you don't have to carry any baggage into this one to enjoy it. Plus it's got some really underrated Cube creativity, I really think the production on "Bop Gun" is some impressive sample mixing and "What Can I Do?" is a pretty unique drug dealer biography, with Cube's character moving to Minnesota to ply his trade and spending most of the track down and out rather than on the rise. Where a looooooot of people feel like the G fell off with this one, I feel like it was his last great stand. A concise and to the point celebration of all things west coast, and a very well timed moment of reflection and calming down for one of the genre's most notoriously violent pioneers.



Ice Cube - Lethal Injection  (flac   442mb)

01 The Shot (Intro) 0:54
02 Really Doe 4:28
03 Ghetto Bird 3:51
04 You Know How We Do It 3:53
05 Cave Bitch 4:18
06 Bop Gun (One Nation) feat. George Clinton 11:05
07 What Can I Do? 4:50
08 Lil Ass Gee 4:05
09 Make It Ruff, Make It Smooth feat. K-Dee 4:24
10 Down for Whatever 4:40
11 Enemy 4:50
12 When I Get to Heaven 5:02
Bonus
13 What Can I Do? (Westside Remix) 4:27
14 What Can I Do? (Eastside Remix) 4:46
15 You Know How We Do It (Remix) 4:23
16 Lil Ass Gee (Eerie Gumbo Remix) 5:21

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Hello,


Today's artist is is a German-born British composer who has been an influential voice in post-minimalist composition and in the meeting of contemporary classical and alternative popular musical styles since the early 2000s. Richter is classically trained, having graduated in composition from the Royal Academy of Music and studied with Luciano Berio in Italy.Richter also composes music for stage, opera, ballet and screen. He has also collaborated with other musicians, as well as with performance, installation and media artists. He has recorded eight solo albums and his music is widely used in cinema.  .......N-Joy

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Combining the discipline of his classical background with the inventive spirit of electronic music, Max Richter's work as a producer and composer speaks to -- and frequently critiques -- 21st century life in eloquent and evocative ways. On early masterworks such as 2002's Memoryhouse and 2003's The Blue Notebooks, he united his childhood memories and commentary on war's devastating aftermath into gorgeous, aching music; with 2015's eight-hour Sleep, he challenged the increasing disposability of art and music as well as audiences' ever-decreasing attention spans. Richter's fascination with the growing role of technology in everyday life was a major theme of releases spanning 2008's collection of bespoke ringtones to the music for a particularly paranoid 2016 episode of the TV series Black Mirror. Despite the high-concept nature of much of his work, Richter always maintains a powerful emotional connection with his listeners; 2012's Recomposed: The Four Seasons, an experimental reimagining of Vivaldi's violin concertos, topped classical charts in over 20 countries. The emotive quality of his music translated perfectly to scoring and soundtrack work, which ranged from documentaries such as Waltz with Bashir (2008); feature films including Mary Queen of Scots (2018); television series like Taboo (2017); and stage productions including Infra (2008) and Woolf Works (2015), both projects with Richter's longtime collaborator, choreographer Wayne McGregor. Richter's mix of modern composition, electronic music, and field recordings was as influential as it was innovative, and paved the way for like-minded artists such as Nico Muhly and Jóhann Jóhannsson.

Born in West Germany in the mid-'60s, Richter and his family moved to the U.K. when he was still a little boy, settling in the country town of Bedford. By his early teens, he was listening to the canon of classical music as well as modern composers including Philip Glass, whose music was a major influence on Richter. The Clash, the Beatles, and Pink Floyd were also important, along with the early electronic music scene; inspired by artists such as Kraftwerk, Richter built his own analog instruments. He studied composition and piano at Edinburgh University, the Royal Academy of Music, and in Florence with Luciano Berio. He then became a founding member of the Piano Circus, a contemporary classical group that played works by Glass, Brian Eno, Steve Reich, Arvo Pärt, and Julia Wolfe, and also incorporated found sounds and video into their performances. After ten years and five albums for Decca/Argo, Richter left the group and became more involved in the U.K.'s thriving electronic music scene, collaborating with the Future Sound of London on 1996's Dead Cities (which features a track named after him) and The Isness; he also contributed orchestrations to Roni Size's 2000 album In the Mode.

Richter's own work evolved from the Xenakis-inspired music of his early days into something that included his electronic and pop influences. His 2002 debut album, Memoryhouse, introduced his mix of modern composition, electronica, and field recordings. Recorded with the BBC Philharmonic Orchestra, the album explored childhood memories as well as the aftermath of the Kosovo War in the 1990s and was hailed as a masterpiece. Two years later, Richter made his FatCat debut with The Blue Notebooks, which incorporated readings from Franz Kafka's Blue Octavo Notebooks and Polish writer Czesław Miłosz by actress Tilda Swinton into dreamlike pieces for strings and piano that touched on the Iraq War and Richter's early years. Released in 2006, Songs from Before paired his plaintive sound with texts written by Haruki Murakami and delivered by Robert Wyatt. In 2008, he issued 24 Postcards in Full Colour, a collection of intricate ringtones envisioned by Richter as a way to connect people around the world. That year also saw the release of his music for Ari Folman's Golden Globe-winning film Waltz with Bashir. Focusing on electronics instead of a typical orchestral score, it was Richter's highest-profile soundtrack project to date. He then worked on several other film scores, including music for Benedek Fliegauf's Womb, Alex Gibney's My Trip to Al-Qaeda, and David MacKenzie's Perfect Sense. Another scoring project, Infra, marked the beginning of Richter's enduring collaboration with choreographer Wayne McGregor. Commissioned by the Royal Ballet in 2008, Infra was a ballet inspired by by T.S. Eliot's classic poem "The Wasteland," and the the 2005 London terrorist bombings. Richter re-recorded and expanded his music for the 2010 album Infra, his fourth release for FatCat Records.


Richter began the 2010s with soundtrack work that included the award-winning scores to Die Fremde (2010) and Lore (2012). The composer reunited with McGregor for 2012's Sum, a chamber opera based on Sum: Forty Tales of the Afterlives, a collection of short stories by neuroscientist David Eagleman about the possibility of life after death. That year also saw the release of one of Richter's most popular albums, Recomposed by Max Richter: Vivaldi - The Four Seasons. An avant-garde, loop-based reworking of the composer's timeless set of violin concertos, it topped the classical charts in 22 countries, including the U.K., the U.S., and Germany. In turn, McGregor choreographed a ballet, Kairos, to Richter's recomposition. Disconnect, the score to Henry-Alex Rubin's film about the impact of technology on relationships, arrived in 2013. His other releases that year included the score to Wadjda, which was the first feature-length film made by a Saudi Arabian woman (director Haifaa Al-Mansour); the music to Ritesh Batra's The Lunchbox and Ruairí Robinson's sci-fi excursion The Last Days on Mars. Richter also worked with Folman again on the music to The Congress, an adaptation of Stanislaw Lem's novel The Futurological Congress.


In 2014, Richter launched a mentorship program for aspiring young composers and wrote music for HBO's The Leftovers, which also featured pieces from Memoryhouse and The Blue Notebooks. The following year saw the arrival of Sleep, an eight-hour ambient piece scored for piano, strings, electronics, and vocals that Richter described as a "lullaby for a frenetic world and a manifesto for a slower pace of existence." The piece premiered at a Berlin performance where the audience was given beds instead of seats. Sleep and From Sleep, a one-hour adaptation, were released in September 2015. The following year, Richter provided the score to the sci-fi/horror film Morgan and the disturbingly cheery music for "Nosedive," an episode of Black Mirror that took the all-consuming nature of social media to extremes. Released in January 2017, Three Worlds: Music from Woolf Works drew from his score for McGregor's 2015 Royal Ballet production inspired by three of Virginia Woolf's most acclaimed novels. It was followed that May by the soundtrack compilation Out of the Dark Room. That September, Richter's Emmy-nominated music for the BBC One drama Taboo was released.


Richter remained busy on soundtrack work in 2018, with projects including the music for the HBO TV series My Brilliant Friend as well as the scores to films like Hostiles, White Boy Rick, and Mary Queen of Scots, which won a Best Original Score -- Feature Film Award at the Hollywood Music in Media Awards. In October 2019, Deutsche Grammophon issued Voyager: Essential Max Richter, an expansive retrospective that included two previously unreleased pieces written for Sleep.


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Memoryhouse may be Max Richter's debut album, but he had been developing his unique mix of contemporary classical and electronics for years before it was released. He co-founded the Piano Circus ensemble, who commissioned and performed works by Arvo Pärt, Brian Eno, Philip Glass, and Steve Reich (all of whom were influential on Richter's own music), and used live sampling. He also collaborated with Roni Size and Future Sound of London on their groundbreaking 1996 album Dead Cities. Yet Memoryhouse, which is performed by the BBC Philharmonic Orchestra under conductor Rumon Gumba, doesn't feel derivative of any of Richter's previous projects; the album's pieces are rigorously composed but also highly emotive, seamlessly blending into a whole that feels like, well, a memory. Tracks such as "Europe, After the Rain" and "Maria, the Poet" exemplify the album's mix of Glass-style minimalism fused with evocative samples and field recordings, territory Richter covered even more brilliantly on his next album, The Blue Notebooks. The main melody on "Europe, After the Rain" surfaces here and there on Memoryhouse, taking different forms like "Untitled (Figures)"' delicate electronics and "Garden (1973)/Interior"'s drifting harpsichords and spoken word. "Sarajevo" and "The Twins (Prague)" underscore the album's Eastern European leanings, while pieces with short but descriptive song titles like "Landscape with Figure (1922)" and "Arbenita (11 years)" add to the feeling that they could soundtrack diary entries or captions on old photos. More dramatic tracks such as "Last Days" complement the intimacy of "Embers" and "Andras" nicely, and show the scope of Richter's abilities. An homage to Europe and the haunting power of memories, Memoryhouse is a stunning first album that announced Max Richter as a major talent.



. Max Richter - Memoryhouse ( 297mb)

01 Europe, After The Rain 6:13
02 Maria, The Poet (1913)4:47
03 Laika's Journey 1:30
04 The Twins (Prague) 1:58
05 Sarajevo 4:03
06 Andras 2:42
07 Untitled (Figures) 3:27
08 Sketchbook 1:54
09 November 6:21
10 Jan's Notebook 2:41
11 Arbenita (11 Years) 7:04
12 Garden (1973) / Interior 3:24
13 Landscape With Figure (1922) 5:14
14 Fragment 1:26
15 Lines On A Page (One Hundred Violins) 1:22
16 Embers 3:38
17 Last Days 4:18
18 Quartet Fragment (1908) 3:02

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Though his evocative debut album Memoryhouse introduced Max Richter's fusion of classical music, electronica and found-sounds (a style he calls "post-Classical"), it's his follow-up, The Blue Notebooks, that really showcases the style's -- and Richter's -- potential. The album's ten pieces were inspired by Kafka's Blue Octavo Notebooks, and quotes such as "Everyone carries a room about inside them. This fact can even be proved by means of the sense of hearing. If someone walks fast and one pricks up one's ears and listens, say at night, when everything round about is quiet, one hears, for instance, the rattling of a mirror not quite firmly fastened to the wall," which are read by actress Tilda Swinton, define the spare, reflective intimacy of The Blue Notebooks. The album is simpler than Memoryhouse, with a smaller ensemble of musicians playing on it and a shorter running time, but its restraint makes it a more powerful work -- it's so beautiful and fully realized that it doesn't need to be showy. As other reviews have mentioned, Richter tends to be a more traditional-minded composer than influences like Brian Eno, Philip Glass and Steve Reich. However, his sound works so well and seems so natural because he's not trying to be overtly experimental; the album ranges from pieces with little or no electronic elements, such as the piano-driven "Arboretum," to "Old Song," which is based on a busy, chilly beat that sounds like dripping water. Richter's music embraces all of the sounds that had an impact on him, but more important is the emotional impact that The Blue Notebooks has on its listeners; despite its high-concept origins, it's quite an affecting album. The warm-hearted piano melody on "Horizon Variations" and the delicate, somehow reassuring-sounding string piece "On the Nature of Daylight" both sound vaguely familiar, and are all the more haunting for it. Most striking of all is "Shadow Journal," which begins with hypnotic, bubbling electronics, Swinton's crisp voice and a piercingly lovely violin melody and then brings in harp and an electronic bassline so low that it's almost felt more than it is heard. The piece sounds so much like thinking, like turning inward, that the cawing birds at the end of the track bring a jarring end to its reverie. The field recordings that run through The Blue Notebooks heighten the sense of intimacy, and occasionally, eavesdropping. On "Organum," the distant piano and outdoor sounds feel like listening to somebody else listen to the music; meanwhile, the ticking clocks, clacking typewriter and street traffic on the title track help conjure up that room that everyone carries about inside them. The Blue Notebooks is a stunning album, and one that should be heard not just by classical and electronica fans, but anyone who values thoughtful, subtly expressive music.



Max Richter  - The Blue Notebooks (flac 172mb)

01 Level Out 8:55
02 Magic Eye (Remix) 10:02
03 Sol (Remix) 7:30
04 Spiritual Ocean 6:49
05 Levitate 11:23
06 Insum (Remix) 8:17
07 H.U.V.A. Network - Rain Geometry (Solar Fields rmx) 7:51
08 Respiratory Rate 7:50
09 The Sight Is White 7:26
10 Third Time (T Version) 8:16

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For his album, Songs From Before, Max Richter works with the same basic formula that served him so well on 2004’s The Blue Notebooks.  That is, combining spoken word pieces with elegiac string arrangements, field recordings, and subtle electronics.  But whereas The Blue Notebooks‘s pieces were built around Tilda Swinton’s readings of Franz Kafka, Songs From Before uses Robert Wyatt’s readings of various Haruki Murakami texts as embellishment.
Which, on the whole, works remarkably well.  Richter’s string arrangements and subtle programming and electronics creates a mood that lethargic, dreamlike, melancholy mood that is perfectly suited to the themes of loss, nostalgia, and alienation that permeate Murakami’s work.

Listening to tracks such as “Song” and “Harmonium”, it’s difficult to not imagine yourself as Toru Okada, the protagonist of The Wind-Up Bird Chronicle (arguably Murakami’s most famous novel), as he wanders through menacing, forlorn dreamworlds.  “Sunlight” is one of the album’s most beautiful tracks, with its keening, swaying violin melodies that do indeed seem bathed in light—albeit the light that emanates from distant memories of childhood, memories that, through the passing of years, have become stained with loss and regret. Wyatt’s readings of such Murakami texts as Sputnik Sweetheart and Norwegian Wood meld quite extraordinarily with Richter’s arrangements.  As Wyatt reads “I’d venture into the city with the first gray of dawn and walk the deserted streets, and when the streets started to fill with people, I holed up back indoors to sleep” on “Flowers For Yulia”, Richter slowly builds up the piece, moving from distant, static-laden radio recordings to swelling strings that are both beautiful and portentous. Meanwhile, fragments of voices drift through the static, barely audible but still adding yet another layer of eeriness to the proceedings—the way they might seem to the text’s protagonist as he drifts off to sleep, seeking to avoid human contact even as it hovers around him. In one of the album’s most stirring moments, Wyatt reads a passage from Sputnik Sweetheart about the fragility and fleetingness of all things beautiful.  As his worn voice trails off, emphasizing the final, sad words, Richter’s crystalline electronics swirl about in a spectral manner.  Their hollow, ringing tones communicate the exact same tone of mono no aware—the sadness and passing of things—that is affecting and stirring in a way that words, no matter how beautiful they might be, simply cannot achieve. While the combination of spoken word and more classical elements might smack of pretense, Richter manages to avoid that entirely.  As with The Blue Notebooks, the results here are very affecting.  If there’s one complaint, it’s that half of the tracks on Songs From Before clock in around a minute or so (the disc as a whole falls under 40 minutes).  As such, many of them feel more impressionistic sonic sketches—beautiful certainly, but still sketches.

The result is an album that often seems like it’s barely begun before “From The Rue Vilin” closes things with a mournful piano tune that seems most appropriate for wandering through the fog-cloaked, rain-soaked streets of some eastern European city—that, or for the end credits of the most depressing Kieslowski film you’ve ever seen. But in a curious way, that quick passing, that transience, only adds to the album’s overall effect as it’s perfectly inline with the nostalgic themes so clearly associated with Murakami’s writings.



Max Richter  - Songs From Before (flac 157mb)

01 Life 6:37
02 Good Times 7:44
03 Air Song (Remix) 7:54
04 Passage 7:40
05 Water Silence 6:00
06 Blue Moon Station 7:52
07 Small Little Green Cubes 9:47
08 Something Crystal 8:40
09 Filteria - Cloud-Kingdom (Solar Fields Remix) 10:45
10 In Motion (Good Morning Edit) 11:26

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The acclaim Max Richter has earned for works like The Blue Notebooks hasn't tempted him to outdo himself with ever more elaborate, grandiose projects -- in fact, 24 Postcards in Full Colour is just the opposite: a collection of pieces intended as ringtones, the album's longest track is a petite two-minutes-and-fifty-some seconds, and its palette is restricted to solo piano, string quartet, acoustic guitar, and less obvious sources such as shortwave radio transmissions and transistors. The album's unique format is admirable -- there's no reason why everyday sounds like ringtones can't be as thoughtfully made, and beautiful in their own way, as larger pieces of music -- especially because the same care that goes into Richter's longer works is evident throughout 24 Postcards in Full Colour. Many of the electronic pieces offer snapshots of the world around us: "Tokyo Riddle Song" and "When the Northern Lights/Jasper and Louise" sound like messages from chattering satellites that have been bouncing around the atmosphere, while "The Road Is a Grey Tape" could pass for a duet between rushing wind and a purring engine. The string and piano-based pieces, meanwhile, offer interior glimpses; "This Picture of Us P."'s contemplative melody stirs up more emotions in its 90 seconds that might be thought possible, while "Berlin by Overnight"'s strings are impatient to get to their destination. These worlds come together on "A Sudden Manhattan of the Mind," which is as bustling as it is poignant, and "A Song for H Far Away," which blends guitar, cello, and bad cell phone reception into something transporting. This may be Richter's shortest album, but it's also his most eclectic and emotional work, a mosaic of brief but beautiful wishes for contact and a powerfully inspiring way of making what could be mundane into something artful, even if it's just for a moment.



Max Richter  - 24 Postcards In Full Colour ( flac   153mb)

01 Burning View 7:28
02 Shifting Nature 2:40
03 Into The Sun 6:40
04 Forgiveness 9:20
05 Mountain King 14:24
06 Wave Cascade 5:04
07 Moving Lines 5:02
08 A Long Tailed Bird Whispered 1:37
09 Joshua's Shop 5:28
10 A Green Walk 1:52
11 Parallel Universe 8:08
12 The Daylight Carrier 6:32
13 Siren Song Of Glass 5:04

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Hello,


9 correct requests for this week,1 too early,  1 unavailable (aetix-roots),  1 same artist twice, whatever another batch of 36 re-ups (12.8 gig)


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

Looka here , requests fulfilled up to Novemberr 24th... N'Joy

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4x Sundaze Back in Flac  (Gabriel Le Mar - Hear And Now, Vol. 04 ,  Gabriel Le Mar vs. Cylancer - Nightradio, Gabriel Le Mar - Reel Time, Gabriel Le Mar - Dubwize)



3x Aetix 1411 Back in Flac (Wipers - Is This Real, Wipers - Youth of America, Wipers - Over the Edge )



4xGrooves Back in Flac ( Gil Scott-Heron - Real Eyes, Gil Scott-Heron - Reflections, Gil Scott-Heron - Spirits, Gil Scott-Heron - Live)



5x Grooves Back In Flac (Cristina - Love Doll, Was (Not Was) - Was (Not Was),  Was (Not Was) - Woodwork Squeekes, Kid Creole - Tropical Gangsters, VA - Mutant Disco vol 1)



3x Sundaze NOW in Flac (Bill Laswell - Dub Chamber 3, Bill Laswell  - Book Of Exit, Dub Chamber 4 , Bill Laswell - Version 2 Version)



4x Beats NOW in Flac (VA - Rough Trade Electronic 01 ( one), VA - Rough Trade Electronic 01 (two), VA - We Are Skint, VA - We Are Skint 2)



4x Aetix Back in Flac ( Thomas Leer & Rob Rental - The Bridge, Thomas Leer - 1982, Thomas Leer - Contradictions, Thomas Leer - The Scale Of Ten)



4x Wednesdays Back in Flac (  Modern Eon - Fiction Tales, Will Powers - Dancing for Mental Health, Scars - Author, Author , VA - Soundtrack  Pi (Clint Mansell)  )



5x Grooves Back in Flac (  Rick James - Street Songs , Rick James - Live In Long Beach, Rick James - Throwin' Down, Rick James - Glow, Rick James - Wonderful  )


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Hello, comets, for decades we've been told these are dirty snowballs, remnants from the time our solar system formed, but despite astronomers bending over back wards in explaining what has been found in close up inspection of comets, comets aren't ice, non has been found not even in the comet tail, go figure and watch the video below...




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Dr. Alex Theory is a CEO, Executive Producer, media pioneer, and wellness expert. He specializes in the psychological and physiological impact of music/visuals upon the human nervous system. During his career Dr. Theory has produced numerous large scale events, interactive experieces, television shows, and music albums. He has worked with clients such as Cirque du Soleil, Google, iTunes, MGM, ABC Television, Lucas Arts, PBS, Sting, Black Eyed Peas, Elton John, Alanis Morissette, and many others. In addition to producing media & events, he enjoys conducting research, writing music, and lecturing at conferences/festivals around the world. Currently, Dr. Theory is a Governor on the board of the National Academy of Recording Arts and Sciences

Every day, we are subject to countless man-made electromagnetic frequencies that can drain our energy and cloud our sense of well-being. With Earth, sonic pioneer Alex Theory spins the third disc in his Full Spectrum Sound Healing series, giving you a powerful tool to help you relax, get deeply grounded, and re-align with the organic rhythms of our planet. Through overlapping microtones, Tibetan bowls, gongs, and other drone- and tone-producing instruments, Theory creates deep, focused, and calming trances. Whether it's meditation, massage, falling asleep, or deeply relaxed musing--whatever the calming or chakra-climbing state you're seeking--Alex Theory has it covered in his vast but succinct electro-acoustic canon. Each ambient track on this album is embedded with the Schumann Resonance, the scientifically measurable electromagnetic frequency that naturally pervades and nourishes all life on earth.



Alex Theory - Full Spectrum Sound Healing - Earth ( 64:00min flac    238mb)

01 North 8:00
02 Northeast 8:00
03 East 8:00
04 Southeast 8:00
05 South 8:00
06 Southwest 8:00
07 West 8:00
08 Northwest 8:00

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We believe that this critical analysis of textbook comet theory can have a major impact on human understanding of these remarkable bodies. It can also reach well beyond the specialized science of comets to provoke a reconsideration of the Sun, planetary history, and a good deal more. We live in an Electric Universe, and the enigmatic behavior of comets provides unique insights into the role of charged particles and electrified plasma throughout the Cosmos.

We ask for your help in inviting scientists and other centers of influence to consider the factual content in this film and will consider all critical suggestions. We'll be especially diligent in addressing any statements of fact that a knowledgeable viewer may call into question. Our conviction is that essential facts, now confirmed by leading investigators, will not allow the institutions of science to hold onto theories that, for too long, have been proclaimed as established science.

Symbols of an Alien Sky: The Electric Comet    89min





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 the final part of the 2nd sc-world tale Light Fantastic..... N-Joy



Sir Terence David John Pratchett OBE (28 April 1948 – 12 March 2015) was an English author of fantasy novels, especially comical works. He is best known for his Discworld series of 41 novels.

Pratchett's first novel, The Carpet People, was published in 1971. The first Discworld novel, The Colour of Magic, was published in 1983, after which Pratchett wrote an average of two books a year. His 2011 Discworld novel Snuff became the third-fastest-selling hardback adult-readership novel since records began in the UK, selling 55,000 copies in the first three days. The final Discworld novel, The Shepherd's Crown, was published in August 2015, five months after his death.

Pratchett, with more than 85 million books sold worldwide in 37 languages, was the UK's best-selling author of the 1990s. He was appointed Officer of the Order of the British Empire (OBE) in 1998 and was knighted for services to literature in the 2009 New Year Honours. In 2001 he won the annual Carnegie Medal for The Amazing Maurice and his Educated Rodents, the first Discworld book marketed for children. He received the World Fantasy Award for Life Achievement in 2010.

In December 2007, Pratchett announced that he had been diagnosed with early-onset Alzheimer's disease. He later made a substantial public donation to the Alzheimer's Research Trust (now Alzheimer's Research UK), filmed a television programme chronicling his experiences with the condition for the BBC, and became a patron for Alzheimer's Research UK. Pratchett died on 12 March 2015, aged 66.


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Discworld is a comic fantasy book series written by the English author Terry Pratchett, set on the Discworld, a flat planet balanced on the backs of four elephants which in turn stand on the back of a giant turtle. The books frequently parody or take inspiration from J. R. R. Tolkien, Robert E. Howard, H. P. Lovecraft, Charles Dickens and William Shakespeare, as well as mythology, folklore and fairy tales, often using them for satirical parallels with cultural, political and scientific issues.

Forty-one Discworld novels have been published. The original British editions of the first 26 novels, up to Thief of Time (2001), had cover art by Josh Kirby. The American editions, published by Harper Collins, used their own cover art. Since Kirby's death in 2001, the covers have been designed by Paul Kidby. Companion publications include eleven short stories (some only loosely related to the Discworld), four popular science books, and a number of supplementary books and reference guides. The series has been adapted for graphic novels, theatre, computer and board games, and television.

Newly released Discworld books regularly topped The Sunday Times best-sellers list, making Pratchett the UK's best-selling author in the 1990s. Discworld novels have also won awards such as the Prometheus Award and the Carnegie Medal. In the BBC's Big Read, four Discworld novels were in the top 100, and a total of fourteen in the top 200. More than 80 million Discworld books have been sold in 37 languages

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The Light Fantastic is a comic fantasy novel by Terry Pratchett, the second of the Discworld series. It was published on 2 June 1986, the first printing being of 1,034 copies. The title is a quote from a poem by John Milton and in the original context referred to dancing lightly with extravagance. The events of the novel are a direct continuation of those in the preceding book, The Colour of Magic (the only Discworld novel to follow on in this manner).

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Setting

The story takes place on the Discworld, a planet-sized flat disc carried through space on the backs of four gargantuan elephants – Berilia, Tubul, Great T'Phon and Jerakeen – who themselves stand on the shell of Great A'Tuin, a gigantic sea turtle. The surface of the disc contains oceans and continents, and with them, civilizations, cities, forests and mountains.

The Light Fantastic begins shortly after the ending of The Colour of Magic, with wizard Rincewind, Twoflower and the Luggage falling from the Discworld. They are saved when the Octavo, the most powerful book of magic on the Discworld, readjusts reality to prevent the loss of one of its eight spells, which has resided in Rincewind's head since his expulsion from Unseen University: Rincewind, Twoflower and the Luggage end up in the Forest of Skund. Meanwhile, the wizards of Ankh-Morpork use the Rite of Ashk-Ente to summon Death to find an explanation for the Octavo's actions. Death warns them that the Discworld will soon be destroyed by a huge red star unless the eight spells of the Octavo are read.

Several orders of wizards travel to the forest of Skund to try and capture Rincewind, who is currently staying with Twoflower and the Luggage in a gingerbread house in the forest. In the subsequent chaos, Rincewind and Twoflower escape on an old witch's broom, while the Archchancellor of Unseen University is killed when his attempt to obtain the spell accidentally summons the Luggage on top of him, crushing him to death. His apprentice, Ymper Trymon, uses the opportunity to advance his own power, intending to obtain the eight spells for his own good.

Rincewind and Twoflower run into a group of druids who have assembled a "computer" formed from large standing stones, and learn of the approaching red star. As Twoflower attempts to stop the druids from sacrificing a young woman named Bethan, Cohen the Barbarian, an octogenarian parody of Conan, attacks the druids. Twoflower is poisoned in the battle, forcing Rincewind to travel to Death's Domain to rescue him. The pair narrowly avoid being killed by Ysabell, Death's adopted daughter, and as they escape Death's Domain, Rincewind learns from the Octavo itself that it had arranged for its eighth spell to escape into his head, to ensure the spells would not be used before the right time.

Rincewind and Twoflower travel with Cohen and Bethan to a nearby town, where the toothless Cohen leaves to have some dentures made for him, having learned of them from Twoflower. While he is gone, Rincewind, Twoflower and Bethan are attacked by a mob of people who believe the star is coming to destroy the Discworld in response to the presence of magic. The trio escape into one of many shops that sell strange and sinister goods and inexplicably vanish the next time a customer tries to find them. The existence of these shops is explained as being a curse by a sorcerer upon the shopkeeper for not having something in stock. They are able to return to Ankh-Morpork via the shop.

As the star comes nearer and the magic on the Discworld becomes weaker, Trymon tries to put the seven spells still in the Octavo into his mind, in an attempt to save the world and gain ultimate power. However, the spells prove too strong for him and his mind becomes a door into the "Dungeon Dimensions", home to all manner of eldritch creatures. Rincewind and Twoflower manage to kill the now-mutated Trymon, and Rincewind reads all eight of the Octavo's spells aloud. This causes eight moons of the red star to crack open and reveal eight tiny world-turtles that follow their parent A'Tuin on a course away from the star. The Octavo then falls and is eaten by the Luggage.

Twoflower and Rincewind part company as Twoflower decides to return home, leaving the Luggage with Rincewind as a parting gift. Cohen and Bethan also leave to get married. Rincewind decides to re-enroll in the university, believing that with the spell out of his head, he will finally be able to learn magic.


Terry Pratchett -  Light Fantastic part 11,12 ( 63min mp3     28mb).


11 Light Fantastic 11  31:34min
12 Light Fantastic 12  31:15min


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previously

Terry Pratchett - The Colour of Magic part 1 ( 69min mp3     38mb).
Terry Pratchett - The Colour of Magic part 2 ( 69min mp3     38mb).
Terry Pratchett - The Colour of Magic part 3 ( 68min mp3     38mb).
Terry Pratchett - The Colour of Magic part 4 ( 69min mp3     38mb).
Terry Pratchett - The Colour of Magic part 5 ( 66min mp3     36mb).
Terry Pratchett - The Colour of Magic part 6 ( 69min mp3     36mb).
Terry Pratchett - The Colour of Magic movie ( 97min avi     698mb).

Terry Pratchett -  Light Fantastic part 1,2 ( 68min mp3     31mb).
Terry Pratchett -  Light Fantastic part 3,4 ( 68min mp3     31mb).
Terry Pratchett -  Light Fantastic part 5,6 ( 71min mp3     28mb).
Terry Pratchett -  Light Fantastic part 7,8 ( 71min mp3     28mb).
Terry Pratchett -  Light Fantastic part 9,10 ( 71min mp3     28mb).


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Hello,




Today's Artists initially gained recognition in 1986 as a member of the hip hop group C.I.A., which gained limited commercial success prior to disbanding around the time N.W.A formed.[1] Ice Cube, alongside Dr. Dre and Eazy E, formed the group N.W.A, where he gained extreme notoriety as the group's primary songwriter and performer, noted for becoming one of the founding artists of gangsta rap, and pushing the boundaries of lyrical content in mainstream popular music, as well as visual imagery in music videos....... N Joy

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Ice Cube is one of the most crucial artists in rap history. A razor-sharp lyricist, alternately furious and humorous MC, and accomplished producer, Cube laid the foundation for the legacy of pioneering gangsta rap group N.W.A by writing "Boyz-N-the-Hood" for partner Eazy-E and making his first big splash as an MC with the subsequent "Dope Man." After N.W.A's Straight Outta Compton (1988) infiltrated suburban America and attracted the scrutiny of the FBI with "Fuck tha Police," Ice Cube launched a solo career that has entailed five platinum albums and one platinum EP, including AmeriKKKa's Most Wanted (1990), Death Certificate (1991), and The Predator (1992). A month before Cube released the first LP in that series, he appeared on Public Enemy's critical "Burn Hollywood Burn" and within a year aided in the disruption of the track's target with a co-starring role in John Singleton's Boyz N the Hood. While Cube added to his filmography with projects such as the Friday franchise, directorial debut The Players Club, and Barbershop, he devoted less time to music. He continued to record occasionally as a solo artist and member of Westside Connection, and extended a streak of RIAA-certified releases that lasted through Laugh Now, Cry Later (2006). The next decade, Cube and Dr. Dre co-produced the acclaimed Straight Outta Compton (2015), a biographical film about N.W.A, whose resurgence culminated with an induction into the Rock and Roll Hall of Fame. Cube soon returned with his first solo album in eight years, Everythangs Corrupt (2018).

Raised in South Central Los Angeles, California by working class parents, Ice Cube, born O'Shea Jackson, became involved with b-boy culture in his early teens and in high school began writing rhymes. Cube rapped at parties hosted by Dr. Dre, who soon produced his first recordings: Stereo Crew's "She's a Skag," released on major-label Epic in 1986, and an EP by C.I.A., issued in 1987 on the small independent Kru-Cut. Stereo Crew and C.I.A. also featured K-Dee, while the latter added Sir Jinx. Along the line, Cube met Eazy-E through Dre, and that trio, along with Arabian Prince, formed the first lineup of N.W.A., bolstered soon thereafter by MC Ren and DJ Yella. Eazy and music industry veteran Jerry Heller set up Ruthless Records, launched later in 1987 with a pair of 12" releases: Eazy's "Boyz-N-the-Hood," and an EP from N.W.A. containing "8 Ball" and "Dope Man." Cube was the MC only on "Dope Man," but he was credited as sole lyricist on the three tracks, all of which demonstrated the writer's flair for pointed narratives illustrated with irreverent humor.

By the time the Macola label expanded the Ruthless tracks for the compilation N.W.A. and the Posse, Cube had headed to Arizona to study architectural drafting at Phoenix Institute of Technology. After he obtained a one-year degree, he returned to work on N.W.A's Straight Outta Compton and Eazy-E's Eazy-Duz-It. Released by Ruthless in August and September, respectively, 1988, the albums gradually crept into the mainstream, thanks in significant part to word of mouth and eventual support from Yo! MTV Raps. Nine months after its release, Straight Outta Compton peaked at number nine on Billboard's R&B/hip-hop chart (trumping Eazy-Duz-It, which in March topped out at number 12). The extreme lyrical content of "Fuck Tha Police," courtesy of Cube and MC Ren, attracted scrutiny from the Los Angeles Police Department and eventually the assistant director of the FBI office of public affairs, who sent the group a strongly worded letter.

Deep conflicts with Jerry Heller prompted Cube to leave N.W.A in late 1989. He went to New York with fellow producer Sir Jinx and recorded his first solo album, heralded by an appearance on Public Enemy's "Burn Hollywood Burn," with the Bomb Squad. Released on Priority in May 1990, AmeriKKKa's Most Wanted was an instant Top 20 Billboard 200 hit and went gold within four months. While the album's production and Cube's mike skills were praised, the often violent, homophobic, and misogynist lyrics were criticized, particularly by the rock press and moral watchdogs. Even amid such controversy, the album was hailed as a groundbreaking classic -- led by the title track, a number one hit on Billboard's Hot Rap Singles chart -- and established Cube as a recognized individual force. He began his own corporation, which was run by a woman, and by the end of 1990 co-produced a 12" for Yo-Yo and released the platinum Kill at Will EP. Yo-Yo's Make Way for the Motherlode, produced entirely by Ice Cube and Sir Jinx, arrived the following year, as did another Cube-related project, I Wish My Brother George Was Here, the debut from cousin Del the Funky Homosapien. Moreover, Cube made his widely praised acting debut in John Singleton's groundbreaking urban drama Boyz N the Hood, titled after the song he wrote, filmed in his native South Central Los Angeles.

Cube's first album may have been controversial, but its reception paled compared to that of his follow-up, Death Certificate. Released in October 1991, just after the debut went platinum, Death Certificate was more political, antagonistic, and vulgar than its predecessor, causing more scrutiny and outrage. In particular, "No Vaseline," a vicious attack on N.W.A and Jerry Heller, was perceived as anti-Semitic, and "Black Korea" was taken as an instruction to burn down Korean-owned grocery stores. The songs provoked a condemnation from the trade publication Billboard -- the first time an artist had been singled out by the magazine. None of this prevented the album from reaching number two and going platinum with momentum maintained well into 1992 by "Steady Mobbin'," a Top Ten rap hit. During 1992, Cube also performed in the second Lollapalooza tour to consolidate his white rock audience, executive-produced Da Lench Mob's radical Guerillas in tha Mist, and that December appeared in Trespass and released The Predator. Cube's third album, The Predator, became the first to debut at number one on both the pop and R&B/hip-hop charts. Promoted with three Top Ten rap singles -- the ferocious Los Angeles riots response "Wicked," the steady-rolling "It Was a Good Day," and the Das EFX collaboration "Check Yo Self" -- the album eventually went double platinum.

Lethal Injection, Cube's fourth album, was released in December 1993 and became the rapper's third straight LP to debut within the Top Ten of the pop and R&B/hip-hop charts. Its biggest single, "Bop Gun (One Nation)," paid tribute to the enduring influence of Parliament-Funkadelic and featured leader George Clinton. By the end of that year, Cube's production discography included more material from Yo-Yo, as well as Kam's Neva Again. Having released four albums in four years, Cube took a break from making solo LPs, but during 1994 reunited with Dr. Dre for "Natural Born Killaz," recorded for the Murder Was the Case soundtrack. Also that year, the November release Bootlegs & B-Sides bundled stray cuts. Cube was visible as ever throughout 1995. He acted in Singleton's film Higher Learning, wrote and starred in the cult classic stoner comedy Friday, and appeared on tracks by Westside Connection partners Mack 10 and WC. Bow Down, Westside Connection's first album, followed in 1996, narrowly missed the top of the pop chart, and went platinum on the strength of the hits "Bow Down" and "Gangstas Make the World Go Round." In 1997, Cube starred in the action thriller Dangerous Ground and in the surprise hit horror film Anaconda, and contributed music to the soundtrack of the former, including "The World Is Mine," joined by K-Dee and Mack 10. Another anthology, Featuring...Ice Cube, was out that December.

The Players Club, Cube's directorial debut -- which he also wrote -- premiered in 1998, promoted with a Top Ten soundtrack featuring his own "We Be Clubbin'." That November, just after he made a featured appearance on nu metal leaders Korn's "Children of the Korn," Cube's solo LP dry spell was broken with War & Peace, Vol. 1, the source of another rap number one, "Pushin' Weight," and an additional Korn collaboration, "Fuck Dying." Like all his previous LPs, it went platinum. Film work resumed with Next Friday, written and produced by Cube, who also reprised his starring role from the original and was present on the soundtrack. War & Peace, Vol. 2, containing a collaboration with Dr. Dre and MC Ren on "Hello," followed in March 2000 and completed his prosperous phase with Priority Records, swiftly summarized with Greatest Hits in 2001. Between studio albums, Cube devoted most of his creative energy to films. David O'Russell's Three Kings, John Carpenter's Ghosts of Mars, and Tim Story's Barbershop, as well as a third Cube-written Friday film, Friday After Next -- among several other titles -- all appeared in theaters before he returned to music with Westside Connection's second album, Terrorist Threats, in December 2003.


Signed to EMI, Cube lengthened his solo discography in June 2006 with Laugh Now, Cry Later. In the Movies, a compilation of soundtrack cuts, was put together by Priority for a 2007 release. The following August, Cube returned with Raw Footage, his seventh consecutive solo studio album to enter the Billboard 200 and R&B/hip-hop charts within the Top Ten. Yet another catalog title from Priority, The Essentials, appeared in 2008. Cube's September 2010 effort I Am the West was a family affair, with sons Darrell Jackson (aka Doughboy, named after Cube's Boyz N the Hood character) and O'Shea Jackson, Jr. (aka OMG) among the guests, who also included longtime associate WC. By the end of 2011, Cube had also acted in and/or produced a multitude of projects for the large and small screens, including Are We There Yet?, Beauty Shop, Friday: The Animated Series, and The Longshots.

In 2012, Cube announced the imminence of a tenth solo album, Everythangs Corrupt. Despite several singles issued across 2013 and 2014, its release was delayed as Cube focused on film and television pursuits, as well as the legacy of N.W.A. Along with Dr. Dre, Cube worked on a biopic about the origin and rise of the trailblazing group, with son O'Shea Jackson, Jr. cast to portray him. Named after their breakthrough album, Straight Outta Compton was released in 2015 to critical acclaim. The film made over $200 million worldwide, and was nominated for an Academy Award in the category of Best Original Screenplay. The film inspired Dr. Dre's solo album Compton, which included Cube on the track "Issues." A Rock and Roll Hall of Fame induction followed for N.W.A in 2016. A 25th anniversary reissue of Death Certificate was released the next year by Interscope, Cube's new home. The week of the 2018 midterm elections, Cube issued the single "Arrest the President," a prelude to the characteristically scathing, humorous, and funky Everythangs Corrupt, which finally arrived the next month.




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Considering that he hadn't delivered a full-fledged solo album since 1993's disappointing Lethal Injection, maybe it shouldn't have been a surprise that Ice Cube returned hard in 1998 with War & Peace, Vol. 1 (The War Disc), since five years is a long, long time to stay quiet. What was a surprise was how ambitious the album was. The first installment in a proposed double-disc set, The War Disc is a cacophonous, cluttered, impassioned record that nearly qualifies as a return to form. Designed as a hard-hitting record, it certainly takes no prisoners, as it moves from intense street-oriented jams to rap-metal fusions, such as the Korn-blessed "Fuck Dying," with its seething, distorted guitars. It's a head-spinning listen and, at first, it seems to be a forceful comeback. Upon closer inspection, The War Disc falters a bit. Not only does the relentless nature of the music wear a little thin, but Cube spends too much time trying to beat newcomers at their own game. His lyrical skills are still intact, but he spends way too much time boasting, particularly about material possessions, and his attempt to rechristen himself Don Mega, in a Wu-like move, simply seems awkward. Even so, the quality of the music -- and the moments when he pulls it all together, such as "3 Strikes You In" -- sustains War and makes it feel more cohesive than it actually is. The key is purpose -- even if Cube doesn't always say exactly what he wants, he does have something to say. That alone makes War & Peace, with just one album completed, a more successful and rewarding listen than the typical double-disc hip-hop set of the late '90s.



 Ice Cube - War & Peace, Volume 1 (The War Disc)  (flac   454mb)

1 Ask About Me 3:06
2 Pushin' Weight 4:35
3 Dr. Frankenstein 4:54
4 Fuck Dying 4:03
5 War & Peace 3:18
6 Ghetto Vet 5:05
7 Greed 4:29
8 MP 0:49
9 Cash Over Ass 4:21
10 The Curse of Money 3:39
11 The Peckin' Order 3:21
12 Limos, Demos & Bimbos 3:51
13 Once Upon A Time in the Projects 2 3:05
14 If I Was Fuckin' You 3:28
15 X-Bitches 4:59
16 Extradition 4:38
17 3 Strikes You In 4:34
18 Penitentiary 4:12

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The second volume of Ice Cube's War & Peace album finds the multi-talented veteran MC evolving beyond a mere gangsta rap artist. Of course, Ice Cube doesn't admit his maturity, starting the album off with an excellent song titled "Hello" featuring MC Ren and Dr. Dre. The Dre-produced song has the ex-NWA members rapping "I started this gangsta ****/and this is the ************ thanks I get?" and reinstating their thug stance. Besides this opening song, Cube also is heard later on the album rapping to "keep in gangsta," yet for as much as Cube flexes about being hard, he has actually evolved into a wiser, more composed artist than the hate-fueled gangsta found on his early albums. Some of the songs on War & Peace, Vol. 2 such as "Record Company Pimpin'" reflect the deep insight he is easily capable of injecting into his lyrics. Unfortunately, for every contemplative moment on this album, there are also plenty of songs such as "Can You Bounce?" and "Hello" that reduce themselves to simple, lucid attempts at hit singles. These songs -- along with the slightly more thought-out, radio-friendly "Until We Rich" -- are wonderful songs, rich in hooks and full of strong beats, but they don't really fit in with the rest of the album. The fact that Ice Cube churned out two albums of content during his lengthy absence from the rap world in the late '90s makes the two volumes of War & Peace overly eclectic. What made albums such as Straight Outta Compton and AmeriKKKa's Most Wanted such strong albums were consistency; Dr. Dre and the Bomb Squad, respectively, were able to map out an overall musical feel for these albums with their signature styles and unique motifs. Instead of having a fully realized sound such as the aforementioned albums, the revolving door of production on War & Peace that includes Dr. Dre, Puff Daddy, and One Eye for One Eye among others makes this album sound very undeceive in terms of style. Cube's rapping sounds great with plenty of ideas that extend outside of simple gangsta motifs and slick rhymes full of wit; however, the constant changes in the album from hook-laden hits to denser, message-filled songs and from stark, minimal beats to up-tempo dance-rap make this a sometimes brilliant yet ultimately spotty, multi-dimensional album that needs more focus.



Ice Cube - War & Peace, Volume 2 (The Peace Disc)  (flac   404mb)

01 Hello (feat. Dr. Dre, MC Ren) 3:52
02 Pimp Homeo (Insert) 0:39
03 You Ain't Gotta Lie (Ta Kick It) 4:06
04 The Gutter Shit ( feat. Gangsta, Jayo Felony, Squeak Ru) 4:30
05 Supreme Hustle 4:22
06 Mental Warfare (Insert) 1:02
07 24 Mo' Hours 3:28
08 Until We Rich (feat. Krayzie Bone) (4:15
09 You Can Do It 4:19
10 Mackin'& Driving (Insert) 0:28
11 Gotta Be Insanity 4:00
12 Roll All Day 3:16
13 Can You Bounce? 3:54
14 Dinner With the CEO (Insert) 0:50
15 Record Company Pimpin' 4:46
16 Waitin' Ta Hate 3:38
17 Nigga of the Century 4:15
18 You Can Do It (Instrumental) 4:20

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As Ice Cube's 2006 Laugh Now, Cry Later was landing in stores, all the chatter was about whether or not Cube was back, and whether or not he could recover from a couple of lackluster solo albums that came out years ago. Did his major contribution to Westside Connection's satisfying 2003 album Terrorist Threats slip everybody's mind and do we have to consider that release "slept on"? Laugh Now picks up right where Terrorist Threats left off, and while Cube does a little "this is why I'm important" posturing on the excellent "Child Support," this isn't a forced "I'm back" effort in the least. After a short intro, Cube goes right for the upper classes' throats with "Guns and Drugs," a track that acknowledges that there was a George Bush in office when he began his solo career, there's a George Bush in office as he returns to it, and he doesn't much care for either. Switching gears, the following club track "Smoke Some Weed" gives everyone the finger in a much less socially conscious manner. The track's rain stick and East Indian vocal loops constructed by producer Budda give the album its most riveting beat, the competition supplied by various upstarts and, surprisingly, Lil Jon, who upstages the heralded Scott Storch and his underwhelming contributions. Lil Jon tweaks his usual crunk juice and blends some West into his South for the low-riding "Go to Church" and "You Gotta Lotta That," both with Snoop. Just as satisfying, "Doin' What It 'Pose 2 Do" is a modern banger that's well aware of the 2006 success of folks like Bun B and Z-Ro. It's only when Cube jumps on the "Stop Snitchin'" bandwagon that he sounds the least bit unnatural. He also scores a lyrical triumph with the title track, but unlike his early classics, Laugh Now stumbles occasionally and fails to keep the momentum going through the whole fourth quarter. This is his first effort on his own independent label, so if the album lacks a little final product-minded polish, it trades it for a homegrown feel that's distinctively direct. Strip a couple redundant tracks and you've got that bitter, edgy, and sharp Cube album you hoped for.



Ice Cube - Laugh Now, Cry Later (flac   487mb)

01 Definition Of A West Coast G' (Intro) 0:14
02 Why We Thugs 3:44
03 Smoke Some Weed 3:46
04 Dimes & Nicks (A Call From Mike Epps) 1:06
05 Child Support 4:01
06 2 Decades Ago (Insert) 0:14
07 Doin' What It 'Pose 2Do 4:08
08 Laugh Now, Cry Later 3:37
09 Stop Snitchin' 3:15
10 Go To Church 4:00
11 The Nigga Trap 3:49
12 A History Of Violence (Insert) 1:09
13 Growin' Up 3:55
14 Click, Clack - Get Back! 3:10
15 The Game Lord 4:10
16 Chrome & Paint 3:27
17 Steal The Show 4:12
18 You Gotta Lotta That 4:06
19 Spittin' Pollaseeds 5:04
20 Holla @ Cha' Boy 3:31


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Dealing with the good, the bad, and especially the ugly, Raw Footage is an appropriate title for Ice Cube's eighth album. Some kind of subtitle that mentioned the yin and yang of life would have made it perfect because the tracks here are as inclined to paradoxes as the man himself and offer just as few excuses. If you want insight into how a man justifies making family fun movies by day and hardcore rap by night, the only answer offered is that you grow up in this cruel world and you deal any way you know how, something that drives the great "Gangsta Rap Made Me Do It." This key track may not be "fair and balanced," but it's honest and revealing as Cube embraces what he wants from the good -- a literate life that damns those who "read your first book in the penitentiary" -- and the commonly accepted bad as he attacks Oprah and everyone else who has a problem with hardcore rap using the "N" word. The 187 in "Why Me?" could be a metaphor for the attacks from Cube's detractors ("You want to take the life God handed to me/Send it back to him 'cuz you ain't a fan of me") while "Jack in the Box" suggests he's already won the war with "Fool, I'm the greatest/You just the latest/I'm loved by your grandmamma/And your babies." The album's guiding principle, "only thing I expect is self-check," is dropped in "Get Money, Spend Money, No Money," but the great news is that all these standoffish and self-serving rhymes are written with that whipsmart wit and sit on a bed of wonderfully minimal beats from lesser knowns like Young Fokus and Emile. The only time things sound slick are when an Eddie Kendricks sample meets Angie Stone's vocals on "Hood Mentality," or when the so-big-in-2008 Young Jeezy shows up for the disappointing and out of place "I Got My Locs On." The bombastic intro and interludes with Keith David could go too, but otherwise this no-answers, gritty ego trip will satisfy his fans while pushing everyone else away even further.



Ice Cube - Raw Footage (flac   475mb)

01 What Is A Pyroclastic Flow ? 0:54
02 I Got My Locs On 3:43
03 It Takes A Nation 3:26
04 Gangsta Rap Made Me Do It 4:41
05 Hood Mentality 5:11
06 Why Me ? 4:00
07 Cold Places 4:12
08 Jack N The Box 4:22
09 Do Ya Thang 4:04
10 Thank God 5:28
11 Here He Come 4:32
12 Get Money, Spend Money, No Money 4:07
13 Get Use To It 4:25
14 Tomorrow 3:40
15 Stand Tall 3:46
16 Take Me Away 4:03
Bonus
17 Believe It Or Not 3:11
18 Don't Make Me Hurt Ya Feelings 2:45

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While his 2008 effort Raw Footage brought aggression and bitterness, I Am the West leans back a bit, assured in its status and wisdom, showing hip-hop how to grow old both gracefully and gangsta. Ice Cube’s first album since turning 40 masterfully lays it all out on key track “No Country for Young Men.” This witty, rapid-fire damnation of the ringtone rapper generation and their foolishness declares them “bitches” with “Rappers go to jail like Oprah go to Gayle/Stedman’s policy: Don’t ask don’t tell," along with a laugh-out-loud Redd Foxx line that shouldn’t be spoiled. Making the case that his generation fought the power while the 2010 crew was just fighting itself happens elsewhere, and when you combine this with the “we’ve got a bigger problem now” attitude of “Hood Robbin’” -- high-tech and high-finance corporations are widening the gap between the classes -- and the sage advice of “Your Money or Your Life” -- “This world, so trife/Your money or your life/Keep your kids, keep your wife/Your money or your life” -- you’ve got a layered argument against misdirected priorities and their devastating consequences. Cube suggests there are more choices than burning out and fading away when he dedicates a song to his wife of 21 years and explains how she’s enriched his life on “Nothing Like L.A.,” but the real proof is in all the vital yet lighter cuts that keep the message-filled album from being ponderous. Flashy production drives the infectious "She Couldn't Make It on Her Own," featuring fine contributions from Cube’s sons Doughboy and OMG, while big daddy himself has put an entertaining, Kool Keith-like spin on his punch lines this time out, dropping odd stingers like “Internationally known/You about to smell my cologne” (“Soul on Ice”) and “You about as lethal as a mojito/Be my amigo, eat my burrito” (“Too West Coast”). Add the usual Keith David narrations and the hard-hitting, full-bodied production the West Coast favors and the album is anchored by tradition, becoming an unassailable cocktail of talent, experience, and growth. Most won’t have the skills to follow his playbook, either on or off the field, but Cube’s utterly unique I Am the West shows the younger generation how to cross 40 while retaining their freedom and baller status. Middle age hip-hop is born here, and if the game follows his lead, it will be one monster of a genre.



Ice Cube - I Am The West  (flac   346mb)

01 A Boy Was Conceived (Intro) 0:26
02 Soul On Ice 3:39
03 Life In California 4:02
04 She Couldn't Make It On Her Own 2:59
05 Urbanian 2:25
06 Y'all Know How I Am 2:18
07 Too West Coast 2:58
08 I Rep That West 4:32
09 Drink The Kool-Aid 3:10
10 No Country For Young Men 4:14
11 It Is What It Is 3:21
12 Hood Robbin' 3:45
13 Your Money Or Your Life 3:24
14 Nothing Like L.A. 3:20
15 All Day, Every Day 2:21
16 Fat Cat 2:54

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Hello, Max's music was always predestined for film soundtracks, hence here's a first batch of 5 .....


Today's artist is is a German-born British composer who has been an influential voice in post-minimalist composition and in the meeting of contemporary classical and alternative popular musical styles since the early 2000s. Richter is classically trained, having graduated in composition from the Royal Academy of Music and studied with Luciano Berio in Italy.Richter also composes music for stage, opera, ballet and screen. He has also collaborated with other musicians, as well as with performance, installation and media artists. He has recorded eight solo albums and his music is widely used in cinema.  .......N-Joy

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Combining the discipline of his classical background with the inventive spirit of electronic music, Max Richter's work as a producer and composer speaks to -- and frequently critiques -- 21st century life in eloquent and evocative ways. On early masterworks such as 2002's Memoryhouse and 2003's The Blue Notebooks, he united his childhood memories and commentary on war's devastating aftermath into gorgeous, aching music; with 2015's eight-hour Sleep, he challenged the increasing disposability of art and music as well as audiences' ever-decreasing attention spans. Richter's fascination with the growing role of technology in everyday life was a major theme of releases spanning 2008's collection of bespoke ringtones to the music for a particularly paranoid 2016 episode of the TV series Black Mirror. Despite the high-concept nature of much of his work, Richter always maintains a powerful emotional connection with his listeners; 2012's Recomposed: The Four Seasons, an experimental reimagining of Vivaldi's violin concertos, topped classical charts in over 20 countries. The emotive quality of his music translated perfectly to scoring and soundtrack work, which ranged from documentaries such as Waltz with Bashir (2008); feature films including Mary Queen of Scots (2018); television series like Taboo (2017); and stage productions including Infra (2008) and Woolf Works (2015), both projects with Richter's longtime collaborator, choreographer Wayne McGregor. Richter's mix of modern composition, electronic music, and field recordings was as influential as it was innovative, and paved the way for like-minded artists such as Nico Muhly and Jóhann Jóhannsson.

Born in West Germany in the mid-'60s, Richter and his family moved to the U.K. when he was still a little boy, settling in the country town of Bedford. By his early teens, he was listening to the canon of classical music as well as modern composers including Philip Glass, whose music was a major influence on Richter. The Clash, the Beatles, and Pink Floyd were also important, along with the early electronic music scene; inspired by artists such as Kraftwerk, Richter built his own analog instruments. He studied composition and piano at Edinburgh University, the Royal Academy of Music, and in Florence with Luciano Berio. He then became a founding member of the Piano Circus, a contemporary classical group that played works by Glass, Brian Eno, Steve Reich, Arvo Pärt, and Julia Wolfe, and also incorporated found sounds and video into their performances. After ten years and five albums for Decca/Argo, Richter left the group and became more involved in the U.K.'s thriving electronic music scene, collaborating with the Future Sound of London on 1996's Dead Cities (which features a track named after him) and The Isness; he also contributed orchestrations to Roni Size's 2000 album In the Mode.

Richter's own work evolved from the Xenakis-inspired music of his early days into something that included his electronic and pop influences. His 2002 debut album, Memoryhouse, introduced his mix of modern composition, electronica, and field recordings. Recorded with the BBC Philharmonic Orchestra, the album explored childhood memories as well as the aftermath of the Kosovo War in the 1990s and was hailed as a masterpiece. Two years later, Richter made his FatCat debut with The Blue Notebooks, which incorporated readings from Franz Kafka's Blue Octavo Notebooks and Polish writer Czesław Miłosz by actress Tilda Swinton into dreamlike pieces for strings and piano that touched on the Iraq War and Richter's early years. Released in 2006, Songs from Before paired his plaintive sound with texts written by Haruki Murakami and delivered by Robert Wyatt. In 2008, he issued 24 Postcards in Full Colour, a collection of intricate ringtones envisioned by Richter as a way to connect people around the world. That year also saw the release of his music for Ari Folman's Golden Globe-winning film Waltz with Bashir. Focusing on electronics instead of a typical orchestral score, it was Richter's highest-profile soundtrack project to date. He then worked on several other film scores, including music for Benedek Fliegauf's Womb, Alex Gibney's My Trip to Al-Qaeda, and David MacKenzie's Perfect Sense. Another scoring project, Infra, marked the beginning of Richter's enduring collaboration with choreographer Wayne McGregor. Commissioned by the Royal Ballet in 2008, Infra was a ballet inspired by by T.S. Eliot's classic poem "The Wasteland," and the the 2005 London terrorist bombings. Richter re-recorded and expanded his music for the 2010 album Infra, his fourth release for FatCat Records.


Richter began the 2010s with soundtrack work that included the award-winning scores to Die Fremde (2010) and Lore (2012). The composer reunited with McGregor for 2012's Sum, a chamber opera based on Sum: Forty Tales of the Afterlives, a collection of short stories by neuroscientist David Eagleman about the possibility of life after death. That year also saw the release of one of Richter's most popular albums, Recomposed by Max Richter: Vivaldi - The Four Seasons. An avant-garde, loop-based reworking of the composer's timeless set of violin concertos, it topped the classical charts in 22 countries, including the U.K., the U.S., and Germany. In turn, McGregor choreographed a ballet, Kairos, to Richter's recomposition. Disconnect, the score to Henry-Alex Rubin's film about the impact of technology on relationships, arrived in 2013. His other releases that year included the score to Wadjda, which was the first feature-length film made by a Saudi Arabian woman (director Haifaa Al-Mansour); the music to Ritesh Batra's The Lunchbox and Ruairí Robinson's sci-fi excursion The Last Days on Mars. Richter also worked with Folman again on the music to The Congress, an adaptation of Stanislaw Lem's novel The Futurological Congress.


In 2014, Richter launched a mentorship program for aspiring young composers and wrote music for HBO's The Leftovers, which also featured pieces from Memoryhouse and The Blue Notebooks. The following year saw the arrival of Sleep, an eight-hour ambient piece scored for piano, strings, electronics, and vocals that Richter described as a "lullaby for a frenetic world and a manifesto for a slower pace of existence." The piece premiered at a Berlin performance where the audience was given beds instead of seats. Sleep and From Sleep, a one-hour adaptation, were released in September 2015. The following year, Richter provided the score to the sci-fi/horror film Morgan and the disturbingly cheery music for "Nosedive," an episode of Black Mirror that took the all-consuming nature of social media to extremes. Released in January 2017, Three Worlds: Music from Woolf Works drew from his score for McGregor's 2015 Royal Ballet production inspired by three of Virginia Woolf's most acclaimed novels. It was followed that May by the soundtrack compilation Out of the Dark Room. That September, Richter's Emmy-nominated music for the BBC One drama Taboo was released.


Richter remained busy on soundtrack work in 2018, with projects including the music for the HBO TV series My Brilliant Friend as well as the scores to films like Hostiles, White Boy Rick, and Mary Queen of Scots, which won a Best Original Score -- Feature Film Award at the Hollywood Music in Media Awards. In October 2019, Deutsche Grammophon issued Voyager: Essential Max Richter, an expansive retrospective that included two previously unreleased pieces written for Sleep.


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Waltz with Bashir is a 2008 Israeli animated war documentary drama film written, produced and directed by Ari Folman. It depicts Folman in search of his lost memories of his experience as a soldier in the 1982 Lebanon War. Waltz with Bashir premiered at the 2008 Cannes Film Festival where it entered the competition for the Palme d'Or, and since then has won and been nominated for many additional important awards while receiving wide acclaim from critics and audience alike .Absolutely beautiful music by Max Richter, disturbed by two songs from other artists. Enola Gay by OMD is bearable but breaks the mood, while This is not a Love Song by PIL is completely out of place



. Max Richter - Waltz With Bashir ( 270mb)

01 Boaz And The Dogs 3:11
02 Iconography 3:17
03 The Haunted Ocean 1 2:07
04 JSB/RPG 1:32
05 Shadow Journal 8:27
06 Enola Gay by OMD 3:34
07 The Haunted Ocean 2 0:54
08 Taxi And APC 2:13
09 Any Minute Now / Thinking Back 4:16
10 I Swam Out To Sea / Return 3:52
11 Patchouli Oil And Karate 0:36
12 This Is Not A Love Song by PIL 4:12
13 What Had They Done? 1:53
14 Into The Airport Hallucination 3:27
15 The Slaughterhouse 1:35
16 The Haunted Ocean 3 2:22
17 Into The Camps 3:19
18 The Haunted Ocean 4 3:45
19 Andante / Reflection (End Title) 3:30
20 The Haunted Ocean 5 (Solo Version) 1:38

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“Henry May Long” is a 2008 drama. Henry May and Henry Long are old friends from college who have not seen each other in quite a while. They meet one day in the street by happy accident – or so it seems. They re-kindle their friendship and we discover that each needs the other, but for different reasons. Together they take a journey away from family and pressures in New York. In the harbor town of New Bedford, the truth comes out and changes each man irrevocably. Max Richter wrote the score.

Max Richter’s music here is like the endless sand that builds up into castles and shapes which are then torn down and turned back into separate grains that slip through the fingers before crafty hands put them together again into maybe different, but equally beautiful shapes. His music moves continuously, evolves, changes shape while staying poignant and, ultimately, heartbreaking. I am just one lonely spectator watching one lonely composer turn simple piano and, sometimes, cello sounds intro multi dimensional shapes that play complex emotional scenes. So much can come from so little and I feel like I am looking at a dark stage that has on it a small projector that once turned on fills up the entire theatre with light, images, scenes, voices, all of them coming from that one single, small, minimalistic object. “Henry May Long” is another flawless score from a magnificent composer.The music is structured as a series of variations on two main themes, which accompany the narrative of the film. “The string theme operates on the societal level, while the piano theme speaks more to the interior lives of the protagonists,” explains Max. Although the music for Henry May Long was written for a relatively unknown film, its original release on Mute Records meant that the score had a notable impact on other composers working in similar genres."



Max Richter - Henry May Long (flac 131mb)

01 Ocean House Mirror 3:57
02 Stairs Abyss Starlight 1:00
03 Exit Top Hat Greeting 0:49
04 Waiting for Sunlight Evening 1:14
05 Interior Tears an Idea 2:22
06 Ending Doorway Pavement 2:06
07 Farewell Threshold Laudanum 1:29
08 Sofa Chess 1:56
09 Interior Horses 4:46
10 Whale Window Hotel 1:35
11 A Candle and Half a Pear 1:54
12 Powder Pills Truth 2:07
13 The Young Mariner 4:12
14 Dinner and the Ship of Dreams 5:26

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A simply beautiful soundtrack for a film as original as captivating. As the title indicates, the wild life of the domestic animals of a farm in Bresse, at the foot of the Jura. Composed by Max Richter who made himself known by the music of "Waltz With Bachir" for which he received the "2008 European Film Award" Music is a major element of this film. Having a musical theme for each animal, all their personalities are present on this soundtrack. It recreates the farm environment with different perspectives: humorous, evocative, also dramatic, with a wide variety of themes and revolves around a remarkable main theme.



Max Richter - La Vie Sauvage Des Animaux Domestiques (The Wildlife of Pets) (flac 217mb)

01 Die Wilde Farm (Title) 3:58
02 The Explorer 1:50
03 The Storyteller (Piano Solo) 1:06
04 Nocturne With Landscape 0:38
05 Everyday Opera 1:54
06 The Storyteller (Accordion) 1:19
07 Off We Go! 1:11
08 The Housefly 1:06
09 Piglets Ho! 0:52
10 Outdoors Song 2:18
11 While We Were Sleeping 1:14
12 Here Is the News 1:07
13 The Tiny Acrobats 1:14
14 Piglet Adventures 3:16
15 The Storyteller Mouse 1:07
16 Carefully! 2:36
17 Night Time Adventure 3:05
18 The Weavers 1:28
19 It Might Just Work! 1:31
20 The Night of the Births 6:05
21 Out You Go! 1:54
22 Homecoming (End Title) 4:23

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When We Leave (German: Die Fremde, Turkish: Ayrılık) is a 2010 German-Turkish drama film, produced, written and directed by Austrian filmmaker Feo Aladag. The film received worldwide acclaim, and represented Aladag's debut as a producer, writer and director. The worn, tender, melancholic soundtrack dominated by piano and classical guitar parts comes partly from Max Richter and to another part of Stéphane Moucha. Director Feo Aladag says of her selection: "An ethnic soundtrack was out of the question for me because I wanted to tell a human-universal story and avoid any folkloric aspect. I did not want commentary film music, but music that has its own work character. With Max Richter and Stephane Moucha we have found two composers who have brought this concept to life in their own way. "The soundtrack will be completed with tracks by the greatest Turkish singer Sezen Aksu and the US singer-songwriter Orenda Fink.
The film was awarded numerous national and international prizes, including seven nominations for the 2010 German Film Awards, in the categories Best Film, Best Debut Film, Best Screenplay, Best Actress, Best Cinematography, Best Editing and Best Score.



Max Richter - Die Fremde (with Stephane Moucha) ( flac   171mb)

01 Stéphane Moucha - Die Fremde - Opening 2:55
02 Max Richter - Solitude 1:42
03 Max Richter - Departure 1:36
04 Sezen Aksu - Yol arkadasim 5:07
05 Max Richter - Desperation 1:26
06 Max Richter - Leaving Home 1:08
07 Max Richter - Moving On 1:40
08 Stéphane Moucha - A New Start 1:43
09 Orenda Fink - Leave it All 3:10
10 Stéphane Moucha - Rejection 1:38
11 Max Richter - Moments of Tenderness 1:06
12 Stéphane Moucha - Reaching Out 2:20
13 Max Richter - Decisions 1:04
14 Max Richter - Going Back 1:46
15 Stéphane Moucha - Loss of Innocence 1:55
16 Stéphane Moucha - Bitter Fate 2:54
17 Max Richter - End Credit 1:39
18 Max Richter - Leaving Home & Piano Themes - Alternate Versions 4:46
19 Steffen Irlinger & Marian Müller - SO 36 - Party 1:18

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A tragic and shameful moment in French history continues to have consequences in the present day in this screen adaptation of the novel by Tatiana de Rosnay. Julia Jarmond is a nwriter from the US living in Paris with her husband, Bertrand, an architect who is restoring a block of apartments in Paris owned by his family. Julia learns that Bertrand's family obtained the building through less than honorable means; the original owners were Jews who were forced to sell in the wake of the Vel' d'Hiv Roundup in 1942, when the Nazi-affiliated Vichy government arrested over 13,000 Parisian Jews.
For a film that leads with its high-minded earnestness, Sarah’s Key’s tech credits are rigorously tasteful, the highlight being Max Richter’s evocative delicate score, which manages to underline the story’s emotional moments without being obtrusive.



Max Richter - Elle s'appelait Sarah (Sarah's Key) (flac 216mb)

01 Fréhel - La java bleue 2:46
02 The Round Up 1:11
03 The Buses 1:20
04 The Vel D'hiv 3:42
05 Julia's Visit 0:40
06 The Camps 1:52
07 Time Piece 1:06
08 Secrets 1:01
09 Clouds 1 1:00
10 The Escape 2:34
11 When She Came Back 3:35
12 Clouds 2 0:52
13 The Tree, the Beach, the Sea 2:49
14 Julia's Discovery 1:11
15 I Am Writing This Letter 0:36
16 Clouds 3 0:50
17 Julia's Journey 2:25
18 When She Went 2:46
19 The Journal 0:47
20 Julia Walking 2:27
21 All the Years Come Back 0:59
22 Sarah's Notebook 3:37
23 Loren Wilfong - Easy Swing 2:23
24 Dick Walter - A Different Kind of Love 5:18
25 Alan Moorhouse - Moonlight Magic 3:27
26 Sarah Ber - Oif'n veg shtait ah bon 2:06

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Hello,


6 correct requests for this week,1 too early,  1 unavailable (aetix-roots), 1 stupid insult, whatever another batch of 22 re-ups (7.2 gig)


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

Looka here , requests fulfilled up to Decemberrrr   1st... N'Joy

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4x Sundaze Back In Flac (Susumo Yokota - Cat, Mouse And Me, Susumu Yokota - Magic Thread, Susumu Yokota - Sakura, Susumu Yokota - Symbol )



6x US Aetix Back in Flac  (Butthole Surfers - EP & Live PCPPEP, Butthole Surfers - Psychic... Powerless.., Butthole Surfers - RembrandtPussyhorse, Butthole Surfers - Hairway To Steven, Butthole Surfers - Locust Abortion Technician, Butthole Surfers - Widowermaker! (EP) )



4x US AEtix Back in Flac (Minutemen - Double Nickels on the Dime, Minutemen - 3-Way Tie (For Last), Minutemen - Ballot Result)



2x Sundaze Back in Flac ( Stereolab - Emperor Tomato Ketchup, Stereolab - Transient Random-Noise Bursts With Announcements )



4x Grooves Back In Flac (Abstract Funk Theory ~ Colin Dale, Abstract Funk Theory ~ Ross Allen,  Abstract Funk Theory Mixmaster Morris, Abstract Funk Theory ~ Ian O'Brien )



3x Grooves Back in Flac (Abstract Funk Theory~Faze Action, Abstract Funk Theory~Kevin Yost, Abstract Funk Theory~Lo Fidelity Allstars)


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Hello, the search for dark matter gets into almost insane proportions this week after their previous candidate WIMP (weakly interactive particle) fell through as a candidate of the imagined dark matter that keeps their gravitation formulas alive, another name Axions pops up: The axion is a hypothetical elementary particle postulated by the Peccei–Quinn theory in 1977 to resolve the strong CP problem in quantum chromodynamics (QCD). If axions exist and have low mass within a specific range, they are of interest as a possible component of cold dark matter." It must be real, please God let it be real I don't want to belong to the losers that went astray."
Pity those 'brilliant' minds that barked up the wrong tree for almost a 100 years now, ignoring the truth because it was to simple ? The Universe Is Electric !


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The Healing Frequency Music Project was created to promote positive, healthy change. Seven unique songs recorded in seven unique frequencies on seven CDs results in 2.5 hours of beautiful, transformational music. Listeners say that Wholetones facilitates restorative sleep and brings a tangible sense of peace that permeates their home. Entrepreneurs have reported increased focus and productivity, leading to breakthrough ideas. Artists, musicians, and writers are experiencing heightened levels of creativity and vision. Wholetones is ideal music for: prayer rooms, hospice care facilities, nursing homes, hospitals, waiting rooms, offices, family counselors, massage therapists, schools, and more. Seven discs include: Open Door (396Hz), Desert Sojourn (417Hz), The Key of David (444Hz), Transformation (528Hz), The Bridge (639Hz), Great Awakening (741Hz), The Majestic (852Hz). And as an added bonus, I'm also including my brand new book – Wholetones: The Sound of Healing. It's 142 pages of life-changing personal revelation... a virtual key to unlock your hidden potential. This book is the perfect companion to accompany the music as it demystifies the science behind the frequencies and explains how to get the most out of your listening experience. There is even a chapter that shows musicians how to recalibrate their instruments to play in the 7 healing frequencies. Truly an inspirational journey into the spiritual realm of healing and much, much more...


1. Wipe out your unhealthy fears, drop feelings of guilt and shame, and show you how you can help restore your liver, brain, and kidney functions...(SONG 1, 396Hz)
2. Remove the recurring, negative cycles in your life like procrastination, addiction, and junk food...watch as sluggishness and lethargy disappear and productivity and creativity increase...enhance your digestion, ease stomach issues, balance your metabolism, and erase headaches and lower back pain...(SONG 2, 417Hz)
3. Discover the Master Key that precipitates all other frequencies. You'll feel soothed by its multiple health benefits as you're tenderly enveloped in peace. This is the very same frequency David used to soothe King Saul's depression...(SONG 3, 444Hz )
4. Hear the most curious frequency of all...this has the power to restore broken DNA. This is the root of disease. Relax and let the transformation lift you to a seemingly unreachable height...gently relieving hormonal imbalances, muscle tension, weight problems, and and circulation troubles...(SONG 4, 528Hz)
5. Enjoy the fostering of peace and forgiveness in all your relationships. Also known to positively affect the endocrine system – particularly gall bladder and adrenal issues...(SONG 5, 639Hz)
6. Gain a keen awareness of your very own spirit in this powerful yet delicately performed miracle of healing. Experience deep spiritual and emotional healing while cleansing your immune system of common infections. Super-charge your circulatory system to support your healthy heart and blood flow...(SONG 6, 741Hz)
7. Revel in the frequency that celebrates the King of Kings. Purely spiritual – connect in the worship of God, His love for humankind, and His return to those who await Him...(SONG 7, 852Hz)
As you read this, I’ve been playing - Transformation, at 528 Hz. Feel the vibrations in your body ... I thought it was the perfect sample to welcome you to this amazing product..



Wholetones The Sound of Healing   ( 7x 22:00min   mp320   360mb)

1.Open Door (396Hz) – This beautiful piece literally opens you up to receive the healing. Supports blood, liver function, bones, brain health and kidney function.
2.Desert Sojourn (417Hz) – Increased energy has been reported as well as productivity and creativity... supports issues of the stomach – especially digestion. It can also positively affect gallbladder, metabolism, headaches, and lower back pain.
3.The Key of David (444Hz) – The master key with multiple health benefits. Establishes peace amid chaos. Hint – listen to this when you're feeling overwhelmed and anxious.
4.Transformation (528Hz) – Restore your broken DNA – the very root cause of illness and disease. Balance your hormones, gently lift your heart, muscles, and lymphatic system.
5.The Bridge (639Hz) – Fosters forgiveness and peace in your relationships boosts your endocrine system and heals your adrenal glands and gallbladder.
6.Great Awakening (741Hz) – Provides you with deep spiritual and emotional healing. Become aware of your spirit within while gently cleansing your immune system.
7.The Majestic (852Hz) – Purely spiritual this magnificent piece is a celebration of the King of Kings. Join us in sharing His love for humankind and those who await his grand return.

+ 2 Whole Tones PDF's


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A double short and clear bill this week, about our sun

It is generally not known that an alternative Electric Sun model was proposed in 1979 by the engineer Ralph Juergens. It explains simply the critical longevity of all electric lights — it is plugged into a galactic circuit. And galactic circuits are the basis of Plasma Cosmology, which is ignored by astrophysicists but was developed by experimental plasma scientists and engineers in the 20th century. Plasma Cosmology is simply explanative and has proven to be predictive — quite unlike mathematical big bang cosmology. Only in the last few years have the circumstances arisen to enable the more recent Electric Sun model to be tested. Called the SAFIRE Project, the cutting edge engineering firm Aurtas International Inc. was contracted by The International Science Foundation to experimentally test the Electric Sun Model. Aurtas International Inc. is an independent body, which has no affiliation with The Electric Universe or The Thunderbolts Project. Recently, the SAFIRE team shared an extraordinary update on their results to date. In part one of this two-part presentation, our chief science advisor, physicist Wal Thornhill, discusses the SAFIRE experiment, its results and its promise for the future.






In part one of this presentation, physicist Wal Thornhill began his analysis of the recent remarkable update by the team behind the groundbreaking scientific experiment, the SAFIRE Project. For the first time, an independent experiment has been conducted to audit the Electric Sun model, first proposed by the engineer Ralph Juergens in the 1970’s. SAFIRE’s principal scientist and chief engineer Montgomery Childs recently said of SAFIRE’s results: “In all our experiments and discoveries we have found no disparities with the Electric Sun model. We believe the SAFIRE experiment validates and supports the Electric Sun model.” Childs is President and Founder of the engineering firm Aurtas International Inc., which was contacted by the International Science Foundation to experimentally test the Electric Sun model. As noted previously, Aurtas International Inc. is an independent body, which has no affiliation with The Electric Universe or The Thunderbolts Project. In this episode, Thornhill continues with his thoughts on some of the most stunning SAFIRE results to date.









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Today the TV version of 2nd sc-world tale Light Fantastic..... N-Joy



Sir Terence David John Pratchett OBE (28 April 1948 – 12 March 2015) was an English author of fantasy novels, especially comical works. He is best known for his Discworld series of 41 novels.

Pratchett's first novel, The Carpet People, was published in 1971. The first Discworld novel, The Colour of Magic, was published in 1983, after which Pratchett wrote an average of two books a year. His 2011 Discworld novel Snuff became the third-fastest-selling hardback adult-readership novel since records began in the UK, selling 55,000 copies in the first three days. The final Discworld novel, The Shepherd's Crown, was published in August 2015, five months after his death.

Pratchett, with more than 85 million books sold worldwide in 37 languages, was the UK's best-selling author of the 1990s. He was appointed Officer of the Order of the British Empire (OBE) in 1998 and was knighted for services to literature in the 2009 New Year Honours. In 2001 he won the annual Carnegie Medal for The Amazing Maurice and his Educated Rodents, the first Discworld book marketed for children. He received the World Fantasy Award for Life Achievement in 2010.

In December 2007, Pratchett announced that he had been diagnosed with early-onset Alzheimer's disease. He later made a substantial public donation to the Alzheimer's Research Trust (now Alzheimer's Research UK), filmed a television programme chronicling his experiences with the condition for the BBC, and became a patron for Alzheimer's Research UK. Pratchett died on 12 March 2015, aged 66.


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Discworld is a comic fantasy book series written by the English author Terry Pratchett, set on the Discworld, a flat planet balanced on the backs of four elephants which in turn stand on the back of a giant turtle. The books frequently parody or take inspiration from J. R. R. Tolkien, Robert E. Howard, H. P. Lovecraft, Charles Dickens and William Shakespeare, as well as mythology, folklore and fairy tales, often using them for satirical parallels with cultural, political and scientific issues.

Forty-one Discworld novels have been published. The original British editions of the first 26 novels, up to Thief of Time (2001), had cover art by Josh Kirby. The American editions, published by Harper Collins, used their own cover art. Since Kirby's death in 2001, the covers have been designed by Paul Kidby. Companion publications include eleven short stories (some only loosely related to the Discworld), four popular science books, and a number of supplementary books and reference guides. The series has been adapted for graphic novels, theatre, computer and board games, and television.

Newly released Discworld books regularly topped The Sunday Times best-sellers list, making Pratchett the UK's best-selling author in the 1990s. Discworld novels have also won awards such as the Prometheus Award and the Carnegie Medal. In the BBC's Big Read, four Discworld novels were in the top 100, and a total of fourteen in the top 200. More than 80 million Discworld books have been sold in 37 languages

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The Light Fantastic is a comic fantasy novel by Terry Pratchett, the second of the Discworld series. It was published on 2 June 1986, the first printing being of 1,034 copies. The title is a quote from a poem by John Milton and in the original context referred to dancing lightly with extravagance. The events of the novel are a direct continuation of those in the preceding book, The Colour of Magic (the only Discworld novel to follow on in this manner).

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Setting

The story takes place on the Discworld, a planet-sized flat disc carried through space on the backs of four gargantuan elephants – Berilia, Tubul, Great T'Phon and Jerakeen – who themselves stand on the shell of Great A'Tuin, a gigantic sea turtle. The surface of the disc contains oceans and continents, and with them, civilizations, cities, forests and mountains.

The Light Fantastic begins shortly after the ending of The Colour of Magic, with wizard Rincewind, Twoflower and the Luggage falling from the Discworld. They are saved when the Octavo, the most powerful book of magic on the Discworld, readjusts reality to prevent the loss of one of its eight spells, which has resided in Rincewind's head since his expulsion from Unseen University: Rincewind, Twoflower and the Luggage end up in the Forest of Skund. Meanwhile, the wizards of Ankh-Morpork use the Rite of Ashk-Ente to summon Death to find an explanation for the Octavo's actions. Death warns them that the Discworld will soon be destroyed by a huge red star unless the eight spells of the Octavo are read.

Several orders of wizards travel to the forest of Skund to try and capture Rincewind, who is currently staying with Twoflower and the Luggage in a gingerbread house in the forest. In the subsequent chaos, Rincewind and Twoflower escape on an old witch's broom, while the Archchancellor of Unseen University is killed when his attempt to obtain the spell accidentally summons the Luggage on top of him, crushing him to death. His apprentice, Ymper Trymon, uses the opportunity to advance his own power, intending to obtain the eight spells for his own good.

Rincewind and Twoflower run into a group of druids who have assembled a "computer" formed from large standing stones, and learn of the approaching red star. As Twoflower attempts to stop the druids from sacrificing a young woman named Bethan, Cohen the Barbarian, an octogenarian parody of Conan, attacks the druids. Twoflower is poisoned in the battle, forcing Rincewind to travel to Death's Domain to rescue him. The pair narrowly avoid being killed by Ysabell, Death's adopted daughter, and as they escape Death's Domain, Rincewind learns from the Octavo itself that it had arranged for its eighth spell to escape into his head, to ensure the spells would not be used before the right time.

Rincewind and Twoflower travel with Cohen and Bethan to a nearby town, where the toothless Cohen leaves to have some dentures made for him, having learned of them from Twoflower. While he is gone, Rincewind, Twoflower and Bethan are attacked by a mob of people who believe the star is coming to destroy the Discworld in response to the presence of magic. The trio escape into one of many shops that sell strange and sinister goods and inexplicably vanish the next time a customer tries to find them. The existence of these shops is explained as being a curse by a sorcerer upon the shopkeeper for not having something in stock. They are able to return to Ankh-Morpork via the shop.

As the star comes nearer and the magic on the Discworld becomes weaker, Trymon tries to put the seven spells still in the Octavo into his mind, in an attempt to save the world and gain ultimate power. However, the spells prove too strong for him and his mind becomes a door into the "Dungeon Dimensions", home to all manner of eldritch creatures. Rincewind and Twoflower manage to kill the now-mutated Trymon, and Rincewind reads all eight of the Octavo's spells aloud. This causes eight moons of the red star to crack open and reveal eight tiny world-turtles that follow their parent A'Tuin on a course away from the star. The Octavo then falls and is eaten by the Luggage.

Twoflower and Rincewind part company as Twoflower decides to return home, leaving the Luggage with Rincewind as a parting gift. Cohen and Bethan also leave to get married. Rincewind decides to re-enroll in the university, believing that with the spell out of his head, he will finally be able to learn magic.


Terry Pratchett -  Light Fantastic Movie ( 91min avi     691mb).


Light Fantastic Movie 91min


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previously

Terry Pratchett - The Colour of Magic part 1 ( 69min mp3     38mb).
Terry Pratchett - The Colour of Magic part 2 ( 69min mp3     38mb).
Terry Pratchett - The Colour of Magic part 3 ( 68min mp3     38mb).
Terry Pratchett - The Colour of Magic part 4 ( 69min mp3     38mb).
Terry Pratchett - The Colour of Magic part 5 ( 66min mp3     36mb).
Terry Pratchett - The Colour of Magic part 6 ( 69min mp3     36mb).
Terry Pratchett - The Colour of Magic movie ( 97min avi     698mb).

Terry Pratchett -  Light Fantastic part 1,2 ( 68min mp3     31mb).
Terry Pratchett -  Light Fantastic part 3,4 ( 68min mp3     31mb).
Terry Pratchett -  Light Fantastic part 5,6 ( 71min mp3     28mb).
Terry Pratchett -  Light Fantastic part 7,8 ( 71min mp3     28mb).
Terry Pratchett -  Light Fantastic part 9,10 ( 71min mp3     28mb).
Terry Pratchett -  Light Fantastic part 11,12 ( 63min mp3     28mb).

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Hello,


Today's Artist is Eric Lynn Wright (September 7, 1964 – March 26, 1995), known was an American rapper, record producer, and entrepreneur. Dubbed the "Godfather of Gangsta Rap", he gained prominence for his work with N.W.A, where he has been credited for pushing the boundaries of lyrical and visual content in mainstream popular music. ....... N Joy

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Whether as a member of N.W.A, a solo act, or a label head, Eazy-E was one of the most controversial figures in gangsta rap. While his technical skills as a rapper were never the greatest, his distinctive delivery (invariably described as a high-pitched whine), over the top lyrics, and undeniable charisma made him a star. Following N.W.A's breakup, E's street credibility took a major beating, though his recordings continued to sell well when they appeared; unfortunately, he was diagnosed with AIDS in 1995, and died not long after.

Eric Wright was born to Richard and Kathie Wright on September 7, 1964, in Compton, California, a Los Angeles suburb noted for gang activity and crime.[12][13] His father was a postal worker and his mother was a grade school administrator.[14] Wright dropped out of high school in the tenth grade,[15] but later received a high-school general equivalency diploma (GED). No one survived on the streets without a protective mask. No one survived naked. You had to have a role. You had to be "thug,""playa,""athlete,""gangsta," or "dope man." Otherwise, there was only one role left to you: "victim."

Wright supported himself primarily by selling drugs, introduced to the occupation by his cousin. Wright's friend Jerry Heller admits that he witnessed Wright selling marijuana, but says that he never saw him sell cocaine. As Heller noted in his book Ruthless: A Memoir, Wright's "dope dealer" label was part of his "self-forged armor". Wright was also labeled as a "thug". Heller explains: "The hood where he grew up was a dangerous place. He was a small guy. 'Thug' was a role that was widely understood on the street; it gave you a certain level of protection in the sense that people hesitated to fuck with you. Likewise, 'dope dealer' was a role that accorded you certain privileges and respect." In 1986, at the age of 22, Wright had allegedly earned as much as US$250,000 from dealing drugs. However, after his cousin was shot and killed, he decided that he could make a better living in the Los Angeles hip hop scene, which was growing rapidly in popularity. He started recording songs during the mid-1980s in his parents' garage.

The original idea for Ruthless Records came when Wright asked Heller to go into business with him. Wright suggested a half-ownership company, but it was later decided that Wright would get eighty percent of the company's income and Heller would only get twenty percent. According to Heller, he told Wright, "Every dollar comes into Ruthless, I take twenty cents. That's industry standard for a manager of my caliber. I take twenty, you take eighty percent. I am responsible for my expenses and you're responsible for yours. You own the company. I work for you." Along with Heller, Wright invested much of his money into Ruthless Records. Heller claims that he invested the first $250,000 and would eventually put up to $1,000,000 into the company

N.W.A's original lineup consisted of Arabian Prince, Dr. Dre, Eazy-E, and Ice Cube. DJ Yella and MC Ren joined later. The compilation album N.W.A. and the Posse was released on November 6, 1987, and would go on to be certified Gold in the United States. The album featured material previously released as singles on the Macola Records label, which was responsible for distributing the releases by N.W.A and other artists like the Fila Fresh Crew, a West Coast rap group originally based in Dallas, Texas. Eazy-E's debut album, Eazy-Duz-It, was released on September 16, 1988, and featured twelve tracks. It was labeled as West Coast hip hop, gangsta rap and, later, as golden age hip hop. It has sold over 2.5 million copies in the United States and reached number forty-one on the Billboard 200. The album was produced by Dr. Dre and DJ Yella and largely written by MC Ren, Ice Cube and The D.O.C.. Both Glen Boyd from the Seattle Post-Intelligencer and MTV's Jon Wiederhorn claimed that Eazy-Duz-It "paved the way" for N.W.A's most controversial album, Straight Outta Compton. Wright's only solo in the album was a remix of the song "8 Ball", which originally appeared on N.W.A. and the Posse. The album featured Wright's writing and performing; he performed on seven songs and helped write four songs.

Ice Cube left N.W.A in 1989 because of internal disputes and the group continued as a four-piece ensemble. N.W.A released 100 Miles and Runnin' in 1990 and Niggaz4Life in 1991. A diss war started between N.W.A and Ice Cube when "100 Miles and Runnin'" and "Real Niggaz" were released. Ice Cube responded with "No Vaseline" on Death Certificate. Wright performed on seven of the eighteen songs on Niggaz4Life. In March 1991 Wright accepted an invitation to a lunch benefiting the Republican Senatorial Inner Circle, hosted by then-U.S. President George H. W. Bush. A spokesman for the rapper said that Eazy-E supported Bush because of his performance in the Persian Gulf War.

N.W.A began to split up after Jerry Heller became the band's manager. Dr. Dre recalls: "The split came when Jerry Heller got involved. He played the divide and conquer game. Instead of taking care of everybody, he picked one nigga to take care of and that was Eazy. And Eazy was like, 'I'm taken care of, so fuck it'." Dr. Dre and The D.O.C. sent Suge Knight to look into Eazy-E's financial situation as they began to grow suspicious of Eazy-E and Jerry Heller. Dr. Dre and The D.O.C. asked Eazy-E to release him from Ruthless, but Eazy-E refused. The impasse led to what reportedly transpired between Suge Knight and Eazy-E at the recording studio where Niggaz4life was recorded. After he refused to release Dr. Dre and The D.O.C., Suge Knight told Eazy-E that he had kidnapped Jerry Heller and was holding him prisoner in a van. This did not convince Eazy-E to release Dr. Dre and The D.O.C. from Ruthless, and Suge Knight threatened Eazy-E's family: Suge Knight gave Eazy-E a piece of paper that contained Eazy's mother's address, telling him, "I know where your mama stays." Eazy-E finally signed Dr. Dre and The D.O.C.'s releases, officially ending N.W.A. The feud with Dr. Dre continued after a track on Dre's debut album The Chronic, "Fuck wit Dre Day (And Everybody's Celebratin')", contained lyrics that insulted Eazy-E. Eazy responded with the EP, It's On (Dr. Dre) 187um Killa, featuring the tracks "Real Muthaphuckkin G's" and "It's On". The EP, which was released on October 25, 1993, contains pictures of Dre wearing "lacy outfits and makeup" when he was a member of the Electro-hop World Class Wreckin' Cru.

On February 24, 1995, Wright was admitted to the Cedars-Sinai Medical Center in Los Angeles with a violent cough. He was diagnosed with HIV/AIDS. He announced his illness in a public statement on March 16, 1995. It is believed Wright contracted the infection from a sexual partner. During the week of March 20, having already made amends with Ice Cube, he drafted a final message to his fans. On March 26, 1995, Eazy-E died from complications of AIDS, one month after his diagnosis. He was 30 years old (most reports at the time said he was 31 due to the falsification of his date of birth by one year). He was buried on April 7, 1995, at Rose Hills Memorial Park in Whittier, California. Over 3,000 people attended his funeral, including Jerry Heller and DJ Yella. He was buried in a gold casket, and was dressed in a flannel shirt, jeans, and his Compton hat. On January 30, 1996, ten months after Eazy-E's death, his final album, Str8 off tha Streetz of Muthaphukkin Compton was released.

In 2015, the critically acclaimed, Academy-Award-nominated N.W.A. biopic Straight Outta Compton was released in theaters. Focusing on the creation and rise of the seminal gangsta rap crew, Compton was dedicated to Eazy. It went on to make over $200 million worldwide at the box office and inspired a cultural resurgance for N.W.A. With increased mainstream recognition of N.W.A.'s legacy in the history of rap and hip-hop, Eazy received a posthumous honor for his contribution to music with his posthumous induction into the Rock 'N Roll Hall of Fame in 2016.

Wright had a son, Eric Darnell Wright (known as Lil Eazy-E), in 1984. He also had a daughter named Erin who has legally changed her name to Ebie. In October 2016 she launched a crowd-funding campaign to produce a film called Ruthless Scandal: No More Lies to investigate her father's death. It ended unsuccessfully in December 2016. Wright met Tomica Woods at a Los Angeles nightclub in 1991 and they married in 1995, twelve days before his death. They had a son named Dominick and a daughter named Daijah (born six months after Wright's death). After Wright's death, Ruthless was taken over by his wife. According to Jerry Heller, Wright had 11 children with eight different women. According to his son Lil Eazy-E, Eazy-E was worth an estimated USD$50 million at the time of his death.

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Released only a month after Straight Outta Compton (1988), Eazy-Duz-It was the first N.W.A spin-off album. Years before Ice Cube went solo with Amerikkka's Most Wanted (1990), before Dr. Dre changed the rap game with The Chronic (1992), before MC Ren struggled to establish himself with Shock of the Hour (1993), and before Yella simply fell into obscurity, Eazy-E rose to immediate superstar status with this solo debut. It's no wonder why, for the album plays like a humorous, self-centered twist on Straight Outta Compton with Eazy-E, the most charismatic member of N.W.A, front and center while his associates are busy behind the scenes, producing the beats and writing the songs. In terms of production, Dr. Dre and Yella meld together P-Funk, Def Jam-style hip-hop, and the leftover electro sounds of mid-'80s Los Angeles, creating a dense, funky, and thoroughly unique style of their own. In terms of songwriting, the D.O.C., Ice Cube, and MC Ren are each credited; plus, Ren performs raps of his own on five of the 12 songs. The collaborative nature of the music -- with Dre and Yella producing; the D.O.C., Ice Cube, and MC Ren writing the songs; MC Ren featured as a guest on half of them; and Eazy-E performing -- fortunately makes Eazy-Duz-It more of an N.W.A effort than a true solo album. This is fortunate because as charismatic as he may be, Eazy-E isn't an especially gifted MC. He's at his best here when he's cracking wise and also when he's overshadowed by Dr. Dre's productions, particularly on the four-song sequence of "Eazy Duz It,""We Want Eazy,""Eazy-er Said Than Dunn," and "Radio" -- all heavily produced songs with layers upon layers of samples and beats competing with Eazy-E's rhymes for attention. Straight Outta Compton is no doubt the more revolutionary album, yet Eazy-Duz-It is a great companion, showcasing N.W.A's sense of humor and, despite the often violent subject matter, casting them in a lighter, more humorous mood. When Eazy-E would return with a second solo release, 5150 Home 4 tha Sick, his N.W.A associates would be M.I.A. and the difference would be stark.



 Eazy-E - Eazy-Duz-It  (flac   325mb)

01 (Prelude) / Still Talkin' 3:50
02 Nobody Move (Feat MC Ren) 4:49
03 Ruthless Villain 2:59
04 2 Hard Mutha's (Feat MC Ren) 4:26
05 Boyz-N-The Hood (Remix) 6:22
06 Eazy-Duz-It 4:21
07 We Want Eazy (Feat MC Ren, Dr. Dre) 5:01
08 Eazy-Er Said Than Dunn 3:41
09 Radio 4:58
10 No More ?'s 3:55
11 I'mma Break It Down 3:29
12 Eazy Chapter 8 Verse 10 2:10

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Distanced from Dr. Dre and Ice Cube, the two artists most responsible for his own success, Eazy-E doesn't have a lot going for him on 5150 Home 4 tha Sick. Released in late 1992, two weeks after Dr. Dre reinvented himself on The Chronic, this brief EP finds Eazy-E in a desperate scenario. He hadn't released any solo material since his 1988 debut album, Eazy-Duz-It, and the runaway success of his former N.W.A associates no doubt left many to wonder what had happened to Eazy-E, who at one point had been the star of the group. The five songs on 5150 unfortunately don't do much to reclaim Eazy's once mighty stature among the gangsta rap scene, especially since "Intro: New Year's E-Vil" clocks in under a minute and "Merry Muthafuckin' Xmas" is a novelty. The remaining songs ("Only If You Want It,""Neighborhood Sniper,""Niggaz My Height Don't Fight") are thankfully good and, above all, curious for how they differ in style from Eazy-E's past work, which had been exclusively produced by Dr. Dre. Three good songs isn't much more than a teaser, however, or more cynically, a stopgap. Overall, there's not much to 5150 Home 4 tha Sick (which, to be fair, prints "maxi-single" in large print on the cover), for the absence of Dr. Dre's production and Ice Cube's and MC Ren's ghostwriting reveals Eazy-E to be a much different, less creative artist than before -- and in a rather uncomfortable position, commercially.

Released a year after his previous EP (5150 Home 4 tha Sick, 1992) and a long five years since his one and only album to date (Eazy-Duz-It, 1988), It's On (Dr. Dre) 187um Killa was both a stopgap release for Eazy-E and a response to the runaway success of Dr. Dre's The Chronic (1992). Eazy had been lambasted on that Dr. Dre album (and especially in the "Dre Day" video), so it's no surprise that he returns the favor here on "Real Muthaphuckkin G's" and "It's On," dissing not only Dre but also Snoop Doggy Dogg. This ugly, mudslinging conflict aside, Eazy truly shines on these eight songs. Granted, eight songs isn't a lot of music, especially since one of the eight is only a minute-long intro and another is yet another remake of "Boyz-in-the Hood" (and too because Eazy had been so AWOL in previous years -- five years and still no follow-up album to Eazy-Duz-It!?!). On the little bit of music that is here, however, Eazy proves that he's still one of the best gangsta rappers out there in the early '90s. Sure, he's not an especially gifted MC, and he's not nearly as witty or perversely humorous as he had been previously on Eazy-Duz-It, either, but he has such a singular style and such attitude, he stands out amid the innumerable other gangstas out there at the time. And to elaborate upon his attitude, Eazy seems downright bitter here. The success of Dr. Dre and Ice Cube outside of N.W.A, not to mention the dissolution of that group, seems to have really upset him. So in a way, It's On feels cathartic, as if Eazy were venting all his frustrations. It results in a sharp group of songs: there are the Dre disses, of course, but also the murder fantasy of "Any Last Werdz," the f*ck-the-world nihilism of "Still a Nigga," the sexist porno-dance of "Gimmie That Nutt," and the smoke-out of "Down 2 tha Last Roach." In other words, pretty much what you'd expect from Eazy. Yet there's an underlying current of irony here that makes It's On all the more poignant in retrospect. For one, Eazy may be dissing Dre to the extreme here, but pretty much all of the production work is straight from the Chronic playbook -- textbook G-funk, to the point it seems almost parodic. And secondly, the heedless promotion of sexism here is downright haunting in the aftermath of Eazy's subsequent death from AIDS complications little more than a year later. So while on the surface It's On may seem like a simple stopgap EP, it's so much more, shedding light on what came of Eazy following his 15 minutes of fame with Eazy-Duz-It.



Eazy-E - 5150 Home 4 tha Sick +  It's On (Dr. Dre) 187um Killa (EP)  (flac   380mb)

5150 Home 4 tha Sick (EP)
01 Intro: New Year's E-vil 0:49
02 Only If You Want It 3:03
03 Neighborhood Sniper 5:12
04 Niggaz My Height Don't Fight 3:14
05 Merry Muthafuckin' Xmas 5:54

It's On (Dr. Dre) 187um Killa (EP)
06 Exxtra Special Thankz 1:06
07 Real Muthaphuckkin G's 5:33
08 Any Last Werdz 5:11
09 Still A Nigga 4:10
10 Gimmie That Nutt 2:59
11 It's On 5:02
12 Boyz N Tha Hood (G-Mix) 5:36
13 Down 2 Tha Last Roach 7:51

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At the time of his death, Eazy-E was completing a comeback album that was intended to restore his street credibility, which had taken a savage beating in the early '90s. Str8 Off tha Streetz of Muthaphu**in Compton, the album he left unfinished, does show more ambition than his previous It's On, but it's unlikely that it would have made him a star again. Eazy's final album is definitely a grower. At first I was thrown off by it, because it was slightly different than his other material, but as far as posthumous albums go, I wasn't expecting much. Well, on my 2nd listen I was already loving it. True, this isn't quite as good as it could have been, but if you take it for what it is, you have a pretty solid gangsta rap album. Eazy's rapping is still excellent on here, as he kills every track with his hilarious style that we love him for. Similar to Niggaz4Life, Eazy-E is just nihilistic and misogynistic here. On one half of the album he brags about murder and sometimes even gets psychopathic like with "Sorry Louie" and on the rest of the album he disses his baby mama, hookers and bitches in general. Eazy-E is now also writing his own lyrics and he's not as bad as one would expect a rapper that has just picked up a pen. His Ruthless proteges appear throughout, but it's still Eazy who's dominating this. Never really a gifted rapper, he made up for his limitations with the energy, attitude and unique high-pitched voice that can never be duplicated. The production which is done by in-house Ruthless producers like DJ Yella, Rhythm D and (I think) Cold 187um balances between the pre-The Chronic funk west coast sound and g-funk. Some beats are chaotic with the aggressive, raw funk sound that Dr. Dre sort of debuted in Niggaz4Life while the rest of the beats are on the g-funk tip with heavy synthesizers. The beats are pretty good and Eazy-E is not bad at all. What really holds this album back is it's incomplete feel in general.Sadly, the album isn't the graceful departure it might have been.



Eazy-E - Str8 off tha Streetz of Muthaphukkin Compton (flac   355mb)

01 First Power 0:46
02 Ole School Shit 4:00
03 Sorry Louie 4:03
04 Just Tah Let U Know 4:08
05 Sippin' On A 40 4:29
06 Nutz On Ya Chin 3:09
07 Tha Muthaphukkin Real 4:20
08 Lickin, Suckin, Phuckin 2:24
09 Hit The Hooker 2:52
10 My Baby'z Mama 3:43
11 Creep N Crawl 4:11
12 Wut Would You Do 5:51
13 Gangsta Beat 4 Tha Street 3:40
14 Eternal E 5:26

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Eazy-E enjoyed only a brief recording career, but the few albums and EPs he did release -- on his own as well as with his group, N.W.A -- were tremendously influential, setting the stage for the proliferation of West Coast gangsta rap in the early '90s. Showcasing some of the pioneering gangsta's most influential recordings, Eternal E serves as a summary of Eazy's solo highlights, including a couple N.W.A songs but only ones that were solo showcases. You get the standout songs from Eazy's debut album, Eazy-Duz-It (1988), as well as the bulk of his follow-up EP, 5150 Home 4 tha Sick (1992). But Eternal E stops there, unfortunately not including anything from the first-rate It's On (Dr. Dre) 187um Killa EP or the third-rate Str8 off tha Streetz album. (Eazy's label, Ruthless, left its parent label, Priority, at this point, and Eternal E is a Priority release, meaning that post-Priority recordings such as those on It's On would have to be licensed for inclusion here -- a price the label seems unwilling to pay.) Even if Eternal E doesn't round up a full career retrospective, it does feature Eazy's key songs, namely his earliest ones, which boasted cutting-edge production work by Dr. Dre. So this best-of does serve its purpose fairly well, and might be the only Eazy album you'll need. Still, if it's one and only one Eazy album you want, you'd be better off with Priority's Eazy-Duz-It reissue from 2002, which includes that entire album plus the entire 5150 EP appended as bonus tracks -- giving you mostly everything here and much more. Either way though, you're getting a good portrait of Eazy's best solo music, with the exception of the It's On EP, which you'll definitely want to hear if you're a fan.



Eazy-E - Eternal E (Gangsta Memorial Edition)  (flac   508mb)

01 Boyz-N-The-Hood (remix) 6:22
02 8 Ball 4:52
03 Eazy-Duz-It 4:21
04 Eazy-er Said Than Dunn 3:41
05 No More ?'s 3:56
06 We Want Eazy 5:01
07 Nobody Move 4:48
08 Radio 4:59
09 Only If You Want It 3:02
10 Neighborhood Sniper 5:12
11 I'd Rather Fuck You 3:59
12 Automobile 3:18
13 Niggaz My Height Don't Fight 3:17
14 Eazy Street 4:27

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A hodgepodge of both obscure and well-known Eazy-E recordings, Featuring...Eazy E is ostensibly a compilation of tracks on which the late rapper was featured as a guest. That explains the inclusion of "Trust No Bitch" (Penthouse Players Clique), "Get Yo Ride On" (Mack 10), "Foe tha Love of Money" (Bone Thugs-N-Harmony), and "P.S. Phuk U 2" (Penthouse Players Clique), which are all tracks on which Eazy-E was a featured guest. However, every other song on this 16-track compilation was originally credited to either Eazy-E or his group, N.W.A, so Featuring...Eazy E falls far short of fulfilling its literal billing. If anything, the compilation functions well as a clearinghouse of obscure Eazy-E material in remastered sound: the two aforementioned Penthouse Players Clique tracks, from the long out of print DJ Quik-produced Paid the Cost (1992); "L.A. Is the Place" and "Fat Girl," both produced by Dr. Dre, from the formative N.W.A and the Posse (1987); the 12" remix of "We Want Eazy," which clocks in at nearly seven minutes; "Luv 4 Dem Gangsta'z," a latter-day one-off contribution to the Beverly Hills Cop III soundtrack (1994); and a pair of posthumous productions by L.T. Hutton, "24 Hrs to Live" and "Black Nigga Killa," originally released on the double-disc retrospective Ruthless Records Tenth Anniversary: Decade of Game (1998). Besides this obscure material and the aforementioned guest features, Featuring...Eazy E also includes well-known songs from Eazy-Duz-It (1988) and Niggaz4life (1991) that are among the best songs here, but because they've been so often compiled, they essentially serve as filler. To further muddy the logic of the material compiled, Featuring...Eazy E is sequenced non-chronologically.



VA - Featuring... Eazy-E  (flac   483mb)

01 Eazy-E - Luv 4 Dem Gangsta'z 4:35
02 Eazy-E With M.C. Ren - 2 Hard Mutha's 4:25
03 Penthouse Players Clique - Trust No Bitch 5:03
04 Eazy-E With Ron-De-Vu - L.A. Is The Place 4:34
05 N.W.A. - Findum, Fuckum & Flee 3:56
06 Mack 10 - Get Yo Ride On 3:31
07 Eazy-E -Black Nigga Killa 4:48
08 Eazy-E - We Want Eazy (12" Remix) 6:39
09 Bone Thugs-N-Harmony - Foe Tha Love Of $ 4:11
10 N.W.A. - I'd Rather Fuck You 3:58
11 Eazy-E - 24 Hrs To Live 4:43
12 Eazy-E - Boyz In Tha Hood (G Mix) 5:39
13 Eazy-E With Ron-De-Vu - Fat Girl 2:50
14 N.W.A. - Automobile 3:17
15 Penthouse Players Clique - P.S. Phuk U 2 3:24
16 Eazy-E With M.C. Ren - Ruthless Villain 2:58

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Hello, so today we find the first 3 hours of Max's  8 hour long epos ..Sleep.... next week the remaining 5 hours, ideal music for winter-cocooning i guess, or falling asleep on the beach and waking up medium-rare , duh


Today's artist is is a German-born British composer who has been an influential voice in post-minimalist composition and in the meeting of contemporary classical and alternative popular musical styles since the early 2000s. Richter is classically trained, having graduated in composition from the Royal Academy of Music and studied with Luciano Berio in Italy.Richter also composes music for stage, opera, ballet and screen. He has also collaborated with other musicians, as well as with performance, installation and media artists. He has recorded eight solo albums and his music is widely used in cinema.  .......N-Joy

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Combining the discipline of his classical background with the inventive spirit of electronic music, Max Richter's work as a producer and composer speaks to -- and frequently critiques -- 21st century life in eloquent and evocative ways. On early masterworks such as 2002's Memoryhouse and 2003's The Blue Notebooks, he united his childhood memories and commentary on war's devastating aftermath into gorgeous, aching music; with 2015's eight-hour Sleep, he challenged the increasing disposability of art and music as well as audiences' ever-decreasing attention spans. Richter's fascination with the growing role of technology in everyday life was a major theme of releases spanning 2008's collection of bespoke ringtones to the music for a particularly paranoid 2016 episode of the TV series Black Mirror. Despite the high-concept nature of much of his work, Richter always maintains a powerful emotional connection with his listeners; 2012's Recomposed: The Four Seasons, an experimental reimagining of Vivaldi's violin concertos, topped classical charts in over 20 countries. The emotive quality of his music translated perfectly to scoring and soundtrack work, which ranged from documentaries such as Waltz with Bashir (2008); feature films including Mary Queen of Scots (2018); television series like Taboo (2017); and stage productions including Infra (2008) and Woolf Works (2015), both projects with Richter's longtime collaborator, choreographer Wayne McGregor. Richter's mix of modern composition, electronic music, and field recordings was as influential as it was innovative, and paved the way for like-minded artists such as Nico Muhly and Jóhann Jóhannsson.

Born in West Germany in the mid-'60s, Richter and his family moved to the U.K. when he was still a little boy, settling in the country town of Bedford. By his early teens, he was listening to the canon of classical music as well as modern composers including Philip Glass, whose music was a major influence on Richter. The Clash, the Beatles, and Pink Floyd were also important, along with the early electronic music scene; inspired by artists such as Kraftwerk, Richter built his own analog instruments. He studied composition and piano at Edinburgh University, the Royal Academy of Music, and in Florence with Luciano Berio. He then became a founding member of the Piano Circus, a contemporary classical group that played works by Glass, Brian Eno, Steve Reich, Arvo Pärt, and Julia Wolfe, and also incorporated found sounds and video into their performances. After ten years and five albums for Decca/Argo, Richter left the group and became more involved in the U.K.'s thriving electronic music scene, collaborating with the Future Sound of London on 1996's Dead Cities (which features a track named after him) and The Isness; he also contributed orchestrations to Roni Size's 2000 album In the Mode.

Richter's own work evolved from the Xenakis-inspired music of his early days into something that included his electronic and pop influences. His 2002 debut album, Memoryhouse, introduced his mix of modern composition, electronica, and field recordings. Recorded with the BBC Philharmonic Orchestra, the album explored childhood memories as well as the aftermath of the Kosovo War in the 1990s and was hailed as a masterpiece. Two years later, Richter made his FatCat debut with The Blue Notebooks, which incorporated readings from Franz Kafka's Blue Octavo Notebooks and Polish writer Czesław Miłosz by actress Tilda Swinton into dreamlike pieces for strings and piano that touched on the Iraq War and Richter's early years. Released in 2006, Songs from Before paired his plaintive sound with texts written by Haruki Murakami and delivered by Robert Wyatt. In 2008, he issued 24 Postcards in Full Colour, a collection of intricate ringtones envisioned by Richter as a way to connect people around the world. That year also saw the release of his music for Ari Folman's Golden Globe-winning film Waltz with Bashir. Focusing on electronics instead of a typical orchestral score, it was Richter's highest-profile soundtrack project to date. He then worked on several other film scores, including music for Benedek Fliegauf's Womb, Alex Gibney's My Trip to Al-Qaeda, and David MacKenzie's Perfect Sense. Another scoring project, Infra, marked the beginning of Richter's enduring collaboration with choreographer Wayne McGregor. Commissioned by the Royal Ballet in 2008, Infra was a ballet inspired by by T.S. Eliot's classic poem "The Wasteland," and the the 2005 London terrorist bombings. Richter re-recorded and expanded his music for the 2010 album Infra, his fourth release for FatCat Records.


Richter began the 2010s with soundtrack work that included the award-winning scores to Die Fremde (2010) and Lore (2012). The composer reunited with McGregor for 2012's Sum, a chamber opera based on Sum: Forty Tales of the Afterlives, a collection of short stories by neuroscientist David Eagleman about the possibility of life after death. That year also saw the release of one of Richter's most popular albums, Recomposed by Max Richter: Vivaldi - The Four Seasons. An avant-garde, loop-based reworking of the composer's timeless set of violin concertos, it topped the classical charts in 22 countries, including the U.K., the U.S., and Germany. In turn, McGregor choreographed a ballet, Kairos, to Richter's recomposition. Disconnect, the score to Henry-Alex Rubin's film about the impact of technology on relationships, arrived in 2013. His other releases that year included the score to Wadjda, which was the first feature-length film made by a Saudi Arabian woman (director Haifaa Al-Mansour); the music to Ritesh Batra's The Lunchbox and Ruairí Robinson's sci-fi excursion The Last Days on Mars. Richter also worked with Folman again on the music to The Congress, an adaptation of Stanislaw Lem's novel The Futurological Congress.


In 2014, Richter launched a mentorship program for aspiring young composers and wrote music for HBO's The Leftovers, which also featured pieces from Memoryhouse and The Blue Notebooks. The following year saw the arrival of Sleep, an eight-hour ambient piece scored for piano, strings, electronics, and vocals that Richter described as a "lullaby for a frenetic world and a manifesto for a slower pace of existence." The piece premiered at a Berlin performance where the audience was given beds instead of seats. Sleep and From Sleep, a one-hour adaptation, were released in September 2015. The following year, Richter provided the score to the sci-fi/horror film Morgan and the disturbingly cheery music for "Nosedive," an episode of Black Mirror that took the all-consuming nature of social media to extremes. Released in January 2017, Three Worlds: Music from Woolf Works drew from his score for McGregor's 2015 Royal Ballet production inspired by three of Virginia Woolf's most acclaimed novels. It was followed that May by the soundtrack compilation Out of the Dark Room. That September, Richter's Emmy-nominated music for the BBC One drama Taboo was released.


Richter remained busy on soundtrack work in 2018, with projects including the music for the HBO TV series My Brilliant Friend as well as the scores to films like Hostiles, White Boy Rick, and Mary Queen of Scots, which won a Best Original Score -- Feature Film Award at the Hollywood Music in Media Awards. In October 2019, Deutsche Grammophon issued Voyager: Essential Max Richter, an expansive retrospective that included two previously unreleased pieces written for Sleep.


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Max Richter embarks on many scoring projects -- most prominently, his music for the award-winning Israeli film Waltz with Bashir -- and it’s easy to hear why: albums such as The Blue Notebooks and Memoryhouse feel like, as the cliché about instrumental music goes, soundtracks for films that haven’t been made yet (though a piece from The Blue Notebooks was even used in the soundtrack to Martin Scorsese's Shutter Island). Like Bashir, an animated documentary about the 1982 Lebanon war, Infra is another high-concept project, a ballet inspired by T.S. Eliot's classic poem of yearning and regret, The Waste Land. In turn, Richter's score, which was originally 25 minutes but is expanded to 32 here, was influenced by Schubert's Winterreise. Even in its longer form, many of Infra's pieces are brief, recalling the brilliant miniatures of Richter's ringtone album 24 Postcards in Full Colour. Infra's palette is classic Richter, blending piano, brass, and a string quartet with electronic textures that span luminous washes to ghostly static that lends an alien quality, almost as if the listener is tuning into the score’s frequencies. Like The Waste Land, this music is subtle, its open-ended glimpses adding to its poignancy. Richter shows once again that he’s a master of conveying the maximum amount of emotions with the minimum amount of music: “Journey 4”'s melody teeters between despair and reassurance with almost every note. Despite -- or perhaps because of -- Infra's subtlety, it offers a wide-open backdrop for dancing. “Infra 8”'s tender swirls and “Infra 2”'s complementary arcs of strings and electronics suggest steps that flow or scuttle like a pair of ragged claws. Whether Richter explores abstract drones as on “Journey 3,” reminds listeners of what a sensitive player he is on piano-driven pieces such as “Journey 1” and “Infra 3,” or unites the work’s elements on major pieces like “Infra 5” and “Infra 7,” he does so with a masterful restraint that gives Infra's slate-gray moods maximum impact. This may be the most subdued of Richter's Fat Cat releases, but every nuance shows the care with which he crafts all of his music.



. Max Richter - Infra ( 195mb)

01 Infra 14:05
02 Journey 1 2:10
03 Infra 2 4:27
04 Infra 3 3:02
05 Journey 2 2:13
06 Infra 4 2:46
07 Journey 3 2:51
08 Journey 4 4:40
09 Journey 5 1:13
10 Infra 5 5:17
11 Infra 6 2:53
12 Infra 7 1:45
13 Infra 8 3:22

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Antonio Vivaldi's Le Quattro Stagioni is one of the most beloved works in Baroque music, and even the most casual listener can recognize certain passages of "Spring" or "Winter" from frequent use in television commercials and films. Yet if these concertos have grown a little too familiar to experienced classical fans, Max Richter has disassembled them and fashioned a new composition from the deconstructed pieces. Using post-minimalist procedures to extract fertile fragments and reshape the materials into new music, Richter has created an album that speaks to a generation familiar with remixes, sampling, and sound collages, though his method transcends the manipulation of prerecorded music. Richter has actually rescored the Four Seasons and given the movements of Spring, Summer, Autumn, and Winter thorough makeovers that vary substantially from the originals. The new material is suggestive of a dream state, where drifting phrases and recombined textures blur into walls of sound, only to re-emerge with stark clarity and poignant immediacy. Violinist Daniel Hope is the brilliant soloist in these freshly elaborated pieces, and the Konzerthaus Kammerorchester Berlin is conducted with control and assurance by André de Ridder, so Richter's carefully calculated effects are handled with precision and subtlety. Deutsche Grammophon's stellar reproduction captures the music with great depth, breadth, and spaciousness, so everything that Richter and de Ridder intended to be heard comes across.



Max Richter - Recomposed  Vivaldi - The Four Seasons (flac 222mb)

01 Spring 0 0:42
02 Spring 1 2:31
03 Spring 2 3:19
04 Spring 3 3:09
05 Summer 1 4:11
06 Summer 2 3:59
07 Summer 3 5:01
08 Autumn 1 5:42
09 Autumn 2 3:08
10 Autumn 3 1:45
11 Winter 1 3:01
12 Winter 2 2:51
13 Winter 3 4:39

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 It seems that the regiment of sleeping concerts has arrived - meet the neoclassical interpretation of the concept of sleeping music from the British maestro of keys and strings.In fact, the public has heard such things many times already, so the idea, by itself, is far (and not at all) new, but it was most often static ambient things, and here the instrumental version is presented exactly the same as, at least, original at most - it sounds very intriguing.

Lasting a marathon eight hours, Richter builds a beautiful collage of piano, strings and choral pieces, drifting along with gentle ambiance for what is scientifically suggested to be the perfect length of a slumber. Incredibly it is never boring, rarely repetitive, always with a sense of emotion and melody often absent in minimalist works. Max’s “SLE” concept is based on a systematic repetition of lengthy harmonic passages enveloping and arranged around the leitmotifs periodically popping up along the sound of the album, here and there, imperceptibly connecting and appropriately accompanying the sound palette. At the exit from all this, a stunningly beautiful musical panorama of melodic suites of various keys is obtained. So who would have thought that would ever happen? At that very moment, when it seemed already that Max would never write anything better than his epoch-making Memoryhouse, he undertook and issued such a powerful release in depth and content that he would like not only to give the top line of the chart, but also, in principle, to call the best long-playing a concert. A reference sample of informative meditative music, and, perhaps, one of the most important (if not Home) works of Max Richter.



Max Richter - Sleep I (flac 234mb)

101 Dream 1 (Before The Wind Blows It All Away)18:31
102 Cumulonimbus 10:09
103 Dream 2 (Entropy) 10:02
104 Path 3 (7676) 11:00
105 Whose Name Is Written On Water 11:15
+ 9 page PDF
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Max Richter - Sleep II (flac 341mb)

201 Patterns (Cypher) 2:47
202 Solo 6:53
203 Aria 1 11:06
204 Return 2 (Song) 16:46
205 Nor Earth, Nor Boundless Sea 19:17
206 Dream 11 (Whisper Music) 18:54

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Max Richter - Sleep III ( flac   319mb)

CD301Moth-like Stars29:00
CD302Path 17 (Before The Ending Of Daylight)26:52
CD303Space 26 (Epicardium)6:56
CD304Patterns (Lux)16:59

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Hello,


11 correct requests for this week,1 too early,  1 unavailable (aetix-roots),  whatever another batch of 38 re-ups (12.5 gig)


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

Looka here , requests fulfilled up to Decemberrrr   8th... N'Joy

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3x US Aetix Back In Flac (Minutemen - Post Mersh Vol. 1, Minutemen - Post Mersh Vol 2, Minutemen - Post Mersh Vol. 3)



4x Sundaze Back in Flac  (Angelo Badalamenti - Mulholland Drive, Angelo Badalamenti - O.S.T. Secretary, Angelo Badalamenti - O.S.T. Dark Water, Badalamenti & Lynch Archive part 6 )



24x US Aetix Back in Flac (Hüsker Dü - Land Speed Record, Husker Du - Everything Falls Apart, Hüsker Dü - Zen Arcade, Hüsker Dü - New Day Rising )


3x Sundaze Back In Flac (Tuxedomoon - Half-Mute / Scream, Tuxedomoon - Desire,  Tuxedomoon - Suite En Sous-Sol + Time To Lose + Short Stories )


3x Aetix Back in Flac ( The Pop Group - Y, The Pop Group - For How Much Longer Do We Tolerate Mass Murder + We Are Time, VA - In Beginning There Was Rhythm  )


4x Grooves 1218 Back in Flac (Beastie Boys - Paul's Boutique, Beastie Boys - Check Your Head, Beastie Boys - Check Your Head bonus, Beastie Boys - Solid Gold Hits)



3x Grooves Back in Flac ( Abstract Funk Theory~Circulation, Abstract Funk Theory~Freddy Fresh, Abstract Funk Theory~Carl Graig)



4x Grooves Back in Flac (  Gare du Nord - In Search of Excellounge, Gare du Nord - Kind of Cool , Gare du Nord - Club Gare du Nord, Gare du Nord - Sex 'N' Jazz  )



4x Beats Back in Flac (  Soulwax - Hang All DJ's Volume 5 , Soulwax - Nite Versions, Soulwax - Most Of The Remixes, Rick James - Glow, Soulwax - Most Of The Remixes mixed)



2x Aetix Back in Flac (  OMD-Orchestral Manoeuvres In The Dark, OMD - Architecture & Morality )



4x Aetix Back in Flac (The Slits - Cut, The Slits - UnCut, The Slits - Return Of The Giant Slits, The Slits - Return Of The Giant Slits Dub-ble Discuss )


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Hello, as the UK decides this week, whether they submit to the simplistic drone of get Brexit done and implicitly decide to delete the Great from Britain, because giving that clown Boris the keys to #10 will result in both Scotland and N.Ireland giving up on Westminster, and let those english turkeys vote for X'mas and embrace the security of the EU blanket. Yes these are extraordinary days for the Brits all 3 main parties are led weakly embedded leaders, none of which is able to profit from the others weaknesses because they are all incompetent. Throw in a rabid rightwing press (the inventors of fake news) and it's likely that Britain will see the worst possible outcome....



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A must-have for long time fans and new listeners, this is Steven Halpern's definitive playlist. Each track is a unique jewel tuned to 432 Hz that combines stellar musicianship with the intention to create beautiful music that nourishes our soul. Steven's recordings resonate and activate our DNA and innate healing intelligence, and deepens your connection with Source. Within seconds, your brainwaves shift into the alpha and theta states, which enhance healing, meditation and spiritual practice of all kinds. Keyboard magazine honored Steven as ''One of the 12 most influential artists of the past 20 years.'' (1995 profile). He is a master at orchestrating tone, time, silence and brainwave entrainment to create timeless soundscapes that gently guide you into a relaxed state of mindful awareness. Featuring his iconic Fender Rhodes electric piano-highest rated keyboard for healing-Steven also plays grand piano and ethereal keyboards.

If you need to decompress or need help with meditation this is a good cd to relax and go with the flow. Not too New Agey for those of you who dislike the concept. Just some nice ambient sounds that get your breathing and heart rate to slow down and relax.



Steven Halpern - Music for Sound Healing 432hz ( flac   283mb)

01 In The Realms Of Healing
02 Deep Theta, Pt. 1
03 Heartnotes 2.0
04 1st Chakra: Keynote C
05 Deep Theta 2.1
06 Deep Alpha, Pt. 3
07 Awakening
08 Chakra Healing
09 Apollo's Lyre 2.0
10 Comfort Zone
11 Angels Of Grace
12 Eastern Peace
13 Presence Of Mind
14 Eventide

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Electricians know the electric force is 39 orders of magnitude stronger than gravity, and the graviticians know the gravitational force is 40 orders of magnitude stronger than electricity. This misses the point. On the purely mathematical level, you can plug numbers into the equations to get any magnitude of force you want. The gravitational force between two 10 kg lead spheres placed 1 m apart is: F = GM^2/R^2 = 6.7×10^-11 ⨉ 10^2 divided by 1^2 = 6.7×10^-9 Newtons.

To equal that force with electricity, the spheres would have to be charged to:6.7×10^-9 = [1/(4 x pi x e-sub-naught)] ⨉ Q^2 divided by 1^2, or Q = √ (6.7×10^-9 divided by 9×10^9) = 8.6×10^-10 coulombs, or 860 micro-micro-coulombs. This could be achieved with a current of 1 micro ampere in less than a millisecond. The technology of nylon rods rubbed over cat fur can transfer enough static charge to overcome the gravitational attraction of lead spheres.“Can you get electricity to move planets?” That would require a lot of cats. The question is not relative strengths of forces but whether it’s possible to accumulate enough charge and move it with enough power to toss planets around like electrons.

Irving Langmuir could provide some enlightenment here. He’s dead, but his discoveries linger on. One discovery was that just a few ions in a substance can cause it to behave in unexpected ways. It forms cells and filaments. Charges separate into double layers that insulate cells from each other. The filaments twist around each other. They writhe and radiate. They seem almost alive–which is why Irving called the substance a plasma. An accumulation of charge inside one cell doesn’t interact with that in another cell until the double layers break down. Then they interact with tremendous power. Another discovery (maybe this wasn’t Langmuir’s) was that plasmas exhibit the same behavior over large ranges of scale. From millimeter-sized sparks in a lab that last a millionth of a second to kilometer-long lightning bolts that last several seconds, the same properties can be observed. A long list of investigators has tried to draw attention to the similarities between certain astronomical phenomena and these lab and terrestrial plasmas. Just on a theoretical level, it seems rather simple to scale up a lightning bolt (at 10^9 kW) that can toss around our lead spheres to the size of an interplanetary bolt (at 10^21 kW) that can toss around planets (move the Earth 1/4 au in a year, say).

But does it actually happen? We can’t clip the leads from a planet-sized voltmeter across the solar system and measure the voltage drop. So we’re left with arguing about similarities. And we all know argument from analogy is fallacious. That doesn’t mean it’s necessarily wrong, only that it’s uncertain. The idea of gravity tossing planets around is familiar; the idea of plasma doing it isn’t. Much of our preference for one idea over another is simply this business of familiarity. Much of the work required to reach a new understanding of something is just this effort to make the unfamiliar familiar. By analogy with argument from analogy, argument from familiarity is also fallacious. After allowing for the preference for familiarity, gravity is in no better shape than plasma. We see large accumulations of matter–which we could just as easily see as large accumulations of charge if that idea were familiar. We assume an identity between the ideas of a large accumulation of matter and a large accumulation of mass. But mass is a property—F/A—that’s not necessarily identical with quantity of matter.

The Machian idea of inertial mass being the relationship of a particle of matter to all other particles within its sphere of communication implies that a newly created particle increases its mass as it ages. The Meta Model idea of gravitational mass being the shielding effect of other matter within the mean collisional distance of gravitons implies an upper limit of matter accumulations beyond which mass remains constant. We can’t hatch a Machian chicken and see if it grows without feeding it corn, nor can we stick a large toothpick into cakes of Meta matter to see if there’s uncooked mass in the middle. What we’re stuck with is a conflict of paradigms. Each explains overlapping sets of data in different ways. We won’t know for sure if the universe is electric until we travel to a Seyfert galaxy and stick our finger in the socket. Nor will we know for sure if it’s gravitic until we drop Newton’s apple off the Leaning Tower of M87.

The question of “what’s the truth” is premature. The truth is this: No paradigm is believable. I.e., none are certain. Being stuck with a conflict of paradigms is really an opportunity. We can choose whichever conjecture strikes our fancy and follow its implications to see if we can invent something new to make our lives more comfortable and exciting. It’s not necessary to choose; it’s an opportunity,to choose. We’re better off having more conjectures to choose from than having less. It’s time to scrap the outworn philosophy of physics based on an illusory certainty. Instead, a more biological philosophy based on conjectures and refutations (Karl Popper’s phrase) or blind variations with selective retention (Donald Campbell’s phrase) would be more appropriate for small soft creatures living on a speck of terrestrial dirt and prancing around the cosmos.




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The notion that light is something that travels from one point to another is an assumption few people today ever question. Yet in this thought-provoking Space News, Thunderbolts contributor Mel Acheson explores the query, What else could light be? – a query that lies at the heart of reliability and scientific discovery.

The original TPOD article on which this episode is based: What Moves  






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V for Vendetta is a dystopian political thriller based on the 1988 DC/Vertigo Comics limited series of the same name by Alan Moore and David Lloyd. Set in an alternative future where a Nordic supremacist and neo-fascist totalitarian regime has subjugated the United Kingdom, the book centers on V, an anarchist and masked freedom fighter who attempts to ignite a revolution through elaborate terrorist acts, Evey, a young, working-class woman caught up in V's mission and then there's a detective leading a desperate quest to stop V.

V for Vendetta has been seen by many political groups as an allegory of oppression by government; libertarians and anarchists have used it to promote their beliefs. David Lloyd stated: "The Guy Fawkes mask has now become a common brand and a convenient placard to use in protest against tyranny – and I'm happy with people using it, it seems quite unique, an icon of popular culture being used this way.

V for Vendetta sets the Gunpowder Plot as V's historical inspiration, contributing to his choice of timing, language, and appearance. For example, the names Rookwood, Percy and Keyes are used in the film, which are also the names of three of the Gunpowder conspirators. The film creates parallels to Alexandre Dumas's The Count of Monte Cristo, by drawing direct comparisons between V and Edmond Dantès. (In both stories, the hero escapes an unjust and traumatic imprisonment and spends decades preparing to take vengeance on his oppressors under a new persona.) The film is also explicit in portraying V as the embodiment of an idea rather than an individual through V's dialogue and by depicting him without a past, identity or face. According to the official website, "V's use of the Guy Fawkes mask and persona functions as both practical and symbolic elements of the story. He wears the mask to hide his physical scars, and in obscuring his identity – he becomes the idea itself.

As a tale about the struggle between freedom and the state, V for Vendetta takes imagery from many classic totalitarian icons both real and fictional, including the Third Reich, the Soviet Union under Stalin and George Orwell's Nineteen Eighty-Four. For example, Adam Sutler primarily appears on large video screens and on portraits in people's homes, both common features among modern totalitarian regimes and reminiscent of the image of Big Brother. The slogan "Strength through Unity. Unity through Faith" is displayed prominently across London, similar in cadence to "War is Peace. Freedom is Slavery. Ignorance is Strength" in Orwell's book. There is also the state's use of mass surveillance, such as closed-circuit television, on its citizens. The name Adam Sutler is intentionally similar to Adolf Hitler. Like the so-called Führer, Sutler is given to hysterical speech. Also like Hitler, Sutler is a racial purist, although Jews have been replaced by Arabs and Muslims as the focus of Norsefire ethnoreligious propaganda and persecution.

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In 2032, the world is in turmoil. The United Kingdom is ruled as a fascist police state by the Norsefire Party, under the all-powerful High Chancellor Adam Sutler.

On November 4, a vigilante in a Guy Fawkes mask identifying himself as "V" rescues Evey Hammond, an employee of the state-run British Television Network, from members of the "Fingermen" secret police while she is out past curfew. They watch his demolition of London's main criminal court, the Old Bailey, accompanied by fireworks and the "1812 Overture". Inspector Finch of Scotland Yard investigates V's activities. The BTN declares the Bailey's destruction an "emergency demolition", but V interrupts the broadcast to claim responsibility, encouraging the people of Britain to rise up against their government and meet him on next year's Guy Fawkes Night outside the Houses of Parliament. The police attempt to capture V. Evey helps him escape, but is knocked unconscious.

V takes Evey to his home, where she is told she must remain for one year. V kills Lewis Prothero, Norsefire's chief propagandist, and Anthony Lilliman, the Bishop of London. Evey offers to help, using the opportunity to escape to the home of her boss, talk show host Gordon Deitrich. In return for Evey trusting him, Gordon reveals prohibited materials, including subversive paintings, an antique Quran, and homoerotic photographs. V confronts Dr. Delia Surridge, who had experimented on him and other "undesirables" at Larkhill concentration camp; seeing her remorse, he kills her painlessly.

After Gordon performs a satire of the government on his show, his home is raided and Evey is captured. She is imprisoned and tortured for information about V, with her only solace being a note written by Valerie Page, a former prisoner tortured and killed for being lesbian. Evey is to be executed unless she reveals V's location. When she says she would rather die, she is released, only to find herself in V's home. V was the one who captured her at Gordon's home, and staged her imprisonment to free her from her fears. The note was real, passed from Valerie to V when he was imprisoned. He informs her that Gordon was executed when the Quran was found in his home. While Evey initially hates V for what he did to her, she realizes she has become a stronger person. She leaves him, promising to return before November 5.




V For Vendetta 1 ( 75min mp3  34mb).


A novelisation of the film, written by Steve Moore and based on the Wachowskis' script, was published by Pocket Star on January 31, 2006 , and read here by Simon Vance.


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previously

Terry Pratchett - The Colour of Magic part 1 ( 69min mp3     38mb).
Terry Pratchett - The Colour of Magic part 2 ( 69min mp3     38mb).
Terry Pratchett - The Colour of Magic part 3 ( 68min mp3     38mb).
Terry Pratchett - The Colour of Magic part 4 ( 69min mp3     38mb).
Terry Pratchett - The Colour of Magic part 5 ( 66min mp3     36mb).
Terry Pratchett - The Colour of Magic part 6 ( 69min mp3     36mb).
Terry Pratchett - The Colour of Magic movie ( 97min avi     698mb).

Terry Pratchett -  Light Fantastic part 1,2 ( 68min mp3     31mb).
Terry Pratchett -  Light Fantastic part 3,4 ( 68min mp3     31mb).
Terry Pratchett -  Light Fantastic part 5,6 ( 71min mp3     28mb).
Terry Pratchett -  Light Fantastic part 7,8 ( 71min mp3     28mb).
Terry Pratchett -  Light Fantastic part 9,10 ( 71min mp3     28mb).
Terry Pratchett -  Light Fantastic part 11,12 ( 63min mp3     28mb).
Terry Pratchett -  Light Fantastic Movie ( 91min avi     691mb).

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Hello, well it looks like the UK has been torn apart by Brexit today with the Scottish Nationalist independence party (SNP) taking most of the 59 Scottish seats, yet bully Boris who had just one thing to say during the elections "get Brexit done" seems to have won a big majority thanks to the UK simpletons being used to simplistic one-liners from their rabid right wing press, maybe its the fact that these people have been cowed for a 1000 years by the haves, they dare not vote for themselves, The Welsh, the Midlands and North East, should we pity them..not really, by now they are responsible enough for the mess they'll find themselves in. Mr Corbyn was never going to win, most of his parliamentary party wanted remain, he himself never was a big fan of the EU (seeing it as a multinationals construct) in short his heart wasn't in the whole Brexit thing, then again his grand ideas of redistributing the UK wealth sounded too unbelievable for the cowed UK voters. And thus the BBC will produce many more hours about those grand old days when Great Britain ruled the world, whilst the country sinks into the mud.




Today's Artist is Andre Romelle Young 1 (born February 18, 1965), known professionally as Dr. Dre, is an American rapper, record producer, entrepreneur, record executive, actor, and audio engineer. He is the founder and CEO of Aftermath Entertainment and Beats Electronics, and was previously co-owner of Death Row Records. Dr. Dre began his career as a member of the World Class Wreckin' Cru in 1985, but found fame with the influential gangsta rap group N.W.A, which popularized explicit lyrics in rap to detail the violence of street life. He is credited as a key figure in the crafting and popularization of West Coast G-funk, a hip hop subgenre characterized as synthesizer-based with slow, heavy beats. As of 2018, he is the third richest figure in hip hop, with a net worth of US$770 million.. ....... N Joy

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Dr. Dre was born as Andre Romelle Young in Compton, California on February 18, 1965, the first child of Theodore and Verna Young. His middle name, Romelle, is derived from his father's amateur rhythm and blues singing group, The Romells. His parents married in 1964, separated in 1968, and divorced in 1972. His mother later remarried to Curtis Crayon and had three children: sons Jerome and Tyree (both deceased) and daughter Shameka. In 1976, Dr. Dre began attending Vanguard Junior High School in Compton, but due to gang violence, he transferred to the safer suburban Roosevelt Junior High School. The family moved often, and they lived in apartments and houses in Compton, Carson, Long Beach and in the Watts and South Central neighborhoods in Los Angeles. Dr. Dre has said that he was mostly raised by his grandmother in New Wilmington Arms housing project in Compton. His mother later married Warren Griffin,[which added three stepsisters and one stepbrother to the family; the stepbrother would eventually become rapper Warren G. Dr. Dre is the cousin of producer Sir Jinx. He attended Centennial High School in Compton during his freshman year in 1979, but transferred to Fremont High School in South Central Los Angeles due to poor grades. He attempted to enroll in an apprenticeship program at Northrop Aviation Company, but poor grades at school made him ineligible. Thereafter, he focused on his social life and entertainment for the remainder of his high school years. Dr. Dre fathered a son with Cassandra Joy Greene named Curtis (born December 15, 1981). Curtis was brought up by his mother and first met his father 20 years later, when Curtis became rapper Hood Surgeon.

Inspired by the Grandmaster Flash song "The Adventures of Grandmaster Flash on the Wheels of Steel", Dr. Dre often attended a club called Eve After Dark to watch many DJs and rappers performing live. He subsequently became a DJ in the club, initially under the name "Dr. J", based on the nickname of Julius Erving, his favorite basketball player. At the club, he met aspiring rapper Antoine Carraby, later to become member DJ Yella of N.W.A. Soon afterwards he adopted the moniker Dr. Dre, a mix of previous alias Dr. J and his first name, referring to himself as the "Master of Mixology". Eve After Dark had a back room with a small four-track studio. In this studio, Dre and Yella recorded several demos. In their first recording session, they recorded a song entitled "Surgery", with the lyrics "calling Dr. Dre to surgery" serving as the chorus to the song. He later joined the musical group World Class Wreckin' Cru under Kru-Cut in 1984. The group would become stars of the electro-hop scene that dominated early 1980s West Coast hip hop. "Surgery", which was officially released after being recorded prior to the group's official formation, would prominently feature Dr. Dre on the turntable. The record would become the group's first hit, selling 50,000 copies within the Compton area.

Dr. Dre and DJ Yella also performed mixes for local radio station KDAY, boosting ratings for its afternoon rush-hour show The Traffic Jam. Dr. Dre's earliest recordings were released in 1994 on a compilation titled Concrete Roots. Stephen Thomas Erlewine of the website AllMusic described the compiled music, released "several years before Dre developed a distinctive style", as "surprisingly generic and unengaging" and "for dedicated fans only". His frequent absences from school jeopardized his position as a diver on his school's swim team. After high school, he attended Chester Adult School in Compton following his mother's demands for him to get a job or continue his education. After brief attendance at a radio broadcasting school, he relocated to the residence of his father and residence of his grandparents before returning to his mother's house. He later dropped out of Chester to focus on performing at the Eve's After Dark nightclub.

In 1986, Dr. Dre met rapper O'Shea Jackson—known as Ice Cube—who collaborated with him to record songs for Ruthless Records, a hip hop record label run by local rapper Eazy-E. N.W.A and fellow West Coast rapper Ice-T are widely credited as seminal artists of the gangsta rap genre, a profanity-heavy subgenre of hip hop, replete with gritty depictions of urban crime and gang lifestyle. Not feeling constricted to racially charged political issues pioneered by rap artists such as Public Enemy or Boogie Down Productions, N.W.A favored themes and uncompromising lyrics, offering stark descriptions of violent, inner-city streets. Propelled by the hit "Fuck tha Police", the group's first full album Straight Outta Compton became a major success, despite an almost complete absence of radio airplay or major concert tours. The Federal Bureau of Investigation sent Ruthless Records a warning letter in response to the song's content. After Ice Cube left N.W.A in 1989 over financial disputes, Dr. Dre produced and performed for much of the group's second album Efil4zaggin. He also produced tracks for a number of other acts on Ruthless Records, including Eazy-E's 1988 solo debut Eazy-Duz-It, Above the Law's 1990 debut Livin' Like Hustlers, Michel'le's 1989 self-titled debut, The D.O.C.'s 1989 debut No One Can Do It Better, J.J. Fad's 1988 debut Supersonic and funk rock musician Jimmy Z's 1991 album Muzical Madness.

After a dispute with Eazy-E, Dre left the group at the peak of its popularity in 1991 under the advice of friend, and N.W.A lyricist, The D.O.C. and his bodyguard at the time, Suge Knight. Knight, a notorious strongman and intimidator, was able to have Eazy-E release Young from his contract and, using Dr. Dre as his flagship artist, founded Death Row Records. In 1992 Young released his first single, the title track to the film Deep Cover, a collaboration with rapper Snoop Dogg, whom he met through Warren G.[13] Dr. Dre's debut solo album was The Chronic, released under Death Row Records with Suge Knight as executive producer. Young ushered in a new style of rap, both in terms of musical style and lyrical content, including introducing a number of artists to the industry including Snoop Dogg, Kurupt, Daz Dillinger, RBX, The Lady of Rage, Nate Dogg and Jewell.

On the strength of singles such as "Nuthin' but a 'G' Thang", "Let Me Ride", and "Fuck wit Dre Day (and Everybody's Celebratin')" (known as "Dre Day" for radio and television play), all of which featured Snoop Dogg as guest vocalist, The Chronic became a cultural phenomenon, its G-funk sound dominating much of hip hop music for the early 1990s. In 1993 the Recording Industry Association of America (RIAA) certified the album triple platinum, and Dr. Dre also won the Grammy Award for Best Rap Solo Performance for his performance on "Let Me Ride". For that year, Billboard magazine also ranked Dr. Dre as the eighth best-selling musical artist, The Chronic as the sixth best-selling album, and "Nuthin' but a 'G' Thang" as the 11th best-selling single.

Besides working on his own material, Dr. Dre produced Snoop Dogg's debut album Doggystyle, which became the first debut album for an artist to enter the Billboard 200 album charts at number one. In 1994 Dr. Dre produced some songs on the soundtracks to the films Above the Rim and Murder Was the Case. He collaborated with fellow N.W.A member Ice Cube for the song "Natural Born Killaz" in 1995. For the film Friday, Dre recorded "Keep Their Heads Ringin'", which reached number ten on the Billboard Hot 100 and number 1 on the Hot Rap Singles (now Hot Rap Tracks) charts. In 1995, Death Row Records signed rapper 2Pac, and began to position him as their major star: he collaborated with Dr. Dre on the commercially successful single "California Love", which became both artists' first song to top the Billboard Hot 100. However, in March 1996 Young left the label amidst a contract dispute and growing concerns that label boss Suge Knight was corrupt, financially dishonest and out of control. Later that year, he formed his own label, Aftermath Entertainment, under the distribution label for Death Row Records, Interscope Records. Subsequently, Death Row Records suffered poor sales by 1997, especially following the death of 2Pac and the racketeering charges brought against Knight.

The Dr. Dre Presents the Aftermath album, released on November 26, 1996, featured songs by Dr. Dre himself, as well as by newly signed Aftermath Entertainment artists, and a solo track "Been There, Done That", intended as a symbolic farewell to gangsta rap. Despite being classified platinum by the RIAA, the album was not very popular among music fans. In October 1996, Dre performed "Been There, Done That" on Saturday Night Live. In 1997, Dr. Dre produced several tracks on The Firm's The Album; it was met with largely negative reviews from critics. Rumors began to abound that Aftermath was facing financial difficulties. Aftermath Entertainment also faced a trademark infringement lawsuit by the underground thrash metal band Aftermath. First Round Knock Out, a compilation of various tracks produced and performed by Dr. Dre, was also released in 1996, with material ranging from World Class Wreckin' Cru to N.W.A to Death Row recordings. Dr. Dre chose to take no part in the ongoing East Coast–West Coast hip hop rivalry of the time, instead producing for, and appearing on, several New York artists' releases, such as Nas'"Nas Is Coming", LL Cool J's "Zoom" and Jay-Z's "Watch Me".

The turning point for Aftermath came in 1998, when Jimmy Iovine, the head of Aftermath's parent label Interscope, suggested that Dr. Dre sign Eminem, a white rapper from Detroit. Dre produced three songs and provided vocals for two on Eminem's successful and controversial debut album The Slim Shady LP, released in 1999. The Dr. Dre-produced lead single from that album, "My Name Is", brought Eminem to public attention for the first time, and the success of The Slim Shady LP – it reached number two on the Billboard 200 and received general acclaim from critics – revived the label's commercial ambitions and viability;

Dr. Dre's second solo album, 2001, released on November 16, 1999, was considered an ostentatious return to his gangsta rap roots. It was initially titled The Chronic 2000 to imply being a sequel to his debut solo effort The Chronic but was re-titled 2001 after Death Row Records released an unrelated compilation album with the title Suge Knight Represents: Chronic 2000 in May 1999. Other tentative titles included The Chronic 2001 and Dr. Dre. The album featured numerous collaborators, including Devin the Dude, Snoop Dogg, Kurupt, Xzibit, Nate Dogg, Eminem, Knoc-turn'al, King T, Defari, Kokane, Mary J. Blige and new protégé Hittman, as well as co-production between Dre and new Aftermath producer Mel-Man. Stephen Thomas Erlewine of the website AllMusic described the sound of the album as "adding ominous strings, soulful vocals, and reggae" to Dr. Dre's style. The album was highly successful, charting at number two on the Billboard 200 charts and has since been certified six times platinum, validating a recurring theme on the album: Dr. Dre was still a force to be reckoned with, despite the lack of major releases in the previous few years. The album included popular hit singles "Still D.R.E." and "Forgot About Dre", both of which Dr. Dre performed on NBC's Saturday Night Live on October 23, 1999. Dr. Dre won the Grammy Award for Producer of the Year, Non-Classical in 2000, and joined the Up in Smoke Tour with fellow rappers Eminem, Snoop Dogg, and Ice Cube that year as well.

During the course of 2001's popularity, Dr. Dre was involved in several lawsuits. Lucasfilm Ltd., the film company behind the Star Wars film franchise, sued him over the use of the THX-trademarked "Deep Note". The Fatback Band also sued Dr. Dre over alleged infringement regarding its song "Backstrokin'" in his song "Let's Get High" from the 2001 album; Dr. Dre was ordered to pay $1.5 million to the band in 2003. French jazz musician Jacques Loussier sued Aftermath for $10 million in March 2002, claiming that the Dr. Dre-produced Eminem track "Kill You" plagiarized his composition "Pulsion". The online music file-sharing company Napster also settled a lawsuit with him and metal band Metallica in the summer of 2001, agreeing to block access to certain files that artists do not want to have shared on the network.

Following the success of 2001, Dr. Dre focused on producing songs and albums for other artists. He co-produced six tracks on Eminem's landmark Marshall Mathers LP, including the Grammy-winning lead single, "The Real Slim Shady". The album itself earned a Grammy and proved to be the fastest-selling rap album of all time, moving 1.76 million units in its first week alone. He produced the single "Family Affair" by R&B singer Mary J. Blige for her album No More Drama in 2001.He also produced "Let Me Blow Ya Mind", a duet by rapper Eve and No Doubt lead singer Gwen Stefani and signed R&B singer Truth Hurts to Aftermath in 2001. Dr. Dre was the executive producer of Eminem's 2002 release, The Eminem Show. He produced three songs on the album, one of which was released as a single, and he appeared in the award-winning video for "Without Me". He also produced The D.O.C.'s 2003 album Deuce, where he made a guest appearance on the tracks "Psychic Pymp Hotline", "Gorilla Pympin'" and "Judgment Day".

Another successful album on the Aftermath label was Get Rich or Die Tryin', the 2003 major-label debut album by Queens, New York-based rapper 50 Cent. Dr. Dre produced or co-produced four tracks on the album, including the hit single "In da Club", a joint production between Aftermath, Eminem's boutique label Shady Records and Interscope. Eminem's fourth album since joining Aftermath, Encore, again saw Dre taking on the role of executive producer, and this time he was more actively involved in the music, producing or co-producing a total of eight tracks, including three singles. In November 2004, at the Vibe magazine awards show in Los Angeles, Dr. Dre was attacked by a fan named Jimmy James Johnson, who was supposedly asking for an autograph. In the resulting scuffle, then-G-Unit rapper Young Buck stabbed the man. Johnson claimed that Suge Knight, president of Death Row Records, paid him $5,000 to assault Dre in order to humiliate him before he received his Lifetime Achievement Award. Knight immediately went on CBS's The Late Late Show to deny involvement and insisted that he supported Dr. Dre and wanted Johnson charged. In September 2005, Johnson was sentenced to a year in prison and ordered to stay away from Dr. Dre until 2008.

Dr. Dre also produced "How We Do", a 2005 hit single from rapper The Game from his album The Documentary, as well as tracks on 50 Cent's successful second album The Massacre. For an issue of Rolling Stone magazine in April 2005, Dr. Dre was ranked 54th out of 100 artists for Rolling Stone magazine's list "The Immortals: The Greatest Artists of All Time". Kanye West wrote the summary for Dr. Dre, where he stated Dr. Dre's song "Xxplosive" as where he "got (his) whole sound from".In November 2006, Dr. Dre began working with Raekwon on his album Only Built 4 Cuban Linx II. He also produced tracks for the rap albums Buck the World by Young Buck, Curtis by 50 Cent, Tha Blue Carpet Treatment by Snoop Dogg, and Kingdom Come by Jay-Z. Dre also appeared on Timbaland's track "Bounce", from his 2007 solo album, Timbaland Presents Shock Value alongside, Missy Elliott, and Justin Timberlake. During this period, The D.O.C. stated that Dre had been working with him on his fourth album Voices through Hot Vessels, which he planned to release after Detox arrived.

In 2007, Dr. Dre's third studio album, formerly known as Detox, was slated to be his final studio album. Work for the upcoming album dates back to 2001, where its first version was called "the most advanced rap album ever", by producer Scott Storch. Later that same year, he decided to stop working on the album to focus on producing for other artists, but then changed his mind; the album had initially been set for a fall 2005 release. Producers confirmed to work on the album include DJ Khalil, Nottz, Bernard "Focus" Edwards Jr., Hi-Tek, J.R. Rotem, RZA, Jay-Z, Warren G, and Boi-1da. Snoop Dogg claimed that Detox was finished, according to a June 2008 report by Rolling Stone magazine.After another delay based on producing other artists' work, Detox was then scheduled for a 2010 release, coming after 50 Cent's Before I Self Destruct and Eminem's Relapse, an album for which Dr. Dre handled the bulk of production duties.In a Dr Pepper commercial that debuted on May 28, 2009, he premiered the first official snippet of Detox. 50 Cent and Eminem asserted in an interview on BET's 106 & Park that Dr. Dre had around a dozen songs finished for Detox.

Dre dipped back into rapping by dropping two singles: "Kush" featuring Snoop Dogg and Akon and "I Need a Doctor" with Eminem and Skylar Grey. He continued to tease Detox, but ended up returning to the studio to focus on his next big breakout act, Compton's own Kendrick Lamar. At the start of 2014, Beats launched a streaming music service, Beats Music. Beats was acquired by Apple Inc. later in the year, as Dre announced he was the "first billionaire in hip-hop." In 2015, the Academy Award-nominated N.W.A. biographical drama Straight Outta Compton was released in theaters and influenced the producer to scrap Detox in favor of an LP inspired by the film. The album Compton: A Soundtrack by Dr. Dre landed that same year with Kendrick Lamar, Anderson. Paak, Ice Cube, the Game, Eminem, and many more on the guest list.With N.W.A.'s cultural resurgence and mainstream recognition of their legacy in the history of rap and hip-hop, the group received another honor for their contribution to music with their induction into the Rock 'N Roll Hall of Fame in 2016.

In July 2008, Dr. Dre released his first brand of headphones, Beats by Dr. Dre. The line consisted of Beats Studio, a circumaural headphone; Beats Tour, an in-ear headphone; Beats Solo & Solo HD, a supra-aural headphone; Beats Spin; Heartbeats by Lady Gaga, also an in-ear headphone; and Diddy Beats. After sports figures and other celebrities adopted the headphones en masse, Beats' success skyrocketed. By 2010, the company was valued at just under a billion dollars. In autumn 2009, Hewlett-Packard participated in a deal to bundle Beats By Dr. Dre with some HP laptops and headsets. HP and Dr. Dre announced the deal on October 9, 2009, at a press event in Santa Monica, California. An exclusive laptop, known as the HP ENVY 15 Beats limited edition, was released for sale October 22. In May 2014, technology giant Apple purchased the Beats brand for $3 billion, Apple's most expensive purchase by far. The deal made Dr. Dre the "richest man in hip hop", surpassing Diddy.

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World Class Wreckin' Cru recorded some solid West Coast electro with Dr. Dre in the production chair and hit the Billboard Hot 100 with the smooth love jam "Turn Off the Lights" during 1988 -- the same year Dre's N.W.A delivered the gangsta rap landmark Straight Outta Compton. The group was formed by Lonzo (Alonzo Williams), owner of the Compton club Eve After Dark, who recruited a pair of popular local DJs, Dr. Dre and DJ Yella, along with Dre's high school friend Cli-N-Tel. Early singles like "Surgery" and "Juice" -- many of them recorded at a four-track studio that was part of the Eve After Dark complex -- stood alongside work by the Egyptian Lover and L.A. Dream Team as stellar examples of the fast-moving fusion of old-school rap and electro. But even as the World Class Wreckin' Cru became one of southern California's most popular rap acts, Dr. Dre and DJ Yella were pursuing other production opportunities, one of which came from a new label (Ruthless) formed by Eazy-E. Along with Ice Cube, they wrote a single named "Boyz-n-the Hood" that was initially offered to the Ruthless act HBO, but later prompted the entire crew to form as N.W.A. After street-level singles like "Dopeman" and "8 Ball" became huge local hits for N.W.A, World Class Wreckin' Cru became less of a priority for both Dr. Dre and Yella. Even after "Turn Off the Lights" entered the R&B Top 40 in 1988, they continued with N.W.A, and Dre also produced tracks for Wreckin' Cru member Michel'le. Phases in Life, a World Class Wreckin' Cru LP released in 1990, was basically a solo release by Lonzo.

Did rappers look like that in 1985? Really and Doctor Dre is the one at far left? Daaaaamn, and Yella standing right next to him. Well one went on to become probably the most important hip hop producer of all time, and the other? He started doing porno films. The soon "niggaz wit attitude" were pretty glossy only two years before "Dopeman" was recorded and put on wax, but one could say WCWC was doing the vintage West Coast sound of the moment, just like Dre has been doing all the time. The album is a dope debut, electro is a difficult genre and without good beats you're nothing. The lyrics here are, once again, forgettable, but the beats are pretty good. So it doesn't shine dead amongst other electro "classics"... World Class Wreckin Cru was quite a short story and their 2nd album turned out to be wack... not last, but I'm not gonna dig into the later ones. So yeah, Dr. Dre purists may find this extra appealing, for me this album is just a fine dose of electro.



 World Class Wreckin Cru - World Class (flac   251mb)

01 Planet 8:15
02 World Class 5:02
03 Surgery (Remixed) 5:14
04 Juice (Edited Version) 3:59
05 (Horney) Computer 7:19
06 Gang Bang You're Dead 6:34
06 Lovers feat. Mona Lisa 7:02


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It's funny. There's nothing at all separating the World Class Wreckin' Crew from all the rest of the more or less middle of the road early/mid-80's rap acts that only piddled out a couple albums before vanishing. Nothing. And yet half the act went on to absolutely change not only rap, but music forever. Look at Dre up there in the red leather jacket. Forget everything you know about him and tell me that you would think any more of him then say the guys on the Whistle album cover. It's amazing in a way. I'm sure Dr. Dre and Yella were already focusing their energy to N.W.A plans, they weren't going to change the world with World Class even if the first album was dope. Rapped in Romance is not any of that, does anyone actually give a flying Eff that this was released at all?



World Class Wreckin Cru - Rapped In Romance  (flac   273mbmb)

01 Mission Possible 5:32
02 He's Bionic 4:04
03 B.S. 5:08
04 Love Letter 5:22
05 The Fly 5:06
06 World Class Freak 4:06
07 Wreckin Cru Blues 6:58
08 Masters Of Romance 6:36

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With its stylish, sonically detailed production, Dr. Dre's 1992 solo debut, The Chronic, transformed the entire sound of West Coast rap. Here Dre established his patented G-funk sound: fat, blunted Parliament-Funkadelic beats, soulful backing vocals, and live instruments in the rolling basslines and whiny synths. What's impressive is that Dre crafts tighter singles than his inspiration, George Clinton -- he's just as effortlessly funky, and he has a better feel for a hook, a knack that improbably landed gangsta rap on the pop charts. But none of The Chronic's legions of imitators were as rich in personality, and that's due in large part to Dre's monumental discovery, Snoop Doggy Dogg. Snoop livens up every track he touches, sometimes just by joining in the chorus -- and if The Chronic has a flaw, it's that his relative absence from the second half slows the momentum. There was nothing in rap quite like Snoop's singsong, lazy drawl (as it's invariably described), and since Dre's true forte is the producer's chair, Snoop is the signature voice. He sounds utterly unaffected by anything, no matter how extreme, which sets the tone for the album's misogyny, homophobia, and violence. The Rodney King riots are unequivocally celebrated, but the war wasn't just on the streets; Dre enlists his numerous guests in feuds with rivals and ex-bandmates. Yet The Chronic is first and foremost a party album, rooted not only in '70s funk and soul, but also that era's blue party comedy, particularly Dolemite. Its comic song intros and skits became prerequisites for rap albums seeking to duplicate its cinematic flow; plus, Snoop and Dre's terrific chemistry ensures that even their foulest insults are cleverly turned. That framework makes The Chronic both unreal and all too real, a cartoon and a snapshot. No matter how controversial, it remains one of the greatest and most influential hip-hop albums of all time.

The Chronic is widely regarded as the album that re-defined West Coast hip hop, demonstrated gangsta rap's commercial potential as a multi-platinum commodity, and established G-funk as the most popular sound in hip hop music for several years after its release, with Dr. Dre producing major albums that drew heavily on his production style.



Dr. Dre - The Chronic Re-Lit And From The Vault   (flac   445mb)

01 The Chronic [Intro] 1:58
02 Fuck With Dre Day [And Everybody's Celebratin'] 4:51
03 Let Me Ride 4:21
04 The Day The Niggaz Took Over 4:32
05 Nuthin' But A "G" Thang 3:58
06 Deeez Nuuuts 5:06
07 Lil' Ghetto Boy 5:27
08 A Nigga Witta Gun 3:52
09 Rat-Tat-Tat-Tat 3:48
10 The $20 Sack Pyramid 2:53
11 Lyrical Gangbang 4:04
12 High Powered 2:44
13 The Doctor's Office 1:03
14 Stranded On Death Row 4:46
15 The Roach [The Chronic Outro] 4:36
16 Bitches Ain't Shit [Bonus Track] 4:48

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At one point in the rap/hip-hop world, Dre was simply unstoppable. His productions would skyrocket to the top of the charts and establish a legion of new talent that owed their success to his signature sound. This Death Row-issued compilation is an obvious attempt to cash in on back catalog, but it is a fairly comprehensive look at Dre's productions while serving as ringleader of the controversial label. All of the massive chart hits are here, along with a few lesser-known ones to balance things out. It's the most comprehensive look at his productions and their evolution during this critical time in the rap world, and it's also an amazing blueprint/textbook that aspiring producers are still learning from to this day.




Dr. Dre - The Chronicle  (flac   383mb)

01 Dr. Dre - Nuthin' But a "G" Thang feat. Snoop Dogg3:58
02 Snoop Dogg - Gin and Juice 3:33
03 Lady of Rage - Afro Puffs feat. Snoop Dogg 4:49
04 Dr. Dre - Natural Born Killaz feat. Ice Cube 4:51
05 Snoop Dogg - Murder Was the Case 4:20
06 Dr. Dre - Lil' Ghetto Boy feat. Snoop Dogg & Daz Dillinger 5:29
07 Dr. Dre - Let Me Ride feat. Ruben & Jewell 4:22
08 2Pac - California Love feat. Dr. Dre 4:01
09 Dr. Dre - Fuck Wit Dre Day (And Everybody's Celebratin') feat. Snoop Dogg, Jewell, RBX 4:53
10 Snoop Dogg - Serial Killa feat. RBX, The D.O.C., Tha Dogg Pound 3:32
11 Bushwick Bill - Stranded on Death Row feat. Snoop Dogg, RBX, Kurupt, Lady of Rage 4:48
12 Dr. Dre - Nuthin' But a "G" Thang (Remix) feat. Snoop Dogg 4:35

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Dr. Dre shifted directions drastically halfway through 1996, leaving Death Row Records and abandoning gangsta rap, claiming that he had "Been There, Done That." So, Dre founded a new record label, Aftermath, and built an artist roster consisting entirely of new, unproven talent. He also decided not to concentrate on rap, signing urban R&B acts as well as hip-hop. Aftermath's initial release was the various-artists compilation Dr. Dre Presents...The Aftermath and one listen proves that Dre wasn't kidding when he said he wasn't interested in gangsta anymore. There are a number of rappers on The Aftermath, even a handful of hardcore rappers, but nothing fits into the standard G-funk template. The true revelation of the album is Dre's skill for urban R&B and soul, all of which sounds fresh and exciting compared to several of the fairly pedestrian hip-hop tracks. Despite the success of these urban productions, none of the actual performers make much of an impact -- the tracks are impressive only because they demonstrate Dre's musical versatility and skill. In fact, the two tracks that really stand out -- Dre's stately, sexy "Been There Done That" and the powerful "East Coast/West Coast Killas," which features cameos by B-Real, KRS-One, Nas, and RBX -- are a combination of terrific production and personality, which is usually what results in great singles. But that doesn't mean that The Aftermath is a washout. Instead, it's a promising fresh start for Dre that is full of potential and enough great music to make it a vital listen.



VA - Dr. Dre Presents... The Aftermath  (flac   495mb)

01 RC & Sid McCoy - Aftermath (The Intro) 2:51
02 Group Therapy - East Coast/West Coast Killas 4:54
03 Mel-Man - Shittin' On The World 4:58
04 RBX - Blunt Time 4:24
05 Dr. Dre - Been There Done That 5:11
06 Kim Summerson - Choices 4:46
07 Miscellaneous - As The World Keeps Turning 4:44
08 Hands-On - Got Me Open 4:20
09 King T - Str-8 Gone 4:34
10 Maurice Wilcher - Please 4:22
11 Jheryl Lockhart - Do 4 Love 3:24
12 RC - Sexy Dance 4:55
13 Whoz Who - No Second Chance 4:50
14 Sharief - L.A.W. (Lyrical Assault Weapon) 4:26
15 Nowl - Nationowl 4:07
16 RC - Fame 4:28

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Hello,  still 5 hours of sleep left from last week...


Today's artist is is a German-born British composer who has been an influential voice in post-minimalist composition and in the meeting of contemporary classical and alternative popular musical styles since the early 2000s. Richter is classically trained, having graduated in composition from the Royal Academy of Music and studied with Luciano Berio in Italy.Richter also composes music for stage, opera, ballet and screen. He has also collaborated with other musicians, as well as with performance, installation and media artists. He has recorded eight solo albums and his music is widely used in cinema.  .......N-Joy

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Combining the discipline of his classical background with the inventive spirit of electronic music, Max Richter's work as a producer and composer speaks to -- and frequently critiques -- 21st century life in eloquent and evocative ways. On early masterworks such as 2002's Memoryhouse and 2003's The Blue Notebooks, he united his childhood memories and commentary on war's devastating aftermath into gorgeous, aching music; with 2015's eight-hour Sleep, he challenged the increasing disposability of art and music as well as audiences' ever-decreasing attention spans. Richter's fascination with the growing role of technology in everyday life was a major theme of releases spanning 2008's collection of bespoke ringtones to the music for a particularly paranoid 2016 episode of the TV series Black Mirror. Despite the high-concept nature of much of his work, Richter always maintains a powerful emotional connection with his listeners; 2012's Recomposed: The Four Seasons, an experimental reimagining of Vivaldi's violin concertos, topped classical charts in over 20 countries. The emotive quality of his music translated perfectly to scoring and soundtrack work, which ranged from documentaries such as Waltz with Bashir (2008); feature films including Mary Queen of Scots (2018); television series like Taboo (2017); and stage productions including Infra (2008) and Woolf Works (2015), both projects with Richter's longtime collaborator, choreographer Wayne McGregor. Richter's mix of modern composition, electronic music, and field recordings was as influential as it was innovative, and paved the way for like-minded artists such as Nico Muhly and Jóhann Jóhannsson.

Born in West Germany in the mid-'60s, Richter and his family moved to the U.K. when he was still a little boy, settling in the country town of Bedford. By his early teens, he was listening to the canon of classical music as well as modern composers including Philip Glass, whose music was a major influence on Richter. The Clash, the Beatles, and Pink Floyd were also important, along with the early electronic music scene; inspired by artists such as Kraftwerk, Richter built his own analog instruments. He studied composition and piano at Edinburgh University, the Royal Academy of Music, and in Florence with Luciano Berio. He then became a founding member of the Piano Circus, a contemporary classical group that played works by Glass, Brian Eno, Steve Reich, Arvo Pärt, and Julia Wolfe, and also incorporated found sounds and video into their performances. After ten years and five albums for Decca/Argo, Richter left the group and became more involved in the U.K.'s thriving electronic music scene, collaborating with the Future Sound of London on 1996's Dead Cities (which features a track named after him) and The Isness; he also contributed orchestrations to Roni Size's 2000 album In the Mode.

Richter's own work evolved from the Xenakis-inspired music of his early days into something that included his electronic and pop influences. His 2002 debut album, Memoryhouse, introduced his mix of modern composition, electronica, and field recordings. Recorded with the BBC Philharmonic Orchestra, the album explored childhood memories as well as the aftermath of the Kosovo War in the 1990s and was hailed as a masterpiece. Two years later, Richter made his FatCat debut with The Blue Notebooks, which incorporated readings from Franz Kafka's Blue Octavo Notebooks and Polish writer Czesław Miłosz by actress Tilda Swinton into dreamlike pieces for strings and piano that touched on the Iraq War and Richter's early years. Released in 2006, Songs from Before paired his plaintive sound with texts written by Haruki Murakami and delivered by Robert Wyatt. In 2008, he issued 24 Postcards in Full Colour, a collection of intricate ringtones envisioned by Richter as a way to connect people around the world. That year also saw the release of his music for Ari Folman's Golden Globe-winning film Waltz with Bashir. Focusing on electronics instead of a typical orchestral score, it was Richter's highest-profile soundtrack project to date. He then worked on several other film scores, including music for Benedek Fliegauf's Womb, Alex Gibney's My Trip to Al-Qaeda, and David MacKenzie's Perfect Sense. Another scoring project, Infra, marked the beginning of Richter's enduring collaboration with choreographer Wayne McGregor. Commissioned by the Royal Ballet in 2008, Infra was a ballet inspired by by T.S. Eliot's classic poem "The Wasteland," and the the 2005 London terrorist bombings. Richter re-recorded and expanded his music for the 2010 album Infra, his fourth release for FatCat Records.


Richter began the 2010s with soundtrack work that included the award-winning scores to Die Fremde (2010) and Lore (2012). The composer reunited with McGregor for 2012's Sum, a chamber opera based on Sum: Forty Tales of the Afterlives, a collection of short stories by neuroscientist David Eagleman about the possibility of life after death. That year also saw the release of one of Richter's most popular albums, Recomposed by Max Richter: Vivaldi - The Four Seasons. An avant-garde, loop-based reworking of the composer's timeless set of violin concertos, it topped the classical charts in 22 countries, including the U.K., the U.S., and Germany. In turn, McGregor choreographed a ballet, Kairos, to Richter's recomposition. Disconnect, the score to Henry-Alex Rubin's film about the impact of technology on relationships, arrived in 2013. His other releases that year included the score to Wadjda, which was the first feature-length film made by a Saudi Arabian woman (director Haifaa Al-Mansour); the music to Ritesh Batra's The Lunchbox and Ruairí Robinson's sci-fi excursion The Last Days on Mars. Richter also worked with Folman again on the music to The Congress, an adaptation of Stanislaw Lem's novel The Futurological Congress.


In 2014, Richter launched a mentorship program for aspiring young composers and wrote music for HBO's The Leftovers, which also featured pieces from Memoryhouse and The Blue Notebooks. The following year saw the arrival of Sleep, an eight-hour ambient piece scored for piano, strings, electronics, and vocals that Richter described as a "lullaby for a frenetic world and a manifesto for a slower pace of existence." The piece premiered at a Berlin performance where the audience was given beds instead of seats. Sleep and From Sleep, a one-hour adaptation, were released in September 2015. The following year, Richter provided the score to the sci-fi/horror film Morgan and the disturbingly cheery music for "Nosedive," an episode of Black Mirror that took the all-consuming nature of social media to extremes. Released in January 2017, Three Worlds: Music from Woolf Works drew from his score for McGregor's 2015 Royal Ballet production inspired by three of Virginia Woolf's most acclaimed novels. It was followed that May by the soundtrack compilation Out of the Dark Room. That September, Richter's Emmy-nominated music for the BBC One drama Taboo was released.


Richter remained busy on soundtrack work in 2018, with projects including the music for the HBO TV series My Brilliant Friend as well as the scores to films like Hostiles, White Boy Rick, and Mary Queen of Scots, which won a Best Original Score -- Feature Film Award at the Hollywood Music in Media Awards. In October 2019, Deutsche Grammophon issued Voyager: Essential Max Richter, an expansive retrospective that included two previously unreleased pieces written for Sleep.


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It seems that the regiment of sleeping concerts has arrived - meet the neoclassical interpretation of the concept of sleeping music from the British maestro of keys and strings.In fact, the public has heard such things many times already, so the idea, by itself, is far (and not at all) new, but it was most often static ambient things, and here the instrumental version is presented exactly the same as, at least, original at most - it sounds very intriguing.

In 2015, Max Richter released his most ambitious project to date, Sleep, an 8.5 hour listening experience targeted to fit a full night's rest. The album itself contains 31 compositions, some reaching 20-30 minutes in duration, all based around variations of 4-5 themes. The music is calm, slow, mellow and composed for Piano, Cello, 2 Violas, 2 Violins, Organ, Soprano vocals, Synthesisers and Electronics. As the album's liner notes, Strings are played by the American Contemporary Music Ensemble (Ben Russell, Yuki Numata Resnik, Caleb Burhans, Clarice Jensen and Brian Snow), Vocals are provided by Grace Davidson and the Piano, Synthesisers and Electronics are played by Richter himself.

According to Richter, as described in the album's credits, Sleep is "an eight-hour lullaby", "a piece that is meant to be listened to at night ... structured as a large set of variations." Richter conferred with American neuroscientist David Eagleman while working on the album's piece to learn about how the brain functions during sleep. Richter stated, "Sleeping is one of the most important things we all do ... We spend a third of our lives asleep and it's always been one of my favourite things, ever since I was a child. ... For me, Sleep is an attempt to see how that space when your conscious mind is on holiday can be a place for music to live."

The album was performed in its entirety as one compositional piece at the Reading Room at Wellcome Collection in London, England, on September 27, 2015 from midnight to 8:00 AM as the climax of the BBC Radio 3 "Science and Music" weekend.The performance broke several records, including the longest live broadcast of a single piece of music in BBC Radio 3's station's history. The performance also set Guinness World Records for longest broadcast of a single piece of music and longest live broadcast of a single piece of music.Instead of chairs to sit in and watch the performance, audience members were given beds to sleep in

Sleep was performed for its first outdoor performance and largest performance to-date in Los Angeles, CA on July 27-28th and July 28-29th, 2018, starting shortly after 10:30pm. It was performed in Grand Park, across from the Los Angeles Music Center. Each performance had 560 beds and was timed so the final movement, "Dream 0 (till break of day)" would occur at dawn. Richter played along with members of the American Contemporary Music Ensemble, Clarice Jensen (cello), Ben Russell, Andrew Tholl (violin), Isabel Hagen (viola), Emily Brausa (cello), and Grace Davidson (soprano).



Max Richter - Sleep IV (flac 234mb)

401 Constellation 1 6:56
402 Constellation 2 15:20
403 Space 2 (Slow Waves) 7:42
404 Chorale / Glow 25:45

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Max Richter - Sleep V (flac 274mb)

501 Dream 19 (Pulse) 18:53
502 Cassiopeia19:36
503 Non-eternal23:50
504 Song / Echo 5:13

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Max Richter - Sleep VI (flac 278mb)

601 Aria 2 11:02
602 Never Fade Into Nothingness 9:41
603 Return 16 (Time Capsule) 24:25
604 If You Came This Way 14:37

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Max Richter - Sleep VII+VIII ( flac   448mb)

701 Space 17 (Chains) 18:03
702 Sublunar 25:36

801 Dream 17 (Alpha) 28:47
802 Dream 0 (Till Break Of Day) 33:47


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The release of Sleep was accompanied by a one-hour album, From Sleep, with seven additional tracks, not present on the eight-hour release, recorded during the same sessions. From Sleep was promoted by music videos for three tracks: "Dream 13 (Minus Even)," "Path 5 (Delta)" and "Dream 3 (In the Midst of My Life) If you're listening to From Sleep for the full benefits of Sleep (relaxtion, sleeping aid, metaphysical experience), I don't think it works as well in abridged form.  I found the changes from one piece to the next to be too drastic to tune out.  That being said, From Sleep is still a gorgeous collection of ambient pieces and, if you haven't the financial or mental wherewithal for Sleep, a worthy summation of its themes.



Max Richter - From Sleep + Bonus (flac   303mb)

01 Dream 3 (In The Midst Of My Life)10:04
02 Path 5 (Delta)11:14
03 Space 11 (Invisible Pages Over) 5:16
04 Dream 13 (Minus Even) 8:53
05 Space 21 (Petrichor) 4:48
06 Path 19 (Yet Frailest) 7:51
07 Dream 8 (Late And Soon) 11:53
Rough Trade Shops Special Edition
08 Selene 11:39
09 Diffraction Sequence 4:21
10 Origins (ursa major) 16:02

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Hello, " Let's Get Brexit Down" a slogan that those 'bright' minds at Liberal Democrats headquarters just couldn't come up with, it might have made a serious difference and at least save the seat of the party leader.


Only 7 correct requests for this week,1 too early,  1 unavailable (aetix-roots),  whatever another batch of 22 re-ups (8.2 gig)


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

Looka here , requests fulfilled up to Decemberrrr   15th... N'Joy

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3x Beats Back In Flac (S Pompougnac - Hello Mademoiselle , S Pompougnac - 1999 - 2009 A Decade, S Pompougnac - 1999 - 2009 Bonus Mix)



1x Around The World still in ogg (Fania All-Stars - Fania All-Stars )



24x Sundaze Back in Flac (Angelo Badalamenti - Very Long Engagement, Angelo Badalamenti - OST Wicker Man, David Lynch - The Air Is On Fire, Badalamenti & Lynch Archive part 7 )



5x Sundaze Back In Flac (Tripswitch - Circuit Breaker, Tripswitch - Circuit Breaker Rewired,  Tripswitch - Geometry,  Tripswitch - Strange Parallels, Tripswitch - Stereogram(Hemispheres) )



3x Beats Back in Flac ( System 7 - System Express, Electronica Gainsbourg - VA, I ♥ Serge, DJ Cam - Revisited By  ) = 28



3x Grooves Back in Flac (Minnie Riperton - Come To My Garden, Minnie Riperton - Perfect Angel+Adventures in Paradise, Minnie Riperton - The Minnie Riperton Anthology)



3x Beats NOW in Flac ( Roni Size / Reprazent - New Forms 1, Roni Size / Reprazent - New Forms 2, Squarepusher - Feed Me Weird Things)




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Hello, in the unlikely case that Max Rixchter's Sleep kept you awake, why not give Dr Thompson a try...


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Musical System to Help you Fall Asleep, Stay Asleep and Wake up Rejuvenated
Sleep is vital to your health and well-being. Yet millions of us don’t get the sleep we need to live healthy and productive lives. Dr. Jeffrey Thompson’s breakthrough musical system, developed over 15 years of clinical research, is proven to lead you to deep and restful sleep. You simply listen to the soothing ambient music at bedtime and specific inaudible sound frequencies, embedded into the soundtrack, help you to fall asleep easily and naturally. Free floating, ethereal soundtrack composed by Dr. Thompson. Safe and natural process proven to lead you to rejuvenating states of deep sleep.  Easy to use with light headphones or ordinary speakers Contains no spoken words or subliminal messages
Dr. Jeffrey Thompson’s clinical research with thousands of patients over the years has led to groundbreaking discoveries in how sound frequency patterns built into musical soundtracks can alter states of consciousness and induce states of mind-body healing. His therapeutic audio programs are used by psychotherapists, hypnotherapists, M.D.'s, chiropractors, and bodywork professionals in 26 countries. Dr. Thompson currently teaches core curriculum for the Clinical Psychotherapy and Human Science Masters and Ph.D. Programs at the California Institute for Human Science in Encinatas, CA., where he also maintains his research and clinical offices.



Dr. Jeffrey Thompson - Ambient Music for Sleep ( flac   202mb)

01 Ambience 30:10
02 Ethereal Dreams 30:25


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A new scientific discovery provides stunning confirmation of a foundational tenet of the Electric Universe and plasma cosmology. A team of scientists has discovered a vast radio-emitting filament of plasma which stretches across 10 million light-years, connecting two clusters of galaxies, called Abell 0399 and 0401.





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In our discussion with physicist Wal Thornhill, we continue to explore the ongoing "crisis in cosmology." We ask Wal for his thoughts on a number of recent discoveries which stunningly affirm a core tenet of the electric cosmology – no "islands" exist in a Universe where the predominant organizational force is electromagnetism




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V for Vendetta is a dystopian political thriller based on the 1988 DC/Vertigo Comics limited series of the same name by Alan Moore and David Lloyd. Set in an alternative future where a Nordic supremacist and neo-fascist totalitarian regime has subjugated the United Kingdom, the book centers on V, an anarchist and masked freedom fighter who attempts to ignite a revolution through elaborate terrorist acts, Evey, a young, working-class woman caught up in V's mission and then there's a detective leading a desperate quest to stop V.

V for Vendetta has been seen by many political groups as an allegory of oppression by government; libertarians and anarchists have used it to promote their beliefs. David Lloyd stated: "The Guy Fawkes mask has now become a common brand and a convenient placard to use in protest against tyranny – and I'm happy with people using it, it seems quite unique, an icon of popular culture being used this way.

V for Vendetta sets the Gunpowder Plot as V's historical inspiration, contributing to his choice of timing, language, and appearance. For example, the names Rookwood, Percy and Keyes are used in the film, which are also the names of three of the Gunpowder conspirators. The film creates parallels to Alexandre Dumas's The Count of Monte Cristo, by drawing direct comparisons between V and Edmond Dantès. (In both stories, the hero escapes an unjust and traumatic imprisonment and spends decades preparing to take vengeance on his oppressors under a new persona.) The film is also explicit in portraying V as the embodiment of an idea rather than an individual through V's dialogue and by depicting him without a past, identity or face. According to the official website, "V's use of the Guy Fawkes mask and persona functions as both practical and symbolic elements of the story. He wears the mask to hide his physical scars, and in obscuring his identity – he becomes the idea itself.

As a tale about the struggle between freedom and the state, V for Vendetta takes imagery from many classic totalitarian icons both real and fictional, including the Third Reich, the Soviet Union under Stalin and George Orwell's Nineteen Eighty-Four. For example, Adam Sutler primarily appears on large video screens and on portraits in people's homes, both common features among modern totalitarian regimes and reminiscent of the image of Big Brother. The slogan "Strength through Unity. Unity through Faith" is displayed prominently across London, similar in cadence to "War is Peace. Freedom is Slavery. Ignorance is Strength" in Orwell's book. There is also the state's use of mass surveillance, such as closed-circuit television, on its citizens. The name Adam Sutler is intentionally similar to Adolf Hitler. Like the so-called Führer, Sutler is given to hysterical speech. Also like Hitler, Sutler is a racial purist, although Jews have been replaced by Arabs and Muslims as the focus of Norsefire ethnoreligious propaganda and persecution.

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In 2032, the world is in turmoil. The United Kingdom is ruled as a fascist police state by the Norsefire Party, under the all-powerful High Chancellor Adam Sutler.

On November 4, a vigilante in a Guy Fawkes mask identifying himself as "V" rescues Evey Hammond, an employee of the state-run British Television Network, from members of the "Fingermen" secret police while she is out past curfew. They watch his demolition of London's main criminal court, the Old Bailey, accompanied by fireworks and the "1812 Overture". Inspector Finch of Scotland Yard investigates V's activities. The BTN declares the Bailey's destruction an "emergency demolition", but V interrupts the broadcast to claim responsibility, encouraging the people of Britain to rise up against their government and meet him on next year's Guy Fawkes Night outside the Houses of Parliament. The police attempt to capture V. Evey helps him escape, but is knocked unconscious.

V takes Evey to his home, where she is told she must remain for one year. V kills Lewis Prothero, Norsefire's chief propagandist, and Anthony Lilliman, the Bishop of London. Evey offers to help, using the opportunity to escape to the home of her boss, talk show host Gordon Deitrich. In return for Evey trusting him, Gordon reveals prohibited materials, including subversive paintings, an antique Quran, and homoerotic photographs. V confronts Dr. Delia Surridge, who had experimented on him and other "undesirables" at Larkhill concentration camp; seeing her remorse, he kills her painlessly.

After Gordon performs a satire of the government on his show, his home is raided and Evey is captured. She is imprisoned and tortured for information about V, with her only solace being a note written by Valerie Page, a former prisoner tortured and killed for being lesbian. Evey is to be executed unless she reveals V's location. When she says she would rather die, she is released, only to find herself in V's home. V was the one who captured her at Gordon's home, and staged her imprisonment to free her from her fears. The note was real, passed from Valerie to V when he was imprisoned. He informs her that Gordon was executed when the Quran was found in his home. While Evey initially hates V for what he did to her, she realizes she has become a stronger person. She leaves him, promising to return before November 5.




V For Vendetta 2 ( 75min mp3  34mb).


A novelisation of the film, written by Steve Moore and based on the Wachowskis' script, was published by Pocket Star on January 31, 2006 , and read here by Simon Vance.


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previously

V For Vendetta 1 ( 75min mp3  34mb).



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Hello,


Today's Artist is Andre Romelle Young 1 (born February 18, 1965), known professionally as Dr. Dre, is an American rapper, record producer, entrepreneur, record executive, actor, and audio engineer. He is the founder and CEO of Aftermath Entertainment and Beats Electronics, and was previously co-owner of Death Row Records. Dr. Dre began his career as a member of the World Class Wreckin' Cru in 1985, but found fame with the influential gangsta rap group N.W.A, which popularized explicit lyrics in rap to detail the violence of street life. He is credited as a key figure in the crafting and popularization of West Coast G-funk, a hip hop subgenre characterized as synthesizer-based with slow, heavy beats. As of 2018, he is the third richest figure in hip hop, with a net worth of US$770 million.. ....... N Joy

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Dr. Dre was born as Andre Romelle Young in Compton, California on February 18, 1965, the first child of Theodore and Verna Young. His middle name, Romelle, is derived from his father's amateur rhythm and blues singing group, The Romells. His parents married in 1964, separated in 1968, and divorced in 1972. His mother later remarried to Curtis Crayon and had three children: sons Jerome and Tyree (both deceased) and daughter Shameka. In 1976, Dr. Dre began attending Vanguard Junior High School in Compton, but due to gang violence, he transferred to the safer suburban Roosevelt Junior High School. The family moved often, and they lived in apartments and houses in Compton, Carson, Long Beach and in the Watts and South Central neighborhoods in Los Angeles. Dr. Dre has said that he was mostly raised by his grandmother in New Wilmington Arms housing project in Compton. His mother later married Warren Griffin,[which added three stepsisters and one stepbrother to the family; the stepbrother would eventually become rapper Warren G. Dr. Dre is the cousin of producer Sir Jinx. He attended Centennial High School in Compton during his freshman year in 1979, but transferred to Fremont High School in South Central Los Angeles due to poor grades. He attempted to enroll in an apprenticeship program at Northrop Aviation Company, but poor grades at school made him ineligible. Thereafter, he focused on his social life and entertainment for the remainder of his high school years. Dr. Dre fathered a son with Cassandra Joy Greene named Curtis (born December 15, 1981). Curtis was brought up by his mother and first met his father 20 years later, when Curtis became rapper Hood Surgeon.

Inspired by the Grandmaster Flash song "The Adventures of Grandmaster Flash on the Wheels of Steel", Dr. Dre often attended a club called Eve After Dark to watch many DJs and rappers performing live. He subsequently became a DJ in the club, initially under the name "Dr. J", based on the nickname of Julius Erving, his favorite basketball player. At the club, he met aspiring rapper Antoine Carraby, later to become member DJ Yella of N.W.A. Soon afterwards he adopted the moniker Dr. Dre, a mix of previous alias Dr. J and his first name, referring to himself as the "Master of Mixology". Eve After Dark had a back room with a small four-track studio. In this studio, Dre and Yella recorded several demos. In their first recording session, they recorded a song entitled "Surgery", with the lyrics "calling Dr. Dre to surgery" serving as the chorus to the song. He later joined the musical group World Class Wreckin' Cru under Kru-Cut in 1984. The group would become stars of the electro-hop scene that dominated early 1980s West Coast hip hop. "Surgery", which was officially released after being recorded prior to the group's official formation, would prominently feature Dr. Dre on the turntable. The record would become the group's first hit, selling 50,000 copies within the Compton area.

Dr. Dre and DJ Yella also performed mixes for local radio station KDAY, boosting ratings for its afternoon rush-hour show The Traffic Jam. Dr. Dre's earliest recordings were released in 1994 on a compilation titled Concrete Roots. Stephen Thomas Erlewine of the website AllMusic described the compiled music, released "several years before Dre developed a distinctive style", as "surprisingly generic and unengaging" and "for dedicated fans only". His frequent absences from school jeopardized his position as a diver on his school's swim team. After high school, he attended Chester Adult School in Compton following his mother's demands for him to get a job or continue his education. After brief attendance at a radio broadcasting school, he relocated to the residence of his father and residence of his grandparents before returning to his mother's house. He later dropped out of Chester to focus on performing at the Eve's After Dark nightclub.

In 1986, Dr. Dre met rapper O'Shea Jackson—known as Ice Cube—who collaborated with him to record songs for Ruthless Records, a hip hop record label run by local rapper Eazy-E. N.W.A and fellow West Coast rapper Ice-T are widely credited as seminal artists of the gangsta rap genre, a profanity-heavy subgenre of hip hop, replete with gritty depictions of urban crime and gang lifestyle. Not feeling constricted to racially charged political issues pioneered by rap artists such as Public Enemy or Boogie Down Productions, N.W.A favored themes and uncompromising lyrics, offering stark descriptions of violent, inner-city streets. Propelled by the hit "Fuck tha Police", the group's first full album Straight Outta Compton became a major success, despite an almost complete absence of radio airplay or major concert tours. The Federal Bureau of Investigation sent Ruthless Records a warning letter in response to the song's content. After Ice Cube left N.W.A in 1989 over financial disputes, Dr. Dre produced and performed for much of the group's second album Efil4zaggin. He also produced tracks for a number of other acts on Ruthless Records, including Eazy-E's 1988 solo debut Eazy-Duz-It, Above the Law's 1990 debut Livin' Like Hustlers, Michel'le's 1989 self-titled debut, The D.O.C.'s 1989 debut No One Can Do It Better, J.J. Fad's 1988 debut Supersonic and funk rock musician Jimmy Z's 1991 album Muzical Madness.

After a dispute with Eazy-E, Dre left the group at the peak of its popularity in 1991 under the advice of friend, and N.W.A lyricist, The D.O.C. and his bodyguard at the time, Suge Knight. Knight, a notorious strongman and intimidator, was able to have Eazy-E release Young from his contract and, using Dr. Dre as his flagship artist, founded Death Row Records. In 1992 Young released his first single, the title track to the film Deep Cover, a collaboration with rapper Snoop Dogg, whom he met through Warren G.[13] Dr. Dre's debut solo album was The Chronic, released under Death Row Records with Suge Knight as executive producer. Young ushered in a new style of rap, both in terms of musical style and lyrical content, including introducing a number of artists to the industry including Snoop Dogg, Kurupt, Daz Dillinger, RBX, The Lady of Rage, Nate Dogg and Jewell.

On the strength of singles such as "Nuthin' but a 'G' Thang", "Let Me Ride", and "Fuck wit Dre Day (and Everybody's Celebratin')" (known as "Dre Day" for radio and television play), all of which featured Snoop Dogg as guest vocalist, The Chronic became a cultural phenomenon, its G-funk sound dominating much of hip hop music for the early 1990s. In 1993 the Recording Industry Association of America (RIAA) certified the album triple platinum, and Dr. Dre also won the Grammy Award for Best Rap Solo Performance for his performance on "Let Me Ride". For that year, Billboard magazine also ranked Dr. Dre as the eighth best-selling musical artist, The Chronic as the sixth best-selling album, and "Nuthin' but a 'G' Thang" as the 11th best-selling single.

Besides working on his own material, Dr. Dre produced Snoop Dogg's debut album Doggystyle, which became the first debut album for an artist to enter the Billboard 200 album charts at number one. In 1994 Dr. Dre produced some songs on the soundtracks to the films Above the Rim and Murder Was the Case. He collaborated with fellow N.W.A member Ice Cube for the song "Natural Born Killaz" in 1995. For the film Friday, Dre recorded "Keep Their Heads Ringin'", which reached number ten on the Billboard Hot 100 and number 1 on the Hot Rap Singles (now Hot Rap Tracks) charts. In 1995, Death Row Records signed rapper 2Pac, and began to position him as their major star: he collaborated with Dr. Dre on the commercially successful single "California Love", which became both artists' first song to top the Billboard Hot 100. However, in March 1996 Young left the label amidst a contract dispute and growing concerns that label boss Suge Knight was corrupt, financially dishonest and out of control. Later that year, he formed his own label, Aftermath Entertainment, under the distribution label for Death Row Records, Interscope Records. Subsequently, Death Row Records suffered poor sales by 1997, especially following the death of 2Pac and the racketeering charges brought against Knight.

The Dr. Dre Presents the Aftermath album, released on November 26, 1996, featured songs by Dr. Dre himself, as well as by newly signed Aftermath Entertainment artists, and a solo track "Been There, Done That", intended as a symbolic farewell to gangsta rap. Despite being classified platinum by the RIAA, the album was not very popular among music fans. In October 1996, Dre performed "Been There, Done That" on Saturday Night Live. In 1997, Dr. Dre produced several tracks on The Firm's The Album; it was met with largely negative reviews from critics. Rumors began to abound that Aftermath was facing financial difficulties. Aftermath Entertainment also faced a trademark infringement lawsuit by the underground thrash metal band Aftermath. First Round Knock Out, a compilation of various tracks produced and performed by Dr. Dre, was also released in 1996, with material ranging from World Class Wreckin' Cru to N.W.A to Death Row recordings. Dr. Dre chose to take no part in the ongoing East Coast–West Coast hip hop rivalry of the time, instead producing for, and appearing on, several New York artists' releases, such as Nas'"Nas Is Coming", LL Cool J's "Zoom" and Jay-Z's "Watch Me".

The turning point for Aftermath came in 1998, when Jimmy Iovine, the head of Aftermath's parent label Interscope, suggested that Dr. Dre sign Eminem, a white rapper from Detroit. Dre produced three songs and provided vocals for two on Eminem's successful and controversial debut album The Slim Shady LP, released in 1999. The Dr. Dre-produced lead single from that album, "My Name Is", brought Eminem to public attention for the first time, and the success of The Slim Shady LP – it reached number two on the Billboard 200 and received general acclaim from critics – revived the label's commercial ambitions and viability;

Dr. Dre's second solo album, 2001, released on November 16, 1999, was considered an ostentatious return to his gangsta rap roots. It was initially titled The Chronic 2000 to imply being a sequel to his debut solo effort The Chronic but was re-titled 2001 after Death Row Records released an unrelated compilation album with the title Suge Knight Represents: Chronic 2000 in May 1999. Other tentative titles included The Chronic 2001 and Dr. Dre. The album featured numerous collaborators, including Devin the Dude, Snoop Dogg, Kurupt, Xzibit, Nate Dogg, Eminem, Knoc-turn'al, King T, Defari, Kokane, Mary J. Blige and new protégé Hittman, as well as co-production between Dre and new Aftermath producer Mel-Man. Stephen Thomas Erlewine of the website AllMusic described the sound of the album as "adding ominous strings, soulful vocals, and reggae" to Dr. Dre's style. The album was highly successful, charting at number two on the Billboard 200 charts and has since been certified six times platinum, validating a recurring theme on the album: Dr. Dre was still a force to be reckoned with, despite the lack of major releases in the previous few years. The album included popular hit singles "Still D.R.E." and "Forgot About Dre", both of which Dr. Dre performed on NBC's Saturday Night Live on October 23, 1999. Dr. Dre won the Grammy Award for Producer of the Year, Non-Classical in 2000, and joined the Up in Smoke Tour with fellow rappers Eminem, Snoop Dogg, and Ice Cube that year as well.

During the course of 2001's popularity, Dr. Dre was involved in several lawsuits. Lucasfilm Ltd., the film company behind the Star Wars film franchise, sued him over the use of the THX-trademarked "Deep Note". The Fatback Band also sued Dr. Dre over alleged infringement regarding its song "Backstrokin'" in his song "Let's Get High" from the 2001 album; Dr. Dre was ordered to pay $1.5 million to the band in 2003. French jazz musician Jacques Loussier sued Aftermath for $10 million in March 2002, claiming that the Dr. Dre-produced Eminem track "Kill You" plagiarized his composition "Pulsion". The online music file-sharing company Napster also settled a lawsuit with him and metal band Metallica in the summer of 2001, agreeing to block access to certain files that artists do not want to have shared on the network.

Following the success of 2001, Dr. Dre focused on producing songs and albums for other artists. He co-produced six tracks on Eminem's landmark Marshall Mathers LP, including the Grammy-winning lead single, "The Real Slim Shady". The album itself earned a Grammy and proved to be the fastest-selling rap album of all time, moving 1.76 million units in its first week alone. He produced the single "Family Affair" by R&B singer Mary J. Blige for her album No More Drama in 2001.He also produced "Let Me Blow Ya Mind", a duet by rapper Eve and No Doubt lead singer Gwen Stefani and signed R&B singer Truth Hurts to Aftermath in 2001. Dr. Dre was the executive producer of Eminem's 2002 release, The Eminem Show. He produced three songs on the album, one of which was released as a single, and he appeared in the award-winning video for "Without Me". He also produced The D.O.C.'s 2003 album Deuce, where he made a guest appearance on the tracks "Psychic Pymp Hotline", "Gorilla Pympin'" and "Judgment Day".

Another successful album on the Aftermath label was Get Rich or Die Tryin', the 2003 major-label debut album by Queens, New York-based rapper 50 Cent. Dr. Dre produced or co-produced four tracks on the album, including the hit single "In da Club", a joint production between Aftermath, Eminem's boutique label Shady Records and Interscope. Eminem's fourth album since joining Aftermath, Encore, again saw Dre taking on the role of executive producer, and this time he was more actively involved in the music, producing or co-producing a total of eight tracks, including three singles. In November 2004, at the Vibe magazine awards show in Los Angeles, Dr. Dre was attacked by a fan named Jimmy James Johnson, who was supposedly asking for an autograph. In the resulting scuffle, then-G-Unit rapper Young Buck stabbed the man. Johnson claimed that Suge Knight, president of Death Row Records, paid him $5,000 to assault Dre in order to humiliate him before he received his Lifetime Achievement Award. Knight immediately went on CBS's The Late Late Show to deny involvement and insisted that he supported Dr. Dre and wanted Johnson charged. In September 2005, Johnson was sentenced to a year in prison and ordered to stay away from Dr. Dre until 2008.

Dr. Dre also produced "How We Do", a 2005 hit single from rapper The Game from his album The Documentary, as well as tracks on 50 Cent's successful second album The Massacre. For an issue of Rolling Stone magazine in April 2005, Dr. Dre was ranked 54th out of 100 artists for Rolling Stone magazine's list "The Immortals: The Greatest Artists of All Time". Kanye West wrote the summary for Dr. Dre, where he stated Dr. Dre's song "Xxplosive" as where he "got (his) whole sound from".In November 2006, Dr. Dre began working with Raekwon on his album Only Built 4 Cuban Linx II. He also produced tracks for the rap albums Buck the World by Young Buck, Curtis by 50 Cent, Tha Blue Carpet Treatment by Snoop Dogg, and Kingdom Come by Jay-Z. Dre also appeared on Timbaland's track "Bounce", from his 2007 solo album, Timbaland Presents Shock Value alongside, Missy Elliott, and Justin Timberlake. During this period, The D.O.C. stated that Dre had been working with him on his fourth album Voices through Hot Vessels, which he planned to release after Detox arrived.

In 2007, Dr. Dre's third studio album, formerly known as Detox, was slated to be his final studio album. Work for the upcoming album dates back to 2001, where its first version was called "the most advanced rap album ever", by producer Scott Storch. Later that same year, he decided to stop working on the album to focus on producing for other artists, but then changed his mind; the album had initially been set for a fall 2005 release. Producers confirmed to work on the album include DJ Khalil, Nottz, Bernard "Focus" Edwards Jr., Hi-Tek, J.R. Rotem, RZA, Jay-Z, Warren G, and Boi-1da. Snoop Dogg claimed that Detox was finished, according to a June 2008 report by Rolling Stone magazine.After another delay based on producing other artists' work, Detox was then scheduled for a 2010 release, coming after 50 Cent's Before I Self Destruct and Eminem's Relapse, an album for which Dr. Dre handled the bulk of production duties.In a Dr Pepper commercial that debuted on May 28, 2009, he premiered the first official snippet of Detox. 50 Cent and Eminem asserted in an interview on BET's 106 & Park that Dr. Dre had around a dozen songs finished for Detox.

Dre dipped back into rapping by dropping two singles: "Kush" featuring Snoop Dogg and Akon and "I Need a Doctor" with Eminem and Skylar Grey. He continued to tease Detox, but ended up returning to the studio to focus on his next big breakout act, Compton's own Kendrick Lamar. At the start of 2014, Beats launched a streaming music service, Beats Music. Beats was acquired by Apple Inc. later in the year, as Dre announced he was the "first billionaire in hip-hop." In 2015, the Academy Award-nominated N.W.A. biographical drama Straight Outta Compton was released in theaters and influenced the producer to scrap Detox in favor of an LP inspired by the film. The album Compton: A Soundtrack by Dr. Dre landed that same year with Kendrick Lamar, Anderson. Paak, Ice Cube, the Game, Eminem, and many more on the guest list.With N.W.A.'s cultural resurgence and mainstream recognition of their legacy in the history of rap and hip-hop, the group received another honor for their contribution to music with their induction into the Rock 'N Roll Hall of Fame in 2016.

In July 2008, Dr. Dre released his first brand of headphones, Beats by Dr. Dre. The line consisted of Beats Studio, a circumaural headphone; Beats Tour, an in-ear headphone; Beats Solo & Solo HD, a supra-aural headphone; Beats Spin; Heartbeats by Lady Gaga, also an in-ear headphone; and Diddy Beats. After sports figures and other celebrities adopted the headphones en masse, Beats' success skyrocketed. By 2010, the company was valued at just under a billion dollars. In autumn 2009, Hewlett-Packard participated in a deal to bundle Beats By Dr. Dre with some HP laptops and headsets. HP and Dr. Dre announced the deal on October 9, 2009, at a press event in Santa Monica, California. An exclusive laptop, known as the HP ENVY 15 Beats limited edition, was released for sale October 22. In May 2014, technology giant Apple purchased the Beats brand for $3 billion, Apple's most expensive purchase by far. The deal made Dr. Dre the "richest man in hip hop", surpassing Diddy.

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The Slim Shady LP announced not only Eminem's arrival, but it established that his producer Dr. Dre was anything but passé, thereby raising expectations for 2001, the long-anticipated sequel to The Chronic. It suggested that 2001 wouldn't simply be recycled Chronic, and, musically speaking, that's more or less true. He's pushed himself hard, finding new variations in the formula by adding ominous strings, soulful vocals, and reggae, resulting in fairly interesting recontextualizations. Padded out to 22 tracks, 2001 isn't as consistent or striking as Slim Shady, but the music is always brimming with character. If only the same could be said about the rappers! Why does a producer as original as Dre work with such pedestrian rappers? Perhaps it's to ensure his control over the project, or to mask his own shortcomings as an MC, but the album suffers considerably as a result. Out of all the other rappers on 2001, only Snoop and Eminem -- Dre's two great protégés -- have character and while Eminem's jokiness still is unpredictable, Snoop sounds nearly as tired as the second-rate rappers. The only difference is, there's pleasure in hearing Snoop's style, while the rest sound staid. That's the major problem with 2001: lyrically and thematically, it's nothing but gangsta clichés. Scratch that, it's über-gangsta, blown up so large that it feels like a parody. Song after song, there's a never-ending litany of violence, drugs, pussy, bitches, dope, guns, and gangsters. After a full decade of this, it takes real effort to get outraged at this stuff, so chances are, you'll shut out the words and groove along since, sonically, this is first-rate, straight-up gangsta. Still, no matter how much fun you may have, it's hard not to shake the feeling that this is cheap, not lasting, fun.



 Dr. Dre - 2001 (flac   444mb)

01 Lolo (Intro) 0:40
02 The Watcher 3:28
03 Fuck You 3:25
04 Still D.R.E. 4:28
05 Big Ego's 4:01
06 Xxplosive 3:35
07 What's The Difference 4:04
08 Bar One 0:51
09 Light Speed 2:30
10 Forgot About Dre 3:54
11 Next Episode 2:42
12 Let's Get High 2:27
13 Bitch Niggaz 4:14
14 Car Bomb 1:01
15 Murder Ink 2:28
16 Ed-Ucation 1:32
17 Some L.A. Niggaz 4:25
18 Pause 4 Porno 1:33
19 Housewife 4:03
20 Ackrite 3:40
21 Bang Bang 3:42
22 The Message/Outro 5:11

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Pretty good mixtape. It's mostly a compilation of songs Dre has produced for other people, and leftovers from when he worked with people such as Rakim and King T. There isn't much quality control here and there's lots of average tracks, but there's also a few gems here and the production is, of course, consistently good. A bit long too, but I'm pretty sure this wasn't even authorized by Dre so you can't blame the lack of quality control, because Dre's perfectionism wouldn't allow him to output a mixtape like this. Best Tracks: Mind Made Up, Hard Liquor, Where I'm From, After U Die, My Life, Not Today, Gorilla Pimpin, It's a Shame, Get Your Money Right, Da Kron



 Dr Dre ‎– Dretox   (flac   487mb)

01 Intro 0:24
02 Mind Made Up 3:11
03 Hard Liquor 3:50
04 We Up To No Good 3:22
05 The Way We Came Up 2:43
06 Take The Heat 3:13
07 Numb Encore 4:25
08 Where I'm From 4:04
09 After U Die 2:29
10 My Life 2:38
11 Not Today 4:06
12 Push Play 1:35
13 It's You I Adore 5:28
14 Gorilla Pimpin 4:53
15 Finger Thangzzz 3:33
16 It's A Shame 3:39
17 Get You Money Right 3:09
18 Murder 1:47
19 Judgement Day 3:55
20 Da Kron 4:14
21 Here We Go Again 3:17
22 There They Go 3:08
23 The Future 4:53

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For 16 years, the third Dr. Dre album was supposed to be The Detox, but that once-mythical, canceled LP was replaced by Compton: A Soundtrack by Dr. Dre, a supposedly final effort that was "inspired" by the N.W.A. biopic Straight Outta Compton. When Dre says "inspired" he likely means the film gave him a reason to consider his history, and how he went from local gangsta to national threat, and on to billionaire businessman extraordinaire. Still, the most pleasing element of Compton is that it touches on all of the above but lives in the present. This brilliant kaleidoscopic LP, which was recorded in under a year, focuses on the veteran producer's connection to the modern world as it references Eric Garner, frames it with N.W.A.'s history, and decides that little has changed. It also celebrates the new breed, taking the busy, jazz-inspired structure of Kendrick Lamar's masterpiece release To Pimp a Butterfly, and adds grooves that are entirely Dre, playing it steady, swaying, and locking listeners in. Early highlight "Genocide" puts it all in one cut as robotic funk finds Kendrick in full rage, while Marsha Ambrosius and Candice Pillay provide the soul before the track exits with some wild dubstep doo wop, as the more developed Compton still has all the quirks and smart-ass humor of The Chronic. The music is crooked enough to put Snoop Dogg into the groove for the swaggering "Satisfaction," and remains raw enough to drive Eminem into dangerous territory on "Medicine Man," while fellow N.W.A. member Ice Cube is offered a challenging, compressed loop for the straight talking and rightfully agitated "Issues." Quotes from past albums and past productions are all over this album, and the Aftermath roster comes alive again with Jon Connor and Justus shining in their spotlights, and after an angelic Jill Scott feature dubbed "For the Love of Money" paints this former Death Row artist as more serene than anyone ever thought, the closing "Talking to My Diary" ties up the loose ends as Dre professes a belief that Eazy-E is smiling at him from above. It's an excellent end to an attractive and rich LP, and as the man returns to icon status with this stoic and stern stance, the most unfortunate thing about this "final" effort is that this unproductive gangsta perfectionist who moves at a Golem's pace has now flourished under a tight timetable. Since Compton crackles with life and spirit, it seems a shame to shut that door.



Dr. Dre - Compton (flac   463mb)

01 Intro 1:15
02 Talk About It 3:15
03 Genocide 4:26
04 It’s All On Me 3:47
05 All In A Day’s Work 5:13
06 Darkside / Gone 3:53
07 Loose Cannons 4:13
08 Issues 3:42
09 Deep Water 5:11
10 One Shot One Kill 3:25
11 Just Another Day 2:21
12 For The Love Of Money 4:08
13 Satisfiction 4:24
14 Animals 3:47
15 Medicine Man 4:14
16 Talking To My Diary 4:23

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2001 Instrumentals is easily the better of the two albums. Even though it is purely instrumental tracks of the album counterpart this slays.The beats are top quality, they sound fresh, modern and that overwhelming factor there catchy!. Not to stale the album but the lyrics do spoil this album purely for the beats are so much better. Dr. Dre has never been a great rapper. I don't care for his voice and his lines were/are ghost written by someone else anyway. That said, he has always been a standout producer and beatmaker, even going back to albums like No One Can Do It Better.

Without the vocals, which are really just a distraction at best anyway, you can hear how well produced this album actually was. The beats are very carefully crafted, with little slivers of melody here and there. They are almost minimalistic in approach, but I don't get bored listening to them. This album, in its instrumental form, manages to be very engaging yet relaxing at the same time. I like the fact that these are true instrumentals - they didn't leave the hook/chorus parts in at all.
Songs such as Still D.R.E., What's the Difference and The Next Episode are probably the more famous songs with some the the best hip hop beats I've heard in the mainstream stuff. Great for various videos and parties, to be fair this is the party album for those gangstas among us.



Dr. Dre - 2001 Instrumentals (flac   367mb)

01 Lolo (Intro) 0:40
02 The Watcher 3:28
03 Fuck You 3:25
04 Still D.R.E. 4:28
05 Big Ego's 4:01
06 Xxplosive 3:35
07 What's The Difference 4:04
08 Bar One 0:51
09 Light Speed 2:30
10 Forgot About Dre 3:54
11 Next Episode 2:42
12 Let's Get High 2:27
13 Bitch Niggaz 4:14
14 Murder Ink 2:28
15 Some L.A. Niggaz 4:25
16 Pause 4 Porno 1:33
17 Housewife 4:03
18 Ackrite 3:40
19 Bang Bang 3:42
20 The Message  5:11

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