Hello,  more soundtracks by Max.......


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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Susan (Eva Green, Cracks, Casino Royale) is a scientist whose research has caused her to neglect virtually everything else in her life, including love. That is until she meets Michael (Ewan McGregor, The Ghost Writer, Angels & Demons), a talented chef, and suddenly everything starts to change not just in Susan s life, but in the entire world. While Susan and Michael are experiencing new and unforeseen depths of feeling, all around the globe a new epidemic is causing people to lose their sensory perceptions. Are Susan and Michael s increasingly intense feelings for each other in spite of the epidemic, or because of it? A life-affirming look at what it means to love and be loved in turbulent times, director David Mackenzie s PERFECT SENSE is equal parts touching romance and chilling thriller.  The film premiered at the 2011 Sundance Film Festival. Max pushed the movie to another level here by this beautiful work Upon re-watching Perfect Sense it became clear that the music was a big part of what made the movie so powerful. Outstanding tracks Sorrow Atoms and Luminous.



Max Richter - Perfect Sense (O.S.T.) (flac 225mb)

01 On A Turning World 2:40
02 Faint Pulse 0:49
03 Sorrow Atoms 3:14
04 Frequencies, Detectors 0:50
05 Tenderly The Light 1:46
06 Monologue 1:33
07 The Dark Abysm Of Time 1:19
08 Love Song (Cascade) 1:03
09 Overlooked 2:10
10 Retinal 2:44
11 Fictions And Data 2:05
12 A Place We Were 1:09
13 Something Under Her Skin 3:02
14 All Around Us 2:44
15 A Lovers Complaint 3:35
16 Overload 2:33
17 Things Left Behind 3:22
18 Love Song (Nocturnal) 1:51
19 Eternal Flowers Question Stars 2:26
20 Requeim 1:46
21 Luminous 5:06

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One of the most beautiful and definitive tracks in Max Richter's ever-growing body of work is "On the Nature of Daylight" from The Blue Notebooks, the album that brought him to the attention of many critics and fans. Since that breakthrough, he's developed a niche as a composer ready and willing to revamp the classics, as he did with Vivaldi's The Four Seasons, as well as a sensitive and versatile composer of scores for films ranging from looks at the not-so-tame secret lives of domesticated animals (Die Fremde) to dystopian sci-fi (Perfect Sense). Richter's music for Disconnect is an intersection of those career paths: the score uses "Daylight" as its emotional and musical focus, surrounding it with pieces that echo and complement it. While Martin Scorsese's brain-twisting thriller Shutter Island also featured the piece prominently, here it's fundamental to the film and its exploration of how technology brings people together and (more often) pulls them apart. Cues like "The Swimmer" reprise "On the Nature of Daylight"'s beautifully somber violin melodies, while "Confrontation" pits them against pummeling electronic beats in a way that could be heavy-handed but maintains a dignified poignancy in Richter's hands. Elsewhere, the score borrows from other Blue Notebooks pieces like the lovely "Written on the Sky," or evokes them as on the mournful organ pieces "Hospital" and "The Gun." Given the film's tech fixation, most of the rest of Disconnect's music is more electronic and makes the most of Richter's minimalism, whether on brief, wash-like tracks such as "The Report" or more elaborate ones like "Zero Balance," which moves from delicate tones to more ominous ones as it progresses. Many of these tracks aren't as attention-getting as the ones that draw from Richter's classical roots, but his cues for Disconnect's action scenes are as tense as they are restrained; "Pursuit" and "Running" are just as taut, but far subtler, than a typical climactic score piece. Disconnect is of a piece with scores like Cliff Martinez's Traffic, where the music seems to just faintly tint the air with the proper mood. It may not be among Richter's richest works, but he provides what the film needs from its music with more depth and restraint than many other composers could have managed.



Max Richter - Disconnect (O.S.T.) (flac 232mb)

01 On the Nature of Daylight 6:14
02 Find Schumaker 0:47
03 Love Slave 2:49
04 Zero Balance 4:00
05 Clone the Hard Drive 1:20
06 Pursuit 1:35
07 Hospital 1:41
08 Running 7:04
09 The Report 0:58
10 Written on the Sky 1:38
11 Arrival 2:10
12 Drycleaner 1:46
13 Break In 3:29
14 Confrontation 11:01
15 Afghanistan 1:33
16 I Will Come and Get You 2:05
17 The Gun 2:07
18 Derek to El Paso 1:39
19 Unwritten 1:49
20 The Swimmer 2:07
21 Ni su nave (Bonus Track) 2:57


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Great score. Came up on a Pandora playlist a few times before I had even heard of the movie (which is a trip-fest, by the way). Never knew Robin Wright was a singer, but she nails the two songs she does on this. Drops a star for a few of the higher tempo songs, but if I was being honest, that's mostly because they remind me that I was pretty confused by what the hell was happening in the movie!
Heartachingly beautiful music and Robin Wright continues to surprise and delight with her talents. Fair warning though, a few of the pieces will bring tears to your eyes because they are just such pure aural bliss.



Max Richter - Le Congrès (O.S.T.)   (flac 246mb)

1 Beginning and Ending 4:54
Piano Trio No. 2 in E flat major
2 Andante con Moto from Trio in E-flat major, D.929 4:17
3 Winterreise 2:09
4 On the Road to Abrahama 1 4:14
5 In Her Reflection 1:18
6 On the Road to Abrahama 2 1:15
7 All Your Joys, All Your Pain 4:52
8 In the Cosmic Lobby 2:19
9 Out of the Dark 5:03
10 The Rebel Attack 3:14
11 Still Dreaming, Still Travelling 1:30
12 Forever Young 4:03

Nocturnes
13 Nocturne Op. 27, No. 1 in C# minor 1:15
14 In the Garden of Cosmic Speculation 3:55
15 Badass Agent Robin 1:03
16 She Finds the Child 3:39
17 If it Be Your Will 4:10

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The first 6 tracks from the score do a great job of creating this musical atmosphere of space. "Stormy Weather", track 1, introduces a theme that you'll hear throughout various points in the score. It's very ominous but also captures a sense of vastness. High pitched strings slowly moving back and forth over two notes repeatedly are joined like an echo by the low brass. You can't help but to imagine that you are looking over the strange landscape of the planet mars. The second track continues this same theme but adds twinkling flutes and violins to give you that classic "space" feel in the score. These opening three tracks are somewhat minimalistic but yet very effective in setting up this atmosphere for the story. Richter does an exceptionable job at being able to maintain this "space vibe" while tangling it with the feeling that something bad is going to happen. The composer begins to add tension building electronic pulse rhythms in "Final Briefing" (track 6) and occasionally toys around with other such sounds in the following tracks. The composer manages to fit everything together without losing sight of the already established tone of the score. The increasing "strangeness" of the instrumentation only heightens the effect of things growing more and more out of control within the story. "Dalby and Marko" (track 8) is a great example of this development within the music. It's a rather long piece running nearly 9 minutes but it gives plenty of time to evolve the music into new areas and becomes almost like a new chapter in the events to come. "They are still moving" (track 10), has a static fluttering effect that conveys the sense of movement and Richter continues to throw in other unique sounds throughout the following tracks that gives you the sense that events are spiraling out of control and getting more horrible by the minute. The composer also manages to find moments to sneak in some of the earlier themes in this escalating horror and I appreciate the reminders.

There are times when the score dips down into some excessively long sequences of almost silent ambience however. Cues like "Runaway" (track 17) are slow to develop and become less interesting until they are nearly over. Fortunately, we are rewarded with great tracks like "Ascent" (track 22) that is a very climatic piece that gradually "ascends" into a growing and powerful piece that suddenly and somewhat unexpectedly stops. The final track, "Its Full of Stars", is a more robust version of the theme that was introduced in the first track. It's a great sounding piece that becomes a great way to close the score.



Max Richter - The Last Days On Mars (O.S.T.) ( flac   282mb)

01 Stormy Weather 1:33
02 Aurora Mars Mission 2 1:06
03 Lost in Space 3:11
04 Airlock 1:12
05 Secret Plan 1:26
06 Final Briefing 1:15
07 After the Collapse 0:49
08 Dalby and Marko 8:50
09 The Return of Dalby and Marko 4:43
10 They Are Still Moving 2:36
11 Escape 0:30
12 The Plan 2:10
13 The Tunnel 4:09
14 Return to Base 5:31
15 We Got an Emergency Down Here 4:01
16 There Is No Escaping Out of Here 2:58
17 Runaway 4:01
18 Do You Think They Still Feel? 1:31
19 Please Respond 1:01
20 Lane 2:57
21 Do Not Open the Doors 2:20
22 Ascent 2:54
23 Its Full of Stars 5:34

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Testament Of Youth is a British drama telling the true story of Vera Brittan who served as a voluntary aid detachment nurse in London, Malta and France during World War I who later became a writer and a pacifist. It is based on the First World War memoir of the same name written by Vera Brittain. It’s directed by James Kent and the music is composed by Max Richter, whowrote a beautiful and engaging score to the film.
‘No More Fear’ somewhat puts me at ease. Fear no more. This is very nice. It’s a minimalistic cue with only a guitar like instrument and a solo violin underneath. Simple and nice. Pretty good start to hopefully another great score. ‘Prelude’ ups the tempo a little bit with a nice harp motif at the start. A lovely complementary violin adds so much to this cue. From 1:27 it takes off with some piano. This is the first goose bump moment of the score. Love it! ‘Love And Imagination’ is yet another winner in my book. It’s so simple, yet so beautiful. The first part of the score has been really good, mostly a bit dark, but good. There’s been quite a few highlights, in fact most of the cues are highlights of this great score. ‘Realities’ despite it’s name is quite uplifting, not unlike ‘The Rising Of The Sun’. It seems like it could take a positive turn musically now with ‘A Duet For Three’ which feels like a dance, a classical dance. It’s lightweight and quite catchy. I like it. More dance with ‘These I Send To You’, but a more slower experience. Max Richter is awesome, he is the composer who says the most with the least amount of music these days. This is another minimalistic score that appeals. There’s just no need to be very complex to get access to emotions. All you need it to hit that right note, the right motif and Richter has done it again. .



Max Richter - Testament of Youth (O.S.T.)   (flac   177mb)

01 No More Fear 1:05
02 Prelude 1:54
03 Love and Imagination 2:42
04 Pools of Gold 1:42
05 Never Did Run Smooth 1:40
06 The Triumph of Time 1:27
07 Each Others Minds 1:59
08 The Rising of the Sun 2:37
09 Anathemata 1:38
10 Departed 1:27
11 Action at a Distance 1:07
12 Realities 1:08
13 A Duet for Three 1:41
14 These I Send to You 2:33
15 Before the Ending of the Day 1:18
16 The Chambers of the Heart 0:56
17 Vergissmeinnicht 5:11
18 Mantegna / Entropy 0:55
19 Returning Over the Nightmare Ground 2:53
20 Et in Terra Pax 2:03
21 I Will Not Forget You 3:55

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Hello, new host today Solidfiles , hope you enjoy it.


Only 6 correct requests for this week,1 too early,  1 twice same artist, whatever another batch of 24 re-ups (7.8 gig)


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

Looka here , requests fulfilled up to Decemberrrr   22th... N'Joy

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4x Roots Back In Flac (Juana Molina - Son, Juana Molina - Un Dia, Juana Molina - Wed 21, Juana Molina - Halo)



24x Sundaze Back in Flac (Angelo Badalamenti - The Edge of Love, David Lynch - Inland Empire, David Lynch - Crazy Clown Time, Badalamenti & Lynch Archive part 8 )



4x Grooves Back In Flac (Bill Withers - Just As I Am, Bill Withers - Still Bill,  Bill Withers - Live At Carnegie Hall,  Bill Withers -  +'Justments )



4x Beats Back in Flac ( VA - Artcore 3-1, VA - Artcore 3-2, VA - Artcore 4 (DnB Beat Tech)-1, VA - Artcore 4 (DnB Beat Tech)-2  ) = 11



3x Grooves Back in Flac (Bebo Best - Bossa & Sitar, Bebo Best ‎– D'Jazzonga, Bebo Best - Saronno On The Rocks)



5x Aetix NOW in Flac ( Cosey Fanni Tutti - Time to Tell, Chris and Cosey - Songs of Love and Lust, Chris And Cosey - Exotika + Take Five,  Chris and Cosey - Obsession EP, Chris and Cosey - Trust)


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Hello,


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Brainwave Entrainment is a safe and powerful method of calming the activity in your mind so that you can achieve a state of complete relaxation and mental clarity. It is an extremely effective way of training the mind to enter a state of deep meditation or sleep without years and years of practice.  By listening to specially prepared sounds known as binaural beats, your mind will gradually adjust its natural rhythms, helping you to become serene and clear minded. It really is that simple. Binaural beats are a scientifically proven technology for achieving profound relaxation and they can improve your overall health by dramatically reducing the effects of stress in your life.

Think about it for a moment...your mind is at work all day, every day. Every decision you make, every challenge that you face, every moment you go through in life, your mind is your constant companion, and it can be your best friend or your worst enemy. Your mind is something you need to take good care of, because your quality of life is directly related to your "quality of mind".

Here you'll find two 30 minute brainwave entrainment tracks. The pulse frequency for both tracks is 6 Hz (theta). The pulse is generated by isochronic, monaural, and binaural waveforms. The two tracks differ only in terms of the ambient nature sounds and harmonic melodies accompanying each track. These Theta brainwave frequencies are associated with mind states of extreme relaxation, heightened suggestibility, and inner well-being. The brainwave entrainment pulses on this CD are effective when listened to through audio speakers or headphones. Use passive noise-isolating in-ear headphones for optimal audio reproduction of entrainment pulses. For further information on how to listen to Deep Mind Audio, click here.



Deep Mind - Theta Brainwave Entrainment ( flac   374mb)

01 Melodic River 30:00 includes the relaxing sound of flowing water with melodic bells.
02 Shower Refrain 30:00 includes the sound of gentle rain with a rich refrain of higher octave bells


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Here we offer a brief preview of our directions in 2020 and beyond, supporting a revolutionary interpretation of the mythic and symbolic archetypes. Our purpose is to demonstrate that the documented archetypes are explicitly and inseparably connected to the themes we’ve repeatedly affirmed in these Discourses. Our claim is that the archetypes as a whole can be fully and persuasively explained in terms of the extraordinary natural world from which the ancient civilizations themselves arose. No archetype can then be excluded, and CONSISTENCY between wide-ranging archetypes becomes an acid test.

In this first part of a two-part presentation, we look ahead to our upcoming comprehensive explanation of the mythic archetypes, running through 2020. The projected series will include the totality of identifiable archetypes under the acid tests of predictive ability.



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This series, Discourses on an Alien Sky, begins an extended exploration of ancient cultural themes introduced in the documentary, Symbols of an Alien Sky. The subject is the ancient experience of towering celestial forms that are no longer present. From a single snapshot of the configuration, we can work backward to the first appearance of these bodies out of an undifferentiated cloud or sea of dusty plasma. We can then follow the configuration’s evolution through phases that range from quasi-stability to earth-shaking catastrophe. The foundation of this reconstruction is provided by the points of agreement between ancient cultures the world over.




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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 3 ( 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).
V For Vendetta 2 ( 75min mp3  34mb).


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Hello, a merry Christmas and yes a Happy New Year to you all, on that latter who knows it might be the year of the Apocalypse, after all it's not every year that everyone is bestowed with 20/20 vision. Unlike what Hollywood and reli-nutters are telling us the Apocalypse simply means the unveiling (of that what's been hidden). Obviously there's much hidden and frightning global disasters are well enshrouded in myths, which our too smart scientists say never happened anyway, coz they are all uniformitarians, silly boys. Anyway plenty of local disasters coming up-as always but global disasters will be as rare as ever, in fact it's only the sun that could do us in...any time. That's to say just getting rid of us humans would be prefarble to Mother Earth, it could come through some mad man creating a deadly virus with extreme infectivity. Nevertheless, a Happy New Year to you all...

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Remember, there's nothing to fear but fear itself, you can get your vaccination shot right here

Xmas vaccination for 2020 ( flac   445mb)

A long awaited album, but just in time....

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Hello, with over 170 million records sold globally, Marshall Bruce Mathers III is among the best-selling music artists of all time. He was the best-selling music artist in the United States in the 2000s, sigh..such a confused country. Trash sells in America !, but what about all that plastic ?




Today's Artist is another case of rags to riches the US always drools over."At the dawn of the 21st Century, Slim Shady had the biggest mouth in the music biz. And man oh man were people upset about the words coming out of it. Drugs, murder, rape, and attacks on pop culture icons were casual topics; and no matter how ridiculous his stories were he made sure you believed every. single. word. However, his praise was just as large as the controversy, not to mention sales. Clever wording coupled with vicious delivery made him perhaps the most technically skilled MC ever within the mainstream.  . ....... N Joy

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To call Eminem hip-hop's Elvis is correct to a degree, but it's largely inaccurate. Certainly, Eminem was the first white rapper since the Beastie Boys to garner both sales and critical respect, but his impact exceeded this confining distinction. On sheer verbal skills, Eminem was one of the greatest MCs of his generation -- rapid, fluid, dexterous, and unpredictable, as capable of pulling off long-form narratives as he was delivering a withering aside -- and thanks to his mentor Dr. Dre, he had music to match: thick, muscular loops that evoked the terror and paranoia Em's music conjured. And, to be certain, a great deal of the controversy Eminem courted -- and during the turn of the millennium, there was no greater pop cultural bogeyman than Marshall Mathers -- came through in how his violent fantasias, often directed at his mother or his wife, intertwined with flights of absurdity that appealed to listeners too young to absorb the psychodramas Eminem explored on his hit albums, The Slim Shady LP and The Marshall Mathers LP. With hits "My Name Is" and "The Real Slim Shady," he ruled the airwaves, but it wasn't long before some detractors acknowledged his depth, helped in part by singles like the mournful "Stan," written from the perspective of an obsessed fan. Eminem capitalized on this forward momentum by crossing over onto the big screen with 8 Mile, earning acclaim for his performance and an Oscar for the film's anthem "Lose Yourself," but a number of demons led him to shut down for the second half of the decade, an absence that proved life was indeed empty without Em, before he returned in 2009 with Relapse.

Born Marshall Mathers in the Kansas City, Missouri suburb of St. Joseph, Eminem spent his childhood between Missouri and Michigan, settling in Detroit by his teens. At the age of 14, he began rapping with a high-school friend, the two adopting the names "Manix" and "M&M," which soon morphed into Eminem. Under this name, Mathers entered battle rapping, a struggle dramatized in the fictionalized 8 Mile. Initially, the predominantly African-American audience didn't embrace Eminem, but soon his skills gained him a reputation, and he was recruited to join several rap groups. The first of these was the New Jacks, and after they disbanded, he joined Soul Intent, who released a single in 1995. This single also featured Proof, and the two rappers broke off on their own to form D-12, a six-member crew that functioned more as a Wu-Tang-styled collective than a regularly performing group. As he was struggling to establish his career, he and his girlfriend Kim had a daughter, Hailey, forcing him to spend less time rapping and more time providing for his family. During this time, he assembled his first album, Infinite, which received some underground attention in 1996, not all of it positive. After its release, Eminem developed his Slim Shady alter ego, a persona that freed him to dig deep into his dark id, something he needed as he faced a number of personal upheavals, beginning with a bad split with Kim, which led him to move in with his mother and increase his use of drugs and alcohol, capped off with an unsuccessful suicide attempt. All this Sturm und Drang was channeled into The Slim Shady EP, which is where he first demonstrated many of the quirks that became his trademark, including his twitchy, nasal rhyming and disturbingly violent imagery.

The Slim Shady EP opened many doors, the most notable of them being a contract with Interscope Records. After Eminem came in second at the 1997 Rap Olympics MC Battle in Los Angeles, Interscope head Jimmy Iovine sought out the rapper, giving the EP to Dr. Dre, who proved eager to work with Eminem. They quickly cut Em's Interscope debut in the fall of 1998 -- during which time Marshall reconciled with Kim and married her -- and The Slim Shady LP appeared early in 1999, preceded by the single "My Name Is." Both were instant blockbusters and Eminem turned into a lightning rod for attention, earning praise and disdain for his violent, satirical fantasias. Eminem quickly followed The Slim Shady LP with The Marshall Mathers LP in the summer of 2000. By this point, there was little doubt that Eminem was one of the biggest stars in pop music: the album sold by the truckload, selling almost two million copies within the first two weeks of release, but Mathers felt compelled to tweak other celebrities, provoking pop stars in his lyrics, and Insane Clown Posse's entourage in person, providing endless fodder for tabloids. This gossip blended with growing criticism about his violent and homophobic lyrics, and under this fire, he reunited his old crew, D-12, releasing an album in 2001, then touring with the group.

During this furor, he had his biggest hit in the form of the moody ballad "Stan." Performed at the Grammys as a duet with Elton John, thereby undercutting some accusations of homophobia, the song helped Eminem to cross over to a middlebrow audience, setting the stage for the ultimate crossover of 2001's 8 Mile. Directed by Curtis Hanson, best known as the Oscar-nominated director of L.A. Confidential, the gritty drama fictionalized Eminem's pre-fame Detroit days and earned considerable praise, culminating in one of his biggest hits with the theme "Lose Yourself," which won Mathers an Oscar. After all this, he retreated from the spotlight to record his third album, The Eminem Show. Preceded by the single "Without Me," the album turned into another huge hit, albeit not quite as strong as its predecessor, and there were some criticisms suggesting that Eminem wasn't expanding his horizons much. Encore, released late in 2004, did reach into more mature territory, notably on the anti-George W. Bush "Mosh," but most of the controversy generated by the album was for behind-the-scenes events: a bus crash followed by canceled dates and a stint in rehab. Rumors of retirement flew, and the 2005 appearance of Curtain Call: The Hits did nothing to dampen them, nor did the turmoil of 2006, a year that saw Mathers remarrying and divorcing Kim within a matter of four months, as well as the shooting death of Proof at a Detroit club.

During all this, Em did some minor studio work, but soon he dropped off the radar completely, retreating to his Detroit home. He popped up here and there, most notably debuting the hip-hop channel Shade 45 for Sirius Satellite Radio in September 2008, but it wasn't until early 2009 that he mounted a comeback with Relapse, an album whose very title alluded to some of Mathers' struggles with prescription drugs, but it also announced that after an extended absence, Slim Shady was back. While not quite a blockbuster, the album went platinum, and Eminem followed it at the end of the year with an expanded version of Relapse (dubbed Relapse: Refill) that added outtakes and new recordings. Recovery, initially titled Relapse 2, was issued in June 2010. The album debuted on top of the Billboard 200 chart, where it remained for five consecutive weeks, while its leadoff single, "Not Afraid," debuted on top of the magazine's Hot 100 singles chart.
The year 2010 also brought Eminem back together with Royce da 5'9" under the Bad Meets Evil moniker. In turn, June 2011's Hell: The Sequel marked the release of their first EP as a duo and -- barring the previous month's release of key EP track "Fastlane" as a single -- was their first batch of new material since a 1999 double A-side. After an intense period of recording, Eminem announced in August 2013 that his next solo album would be a nostalgically themed set of new material entitled The Marshall Mathers LP 2, which landed in early November. The album featured the singles "Berzerk,""Rap God," and "Survival," plus the chart-topping hit "The Monster" with Rihanna. In 2014, new tracks landed on the double-disc set Shady XV, which celebrated the Shady label's 15th birthday. The singles "Phenomenal" and "Kings Never Die" featuring Gwen Stefani arrived a year later, both taken from the Southpaw soundtrack.

Eminem resurfaced in October 2017 with a freestyle anti-Trump rap. The track didn't appear on Revival, the December 2017 album that was filled with cameos, including appearances by Beyoncé ("Walk on Water"), Ed Sheeran ("River"), and P!nk ("Need Me"). His seventh straight chart-topper, it ultimately failed to match the sales heights of past efforts, despite the international success of the "River" single. The next year, without warning, Eminem issued his surprise tenth album, Kamikaze. The set featured appearances by Joyner Lucas, Royce da 5'9", and Jessie Reyez, as well as "Venom," from the film of the same name.

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Most people are aware of Eminem’s breakthrough album The Slim Shady LP. It was this album that contained worldwide famous hits like “My Name Is” and catapulted him to platinum-certified fame. However, very few are aware that prior to SSLP, Eminem had another album, one that was less critically acclaimed and considerably less commercially successful. That album? Infinite, the 1996 debut which reportedly only sold around 1,000 copies during its initial release. The album has since received more attention thanks to its limited re-release in 2009 to promote Em’s Relapse album, but since it isn’t available on any streaming or digital download services, most people aren’t aware it exists.
 Infinite is an interesting listen to those who want to hear where Eminem came from, and that's about it.

Eminem's rapping isn't particularly bad or anything, but it smacks of someone who hasn't carved out any kind of unique style or identity yet. Just another rapper doing his thing, bragging about his skills, etc. Eminem isn't bad as a rapper here, but not much interesting stuff is going on. The most interesting things to hear are Eminem's early revering of A Tribe Called Quest, when he shouts out Phife Dawg twice on the album. Em would mention this once again 18 years later on MMLP2's "Legacy". Lot of his naysayers claimed he sounded like Nas or AZ, I don't hear the Nas, maybe a little bit of the AZ, but you be the judge. Eminem isn't awful here, the production is. This sounds like something that was made in someone's home garage. And yes I understand that it was cheap and that was all they could do so I don't hold it against them, but that doesn't make the music any better. Eminem needed some real production, there's not really any track here standing out. This is worth a look for hardcore Eminem fans just because there's an inherent fascination at looking at where Eminem came from.



 Eminem - Infinite  (flac   237mb)

01 Infinite 4:01
02 W.E.G.O. (feat. DJ Head & Proof) 0:22
03 It's O.K. (feat. Eye-Kyu) 3:31
04 313 (feat. Eye-Kyu) 4:11
05 Tonite 3:43
06 Maxine (feat. Denaun Porter & 3) 3:55
07 Open Mic (feat. Thyme) 4:02
08 Never 2 Far 3:38
09 Searchin' (feat. Denaun Porter) 3:44
10 Backstabber (feat. Denaun Porter) 3:24
11 Jealousy Woes II 3:19

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There is no doubt the impact Eminem's second studio album and major label debut "The Slim Shady LP" had on hip hop and pop culture was so huge the record rightly holds the state of being one of the most important albums of the late nineties. It also catapulted Eminem to unlikely stardom, a white rapper from the trailers, whose songs range from killing fantasies of his ex wife to darkly humorous self-destruction anthems and bad taste attacks against pop culture, with the lyrical skills of a dictionary, plus the rare charisma of a self-aware schizophrenic bad role model, equally making fun of himself and others.

Given his subsequent superstardom, culminating in no less than an Academy Award, it may be easy to overlook exactly how demonized Eminem was once his mainstream debut album, The Slim Shady LP, grabbed the attention of pop music upon its release in 1999. Then, it wasn't clear to every listener that Eminem was, as they say, an unreliable narrator, somebody who slung satire, lies, uncomfortable truths, and lacerating insights with vigor and venom, blurring the line between reality and parody, all seemingly without effort. The Slim Shady LP bristles with this tension, since it's never always clear when Marshall Mathers is joking and when he's dead serious. This was unsettling in 1999, when nobody knew his back-story, and years later, when his personal turmoil is public knowledge, it still can be unsettling, because his words and delivery are that powerful. Of course, nowhere is this more true than on "97 Bonnie and Clyde," a notorious track where he imagines killing his wife and then disposing of the body with his baby daughter in tow. There have been more violent songs in rap, but few more disturbing, and it's not because of what it describes, it's how he describes it -- how the perfectly modulated phrasing enhances the horror and black humor of his words. Eminem's supreme gifts are an expansive vocabulary and vivid imagination, which he unleashes with wicked humor and unsparing anger in equal measure. The production -- masterminded by Dr. Dre but also helmed in large doses by Marky and Jeff Bass, along with Marshall himself -- mirrors his rhymes, with their spare, intricately layered arrangements enhancing his narratives, which are always at the forefront. As well they should be -- there are few rappers as wildly gifted verbally as Eminem. At a time when many rappers were stuck in the stultifying swamp of gangsta clichés, Eminem broke through the hardcore murk by abandoning the genre's familiar themes and flaunting a style with more verbal muscle and imagination than any of his contemporaries. Years later, as the shock has faded, it's those lyrical skills and the subtle mastery of the music that still resonate, and they're what make The Slim Shady LP one of the great debuts in both hip-hop and modern pop music.



 Eminem - The Slim Shady LP Special Ed   (flac   371mb)

01 Public Service Announcement 0:34
02 My Name Is 4:29
03 Guilty Conscience (feat. Dr. Dre) 3:21
04 Brain Damage 3:48
05 Paul 0:17
06 If I Had 4:05
07 97' Bonnie & Clyde 5:14
08 Bitch 0:21
09 Role Model 3:26
10 Lounge 0:48
11 My Fault 4:00
12 Ken Kaniff 1:18
13 Cum on Everybody 3:39
14 Rock Bottom 3:34
15 Just Don't Give a Fuck 4:02
16 Soap 0:36
17 As the World Turns 4:26
18 I'm Shady 3:33
19 Bad Meets Evil (feat. Royce da 5'9") 4:15
20 Still Don't Give a Fuck 4:09
Bonus
21 Hazardous Youth (Acapella Version) 0:44
22 Sway & King Tech - Get You Mad 4:22
23 Greg (Acapella Version) 0:54

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The Marshall Mathers LP takes the dark shock humor of its predecessor and adds an unexpected emotional depth, painting Eminem as not just a sadistic hellraiser but also a father, husband and normal guy struggling to cope with his fame. Here, Em ditches the black-and-white attitude to morals, relishing in the ambiguity and uncertainty of the grey areas - it’s never clear when he’s joking and when he’s not. It's hard to know what to make of Eminem, even if you know that half of what he says is sincere and half is a put-on; the trick is realizing that there's truth in the joke, and vice versa. Many dismissed his considerable skills as a rapper and social satirist because the vulgarity and gross-out humor on The Slim Shady LP were too detailed for some to believe that it was anything but real. To Eminem's credit, he decided to exploit that confusion on his masterful second record, The Marshall Mathers LP. Eminem is all about blurring the distinction between reality and fiction, humor and horror, satire and documentary, so it makes perfect sense that The Marshall Mathers LP is no more or no less "real" than The Slim Shady LP. It is, however, a fairly brilliant expansion of his debut, turning his spare, menacing hip-hop into a hyper-surreal, wittily disturbing thrill ride. It's both funnier and darker than his debut, and Eminem's writing is so sharp and clever that the jokes cut as deeply as the explorations of his ruptured psyche. The production is nearly as evocative as the raps, with liquid basslines, stuttering rhythms, slight sound effects, and spacious soundscapes. There may not be overpowering hooks on every track, but the album works as a whole, always drawing the listener in. But, once you're in, Eminem doesn't care if you understand exactly where he's at, and he doesn't offer any apologies if you can't sort the fact from the fiction. As an artist, he's supposed to create his own world, and with this terrific second effort, he certainly has. It may be a world that is as infuriating as it is intriguing, but it is without question his own, which is far more than most of his peers are able to accomplish at the dawn of a new millennium.



Eminem - The Marshall Mathers Ltd Ed (flac   618mb)

1 Public Service Announcement 2000 0:25
2 Kill You 4:24
3 Stan (feat. Dido) 6:44
4 Paul (Skit) 0:10
5 Who Knew 3:47
6 Steve Berman (skit) 0:53
7 The Way I Am 4:50
8 The Real Slim Shady 4:44
9 Remember Me? (feat. RBX & Sticky Fingaz) 3:38
10 I'm Back 5:10
11 Marshall Mathers 5:20
12 Ken Kaniff (Skit) 1:01
13 Drug Ballad 5:00
14 Amityville (feat. Bizarre from D-12) 4:14
15 Bitch Please II  (feat. Dr. Dre, Snoop Dogg, Xzibit, Nate Dogg)4:48
16 Kim 6:17
17 Under the Influence feat. (D-12) 5:22
18 Criminal 5:13
Bonus
19 The Real Slim Shady (Instrumental) 4:46
20 The Way I Am (Instrumental) 4:53
21 Stan (Instrumental) 6:46
22 The Kids (Explicit Version) 5:07
23 The Way I Am (Danny Lohner Remix) 4:59

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Wherever rapper Eminem goes, controversy and headlines are sure to follow. With so many people unsure about whether to love him or hate him, five young rappers have decided to join him on his latest project, D12. Also known as the Dirty Dozen, D12 is a sextet of Detroit-based rappers -- all between the ages of 23 and 25. Members Bizarre, Swift, Kon Artis, Proof, and Kuniva claim they are "here to bring the sick, the obscene, the disgusting." With this agenda in tow, D12 could prove to be the sequel to the controversial parade that Eminem started with the explicit lyrics on his solo album Slim Shady (Interscope, 1999) and the in-your-face single "Way I Am" (2000, Interscope).

It's tempting to dismiss D12's debut album, Devil's Night, as exploitative juvenilia, similar to how fellow Detroit hardcore rap acts such as ICP and Esham had been treated in the past. In fact, it's hard not to dismiss this album as shock rap because that's exactly what it is -- there's no denying it. As witty as Eminem may be -- and he's by far the most creative member of the group -- the countless forays into theatrical perversity far outnumber the more literate moments. But to dismiss the album strictly because of its themes would be unfortunate. As challenging as it may be for many to stomach the constant and incredibly explicit sex, violence, and drug references, there is a stunning album lurking beneath that deserves recognition. Functioning as the album's executive producer and as the producer for most of the album's beats, Eminem has done a wonderful job crafting this album and its foreboding feel. Influenced by the style of sparse beats Dr. Dre employed on Eminem's past solo hits, the troublemaking MC's beatmaking steals the show here, particularly on the album's standout moment, "Purple Pills." In fact, Eminem's beats often contest the couple equally impressive tracks that Dre contributes. Besides the remarkable production, Eminem also showcases his songwriting genius on several of the song's hooks, bringing a catchy pop-rap approach to hardcore lyrics. Yet no matter how accomplished this album is from a production and songwriting angle, it's impossible to look past the disturbing lyrics, especially those of Bizarre, and also Eminem's moments of unnecessary instigation. This album is obviously targeting those with a taste for perversity. If that means you, then you'll love this; if that doesn't mean you, then the album is still worth investigating, if only for Eminem's show-stealing performance as not only an MC but also as an adept producer and songwriter.



D12 - Devil's Night (flac   478mb)

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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Hello,  more soundtracks by Max not just movies but TV sound tracks too, anyway its the penultimate post on a composer who really takes his work very seriously, and meticulously creates his work and despite having lived and worked in the Anglo-Saksen world, clearly his German DNA is very present I guess what we get is the best of both worlds.. .......


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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The first season of the HBO drama series The Leftovers featured an original score by composer Max Richter. With a plot involving the sudden unexplained disappearance of tens of millions of people, the show's main title has weeping solo violin, choir, and orchestra. Solemn, delicate piano themes constitute much of the season's music, underscored by light, sustained strings. Tense dissonance from subdued strings also marks the soundtrack, and at times, celesta, ethereal vocals, timpani, and other instruments enter the solemn soundscape. The score was nominated for an International Film Music Critics Award in 2014.



Max Richter - The Leftovers (Season 1-3) (flac 340mb)

1 The Leftovers (Main Title Theme) 1:35
2 The Departure 1:15
3 Afterimage 1 1:31
4 De Profundis 5:05
5 Only Questions 1:17
6 Dona Nobis Pacem 1 3:48
7 Afterimage 2 1:09
8 Departure (Reflection) 1:54
9 Dona Nobis Pacem 2 3:20
10 Family Circles 1:01
11 A Blessing 2:32
12 She Remembers 3:49
13 Departure (Lullaby) 1:57
14 Illuminations / Clouds 1:32
15 Afterimage 3 3:05
16 Departure (Home) 1:54

The Leftovers Season 2
17 Entropy for Meg 2:02
18 The Departure (Diary) 1:52
19 Crossings 2:56
20 Storybook 2:07
21 A Bird in a Box 3:12
22 Tenebrae 1:15
23 Dark Cloud for Nora 1:58
24 The Departure (Phone Call) 2:37
25 A Crowd of People Turned Away 2:08
26 Bright Cloud for Jill 1:30
27 Tom's Lullaby 2:04
28 That Solitary Moment Together 1:59
29 Dona Nobis Pacem 3 (Evie) 4:34
30 The Departure (Persistence of Vision) 1:49
31Dark Cloud for Kevin 2:24
32 Erika and John 1:42
33 The Quality of Mercy 4:12
34 The Leftovers Main Titles Season 1 (Small Ensemble Version) [bonus track] 3:37

The Leftovers Season 3 (EP)
35 The End Of All Our Exploring 3:35
36 Either Fire Or Fire 1:34
37 The Spectre Of A Rose 1:47
38 Nothing’s Gonna Stop Me Now 2:45
39 And Know The Place For The First Time 2:55

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Taboo is a 2017 British television drama series created by Tom Hardy, Edward Hardy & Steven Knight and starring Tom Hardy, Leo Bill & Oona Chaplin. Adventurer James Keziah Delaney, long believed to be dead, returns home to London from Africa in 1814 in order to inherit his late father’s shipping empire. All is not what it seems, however, as Delaney encounters numerous enemies intent on making his life back in the United Kingdom very difficult. Focused on building a shipping empire to rival the imperious East India Company, Delaney’s other wish to seek vengeance for his father’s death means conspiracy, betrayal and bloodshed are also in the cards. As he works to accomplish that, Delaney must also navigate increasingly complex territories in order to avoid his own death sentence. The score is composed by Max Richter.

The score opens with the ‘Openings’ a haunting emotional theme built on moods and strings. It’s very powerful, and pretty much what I had hoped and partially expected from Richter. In the episode that I saw, the music sort of phased in and out, but I couldn’t quite get a handle on how great and powerful the music was, but on album it impresses again and again. The moods Richter creates are truly perfect for the darkness of London in the early 18 hundreds. In ‘The Inexorable Advance Of Mr. Delaney’ there’s a similar pattern with a superb finale. It’s not the only one either. Like Bernard Herrmann, Richter is spinning us into madness in a beautiful way. Sometimes it feels like a horror story and sometimes, it feels like a somber drama. There’s very little happiness on this score and if the first episode is anything to go by, it’s not very present in the show. I saw Hardy smile once and I got scared. Richter is fully embracing the darkness of the show with some incredible soundscapes, some immense moods and textural music while giving us these little bites of thematic scoring. And sometimes, he surprises with a more timely piece of music for the era. Richter has saved the main theme for the end with a couple of versions. It all works pretty great and turn this score into a must-listen.

Max Richter wrote the soundtrack for the "Nosedive" episode of Black Mirror, which is a television anthology series that shows the dark side of life and technology. "Nosedive" focuses on Lacie who lives in a world where people's status is governed by their rating on social media. She is a 4.2 and needs to be a 4.5 to be able to afford to rent an apartment at the plush Pelican Cove compound.  Here, the seven short pieces, adding up to just 24:40 minutes in length, feature solemn piano, gentle atmospherics, and soaring strings. It is delightfully Max Richter at his best, nearly discernible, even as a random or blind listen. This is remarkably evident on “The Journey, No The Destination” with high legato violins, poignant keys, and electronic buildups, that finally subside (and nosedive?) into a weeping and memorable theme. On Nosedive Richter captures the not-so-distant anxiety beneath the scrolling ratings of our lives. “Everything is very shiny and perfect, and it sort of glows and everyone is smiling because they can’t afford not to smile. […] It’s a dystopia, but it’s one that appears to be benign.” Don’t miss this one!



Max Richter - Taboo +  Nosedive (Black Mirror soundtrack) (flac 282mb)

01 Openings 2:14
02 The Inexorable Advance Of Mr. Delaney 2:56
03 Song Of The Dead 5:18
04 Zilpha 4:31
05 A Lamenting Song 1:50
06 Shadows 2:53
07 This Little Pig Went To Market 1:02
08 Zilpha (Recollection) 2:45
09 Song Of The Beyond 2:37
10 I'd Hoped To Settle This… 2:07
11 Nocturnal 4:07
12 The Onrush Of Events 2:06
13 Zilpha Alone 2:19
14 Attend To The Matter 1:27
15 Lamentation For A Lost Life 2:22
web bonus
16 Taboo Lament (Antimatter Fellini Waltz) 1:59
17 Celesta Taboo Lament (Title Edit) 1;34

Nosedive (Black Mirror soundtrack)

01 On Reflection 7:15
02 Dopamine One 0:50
03 The Sorrows Of Young Lace 1:50
04 Dopamine Two 2:17
05 The Journey, Not The Destination 4:37
06 Nocturne 2:14
07 The Consolations Of Philosophy 5:37



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The title character of Morgan, a sleek sci-fi/horror hybrid, is herself a hybrid: a humanoid made from synthetic DNA. She’s a biological organism, a scientific experiment, a corporate product. To some, fatefully, she’s a person. They’re the ones who call her “she” rather than “it” — a divide that neatly encapsulates the philosophical questions propelling writer Seth Owen’s high-concept scenario, among the most memorable screenplays on the 2014 Black List. To the unsettling drone of Max Richter's fine score, the seeds of mutiny are deftly sown. ... Morgan is less about the conflict between technology and messy human emotion than their entanglement, a mashup both exhilarating and terrifying.



Max Richter - Morgan (O.S.T.)   (flac 178mb)

01 Sketch for a Portrait #1 1:08
02 Morgan (Main Title) 3:20
03 The Unfamiliars 1:30
04 An Artificial Heartbeat 1:00
05 Our First Experiments / Birth 3:11
06 The Laboratory of Artificial Souls 1:44
07 Magnetic Resonance / We Have a Problem 2:12
08 De natura sonoris / Meeting 5:28
09 Sketch for a Portrait #2 1:06
10 Welcome / Moro Lasso al Mio Duolo 2:11
11 Night Vision / One by One 5:02
12 Remnant 3:09
13 A Wake 2:41
14 Hyperophelia 5:40
15 Blast Radius / Cardiogram 4:22
16 Dark Matter / Reflection 4:32
17 Sketch #1 Morgan (Main Title) 3:24

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Hostiles, directed by Scott Cooper evokes with beauty and restraint the wild landscapes of a world in which individuals collide with forces beyond their control. Set in the American West of the early 1890s, and based on the original story by Academy Award-winning screenwriter Donald E. Stewart, the film follows the relationship between a cavalry captain Joseph Blocker (Christian Bale), and Yellow Hawk (Wes Studi), a Northern Cheyenne chief held prisoner by Blocker at Fort Berringer, a dismal, dust-blown outpost in New Mexico. Max Richter’s score combines a haunting stillness and elegiac beauty with a noir-like instensity. Tracks such as the plaintive “A Woman Alone”, recalled and varied throughout, mirror the film’s hard psychological edges and the transformation of conflict and ill-will into compassion and love. The score is perfect "Hostiles" is an awesome picture to begin with and Max Richter's score complements. Very spiritual, in a sense, as the music creates the emotion of the pain and loss and love. Some of the tracks brings tears to the eyes. It's a brilliant contribution to a wonderful picture.
"Hostiles opens with an immediate gut punch in "The First Scalp", as we watch a band of Apaches brutally murder Rosalie's husband and kids. Musically, this 7+ min, track evolves from the solemn to the jarring, quite amazing. It is one of the best tracks on here, period. "Leaving the Compound" is a bit slower, as the group gets ready to hit the trails to Montana. "Scream At the Sky" is another long (6+ min.) track, in which the orchestra gets to emphasize its warm sounds. "River Crossing" builds up the tension. "Leaving Fort Winslow" is fronted by a sparse acoustic guitar, and feels very intimate. Ryan Bingham's "How Shall A Sparrow Fly" (the only track with vocals) follows. Then we get back into the score."The Lord's Rough Ways" is a beautiful piano-fronted piece (as Rosalie laments that "the Lord's rough ways are hard to understand"). That same musical theme returns later in "Rosalie's Theme". But before we get that far, there is yet one more epic tune, the 8 min. "Never Goodbye" that seems to sum up everything that makes this orchestral score such a pleasure to listen to.



Max Richter - Hostiles (O.S.T.) ( flac   264mb)

01 The First Scalp 7:24
02 A Woman Alone 1:50
03 Leaving the Compound 4:29
04 Cradle to the Grave 4:11
05 Scream at the Sky 6:05
06 Camanche Ambush 4:45
07 Where We Belong 2:56
08 River Crossing 2:53
09 A New Introduction 2:44
10 Leaving Fort Winslow 1:48
11 Ryan Bingham - How Shall a Sparrow Fly 3:46
12 What Did They Die For? 3:58
13 The Lord's Rough Ways 3:22
14 Something to Give 2:18
15 The Last of Them 3:52
16 Appeasing the Chief 2:42
17 Yellow Hawk's Warning 2:35
18 Never Goodbye 7:35
19 Rosalee Theme 4:14


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Composer Max Richter has written a compelling and dramatic score for the upcoming historical drama, Mary Queen of Scots. Directed by Josie Rourke and starring Margot Robbie and Saoirse Ronan, the movie explores the turbulent life of the charismatic Mary Stuart and her attempt to overthrow her cousin, Elizabeth I, Queen of England. The lavish orchestral score features a full orchestra and eclectic vocal pieces. in short, this score by Max Richter is phenomenal. He is an intellectual composer and so a lot of the detail in the score is very deeply thought out. It was recorded in London with a 110-piece orchestra, plus choral parts performed by the London Voices Choir and a solo female vocalist. However, a lot of the lead instrumental ideas are based around the ancient sound of the renaissance. The main theme is performed by both a cor anglais bass oboe and a viol, a period string instrument which Richter processed in post-production to give it a richer, more expansive sound. Drums also play a major part in the score, which Richter says are intended to be a foreshadowing of Mary’s fate – the drums he uses often feel like a militaristic tattoo, appropriate for war, but also have a funereal sound, like a final death march accompanying one of the condemned as they climb the steps to the executioner’s block. Finally, as a textural acknowledgment of Mary’s Scottish heritage, Richter makes frequent use of a clàrsach, a Celtic harp which was in common use at the time. There is just something enrapturing about this music right from the start. Perhaps it is in the way Richter takes the classical renaissance composing style and re-frames it for contemporary audiences; perhaps it’s the beauty of the main theme, and the delicacy of the recurring cor anglais performance of it; perhaps it’s something in the drama inherent in the story of these two strong, powerful women being forced into conflict with each other Very moving, powerful and simply beautiful. Anyway, the "Finale" will take your breath away!



Max Richter - Mary Queen Of Scots (O.S.T.)   (flac   306mb)

01 The Shores of Scotland 1:51
02 Elizabeth's Portrait 3:40
03 A Claim to the Throne 3:05
04 If Ye Love Me 2:10
05 My Crown 2:51
06 The Poem 2:23
07 Darnley's Visit 2:05
08 The Wedding 2:44
09 Knox 3:14
10 The Hilltop 1:55
11 Rizzio's Plea 1:48
12 The Ambush 2:06
13 Pray for Me 5:50
14 A New Generation 2:48
15 Darnley's Dismissal 3:43
16 Outmaneuvered 5:27
17 The Assassination 2:29
18 Finale 8:23

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Hello,


Only 6 correct requests for this week, 2x Roots unavailable,  1 twice same artist, whatever another batch of 27 re-ups (10.0 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   29 th... N'Joy

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4x Aetix Back In Flac (Nikki Sudden - Waiting On Egypt, Nikki Sudden - The Bible Belt, Nikki Sudden & Revolution - Groove, Nikki Sudden ‎- The Last Bandit )



4x Sundaze Back in Flac (Flying Saucer Attack - Flying Saucer Attack, Flying Saucer Attack - Further, Flying Saucer Attack - Distance, Flying Saucer Attack - Distant Station )



11x Scotland NOW In Flac (Jesus & Mary Chain - Darklands, Shamen - Axis Mundi, Shamen - Arbor Bona Arbor Mala, Angelfish - Angelfish, Billy Mackenzie - Outernational, Billy MacKenzie - Beyond The Sun, Wolfstone - Pick of the Litter, Midge Ure - If I Was, VA - Slam - Soma MuzikMix, Simple Minds - Sister Feelings Call)


4x Aetix Back in Flac ( Die Krupps - Stahlwerksynfonie, Die Krupps - Volle Kraft Voraus, Die Krupps - Volle Kraft Voraus Remixed, Die Krupps - Entering The Arena )



2x Alphabet Soup Back in Flac (Xymox - Phoenix, Xploding Plastix - Amateur Girlfriends)



2x Aetix Back in Flac ( The JAM's - 87, What The Fuck's Going On, The Justified Acients of Mu Mu - Shag Times)


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Hello,


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Astral Travel

    Explore non-physical realities
    Discover your multidimensional nature
    Increase recall of out-of-body experiences
    Overcome fear and gain more control

Astral travel is one of the most profound awakening experiences you can have. But for most people, developing this natural ability requires a specific mindset, a revised set of beliefs and regular practice. Astral Travel subliminal messaging is designed with Theta binaural beats to entrain your brain and imprint your subconscious with the ideal mindset for out-of-body experiences—making it easier for you to travel beyond the boundaries of the physical plane. Embedded within the soothing sound of ocean waves, Theta waves and carefully chosen subliminal messages address all the common mental obstacles to astral projection such as; separation, vibrations, safety issues, recall and control while you’re out-of-body.



Brainsync Astral Travel ( flac   137mb)

01 Brain Sync - Astral Travel - 1 - Listen Anytime
02 Brain Sync - Astral Travel - 2 - Use Headphones

Subliminal Affirmations on this Program:

    Infinite realities exist beyond the physical plane. The gateway to the inner world is always open to me.
    I already know how to travel freely through the inner planes.
    I am more than my body. I am a powerful spiritual being, a multidimensional being.
    I am always exploring the mystery and majesty that lies beyond the material plane. Only now I am more aware.
    I am willing to enjoy intensity of traveling through the other dimensions.
    Transferring awareness to my light body is as natural to me as breathing.
    Activating my energy body is natural and feels good.
    I remain calm and relaxed when vibrations begin.
    Exit-related distractions are natural, I stay calm, detached and just let them happen.
    Sensations of resonating at a higher vibrational frequency feel good. I stay calm and serene.
    The calmer I remain, the easier it is to separate.
    I allow the energies to expand and propel me where I want to go.
    I am aware at the exact moment to separate quickly, easily and effortlessly.
    Go! I say explore the universe. Expand awareness. Return with full memory.
    It is my destiny to embody full spiritual power. I am ready now.
    In higher dimensions phenomena is natural. I enjoy everything new and unusual.
    I insist on remembering my out of body experiences. I remember my journeys.
    I travel through many dimensions every night. Only now I am training my mind to focus and remember.
    The more I practice remembering, more memories return to me.

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Here we offer a brief preview of our directions in 2020 and beyond, supporting a revolutionary interpretation of the mythic and symbolic archetypes. Our purpose is to demonstrate that the documented archetypes are explicitly and inseparably connected to the themes we’ve repeatedly affirmed in these Discourses. Our claim is that the archetypes as a whole can be fully and persuasively explained in terms of the extraordinary natural world from which the ancient civilizations themselves arose. No archetype can then be excluded, and CONSISTENCY between wide-ranging archetypes becomes an acid test.

In this third of the Discourses series, Dave Talbott offers a few glimpses of the mythic subject matter and the reasoning protocol for drawing reliable conclusions from ancient witnesses. .



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The subject of this video series is the ancient experience of towering celestial forms that are no longer present. From a single snapshot of the configuration, we can work backwards to the first appearance of these bodies out of an undifferentiated cloud or sea of dusty plasma. We can then follow the configuration’s evolution through phases that range from quasi-stability to earth shaking catastrophe.




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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 4 ( 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).
V For Vendetta 2 ( 75min mp3  34mb).
V For Vendetta 3 ( 75min mp3  34mb).

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Hello, 2020 calling

Hello, with over 170 million records sold globally, Marshall Bruce Mathers III is among the best-selling music artists of all time. He was the best-selling music artist in the United States in the 2000s, sigh..such a confused country. Trash sells in America !, but what about all that plastic ?




Today's Artist is another case of rags to riches the US always drools over."At the dawn of the 21st Century, Slim Shady had the biggest mouth in the music biz. And man oh man were people upset about the words coming out of it. Drugs, murder, rape, and attacks on pop culture icons were casual topics; and no matter how ridiculous his stories were he made sure you believed every. single. word. However, his praise was just as large as the controversy, not to mention sales. Clever wording coupled with vicious delivery made him perhaps the most technically skilled MC ever within the mainstream.  . ....... N Joy

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To call Eminem hip-hop's Elvis is correct to a degree, but it's largely inaccurate. Certainly, Eminem was the first white rapper since the Beastie Boys to garner both sales and critical respect, but his impact exceeded this confining distinction. On sheer verbal skills, Eminem was one of the greatest MCs of his generation -- rapid, fluid, dexterous, and unpredictable, as capable of pulling off long-form narratives as he was delivering a withering aside -- and thanks to his mentor Dr. Dre, he had music to match: thick, muscular loops that evoked the terror and paranoia Em's music conjured. And, to be certain, a great deal of the controversy Eminem courted -- and during the turn of the millennium, there was no greater pop cultural bogeyman than Marshall Mathers -- came through in how his violent fantasias, often directed at his mother or his wife, intertwined with flights of absurdity that appealed to listeners too young to absorb the psychodramas Eminem explored on his hit albums, The Slim Shady LP and The Marshall Mathers LP. With hits "My Name Is" and "The Real Slim Shady," he ruled the airwaves, but it wasn't long before some detractors acknowledged his depth, helped in part by singles like the mournful "Stan," written from the perspective of an obsessed fan. Eminem capitalized on this forward momentum by crossing over onto the big screen with 8 Mile, earning acclaim for his performance and an Oscar for the film's anthem "Lose Yourself," but a number of demons led him to shut down for the second half of the decade, an absence that proved life was indeed empty without Em, before he returned in 2009 with Relapse.

Born Marshall Mathers in the Kansas City, Missouri suburb of St. Joseph, Eminem spent his childhood between Missouri and Michigan, settling in Detroit by his teens. At the age of 14, he began rapping with a high-school friend, the two adopting the names "Manix" and "M&M," which soon morphed into Eminem. Under this name, Mathers entered battle rapping, a struggle dramatized in the fictionalized 8 Mile. Initially, the predominantly African-American audience didn't embrace Eminem, but soon his skills gained him a reputation, and he was recruited to join several rap groups. The first of these was the New Jacks, and after they disbanded, he joined Soul Intent, who released a single in 1995. This single also featured Proof, and the two rappers broke off on their own to form D-12, a six-member crew that functioned more as a Wu-Tang-styled collective than a regularly performing group. As he was struggling to establish his career, he and his girlfriend Kim had a daughter, Hailey, forcing him to spend less time rapping and more time providing for his family. During this time, he assembled his first album, Infinite, which received some underground attention in 1996, not all of it positive. After its release, Eminem developed his Slim Shady alter ego, a persona that freed him to dig deep into his dark id, something he needed as he faced a number of personal upheavals, beginning with a bad split with Kim, which led him to move in with his mother and increase his use of drugs and alcohol, capped off with an unsuccessful suicide attempt. All this Sturm und Drang was channeled into The Slim Shady EP, which is where he first demonstrated many of the quirks that became his trademark, including his twitchy, nasal rhyming and disturbingly violent imagery.

The Slim Shady EP opened many doors, the most notable of them being a contract with Interscope Records. After Eminem came in second at the 1997 Rap Olympics MC Battle in Los Angeles, Interscope head Jimmy Iovine sought out the rapper, giving the EP to Dr. Dre, who proved eager to work with Eminem. They quickly cut Em's Interscope debut in the fall of 1998 -- during which time Marshall reconciled with Kim and married her -- and The Slim Shady LP appeared early in 1999, preceded by the single "My Name Is." Both were instant blockbusters and Eminem turned into a lightning rod for attention, earning praise and disdain for his violent, satirical fantasias. Eminem quickly followed The Slim Shady LP with The Marshall Mathers LP in the summer of 2000. By this point, there was little doubt that Eminem was one of the biggest stars in pop music: the album sold by the truckload, selling almost two million copies within the first two weeks of release, but Mathers felt compelled to tweak other celebrities, provoking pop stars in his lyrics, and Insane Clown Posse's entourage in person, providing endless fodder for tabloids. This gossip blended with growing criticism about his violent and homophobic lyrics, and under this fire, he reunited his old crew, D-12, releasing an album in 2001, then touring with the group.

During this furor, he had his biggest hit in the form of the moody ballad "Stan." Performed at the Grammys as a duet with Elton John, thereby undercutting some accusations of homophobia, the song helped Eminem to cross over to a middlebrow audience, setting the stage for the ultimate crossover of 2001's 8 Mile. Directed by Curtis Hanson, best known as the Oscar-nominated director of L.A. Confidential, the gritty drama fictionalized Eminem's pre-fame Detroit days and earned considerable praise, culminating in one of his biggest hits with the theme "Lose Yourself," which won Mathers an Oscar. After all this, he retreated from the spotlight to record his third album, The Eminem Show. Preceded by the single "Without Me," the album turned into another huge hit, albeit not quite as strong as its predecessor, and there were some criticisms suggesting that Eminem wasn't expanding his horizons much. Encore, released late in 2004, did reach into more mature territory, notably on the anti-George W. Bush "Mosh," but most of the controversy generated by the album was for behind-the-scenes events: a bus crash followed by canceled dates and a stint in rehab. Rumors of retirement flew, and the 2005 appearance of Curtain Call: The Hits did nothing to dampen them, nor did the turmoil of 2006, a year that saw Mathers remarrying and divorcing Kim within a matter of four months, as well as the shooting death of Proof at a Detroit club.

During all this, Em did some minor studio work, but soon he dropped off the radar completely, retreating to his Detroit home. He popped up here and there, most notably debuting the hip-hop channel Shade 45 for Sirius Satellite Radio in September 2008, but it wasn't until early 2009 that he mounted a comeback with Relapse, an album whose very title alluded to some of Mathers' struggles with prescription drugs, but it also announced that after an extended absence, Slim Shady was back. While not quite a blockbuster, the album went platinum, and Eminem followed it at the end of the year with an expanded version of Relapse (dubbed Relapse: Refill) that added outtakes and new recordings. Recovery, initially titled Relapse 2, was issued in June 2010. The album debuted on top of the Billboard 200 chart, where it remained for five consecutive weeks, while its leadoff single, "Not Afraid," debuted on top of the magazine's Hot 100 singles chart.
The year 2010 also brought Eminem back together with Royce da 5'9" under the Bad Meets Evil moniker. In turn, June 2011's Hell: The Sequel marked the release of their first EP as a duo and -- barring the previous month's release of key EP track "Fastlane" as a single -- was their first batch of new material since a 1999 double A-side. After an intense period of recording, Eminem announced in August 2013 that his next solo album would be a nostalgically themed set of new material entitled The Marshall Mathers LP 2, which landed in early November. The album featured the singles "Berzerk,""Rap God," and "Survival," plus the chart-topping hit "The Monster" with Rihanna. In 2014, new tracks landed on the double-disc set Shady XV, which celebrated the Shady label's 15th birthday. The singles "Phenomenal" and "Kings Never Die" featuring Gwen Stefani arrived a year later, both taken from the Southpaw soundtrack.



Eminem resurfaced in October 2017 with a freestyle anti-Trump rap. The track didn't appear on Revival, the December 2017 album that was filled with cameos, including appearances by Beyoncé ("Walk on Water"), Ed Sheeran ("River"), and P!nk ("Need Me"). His seventh straight chart-topper, it ultimately failed to match the sales heights of past efforts, despite the international success of the "River" single. The next year, without warning, Eminem issued his surprise tenth album, Kamikaze. The set featured appearances by Joyner Lucas, Royce da 5'9", and Jessie Reyez, as well as "Venom," from the film of the same name.

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It's all about the title. First time around, Eminem established his alter ego, Slim Shady -- the character who deliberately shocked and offended millions, turning Eminem into a star. Second time at bat, he turned out The Marshall Mathers LP, delving deeper into his past while revealing complexity as an artist and a personality that helped bring him an even greater audience and much, much more controversy. Third time around, it's The Eminem Show -- a title that signals that Eminem's public persona is front and center, for the very first time. And it is, as he spends much of the album commenting on the media circus that dominated on his life ever since the release of Marshall Mathers. This, of course, encompasses many, many familiar subjects -- his troubled childhood; his hatred of his parents; his turbulent relationship with his ex-wife, Kim (including the notorious incident when he assaulted a guy who allegedly kissed her -- the event that led to their divorce); his love of his daughter, Hailie; and, of course, all the controversy he generated, notably the furor over his alleged homophobia and his scolding from Lynne Cheney, which leads to furious criticism about the hypocrisy of America and its government. All this is married to a production very similar to that of its predecessor -- spare, funky, fluid, and vibrant, punctuated with a couple of ballads along the way. So, that means The Eminem Show is essentially a holding pattern, but it's a glorious one -- one that proves Eminem is the gold standard in pop music in 2002, delivering stylish, catchy, dense, funny, political music that rarely panders (apart from a power ballad "Dream On" rewrite on "Sing for the Moment" and maybe the sex rap "Drips," that is). Even if there is little new ground broken, the presentation is exceptional -- Dre never sounds better as a producer than when Eminem pushes him forward (witness the stunning oddity "Square Dance," a left-field classic with an ominous waltz beat) and, with three albums under his belt, Eminem has proven himself to be one of the all-time classic MCs, surprising as much with his delivery as with what he says. Plus, the undercurrent of political anger -- not just attacking Lynne Cheney, but raising questions about the Bush administration -- gives depth to his typical topics, adding a new, spirited dimension to his shock tactics as notable as the deep sentimental streak he reveals on his odes to his daughter. Perhaps the album runs a little too long at 20 songs and 80 minutes and would have flowed better if trimmed by 25 minutes, but that's a typical complaint about modern hip-hop records. Fact is, it still delivers more great music than most of its peers in rock or rap, and is further proof that Eminem is an artist of considerable range and dimension.



 Eminem - The Eminem Show   (flac   478mb)

01 Curtains Up (Skit) 0:31
02 White America 5:26
03 Business 4:13
04 Cleanin Out My Closet 4:59
05 Square Dance 5:25
06 The Kiss (Skit) 1:17
07 Soldier 3:48
08 Say Goodbye Hollywood 4:34
09 Drips feat. Obie Trice 4:47
10 Without Me 4:52
11 Paul Rosenberg (Skit) 0:24
12 Sing for the Moment 5:41
13 Superman  feat. Dina Rae 5:51
14 Hailie's Song 5:20
15 Steve Berman (Skit) 0:33
16 When the Music Stops feat. D-12  4:29
17 Say What You Say feat. Dr. Dre  5:09
18 'Till I Collapse feat. Nate Dogg 4:57
19 My Dad's Gone Crazy feat. Hailie Jade 4:27
20 Curtains Close (Skit) 1:01

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This may be the soundtrack for Eminem's movie debut, but don't think of 8 Mile of as an Eminem album, because it's not. It's a soundtrack and plays like a soundtrack, with many cuts from current stars and new artists (several associated with Eminem's fledgling Shady imprint), plus a couple of previously released tracks, most of it very high quality, whether it's a hard-hitting Jay-Z, a sultry Macy Gray, or Taryn Manning's Boomkat's sexy slow burn "Wasting My Time." Sure, there's a couple of tracks that fall flat -- Young Zee and Obie Trice feel strained -- but it all flows well, and it's all strong. But it's also all overshadowed by four blindingly great new songs from Eminem (four and a half, if you count his show-stealing appearance on D-12's "Rap Game"), all illustrating a step forward from The Eminem Show, even if they work a familiar pseudo-biographical ground. What impresses is not just the wordplay and delivery, but the music itself -- fuller, richer than anything on his previous records, appropriately cinematic in scope and pushing Eminem toward new heights. The opening track and first single "Lose Yourself" is easily equaled by the title song with its layered pianos, while "Rabbit Run" is nearly as good. Hearing these, it's hard not to greedily hunger for a full album of this, but the soundtrack is excellent as is and these new Eminem cuts make it a necessary purchase.



 Eminem - 8 Mile (OST)  (flac   419mb)

01 Eminem - Lose Yourself 5:20
02 Eminem / Obie Trice / 50 Cent - Love Me 4:30
03 Eminem - 8 Mile 6:00
04 Obie Trice - Adrenaline Rush 3:48
05 50 Cent - Places To Go 4:15
06 D12 - Rap Game 5:53
07 Jay-Z Featuring Freeway - 8 Miles And Runnin' 4:08
08 Xzibit - Spit Shine 3:39
09 Macy Gray - Time Of My Life 4:21
10 Nas - U Wanna Be Me 3:50
11 50 Cent - Wanksta 3:38
12 Boomkat - Wasting My Time 3:37
13 Rakim - R.A.K.I.M. 4:23
14 Young Zee - That's My Nigga Fo' Real 4:45
15 Gang Starr - Battle 2:56
16 Eminem - Rabbit Run 3:10

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Eminem took a hiatus after the release of his first motion picture, 8 Mile, in late 2002, but it never seemed like he went away. Part of that is the nature of celebrity culture, where every star cycles through gossip columns regardless of whether they have a project in the stores or theaters, and part of it is that Marshall Mathers kept busy, producing records by his protégés D12, Obie Trice, and 50 Cent -- all hit albums -- with the latter turning into the biggest new hip-hop star of 2003. All this activity tended to obscure the fact that Eminem hadn't released a full-length album of new material since The Eminem Show in early summer 2002, and that two and a half years separated that album and its highly anticipated sequel, Encore. As the title suggests, Encore is a companion piece to The Eminem Show the way that The Marshall Mathers LP mirrored The Slim Shady LP, offering a different spin on familiar subjects. Where his first two records dealt primarily with personas and characters, his second two records deal with what those personas have wrought, which tends to be intrinsically less interesting than the characters themselves, since it's dissecting the aftermath instead of causing the drama. On The Eminem Show that kind of self-analysis was perfectly acceptable, since Eminem was on the top of his game as both a lyricist and rapper; his insights were vibrant and his music was urgent. Unfortunately, Encore is not the flipside of The Eminem Show as much as it is its negative image, where everything that was a strength has been turned into a handicap this time around. Musically, Show didn't innovate, but it didn't need to: Eminem and his mentor, Dr. Dre, had achieved cruising altitude, and even if they weren't offering much that was new, the music sounded fresh and alive. Here, the music is staid and spartan, built on simple unadorned beats and keyboard loops. While some songs use this sound to its advantage and a few others break free -- "Yellow Brick Road" is a tense, cinematic production -- the overall effect of these stark, black-and-white productions it to make Encore seem hermetically sealed, to make Eminem sound isolated from the outside world. This impression is only enhanced by Em's choice of lyrical subjects throughout the album. Instead of documenting his life, or the shifts in his psyche, he's decided to chronicle what's happened to him over the past the two years and refute every charge that's made it into the papers. This is quite a bit different than his earlier albums, when he embellished and exaggerated his life, when his relationship with his estranged wife, Kim, turned into an outlaw ballad, when his frenetic insults, cheap shots, and celeb baiting had a surreal, hilarious impact. Here, Eminem is plainspoken and literal, intent on refuting every critic from Benzino at The Source to Triumph the Insult Comic Dog, who gets an entire song ("Ass Like That") devoted to him. It's a bizarre move that seems all the more humorless when you realize that the loosest, funniest song -- the first single, "Just Lose It" -- is a sideswipe at Michael Jackson, the easiest target Em has yet hit. And that's the major problem with Encore: it sounds as if Eminem is coasting, resting on his laurels, and never pushing himself into interesting territory. Since he's a talented artist, there are moments scattered across the record that do work, whether it's full songs or flights of phrase in otherwise limp tracks, and that's enough to make it worth a spin, but Encore never resonates the way his first three endlessly fascinating albums do.



Eminem - Encore (flac   554mb)

01 Curtains Up (Skit) 0:46
02 Evil Deeds 4:19
03 Never Enough 2:39
04 Yellow Brick Road 5:46
05 Like Toy Soldiers 4:56
06 Mosh 5:17
07 Puke 4:07
08 My 1st Single 5:02
09 Paul (Skit) 0:31
10 Rain Man 5:13
11 Big Weenie 4:26
12 Em Calls Paul (Skit) 1:11
13 Just Lose It 4:08
14 Ass Like That 4:25
15 Spend Some Time 5:10
16 Mockingbird 4:10
17 Crazy In Love 4:02
18 One Shot 2 Shot 4:26
19 Final Thought (Skit) 0:30
20 Encore (Curtains) 5:48

bonus
21 We As Americans 4:38
22 Love You More 4:46
23 Ricky Ticky Toc 2:49

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Wherever rapper Eminem goes, controversy and headlines are sure to follow. With so many people unsure about whether to love him or hate him, five young rappers have decided to join him on his latest project, D12. Also known as the Dirty Dozen, D12 is a sextet of Detroit-based rappers -- all between the ages of 23 and 25. Members Bizarre, Swift, Kon Artis, Proof, and Kuniva claim they are "here to bring the sick, the obscene, the disgusting." With this agenda in tow, D12 could prove to be the sequel to the controversial parade that Eminem started with the explicit lyrics on his solo album Slim Shady (Interscope, 1999) and the in-your-face single "Way I Am" (2000, Interscope).

"My Band," the debut single from D12's sophomore album, D12 World, is the group's greatest moment and a great introduction to the way they work. Very little else on D12 World is as exciting as "My Band," the catchy explanation of what this group (or band, or whatever you want to call it) is, and one of the best productions to ever come out of Shadyville. It's also the tamest track on D12 World, an album that's proudly sick in the head. D12 are B-list players in the world of Shadyville (addressed on "My Band" when a fan asks, "Where's Obie and Dre?"), but they're the Three Stooges meets Andrew Dice Clay with that Detroit horror-show edge, which makes them like nothing else in the rap world. ICP might trade in the same sickness as the group, but D12 have better skills and more street cred, and they also have Bizarre. He's Kool Keith on earth, smoking Newports, carrying a blowup doll, and owning every track he appears on. His grotesque masterpiece is "Just Like U," a horrific exchange between parent and child that's so disgusting the edited version of the album totally drops it. Bizarre declares, "When Mos Def hear dis/He probably suffocate me," but it's hardly the only track that would make a humanist's stomach churn. "Get My Gun" and "Bitch" are just as irresponsible, but the group must not be sick enough to repel the socially conscious hero of the moment, Kanye West. His production work on the title track gives the album another highlight, while Dr. Dre is at the helm for the quirky and dark "American Psycho II," killer track number three. Eminem rules the first two songs, and sporadically pops up throughout the album, but don't expect any of the usual reflection. His raps are concerned with his relationship to D12 and hip-hop in total or they focus on his numerous beefs, most prominent being his one with Benzino. That's hard to relate to unless you have a beef with Benzino yourself, but fans who look at D12 albums as updates on the soap opera that is Eminem's career should eat it up. The album feels more slapped together than their debut -- and there's a dry spell in the middle -- but since Eminem spends a lot of time in the background it does do a better job of developing the careers of Swift, Proof, and mostly Bizarre. Check it for his raps and the excellent "My Band," but leave your taste and morality at home.



D12 - D12 World (flac   478mb)

01 Git Up 4:03
02 Loyalty 5:54
03 Just Like U 3:31
04 I'll Be Damned 4:21
05 Dude (Skit) 1:14
06 My Band 4:58
07 U R The One 4:19
08 6 In The Morning 4:38
09 How Come 4:09
10 Leave Dat Boy Alone 5:23
11 Get My Gun 4:34
12 Bizarre (Skit) 1:21
13 Bitch 4:56
14 Steve's Coffee House (Skit) 0:51
15 D-12 World 3:10
16 40 Oz. 4:02
17 Commercial Break 1:12
18 American Psycho II 3:44
19 Bugz '97 (Skit) 1:05
20 Good Die Young 5:56
21 Keep Talkin' 4:28

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Hello,  time to rap up Max Richter's time at Sundaze in a final visit to his discography.......


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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"Berlin By Overnight" was originally written by Max Richter. These remixes, however, are drawn from violinist Daniel Hope's interpretation of the piece, which appeared on Spheres, his 2013 album for Deutsche Grammophon. The German label, whose roots date back to the 19th century and is now owned by Universal Music, have called upon four remixers: Berlin favourite Efdemin, Canadian producer CFCF, New York-based keyboardist Lorna Dune and UK multi-instrumentalist Tom Adams. DG released this eclectic Remix EP. digitally and on vinyl together with 4 remixes by internationally acclaimed remixers, who were carefully selected and picked up on the nocturnal, minimal and repetitive atmosphere. The international line up of remixers, each bringing a unique position and adding to the records diversity.



Max Richter n Daniel Hope - Berlin By Overnight (Remixes) (flac 147mb)

01 Berlin by Overnight (Version for Violin and Double Bass) 1:33
02 Berlin by Overnight (CFCF Remix) 5:51
03 Berlin by Overnight (Efdemin Remix) 7:19
04 Berlin by Overnight (Lorna Dune Remix) 6:46
05 Berlin by Overnight (Tom Adams Remix) 5:27

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According to his press release, Max Richter’s pioneering 8 hour work SLEEP work was one of 2015’s big commercial and critical success stories. Within two weeks of the digital release, Sleep and the one-hour adaptation ‘from Sleep' had topped the iTunes Classical charts around the world, making it the best-selling classical album worldwide in 2015. Sleep reached the #1 spot in 26 countries, whilst ‘from Sleep also hit the pop charts in several countries. Sleep and  ‘from Sleep made Best Of 2015 lists in Rough Trade, Drowned In Sound, Crack and BBC 6 Music.  Therefore Building on this success, a series of Sleep remixes was released as an album digitally on 19th February and on vinyl on 4th March.

From the outset it appears that Max Richter is open to the fiddling, remixing and presenting of his work in an alternative way. The remixes that are presented here are varied and add perfectly to the canvas that has been left behind to sonically daub on. The immediate interest here are the Mogwai and Clark one remixes. They are the acts that historically will deliver the more abrasive take on the tracks and subsequently the more subversive. Both acts do not disappoint. Mogwai take Path 5 down a tortuous kosmische/post-rock route ascending to a coda of cavernous power drums, see-sawing synth arpeggios and blistering guitar distortion, and Clark vaults the same parts thru a spiralling vortex of stacked harmonies and cinematic detours, whereas Digitonal treat those parts with genteel neo-classical and electronica sensibilities.Taking on Dream 3, the pseudonymous scientist-cum-composer Jürgen Müller turns in a stereo-drifting meditation on solo piano, strings and electronics recalling Gas soundtracking some noirish BBC period drama, and Marconi Union revise Dream 13 as an airborne ambient classical waltz.



Max Richter - Sleep Remixes   (flac 407mb)

Path 5 (Delta)
01 Path 5 (Short Edit) 6:38
02 Path 5 (Mogwai Remix) 9:53
03 Path 5 (Mogwai Remix Edit) 5:41
04 Path 5 (Clark Remix) 7:42
05 Path 5 (Clark Remix Edit) 2:33
06 Path 5 (Digitonal's Theo in Dreamland Mix) 6:47
07 Path 5 (Digitonal's Theo in Dreamland Mix Edit) 4:43
Dream 3 (In the Midst of My Life)
08 Dream 3 (Short Edit) 5:25
09 Dream 3 (Jürgen Müller Remix) 10:54
10 Dream 3 (Jürgen Müller Remix Edit) 3:31
11 Dream 3 (Kaitlyn Aurelia Smith Remix) 10:16
12 Dream 3 (Kaitlyn Aurelia Smith Remix Edit) 6:45
Dream 13 (Minus Even)
13 Dream 13 (Short Edit) 3:22
14 Dream 13 (Marconi Union Remix) 5:53
15 Dream 13 (Marconi Union Remix Edit) 3:48

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Virginia Woolf drowned herself at age 59. She's remembered as one of the twentieth century’s most important writers and pioneers of the feminist movement, which is why her inspiration lives on with strength through other artists. One recent example would be choreographer Wayne McGregor who, in 2015, produced a ballet celebrating three of her novels, and armed with his educated taste, he hired modern classical hero Max Richter to deal with the score.

The first movement, Mrs. Dalloway, opens with bells chiming behind the only known recording of Virginia Woolf's speaking voice (she took her own life in 1941) in existence. Though the thought of a dead woman talking should unnerve me, it doesn't, and Richter's piano playing on “In the Garden” behind the beautiful strings played by the Deutsches Filmorchester Babelsberg and conducted by Robert Ziegler just make me feel so at ease. Even the string swells on “War Anthem” sound peaceful, despite the sub-movement's title.  After a few bell chimes at the beginning of “Meeting Again,” Richter plays the same piano line for the rest of the sub-movement's six-minute duration while the orchestra builds, adding strings one by one to create this great layering effect. I might be wrong about the exact instruments here, but it sounds to me like the sub-movement starts with one cello playing whole notes along with Richter's piano chords, then a violin comes in with half notes, then the violin drops out and a viola plays a subtle melody, then the violin keeps coming back in with those half notes sweeping over everything until it's just the piano and the cello once again.

The second movement, Orlando, also opens with a quote from Virginia Woolf, this time spoken by Sarah Sutcliffe. The compositions on this movement are noticeably peppier than the slower, more languid Mrs. Dalloway. The second sub-movement of Orlando (the first sub-movements of Mrs. Dalloway and Orlando are both spoken word), “Modular Astronomy,” features pizzicato strings and marks the first time that Richter plays a synthesizer instead of a piano (or at least changes his synth to something other than the piano setting). The next sub-movement, “Entropy,” is nothing but sparse synthesizer hits, and it makes an engaging listen, and it contrasts quite well with the energetic and cinematic “Transformation” that follows it. “The Tyranny of Symmetry” blows the relaxing atmosphere that Three Worlds had been building up out of the water, but the tranquility returns on “The Explorers,” “Persistence of Images,” and “Genesis of Poetry,” all of which primarily feature Richter's synthesizers (although the tranquility in “The Explorers” doesn't show up until the cello part starts playing). There's also some really interesting and almost cryptic-sounding synth work on “Possibles” that I really dig, that part really gets me.

The third movement, The Waves, consists of one sub-movement: “Tuesday.” “Tuesday” opens with a reading of Virginia Woolf's suicide note, addressed to fellow author Leonard Woolf, Virginia's husband. I did not know what I was hearing was a suicide note upon my first listen to this album, and it placed the entire recording into a new context. After Woolf's note, the orchestra plays in a manner just as slow as Mrs. Dalloway, but in a way that feels more sad than atmospheric. The single singer that comes in at around the eight-and-a-half-minute mark feels almost like another violin as the vocals blend with the celesta (or synthesized celesta) and strings behind them. The vocals stop at some point before the fifteen-minute mark, but I'm not sure where because they just blend in with the strings too well. The entire “Tuesday” is ethereal, and makes me just sit there and think about life and death.



Max Richter - Three Worlds - Music from Woolf Works   (flac 289mb)

Mrs Dalloway
01 Words 1:02
02 In the Garden 5:17
03 War Anthem 6:56
04 Meeting Again 6:07
Orlando
05 Memory Is the Seamstress 0:35
06 Modular Astronomy 3:14
07 Entropy 1:32
08 Transformation 2:06
09 Morphology 3:06
10 The Tyranny of Symmetry 1:26
11 The Explorers 2:04
12 Persistence of Images 3:15
13 Genesis of Poetry 3:54
14 Possibles 1:29
15 Love Songs 2:33
The Waves
16 Tuesday 21:37

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To commemorate the 15-year anniversary of The Blue Notebooks’ original release, Richter has attached a bonus disc of extra material. Thankfully, he forgoes the usual demos, half-finished ideas and other random minutia that would interest only the most dedicated of superfans in favor of material that alters, reimagines and updates the original music. Remixes, re-recordings and alternate arrangements of some of the album’s highlights showcase Richter’s restless spirit and the inherent flexibility in his compositions.

The two tracks that stray farthest from Richter’s normal fare are remixes by dance producers Jlin and Konx-Om-Pax. On the latter’s treatment of “Iconography,” part of Richter’s defining touch is lost. The ghostly choruses and reverbed synthesizer from the original are easily recognizable, but these touchstones fade away as the track progresses. The thumping dance beats and distorted bass lines, however well-executed, feel at odds with the consistently inward-looking atmosphere of the rest of the album.

The downfalls of Konx-Om-Pax’s contribution are exactly what make Jlin’s remix of “Vladimir’s Blues” so awe-inspiring. The original track, even though it’s just more than a minute long, is one of the most immediately beautiful moments on The Blue Notebooks. The constantly evolving bass line and tasteful rubato are massively expressive and endlessly listenable. Throughout Jlin’s remix, her signature use of interlocking rhythms and scattered percussion programming is present, but the best elements of Richter’s composition are still the focal point. She retains the delicate treatment of space and texture that “Vladimir’s Blues” had, and even with the new track’s beat-oriented structure it never breaks kinship with the album’s contemplative nature. Even better, it imagines the alternate perspective of an artist with different experiences, processes and aspirations toying with the same emotional and sonic palette.

In addition to these outside contributions, Richter himself offers three new versions of the standout track “On the Nature of Daylight.” Each one takes the composition into an alternate direction for a distinct mood and taste. On top of the original’s slow ascent and single-line string writing, the “Orchestral Version” offers a lush romanticism while the “Entropy” edit softens the composition’s edges and fills in the gaps between notes for a droning, ethereal mix.

Of all the iterations of “On the Nature of Daylight,” the version titled “This Bitter Earth” is by far the most arresting. Pulling the vocal track from Dinah Washington’s soul hit of the same name, Richter takes his already affecting music and uses the naked human voice to add another layer of tangible meaning. The political reckonings that underlie the album come to the fore here, letting Washington’s crisp voice hang and echo into the mix while she offers hope in the face of endless suffering. This is no naïve optimism; rather, it feels like a move towards solidarity in the face of relentless turmoil.



Max Richter - The Blue Notebooks (15 Years) ( flac   340mb)

01 The Blue Notebooks 1:19
02 On the Nature of Daylight 6:11
03 Horizon Variations 1:52
04 Shadow Journal 8:22
05 Iconography 3:38
06 Vladimir's Blues 1:18
07 Arboretum 2:53
08 Old Song 2:11
09 Organum 3:13
10 The Trees 7:52
11 Written on the Sky 1:40
Bonus
12 A Catalogue of Afternoons 1:50
13 On the Nature of Daylight (Orchestral Version) 6:36
14 Vladimir's Blues 2018 1:29
15 On the Nature of Daylight (Entropy) 6:53
16 Vladimir's Blues (Jlin Remix) 3:45
17 Iconography (Konx-Om-Pax Remix) 3:55
18 This Bitter Earth / On the Nature of Daylight 6:12

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Hello,


Only 8 correct requests for this week, 1x Roots unavailble,  whatever another batch of 26 re-ups (8.7gig)


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 January  5 th... N'Joy

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3x Grooves Back in Flac (  Bebo Best - Jazz For Imaginary Movies, Bebo Best - Mambossa , Bebo Best - Trip to Rio de Janeiro  )


3x Grooves Back In Flac (The Meters - The Meters, The Meters - Look-Ka Py Py, The Meters - Struttin' )



4x Sundaze Back in Flac (The Orb - Aunt Aubrey's Excursions Beyond The Call Of Duty I-1, The Orb - Aunt Aubrey's Excursions Beyond The Call Of Duty I-2, The Orb - Aunt Aubrey's Excursions Beyond The Call Of Duty II-1, The Orb - Aunt Aubrey's Excursions Beyond The Call Of Duty II-2 )



3x Beats NOW In Flac (Squarepusher - Music Is Rotted 1 Note, Squarepusher - Selection Sixteen, Squarepusher - Go Plastic)


4x Sundaze Back in Flac ( Broadcast - Work And Non Work, Broadcast - The Noise Made By People, Broadcast - Tender Buttons, Broadcast - Haha Sound )



3x Sundaze Back in Flac (Mazzy Star - She Hangs Brightly , Mazzy Star - So Tonight That I Might See, Mazzy Star - Among My Swan )



3x Aetix Back in Flac ( Lene Lovich  ‎–  Stateless...Plus, Pauline Murray And The Invisible Girls - I, Toyah Wilcox - Proud, Loud & Heard)


3x Aetix Back in Flac (  Mission of Burma - Signals, Calls and Marches EP , Mission Of Burma - Vs , Mission of Burma - The Horrible Truth)

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Hello,


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Spirit Journey - Spiritual Meditation Music - Alpha Brainwave Entrainment Audio from Brainwave-Sync

Spirit Journey is perfect for both the experienced and beginner meditator. Uses dual hemisphere stimulation to propel you very quickly into a lucid altered state, helping you to get into a deep meditative state within minutes. Each track will help induce powerful meditations.

 "Spirit Journey" is the perfect meditation tool; using powerful split hemispheric stimulation it very quickly propels you into a meditative state. Once there you will travel deep into the realms of your spirit, carried by the beautiful relaxing music, combined with our unmatched brainwave entrainment technology.

 * Rapidly enter a deep meditative state!

 * Explore your consciousness and thoughts.

 * Learn the nature of your spirit.

 * Positive effects continue after the use of the files

 * Works with and without headphones. Requires headphones for dual hemispheric stimulation.



Alpha Brainwave Entrainment Audio - Spirit Journey ( 60min flac 317mb).

1. Spirit Journey 30:19
2. Spirit Journey - with Thunder 30:15

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Here we offer a brief preview of our directions in 2020 and beyond, supporting a revolutionary interpretation of the mythic and symbolic archetypes. Our purpose is to demonstrate that the documented archetypes are explicitly and inseparably connected to the themes we’ve repeatedly affirmed in these Discourses. Our claim is that the archetypes as a whole can be fully and persuasively explained in terms of the extraordinary natural world from which the ancient civilizations themselves arose. No archetype can then be excluded, and CONSISTENCY between wide-ranging archetypes becomes an acid test.

The subject of this video series by Dave Talbott is the ancient experience of towering celestial forms that are no longer present. From a single snapshot of the configuration, we can work backwards to the first appearance of these bodies out of an undifferentiated cloud or sea of dusty plasma. We can then follow the configuration’s evolution through phases that range from quasi-stability to earth shaking catastrophe.

In this sixth of the Discourses series, Dave Talbott offers a few glimpses of the mythic subject matter and the reasoning protocol for drawing reliable conclusions from ancient witnesses. .



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The subject of this video series is the ancient experience of towering celestial forms that are no longer present. From a single snapshot of the configuration, we can work backwards to the first appearance of these bodies out of an undifferentiated cloud or sea of dusty plasma. We can then follow the configuration’s evolution through phases that range from quasi-stability to earth shaking catastrophe.



not leaving you hanging



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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 5 ( 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).
V For Vendetta 2 ( 75min mp3  34mb).
V For Vendetta 3 ( 75min mp3  34mb).
V For Vendetta 4 ( 75min mp3  34mb).

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Hello, oh dear the UK royal family still stuck in the Middle ages is in crises because the future kings brother decided to no longer play along, after he and especially his wife Megan have been relentlessly attacked by the Murdoch racist tabloid press, nasty stuff, unfortunately this evil Murdoch press will never stop if they think the simpletons keep buying into their trash.  Sorry Megan, but look what lies evil Murdoch is currently spreading in Australia concerning the fires in that country, it's got nothing to do with global warming but it's green terrorists setting fire to the country, nothing to do with the rightwing government selling lies and coal strongly supported by the tabloid empire of demon Murdoch.




Today's Artist is another case of rags to riches the US always drools over."At the dawn of the 21st Century, Slim Shady had the biggest mouth in the music biz. And man oh man were people upset about the words coming out of it. Drugs, murder, rape, and attacks on pop culture icons were casual topics; and no matter how ridiculous his stories were he made sure you believed every. single. word. However, his praise was just as large as the controversy, not to mention sales. Clever wording coupled with vicious delivery made him perhaps the most technically skilled MC ever within the mainstream.  . ....... N Joy

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To call Eminem hip-hop's Elvis is correct to a degree, but it's largely inaccurate. Certainly, Eminem was the first white rapper since the Beastie Boys to garner both sales and critical respect, but his impact exceeded this confining distinction. On sheer verbal skills, Eminem was one of the greatest MCs of his generation -- rapid, fluid, dexterous, and unpredictable, as capable of pulling off long-form narratives as he was delivering a withering aside -- and thanks to his mentor Dr. Dre, he had music to match: thick, muscular loops that evoked the terror and paranoia Em's music conjured. And, to be certain, a great deal of the controversy Eminem courted -- and during the turn of the millennium, there was no greater pop cultural bogeyman than Marshall Mathers -- came through in how his violent fantasias, often directed at his mother or his wife, intertwined with flights of absurdity that appealed to listeners too young to absorb the psychodramas Eminem explored on his hit albums, The Slim Shady LP and The Marshall Mathers LP. With hits "My Name Is" and "The Real Slim Shady," he ruled the airwaves, but it wasn't long before some detractors acknowledged his depth, helped in part by singles like the mournful "Stan," written from the perspective of an obsessed fan. Eminem capitalized on this forward momentum by crossing over onto the big screen with 8 Mile, earning acclaim for his performance and an Oscar for the film's anthem "Lose Yourself," but a number of demons led him to shut down for the second half of the decade, an absence that proved life was indeed empty without Em, before he returned in 2009 with Relapse.

Born Marshall Mathers in the Kansas City, Missouri suburb of St. Joseph, Eminem spent his childhood between Missouri and Michigan, settling in Detroit by his teens. At the age of 14, he began rapping with a high-school friend, the two adopting the names "Manix" and "M&M," which soon morphed into Eminem. Under this name, Mathers entered battle rapping, a struggle dramatized in the fictionalized 8 Mile. Initially, the predominantly African-American audience didn't embrace Eminem, but soon his skills gained him a reputation, and he was recruited to join several rap groups. The first of these was the New Jacks, and after they disbanded, he joined Soul Intent, who released a single in 1995. This single also featured Proof, and the two rappers broke off on their own to form D-12, a six-member crew that functioned more as a Wu-Tang-styled collective than a regularly performing group. As he was struggling to establish his career, he and his girlfriend Kim had a daughter, Hailey, forcing him to spend less time rapping and more time providing for his family. During this time, he assembled his first album, Infinite, which received some underground attention in 1996, not all of it positive. After its release, Eminem developed his Slim Shady alter ego, a persona that freed him to dig deep into his dark id, something he needed as he faced a number of personal upheavals, beginning with a bad split with Kim, which led him to move in with his mother and increase his use of drugs and alcohol, capped off with an unsuccessful suicide attempt. All this Sturm und Drang was channeled into The Slim Shady EP, which is where he first demonstrated many of the quirks that became his trademark, including his twitchy, nasal rhyming and disturbingly violent imagery.

The Slim Shady EP opened many doors, the most notable of them being a contract with Interscope Records. After Eminem came in second at the 1997 Rap Olympics MC Battle in Los Angeles, Interscope head Jimmy Iovine sought out the rapper, giving the EP to Dr. Dre, who proved eager to work with Eminem. They quickly cut Em's Interscope debut in the fall of 1998 -- during which time Marshall reconciled with Kim and married her -- and The Slim Shady LP appeared early in 1999, preceded by the single "My Name Is." Both were instant blockbusters and Eminem turned into a lightning rod for attention, earning praise and disdain for his violent, satirical fantasias. Eminem quickly followed The Slim Shady LP with The Marshall Mathers LP in the summer of 2000. By this point, there was little doubt that Eminem was one of the biggest stars in pop music: the album sold by the truckload, selling almost two million copies within the first two weeks of release, but Mathers felt compelled to tweak other celebrities, provoking pop stars in his lyrics, and Insane Clown Posse's entourage in person, providing endless fodder for tabloids. This gossip blended with growing criticism about his violent and homophobic lyrics, and under this fire, he reunited his old crew, D-12, releasing an album in 2001, then touring with the group.

During this furor, he had his biggest hit in the form of the moody ballad "Stan." Performed at the Grammys as a duet with Elton John, thereby undercutting some accusations of homophobia, the song helped Eminem to cross over to a middlebrow audience, setting the stage for the ultimate crossover of 2001's 8 Mile. Directed by Curtis Hanson, best known as the Oscar-nominated director of L.A. Confidential, the gritty drama fictionalized Eminem's pre-fame Detroit days and earned considerable praise, culminating in one of his biggest hits with the theme "Lose Yourself," which won Mathers an Oscar. After all this, he retreated from the spotlight to record his third album, The Eminem Show. Preceded by the single "Without Me," the album turned into another huge hit, albeit not quite as strong as its predecessor, and there were some criticisms suggesting that Eminem wasn't expanding his horizons much. Encore, released late in 2004, did reach into more mature territory, notably on the anti-George W. Bush "Mosh," but most of the controversy generated by the album was for behind-the-scenes events: a bus crash followed by canceled dates and a stint in rehab. Rumors of retirement flew, and the 2005 appearance of Curtain Call: The Hits did nothing to dampen them, nor did the turmoil of 2006, a year that saw Mathers remarrying and divorcing Kim within a matter of four months, as well as the shooting death of Proof at a Detroit club.

During all this, Em did some minor studio work, but soon he dropped off the radar completely, retreating to his Detroit home. He popped up here and there, most notably debuting the hip-hop channel Shade 45 for Sirius Satellite Radio in September 2008, but it wasn't until early 2009 that he mounted a comeback with Relapse, an album whose very title alluded to some of Mathers' struggles with prescription drugs, but it also announced that after an extended absence, Slim Shady was back. While not quite a blockbuster, the album went platinum, and Eminem followed it at the end of the year with an expanded version of Relapse (dubbed Relapse: Refill) that added outtakes and new recordings. Recovery, initially titled Relapse 2, was issued in June 2010. The album debuted on top of the Billboard 200 chart, where it remained for five consecutive weeks, while its leadoff single, "Not Afraid," debuted on top of the magazine's Hot 100 singles chart.
The year 2010 also brought Eminem back together with Royce da 5'9" under the Bad Meets Evil moniker. In turn, June 2011's Hell: The Sequel marked the release of their first EP as a duo and -- barring the previous month's release of key EP track "Fastlane" as a single -- was their first batch of new material since a 1999 double A-side. After an intense period of recording, Eminem announced in August 2013 that his next solo album would be a nostalgically themed set of new material entitled The Marshall Mathers LP 2, which landed in early November. The album featured the singles "Berzerk,""Rap God," and "Survival," plus the chart-topping hit "The Monster" with Rihanna. In 2014, new tracks landed on the double-disc set Shady XV, which celebrated the Shady label's 15th birthday. The singles "Phenomenal" and "Kings Never Die" featuring Gwen Stefani arrived a year later, both taken from the Southpaw soundtrack.

Eminem resurfaced in October 2017 with a freestyle anti-Trump rap. The track didn't appear on Revival, the December 2017 album that was filled with cameos, including appearances by Beyoncé ("Walk on Water"), Ed Sheeran ("River"), and P!nk ("Need Me"). His seventh straight chart-topper, it ultimately failed to match the sales heights of past efforts, despite the international success of the "River" single. The next year, without warning, Eminem issued his surprise tenth album, Kamikaze. The set featured appearances by Joyner Lucas, Royce da 5'9", and Jessie Reyez, as well as "Venom," from the film of the same name.

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Seemed like drama was always something Eminem craved, but in the year leading up to The Re-Up, the drama was heavy, a really, really bad kind of heavy. He checked himself into rehab, got remarried for a few months to the infamous Kim before that went south, then his best man and best friend Proof is murdered in a bizarre and depressing incident that made all the gangster talk that came previously extra chilling. A mixtape that was originally planned to be released on the underground circuit, The Re-Up has plenty of that serious heat that influenced Eminem to go aboveground with the release. There's the surging remix of 50 Cent's "Ski Mask Way," the excellent all-star single "You Don't Know," a couple clever redo's of Akon's "Smack That" single with various members of the Shady family, and "There He Is" with newcomer Bobby Creekwater living up to his hype over a rich Alchemist beat. Tacked onto the end is Eminem's shining moment, "No Apologies," which speaks to his frozen heart, then lashes out at critics. The man's lyrical dexterity is on display for the soul-searching closer, there's no doubt about that, but the target is questionable, since it didn't really seem like Em was getting a critical drubbing in 2006. A diversion maybe? Could be, since he's sidestepping a whole lot of the other issues here. While Proof gets his due with the intro to his unreleased track "Trapped," this is hardly his memorial, plus his D12 brothers Bizarre and Kuniva are in no hurry to lay off the gun talk with their visceral and knowingly irresponsible "Murder." The quick marriage/divorce and rehab are barely noted, either, and while Em has every right to keep whatever he wants private, longtime fans looking for that usual candor are in for a shock. Instead of using the mixtape format as an up-to-the-minute dispatch from the soul, Em has decided to bring the Shady empire back into focus with The Re-Up. 50 Cent and his G-Unit crew are brought back into the Shady scene when it seemed they just about outgrew it, and with Creekwater, Cashis, and Stat Quo all anxious to become "rookie of the year," the Shady spotlight is validated. Once the Eminem hardcore accept that this is more about the whole talented and hungry crew than the man with a devastating year on his hands, they'll co-sign.



 VA - Eminem Presents The Re-Up  (flac   491mb)

1 Eminem - Shady Narcotics 0:56
2 Eminem, Obie Trice, Stat Quo, Bobby Creekwater & Cashis - We're Back 4:00
3 Obie Trice - Pistol Pistol (Remix) 2:26
4 Bizarre & Kuniva - Murder 2:11
5 Cashis - Everything Is Shady 4:30
6 Eminem & 50 Cent - The Re-Up 2:58
7 50 Cent , Eminem, Cashis & Lloyd Banks - You Don't Know 4:18
8 Eminem & 50 Cent - Jimmy Crack Corn 3:55
9 Proof - Trapped 0:58
10 Mr. Porter & Swifty McVay - Whatever You Want 2:49
11 Cashis - Takin' All That 4:05
12 Stat Quo - By My Side 4:07
13 Obie Trice & Cashis - We Ride for Shady 3:08
14 Bobby Creekwater - There He Is 4:25
15 Stat Quo - Tryin' ta Win 3:53
16 Stat Quo & Bobby Creekwater - Smack That (Remix) 5:12
17 Eminem - Public Enemy #1 1:55
18 Stat Quo - Get Low 3:20
19 Eminem & 50 Cent - Ski Mask Way (Eminem Remix) 3:04
20 Nate Dogg, Eminem, Obie Trice & Bobby Creekwater - Shake That (Remix) 3:00
21 Obie Trice, Kuniva, Bobby Creekwater, Cashis & Stat Quo - Cry Now (Shady Remix) 5:10
22 Eminem - No Apologies 4:19

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Eminem placed himself in exile shortly after Encore wound down, a seclusion initially designed as creative down-time but which soon descended into darkness fueled by another failed marriage to his wife Kim and the death of his best friend Proof, culminating in years of drug addiction. Em none too subtly refers to that addiction with the title of Relapse, his first album in five years, but that relapse also refers to Marshall Mathers reviving Slim Shady and returning to rap. Relapse is designed to grab attention, to stand as evidence that Eminem remains a musical force and, of course, a provocateur spinning out violent fantasies and baiting celebrities, occasionally merging the two as when he needles one-time girlfriend Mariah Carey and her new husband Nick Cannon. Strive as he might to make an impact in the world at large -- and succeeding in many respects -- Relapse is the sound of severe isolation, the product of too many years of Eminem playing king in his castle in a dilapidated Detroit, subsisting on pills, nachos, torture porn, and E! Daily News. As he sifted through junk culture, he also tweaked his rhyming, crafting an elongated elastic flow that contrasts startlingly with Dr. Dre's intensified beats, ominous magnifications of his thud-and-stutter signature. Musically, this is white-hot, dense, and dramatic not just in the production but in Eminem's delivery; he stammers and slides, slipping into an accent that resembles Paul Rudd's Rastafarian leprechaun from I Love You Man and then back again. His flow is so good, his wordplay so sharp, it seems churlish to wish that he addressed something other than his long-standing obsessions and demons. True, he spends a fair amount of the album exorcising his addiction -- smartly tying it to his never-abating mother issues on "My Mom" -- but most of Relapse finds Eminem rhyming twitchily about his old standbys: homosexuals, starlets, and violent fantasies, weaving all of them together on "Same Song and Dance" where he abducts and murders Lindsay Lohan, suggesting more than a passing familiarity with I Know Who Killed Me. The many, many references to Kim Kardashian's big ass and minutely detailed sadism can get a wee bit tiring, Relapse isn't really about what Eminem says, it's about how he says it. He's emerged from his exile musically re-energized and the best way to illustrate that is to go through the same old song and dance again, the familiarity of the words drawing focus on his insane, inspired flow and Dre's production. That might not quite make Relapse culturally relevant -- recycled Christopher Reeve jokes aren't exactly fresh -- but it is musically vital, which is all Eminem really needs to be at this point.



 Eminem - Relapse  (flac   519mb)

01 Dr. West (Skit) 1:29
02 3 a.m. 5:20
03 My Mom 5:20
04 Insane 3:01
05 Bagpipes From Baghdad 4:43
06 Hello 4:08
07 Tonya (Skit) 0:43
08 Same Song & Dance 4:08
09 We Made You 4:30
10 Medicine Ball 3:57
11 Paul (Skit) 0:19
12 Stay Wide Awake 5:20
13 Old Time's Sake 4:35
14 Must Be the Ganja 4:03
15 Mr. Mathers (Skit) 0:42
16 Déjà Vu 4:43
17 Beautiful 6:32
18 Crack a Bottle 4:58
19 Steve Berman (Skit) 1:29
20 Underground 6:19

Relapse : Refill is a re-release of Relapse containing seven songs from the supposedly scrapped album Relapse 2. Genuine songs or simply a cheap money-maker? Refill kicks off with 'Forever', which doesn't have jack shit to do with any of Relapse. It's pretty much a disposable song, Em himself is the only one coming correct on it, but fuck the others. Yes, even Mr. West, who I am a big fan of. After that we jump right back into Relapse though, which is a good thing, as Eminem gets back to spitting that crazy shit. 'Hell Breaks Loose' is nice, but not really that spectacular. The bloody fun really starts with 'Buffalo Bill'. It's Em spitting some crazy shit. Some might not feel his delivery much, but to me it's just the same thing he had been doing on the original release. 'Elevator' would have fit nicely on the last (kinda introspective) part of Relapse and is another nice track. 'Taking My Ball' and 'Music Box' are also great fits with the other tracks on Relapse. I especially like the latter, as Eminem isn't pulling any tricks and is just using his normal voice. It's a very good reminder of his older material and how good this guy can be. Also I just love the sick ass lyrics. By now you should know what to expect from the material on Relapse and this is more gore and sick shit. I happen to like it (what does that say about me!? HUH!? HUH!?). A bit of a shame he ends with 'Drop The Bomb On 'Em', on which he kinda dropped his ball. I just wasn't feeling this track a lot.

Beats on the extra material is still mostly done by Dr. Dre, though he had some help on some beats. It's still very good, but I felt some of it just wasn't touching the level of some of the better beats of Relapse. 'Buffalo Bill' could easily have messed with the beat for stuff like 'Same Song & Dance' though and it's easily a favorite. I just like how Dre was kinda experimenting with his sound for some of the tracks on Relapse. Eminem himself does a nice job on 'Elevator' and it might be one of the fresher beats I have heard from him in a while

 Eminem - Refill  (flac   227mb)

21 Forever 5:58
22 Hell Breaks Loose 4:04
23 Buffalo Bill 3:57
24 Elevator 4:53
25 Taking My Ball 5:03
26 Music Box 5:05
27 Drop the Bomb on 'Em 4:48

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With Recovery it becomes obvious that Eminem's richest albums aren't necessarily his most structurally sound, which isn't much of a surprise when considering the rapper's full-on embrace of flaws and contradictions. This lean, mean bipolar machine began life as Relapse 2, but when Shady decided he wasn't really Shady at the moment and that he was no longer keen on Relapse -- or the last two albums as he states on “Talkin' 2 Myself” -- it became Marshall Mathers time again, so damn any 11th hour issues. This results in an album where a shameless but killer Michael J. Fox punch line (“The world will stop spinnin’ and Michael J. Fox‘ll come to a standstill” from “Cold Wind”) is followed by a song with another, less effective MJF joke (“Make like Michael J. Fox in your drawers, playin' with an Etch-A-Sketch”), although that song is the lurching heavy metal monster “Won't Back Down” with P!nk, and it could be used as the lead-in to “Lose Yourself” on any ego-boosting mixtape. Following an apology for your recent work with a damnation of critics and haters is just sloppy; taking off the skits and then overstuffing your album by a track or two is undermining what's good; and the beats here are collectively just a B+ with only one production (the so good “So Bad”) coming from Dr. Dre. Add to that the detractor idea that being privy to the man's therapy sessions just isn't compelling anymore and the only persuasive moments remaining are the highlights, but fans can feed on the energy, the renewed sense of purpose, and Marshall doing whatever the hell he wants, up to and including shoehorning a grand D12-like comedy number ("W.T.P.," which stands for "White Trash Party") into this emotionally heavy album. It’s fascinating when Em admits “Hatred was flowin’ through my veins, on the verge of goin’ insane/I almost made a song dissin’ Lil Wayne” and then “Thank God I didn’t do it/I’da had my ass handed to me, and I knew it” before sparring with said Weezy on the Haddaway-sampling “No Love.” When the recovery-minded “Going Through Changes” gets back on the wagon by sampling Black Sabbath’s very druggy “Changes” it’s a brilliant and layered idea that’s executed with poignant lyrics on top. Add the man at his most profound (the gigantic hit “Not Afraid”) and his most profane (“You wanna get graphic? We can go the scenic route/You couldn’t make a bulimic puke on a piece of corn and peanut poop” from “On Fire”) plus one of thickest lyric booklets out of any of his albums and the fans who really listen are instantly on board. It may be flawed and the rapper’s attitude is sometimes one step ahead of his output, but he hasn’t sounded this unfiltered and proud since The Marshall Mathers LP, so to hell with refinement -- bring on the hunger and spirit of 8 Mile.



Eminem - Recovery (flac   551mb)

01 Cold Wind Blows 5:04
02 Talkin' 2 Myself feat. Kobe 5:01
03 On Fire 3:34
04 Won't Back Down feat. P!NK 4:26
05 W.T.P. 3:58
06 Going Through Changes 4:59
07 Not Afraid 4:08
08 Seduction 4:35
09 No Love feat. Lil Wayne 5:00
10 Space Bound 4:39
11 Cinderella Man 4:39
12 25 to Life 4:02
13 So Bad 5:25
14 Almost Famous 4:53
15 Love the Way You Lie feat. Rihanna 4:23
16 You're Never Over 5:06
17 Untitled [hidden track] 3:15

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After centering himself with the confessional 2010 release Recovery, Eminem entered his forties while watching his beloved city of Detroit literally go bankrupt. The cover here displays this descent with an updated picture of the rapper's teenage home, first featured on the MM LP of 2000 but now boarded up, and yet this 8 Mile child cares much more about the present than the past, as this vicious, infectious, hilarious triumph is no nostalgia trip, just the 2013 version of Marshall the experienced maverick on a tear, dealing with the current state of events and kicking up dust with his trademark maniac attack while effortlessly juggling his over-40 wisdom with stuff you'd slap a teenager for saying. Key cut "Rap God" is the quintessential track as it blasts out homophobic cut-downs and other inexcusable lyrics, because Marshall's the "Dale Earnhardt of the trailer park," but "I still rap like I'm on my Pharoahe Monch grind," and suddenly his Stan Lee-like origin story begins to take shape. Marshall is a super villain so familiar with hate and depression, he's powered by all shades of anger. Be it pissing off the neighbors (rocking the house with a some Beastie Boys and Billy Squier samples on the Rick Rubin-produced party starter "Bezerk") or being threatened by critics (and his biggest ever, too, as "Bad Guy" revisits the MM LP character "Stan" via his revenge-obsessed brother Matthew), it all feeds into his super nova, and it’s a unique spectacle when it explodes. It does so gloriously on the stately arena rap anthem "Survival," which injects the listener with martial beats and a pre-game pep talk worth hearing. "Asshole" takes the decidedly low road to destruction, slapping girls "off the mechanical bull, at a tractor pull" while using controversy to make the front page, then offering the idea that he's "white America's mirror, so don't feel awkward or weird," because there's no sense in leaving the sewer if you don't crawl out enlightened. Love it or hate it, nourishing his same old murder fantasies is what drives Eminem to make the vital music found here, and yet there's room for polished and clever frivolity on the album. The grand "Love Game" with Kendrick Lamar whips a Wayne Fontana "Game of Love"-sample into a thrilling swagger cut, while "So Far…" re-edits Joe Walsh's "Life's Been Good" so the Madden and MP3 generation can also understand the sweet irony of mansions filled with Kool-Aid-stained couches. Silly, manipulated voices and all, "The Monster" with Rihanna offers insight with its "I get along with the voices inside my head" attitude, then "Headlights" ups the game and offers mom an apology, referencing his earlier hit "Cleaning Out My Closet" and explaining it as an angry and irresponsible moment. Funny thing is, most of the best moments on MM LP2 are just as angry, and just as irresponsible, but like "Closet," this is the tortured soul and self-reliance ninja known as Eminem at his very best.



Eminem - The Marshall Mathers LP 2 (flac   545mb)

01 Bad Guy 7:14
02 Parking Lot (Skit) 0:55
03 Rhyme or Reason 5:02
04 So Much Better 4:21
05 Survival 4:34
06 Legacy 4:56
07 Fuckhole feat. Skylar Grey 4:27
08 Berzerk 3:59
09 Rap God 6:04
10 Brainless 4:47
11 Stronger Than I Was 5:37
12 The Monster feat. Rihanna 4:10
13 So Far... 5:18
14 Love Game feat. Kendrick Lamar 4:57
15 Headlights feat. Nate Ruess 5:43
16 Evil Twin 5:57

Eminem - The Marshall Mathers LP 2 Bonus (flac   163mb)

17 Baby 4:23
18 Desperation feat. Jamie N Commons 3:57
19 Groundhog Day 4:53
20 Beautiful Pain feat. Sia 4:25
21 Wicked Ways 6:31

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Hello,  today's artist spent most of his life studying Sufism and Mysticism as such being 'out there ' that much may well have led him deciding to stay there, instead of returning to his aging body, after all he had given what he had to give..


Today's artist is is a German ambient drone. While the early releases of the early 80s (almost exclusively released on cassette) were characterized by droning singing bowls, tambouras, zithers and natural sounds, these natural sound sources were combined more and more delicately on the late works, so that the sound source itself can no longer be identified was. The result was a deep, dronic sound current. If you listen closely, you will discover the incredible complexity that swells up and down and gives the sounds something organic. Each album was under a spiritual (often Sufic) motto and probably opened a corresponding door in open-minded listeners to touch or awaken that emotional level. Do listen to this guy, whose music, while hardly including a single word, has so much more to say to us than words, no matter their number, could ever communicate. .......N-Joy

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Klaus Wiese (January 18, 1942 – January 27, 2009 in Ulm) was a veteran e-musician, minimalist, and multi-instrumentalist. A master of the Tibetan singing bowl, he created an extensive series of album releases using them. Wiese also used the human voice, the zither, Persian stringed instruments, chimes, and other exotic instruments in his music. Wiese is considered by some as one of the great ambient or space music artists such as Robert Rich, Steve Roach, Michael Stearns, Constance Demby, and Jonn Serrie. His musical style is much more appropriately compared to the organic soundscapes of drone and dark ambient music, such as Oöphoi, Alio Die, Mathias Grassow, and Tau Ceti.

He was briefly a member of the krautrock band Popol Vuh in the early 1970s where he played tamboura on the albums Hosianna Mantra and Seligpreisung. Eventually Wiese would move away from krautrock to his own version of long tone ambient music by the 1980s. In the 1990s he founded the Nono Orchestra to play the giant sheetmetal instruments of Robert Rutman. His music has regularly been featured on nationally syndicated radio programs such as Hearts of Space and Star's End.

Wiese is known also for his collaborations with Al Gromer Khan, Mathias Grassow, Oöphoi, Tau Ceti, Saam Schlamminger, and Ted de Jong. He collaborated with Deuter on his Silence is the Answer album in 1980 and East of the Full Moon in 2005. Outrageously, twenty-four albums of material were released in 2004 alone. He traveled the East for many years studying Sufism and Mysticism which clearly influenced his spiritual, ambient music. Klaus Wiese died on 27 January 2009 at the age of 67. "It wasn't obvious he was sick and he was not suffering from any known illness. He died unexpectedly during the night."

Wieses approach to ambient music is based on the minimalist tradition of composers such as John Cage, Steve Reich and Philip Glass; The greatest similarities between his space-flooding, ethereal, sometimes almost statically persistent, and genre-typical extended (sometimes over 60 minute long) drone passages exist for artists such as Robert Rich and Steve Roach. Wiese was a self-taught multi-instrumentalist throughout his life and used various Persian stringed instruments, drums, Tibetan singing bowls, chimes and a number of other instruments in addition to the zither on his recordings.

Klaus Wiese's life's work, however, is difficult to reduce to his music as such, because for him mystical elements were always an integral part of his art, he himself emphasized spiritual, therapeutic and healing motives. Multiple trips to the Orient brought him in particular in connection with the teachings of Sufis Hazrat Inayat Khan, experiences that should also be reflected in his musical expression (and many of his artworks). Through Wiese, a piece of the Sufis' love of music came to Europe, which, although distant from classical Sufi music, still has similarities such as ecstasy (wagd) and rapture (hal)

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Re-mastered and re-edited by Klaus Wiese himself, this masterpiece rediscovers one of the finest moments in Wiese's discography and his entire music career. "Baraka" (Arabic for: blessings from above) not only heralds Klaus Wiese's discography, but also starts a new sound time calculation in ambient music. In 1981, when one spoke of ambient music, the term new age, minimal music and world music was still mixed in the drawer, but without a sweet, sticky aftertaste. Brian Eno, was allowed to hover next to Eberhard Schoener and Deuter. Popol Vuh, alongside Laraaji, Terry Riley, Iasos and Vangelis. The role models of Baraka can still be identified, as are the sound sources. An original sound emerged from album to album, which should gain influence for the ambient and drone scene (and also in areas of sound therapy).

But first "Baraka". It is about the one point, the lowest point that has to be reached acoustically. The point of truth, everything that is not truth, should be left out. The direct experience. No rhythmic distraction, no catchy tune, no virtuoso guitar runs. Everything is focused on the essentials. Pure sound, primal sound and this is not entirely unlike the Om or Aum. This bank, from which a waveless ocean later breaks, is created from singing bowls, zithers and tamboura.

Once all overtones have mixed and overlaid, hooked into each other, this very specific, unrelenting dro (e) ning sound arises. Detached from natural sounds, bells, cymbals, wind chimes and vibrating singing bowls, the sound (and the listener) reaches a weightless state. Deprived of all gravity, you slide into this warm maelstrom of security that has become sound. Sounds like esoteric literature and lots of drugs. Neither one! The pure sound that vibrates body and soul. Yes, it is deeply psychedelic, hypnotic ... and progressive. Herb skirt without herbs and rock, but with this peaceful spirit that immediately embraces the listener ... a little like the "monkey hour" and the "gardens of Pharaoh" shine through. Soul mate and sound related at the deepest level.

2 pieces, for almost an hour. Back then on a cassette and with a brief interruption. Now (well 2007) reissued and pure high. Oh yes ... for the loud sound and intoxication, something else important: the spiritual aspect was very elementary for Klaus Wiese. Without this substructure, his music would not be as it is or maybe not at all. "If people would know what blessing lies in need they would need nothing but need" so it says on the back of the album and so these words should also conclude this review.



Klaus Wiese - Baraka (flac 222mb)

01 Invocation I 26:12
02 Invocation II 30:46

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The tone language of Klaus Wieses after Baraka and the dark, rhythmic successor Maraccaba on "Sabiha Sabiya" experience a first sound refinement of the chosen sound means. The meaning of the title is difficult to understand. "Beauty", "Sapphire", "East Wind" ... maybe it's also a play on words and Sabiya is a name ... the beautiful Sabiya? An exact interpretation would now be speculation, but "beauty" is probably not too far from the feeling that awaits the listener of the cassette.

As on the romantic cover motif, the listener looks into the distance as soon as these warm sounds envelop him. And again they are completely organic and not created using synths and keyboards. Harp, tambura, harmonium and the human voice create spacious soundscapes that are difficult to describe with words. Again the tone counts that penetrates deeply into the listener's consciousness. Overtones buzz and hum harmoniously but not melodically. Unfortunately, some sections are faded out too abruptly, which causes the mind to stumble briefly before it is caught again by the next sound loop. "Sabiha Sabiya" sounds brighter than its predecessors and the instruments merge even more. Layering into each other, separating from each other until at the end there is only one fundamental tone, to which the listener is then attuned. Truly a journey, and in this noisy time this sound document from the early 80s can be used as an antidote.



Klaus Wiese - Sabiha Sabiya   (flac 253mb)

01 Shaheena (The Falconess) 29:55
02 Shaira (The Poetess) 31:46

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Behind crumbling of pink florets, which forming the floral wall, a figure of some woman start to appear in ambiance of aromas, spinning around paper umbrella. Landing to the ground, her tender motions merge with breeze, with airy murmuring of may-lilies. Possibly, she is an incarnation of first kiss, its impersonation in reality. Red seal on her lips is made by Sun – there's something, about what she can't talk – it's the seal of deep silence, which sleeps in caves, in meek jingle sounds. Full regeneration with loss of face – the price of art dedication. This image comes true in Japanese Geisha – the keeper of old traditions, the man of art (to be more correctly, woman of art).

Klause Wiese, German sound fabler, sent one of his works directly to this character. Gentle tinkles are similar to her pace, that is so delicate and organic. Glance, fanned by swings of the color fan, falling apart into sea waves, smashing on the greenery of the rocks. Going with water spirit of a heron, she is dancing with mermaids, with  nymphs of the wood. That person, who adsorbed century mind flows, became identical to nameless cascades, which don't know about their sacrosanct beauty.

Music, that sounds by soft touches of romantic play, invites its listeners to the shore of lone diving into the sea, which is full of bottom glowworms, performing mild melodies on the luminous instruments.



Klaus Wiese - Geisha ( flac   322mb)

The Pearl And The Princess
01 Part One 5:37
02 Part Two 20:41
03 Part Three 5:05
Gemini
04 Part One 22:46
05 Part Two 8:03

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Samarkand is another psychoactive sound design by overtone master Klaus Wiese. This recording of Tibetan bowls, zither, and keyboards is just as special as any recording in this style. Listeners are free to choose their own pathways and spirituality. Wiese is only providing the vehicle -- he's not a tour guide. Focused listening is the only option. The warm, organic textures and timbres will caress listeners gently and provide protection along the chosen route. Because listeners choose their own paths, there are limitless adventures available on this album. It is essential for all fans of healing music .....



Klaus Wiese - Samarkand (flac   191mb)

01 Intro I 1:56
02 Déjà vu 28:19
03 Intro II 1:23
04 The Dream 16:53
05 Fergana I 5:16
06 Fergana II 6:31

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Klaus Wiese is a veteran e-musician and minimalist. He was a member of Popol Vuh and has collaborated with Mathias Grassow and Oöphoi. But his real calling is as a sound healer. Uranus is a large-scale atmospheric work that has all of the characteristics of true minimalism except for one -- there is no mechanical repetition. The bowls certainly have electronic qualities and trance-inducing textures. Indeed, even simple tasks (like writing) can become difficult under the spell of these magical soundscapes. From a dictionary definition standpoint, this is truly minimalist -- there is only one instrument. From a musical standpoint, these are wonderful, meditative, healing atmospheres.



Klaus Wiese - Uranus Tibetan singing bowls (flac 155mb)

01 Tâ há I 29:52
02 Tâ há II 30:23

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Hello,


Only 7 correct requests for this week, one too early, one at the wrong place,   whatever another batch of 26 re-ups (8.6gig)


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 January  12 th... N'Joy

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4x Beats Back in Flac (  The KLF - (12"singles) 1-2-3 , The KLF - (12"singles) 4-5-6 , The KLF - (12"singles) 7-8-9, The KLF - Ultra Rare Trax  )


4x Roots Back In Flac (The Revolutionaries - Negrea Love Dub, The Revolutionaries - Green Bay Dub, The Revolutionaries - Outlaw Dub, The Revolutionaires - Goldmine Dub )


3xBeats Back in Flac (Plaid - Mbuki Mvuki, Plaid - Not For The Trees, Plaid - Rest Proof Clockwork )

4xSundaze Back In Flac (VA - Ambient Meditations 1, VA - Ambient Meditations 2, VA - Ambient Meditations 3, VA - Ambient Meditations 4)


4x Sundaze Back in Flac ( Steve Roach - The Lost Pieces, Steve Roach - Halcyon Days , Steve Roach -  The Magnificent Void, Roach & Obmana - Cavern Of Sirens )


4x Sundaze Back in Flac ( Jonn Serrie - And The Stars Go With U, Jonn Serrie - Flightpath, Jonn Serrie - Tingri , Jonn Serrie - Planetary Chronicles vol. 1)


3x Grooves Back in Flac (  Stax 50th Anniversary Collection 1, Stax 50th Anniversary Collection 2, Stax 50th Anniversary Collection 3)

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Hello,


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Chakra Meditation with Hemi-Sync®

Align and balance your seven essential energy centers.

Dolphin sounds and music combine to help align and balance each of the seven major chakras in this verbally guided Hemi-Sync® exercise, created and voiced by Eluv. Located along the central line of the body, chakras receive and transmit life-force energy to our physical, mental, emotional and spiritual bodies. When we experience unreleased emotions such as fear, anger or guilt, the energy flows less freely and can become blocked. I don't know about dolphin noises - I don't hear any dolphin noises. I hear the usual hemi-sync "wave" sounds, what sounds like some singing, some flute. The narrator is a British woman with a soothing voice. The affirmations included here will help to optimize each chakra for an overall sense of well-being. Features two tracks; Track 1 is a 51-minute extended meditation to fully open and deepen the process; Track 2 is a 23-minute abridged version for a quick balance and alignment.



Chakra Meditation with Hemi-Sync ( 74min flac   295mb).

01 Deep Process 51:00
02 Quick Balance 22:57

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Here we offer a brief preview of our directions in 2020 and beyond, supporting a revolutionary interpretation of the mythic and symbolic archetypes. Our purpose is to demonstrate that the documented archetypes are explicitly and inseparably connected to the themes we’ve repeatedly affirmed in these Discourses. Our claim is that the archetypes as a whole can be fully and persuasively explained in terms of the extraordinary natural world from which the ancient civilizations themselves arose. No archetype can then be excluded, and CONSISTENCY between wide-ranging archetypes becomes an acid test.

The subject of this video series by Dave Talbott is the ancient experience of towering celestial forms that are no longer present. From a single snapshot of the configuration, we can work backwards to the first appearance of these bodies out of an undifferentiated cloud or sea of dusty plasma. We can then follow the configuration’s evolution through phases that range from quasi-stability to earth shaking catastrophe.




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The subject of this video series is the ancient experience of towering celestial forms that are no longer present. From a single snapshot of the configuration, we can work backwards to the first appearance of these bodies out of an undifferentiated cloud or sea of dusty plasma. We can then follow the configuration’s evolution through phases that range from quasi-stability to earth shaking catastrophe.



not leaving you hanging



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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 6 ( 65min mp3  28mb).


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).
V For Vendetta 2 ( 75min mp3  34mb).
V For Vendetta 3 ( 75min mp3  34mb).
V For Vendetta 4 ( 75min mp3  34mb).
V For Vendetta 5 ( 75min mp3  34mb).

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Hello, after all these male rappers these last months, it's about time women got a word in, that said they really didn't get a big foot between the door, i guess misandry doesn't sell as good as misogyny in a world abused by men. Nevertheless women did impact the hip hop world as we'll see the coming weeks.




Today's Artists  are  an American hip-hop girl group formed in 1985. Group members included Salt (Cheryl James), Pepa (Sandra Denton), and DJ Spinderella (Deidra Roper). They were signed to Next Plateau Records and released their single "Push It" on March 8, 1987, which hit number one in three countries and became a Top Ten or Top Twenty hit in various other countries. Their debut album Hot, Cool & Vicious sold more than a million copies worldwide, making them the first female rap act to achieve gold and platinum-status. The group has been nominated for a Grammy Award several times, the trio won the 1995 Grammy Award for Best Rap Performance by a Duo or Group for their song "None Of Your Business", making them one of the first female rap acts to win a Grammy Award. Their success in rap and hip-hop culture has earned them the honorific title "The First Ladies of Rap and Hip Hop"  . ....... N Joy

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In mid-1985, Brooklyn native Cheryl James met Jamaican-born Queens resident Sandra Denton, both studying nursing at Queensborough Community College. The pair became close friends and co–workers at Sears. Another co-worker, Hurby "Luv Bug" Azor was studying record production at the Center of Media Arts and asked James and Denton to record for him as a class project. This resulted in the single "The Showstoppa", an answer record to Doug E. Fresh's hit single "The Show" by the duo, who originally called themselves "Super Nature", along with DJ Latoya Hanson in late 1985, produced by Azor. The single utilized a melody from the 1984 film Revenge of the Nerds. The finished recording garnered some airplay on a New York City rap radio program. The independent Pop Art Records gave it an official release, and "The Show Stoppa (Is Stupid Fresh)" became a modest R&B hit. The single reached No. 46 on the Billboard R&B chart. In September 1985, the group signed to Next Plateau Entertainment (formerly Next Plateau Records), adopting the stage name Salt-N-Pepa and released their debut album Hot, Cool & Vicious in December 1986.

In 1987, the group recruited Deidra Roper, a 15-year-old high-school student DJ named "Spinderella" after the departure of Hanson. The group entered the music industry at a time when hip hop was believed to be a fad and major record companies were very reluctant to sign hip hop artists. Many early hip hop artists recorded for independent labels. Salt-N-Pepa made their impact on hip hop by being one of the first all-female rap groups. With lots of concerns about sexist lyrics and video clips that objectified women's bodies in hip hop, many feminists disliked rap and hip hop because of its bad portrayal of women. However, Salt-N-Pepa changed the look of hip hop. They were scantily clad in sexy clothing and were not afraid to talk about sex and their thoughts about men. Their song "Let's Talk About Sex" was a huge hit.

With the success of "The Show Stoppa," the group's name was changed to Salt-N-Pepa. The group changed their name because in "The Show Stoppa" they rap the lines "Right now I'm gonna show you how it's supposed to be 'Cause we, the Salt and Pepa MCs". This resulted in radio stations getting phone calls requesting "The Show Stoppa" by Salt & Pepper. They signed to the independent Next Plateau Records to record a full-length album.[4] The group's first album Hot, Cool & Vicious was released in 1986 with the original DJ Latoya Hanson, who was later replaced by Deidra "Spinderella" Roper. The album was produced by Hurby Azor, Salt's boyfriend at the time and also the group's manager. Years later, the women found themselves with legal issues with Azor as they accused him of paying unfair royalties. Hot, Cool & Vicious provided some moderate R&B hits with the singles "My Mic Sound Nice", "Tramp", and "Chick On The Side". But when San Francisco DJ and producer Cameron Paul created a remix to "Push It", the B-side of the "Tramp" single, it gave the group their first major hit. "Push It" (US #19, UK #2) became a platinum single in the United States, and a hit in several other countries, and was added to subsequent pressings of Hot, Cool & Vicious. It was nominated for a Grammy Award, and the strength of that single catapulted the album to platinum sales in the US with over one million copies sold, making Denton, James, and Roper the first female rap act to go platinum. The album ultimately sold 1.4 million copies worldwide. Salt-N-Pepa's next album, A Salt with a Deadly Pepa was released on July 26, 1988, contained the Top Ten R&B hit "Shake Your Thang", featuring the go-go band E.U. A top 20 R&B hit and a minor pop hit were seen in "Get Up Everybody (Get Up)" and "Twist and Shout", respectively; with "Twist and Shout" becoming a major hit in the UK (#4), and several other European countries. The album became certified gold-status, for excess sales of 600,000 copies sold in the U.S. and a total of 800,000 copies sold internationally.

The group's third album Blacks' Magic was released on March 19, 1990. Pepa would become the first group member to become pregnant. Azor would produce some songs on the album. As he was producing other acts, he agreed to let the artists work with different producers to finish the album. James and Roper took on producing assignments themselves and the trio also hired different producers such as Invincible's producer Dana Mozie. This was the first album to feature Roper on vocals as well as DJ'ing. The result was six singles released by Next Plateau Records, several of which became hits: "Expression", a platinum single that had been certified gold before it even cracked the US Hot 100 as it had already been #1 on the R&B Chart for 8 weeks, and produced by Salt; "Independent"; "I Don't Know" (featuring Kid 'n Play); "Do You Want Me" certified gold; "Let's Talk About Sex" certified gold, and later re-recorded as "Let's Talk About Aids"; and "You Showed Me". The album ultimately sold 1.6 million copies worldwide with a million of those sold in the US.[citation needed] A greatest hits album called A Blitz of Salt-N-Pepa Hits, featuring some remixed versions of songs from the group's first three albums was subsequently released.

Salt-N-Pepa's fourth studio album Very Necessary was released on October 12, 1993 on London Records/PolyGram. The album featured songwriting and production by Salt, Pepa, Spinderella, and Azor. Buoyed by the hits "Shoop", co-produced by Pepa; "Whatta Man" (featuring En Vogue); and "None of Your Business", a Top 40 US hit and a Top 20 UK hit, the album eventually sold seven million worldwide, with five million of those in the US (5x platinum), making them the first female rap act (solo or group) to have a multi-platinum selling album. The group toured and Salt went on to co-star in the motion picture comedy Who's the Man?. Pepa co-starred in the movie Joe's Apartment. Pepa had also been romantically involved with Treach of the rap group Naughty By Nature. The trio won the Grammy Award for Best Rap Performance by a Duo or Group in 1995 for the single "None of Your Business", making them the first female rap act to win Grammy. The album is the best selling album by a female rap act.[

By the time of their next album release, Salt-N-Pepa had gone through the legal process of completely breaking away from Azor, whom they accused of unfair royalty payments. Salt had already stopped being romantically involved with him due to their many ups-and-downs. The trio also left London Records after one album and signed with Red Ant Records, though still distributed by PolyGram Records through its Island Records label. Red Ant offered the trio a $15 million signing bonus to sign with them. The group undertook production duties once again, but without Azor involved in any part of the album. The result was their fifth album, Brand New which released on October 21, 1997, which hit stores a few months later. However, Red Ant filed for bankruptcy soon afterwards, halting promotion on all its releases, including Salt-N-Pepa's album. The group toured in support of the album, but without any promotion or marketing from the now-defunct Red Ant, they only scored minor hits with "R U Ready" and "Gitty Up". The album was certified gold in the U.S. for sales of over 500,000 and sold approximately another 200,000 worldwide. Although not as big a seller as its predecessor, it kept intact an unbroken string of platinum and gold studio albums by the trio.

In March 1999, Salt-N-Pepa embarked on a tour. Pepa married Treach of Naughty by Nature on July 27 of the same year. Salt-N-Pepa's greatest-hits album, entitled The Best of Salt-N-Pepa, was released in Europe on January 25, 2000. Pepa and Treach would remain married for two years but their tumultuous marriage would end in divorce on July 31, 2001. With no albums contractually due at the time, Salt decided to quit the group, stating she had enough of the music industry and no longer wanted to be involved in it. They officially disbanded in 2002. Some time later, Salt announced that she would be releasing her first solo album, but never ended up doing so. She was featured on the remix version of the Salt City Six's "Shine", on the album Holy South Worldwide, a compilation of Christian rap and Christian R&P (Rhythm & Praise) songs. The album was executive produced by ex-Three 6 Mafia member-turned-Christian rapper Mr. Del. Salt also revealed in later interviews that she had suffered from bulimia "many years ago". Pepa appeared on the fifth season of VH-1's The Surreal Life. Spinderella became a radio personality on KKBT 100.3 in Los Angeles, California. She hosted The Backspin (with DJ Mo'Dav), a nationally syndicated weekly radio show featuring old school hip hop music. She also periodically DJs at various clubs. The trio was disbanded for a total of five years.

Both Salt and Pepa appeared on VH-1's Hip Hop Honors in September 2005, as the trio were honorees. All three women reunited the following year for the next Hip Hop Honors program and performed "Whatta Man" with En Vogue. It was the trio's first performance in six years, and was their first ever performance of "Whatta Man" with En Vogue on stage.[20] Salt-N-Pepa reformed in 2007. All three women now have children. Spinderella has a daughter with former NBA player Kenny Anderson. Her daughter has appeared on MTV's My Super Sweet Sixteen in 2008. Pepa has a son and a daughter. Salt has a daughter and a son.

On October 14, 2007, The Salt-n-Pepa Show debuted on VH1. Pepa initially started the formation of the series as she had previously appeared on the network in The Surreal Life. The Salt-n-Pepa Show chronicled events in the lives of Pepa and Salt as they work out past issues and return to the recording studio. Spinderella has been featured in several episodes. Later in 2008, the trio performed with MC Lyte, Yo-Yo, and Lady of Rage at the BET Hip Hop Awards. Pepa released an autobiography entitled Let's Talk About Pep in August 2008. The book was co-written by author Karen Hunter and offers a glimpse behind the fame, family, failures, and successes of Pepa's life, as well as being a member of one of hip-hop's most successful acts.

Since, Salt n Pepa have been cashing in their name performing here and there mostly as part of a package deal/tour. In March 2019, it was announced that Salt-N-Pepa would have a biographical miniseries coming to the Lifetime network, highlighting the rise of the group to become one of the first successful female rap groups in hip hop.
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One of the first albums to be released by an all-female rap group, Hot, Cool & Vicious is paced by its opening track, "Push It," one of the first rap songs to hit number one on the dance singles charts. Considering how little Salt-n-Pepa actually rap on "Push It," which is all about its instrumental hook, they maintain a surprisingly strong presence over most of Hot, Cool & Vicious. No, they aren't technical virtuosos on the mic, but their fairly basic raps are carried off with brash confidence and enthusiasm. Some of the other key tracks borrow ideas from outside sources: the single "Tramp" is a rap remake of the Otis & Carla soul classic, and "The Show Stopper" is an answer record to Doug E. Fresh's "The Show." The duo's sass comes across very well on "My Mic Sounds Nice" and "I'll Take Your Man," and they're equally assertive on "Chick on the Side." In the end, the album needs a little more weight to really come across well, but it's fun and danceable all the same.



 Salt-N-Pepa - Hot Cool And Vicious  (flac   254mb)

01 Push It (Remix) 4:26
02 Beauty And The Beat 4:44
03 Tramp (Remix) 3:30
04 I'll Take Your Man 5:06
05 It's All Right 4:10
06 Chick On The Side (Remix) 4:54
07 I Desire 3:53
08 The Showstopper 4:57
09 My Mike Sounds Nice 4:08

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Attempting to follow up the crossover success of "Push It," Salt-n-Pepa hastily recorded A Salt With a Deadly Pepa, which essentially tries to replicate the charms of their debut without expanding on them very much. It doesn't end up quite as engaging, and the duo's limitations start to show themselves on the more underdeveloped material here. There are some good moments, but the album's centerpieces are once again borrowed ideas. "Shake Your Thang" is another hip-hop remake in the vein of "Tramp," this time of the Isley Brothers'"It's Your Thing"; there's also a less-satisfying Isleys cover from a different era in "Twist and Shout" (which lifts the beat of Toni Basil's "Mickey"), plus a rap take on Joe Tex's "I Gotcha." Elsewhere, "I Like It Like That" recycles the beat and brash shout-outs of "Push It." Thankfully, the next time out, Salt-n-Pepa would rethink their music and assume much greater creative control.



 Salt 'N' Pepa - A Salt With A Deadly Pepa  (flac   239mb)

01 Intro Jam 0:40
02 A Salt With A Deadly Pepa 3:29
03 I Like It Like That 4:06
04 Solo Power (Let's Get Paid) 3:30
05 Shake Your Thang 3:58
06 I Gotcha 4:09
07 Let The Rhythm Run (Remix) (From "Colors") 3:25
08 Get Up Everybody (Get Up) 3:37
09 Spinderella's Not A Fella (But A Girl D.J.) 4:00
10 Solo Power (Syncopated Soul) 3:44
11 Twist And Shout 4:54
12 Hyped On The Mic 3:29


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Prior to the release of their third album, Blacks' Magic, Salt-N-Pepa were viewed as little more than pop crossover artists. Most of their singles had been rap remakes of old R&B songs, and they hadn't even rapped all that much on their biggest hit, "Push It," which got by on its catchy synth hook. But Blacks' Magic was where Salt-N-Pepa came into their own. It wasn't that their crossover appeal diminished, but this time they worked from a funkier R&B base that brought them more credibility among hip-hop and urban audiences. More importantly, they displayed a stronger group identity than ever before, projecting a mix of sassy, self-confident feminism and aggressive -- but responsible -- sexuality. The album's trio of hit singles -- "Expression,""Do You Want Me," and the playful safe-sex anthem "Let's Talk About Sex" -- summed up this new attitude and got the group plastered all over MTV. But there was more to the album than just the singles -- track for track, Blacks' Magic was the strongest record Salt-N-Pepa ever released. Even if there's still a bit of filler here and there, Blacks' Magic successfully remade Salt-N-Pepa as their own women, and pointed the way to the even more commercially successful R&B/pop/hip-hop fusions of Very Necessary.



Salt 'N' Pepa - Blacks' Magic (flac   354mb)

01 Expression 4:04
02 Doper Than Dope 4:21
03 Negro Wit' An Ego 3:40
04 You Showed Me 4:01
05 Do You Want Me 4:52
06 Swift 4:04
07 I Like To Party 4:35
08 Blacks' Magic 4:16
09 Start The Party 3:51
10 Let's Talk About Sex 4:40
11 I Don't Know 3:11
12 Live And Let Die 3:07
13 Independent 4:46
14 Expression (Brixton Bass Mix) 3:28

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Hello,  today's artist spent most of his life studying Sufism and Mysticism as such being 'out there ' that much may well have led him deciding to stay there, instead of returning to his aging body, after all he had given what he had to give..


Today's artist is is a German ambient drone. While the early releases of the early 80s (almost exclusively released on cassette) were characterized by droning singing bowls, tambouras, zithers and natural sounds, these natural sound sources were combined more and more delicately on the late works, so that the sound source itself can no longer be identified was. The result was a deep, dronic sound current. If you listen closely, you will discover the incredible complexity that swells up and down and gives the sounds something organic. Each album was under a spiritual (often Sufic) motto and probably opened a corresponding door in open-minded listeners to touch or awaken that emotional level. Do listen to this guy, whose music, while hardly including a single word, has so much more to say to us than words, no matter their number, could ever communicate. .......N-Joy

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Klaus Wiese (January 18, 1942 – January 27, 2009 in Ulm) was a veteran e-musician, minimalist, and multi-instrumentalist. A master of the Tibetan singing bowl, he created an extensive series of album releases using them. Wiese also used the human voice, the zither, Persian stringed instruments, chimes, and other exotic instruments in his music. Wiese is considered by some as one of the great ambient or space music artists such as Robert Rich, Steve Roach, Michael Stearns, Constance Demby, and Jonn Serrie. His musical style is much more appropriately compared to the organic soundscapes of drone and dark ambient music, such as Oöphoi, Alio Die, Mathias Grassow, and Tau Ceti.

He was briefly a member of the krautrock band Popol Vuh in the early 1970s where he played tamboura on the albums Hosianna Mantra and Seligpreisung. Eventually Wiese would move away from krautrock to his own version of long tone ambient music by the 1980s. In the 1990s he founded the Nono Orchestra to play the giant sheetmetal instruments of Robert Rutman. His music has regularly been featured on nationally syndicated radio programs such as Hearts of Space and Star's End.

Wiese is known also for his collaborations with Al Gromer Khan, Mathias Grassow, Oöphoi, Tau Ceti, Saam Schlamminger, and Ted de Jong. He collaborated with Deuter on his Silence is the Answer album in 1980 and East of the Full Moon in 2005. Outrageously, twenty-four albums of material were released in 2004 alone. He traveled the East for many years studying Sufism and Mysticism which clearly influenced his spiritual, ambient music. Klaus Wiese died on 27 January 2009 at the age of 67. "It wasn't obvious he was sick and he was not suffering from any known illness. He died unexpectedly during the night."

Wieses approach to ambient music is based on the minimalist tradition of composers such as John Cage, Steve Reich and Philip Glass; The greatest similarities between his space-flooding, ethereal, sometimes almost statically persistent, and genre-typical extended (sometimes over 60 minute long) drone passages exist for artists such as Robert Rich and Steve Roach. Wiese was a self-taught multi-instrumentalist throughout his life and used various Persian stringed instruments, drums, Tibetan singing bowls, chimes and a number of other instruments in addition to the zither on his recordings.

Klaus Wiese's life's work, however, is difficult to reduce to his music as such, because for him mystical elements were always an integral part of his art, he himself emphasized spiritual, therapeutic and healing motives. Multiple trips to the Orient brought him in particular in connection with the teachings of Sufis Hazrat Inayat Khan, experiences that should also be reflected in his musical expression (and many of his artworks). Through Wiese, a piece of the Sufis' love of music came to Europe, which, although distant from classical Sufi music, still has similarities such as ecstasy (wagd) and rapture (hal)

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Trance is consistently balanced, relaxed, harmonious, soothing, which for a full hour borders on a miracle. An ideal sound space for special actions of action and sanctification, initiation, meditation. Perhaps it's because of the pitches - the vibration of this recording touches the heart chakra in an incomparable way. Not an absolutely "everyday" experience but still really deep and nice



Klaus Wiese - Trance - Tibetische Klangschalen (flac 164mb)

01 Tibetische Klangschalen Part One 23:27
02 Tibetische Klangschalen Part Two 7:12
03 Tibetische Klangschalen Part Three 19:54
04 Tibetische Klangschalen Part Four 8:37

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Space, the final frontier this is the voyage of Klaus Wiese, it's atmospheric, hypnotic, meditative, repetitive, peaceful. Think minimalistic, spiritual, soothing, psychedelic, ethereal, instrumental and you get a perfect description of Claus Meadow's space



Klaus Wiese - Space (flac 192mb)

01 Space I 29:56
02 Space II 30:13

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"El-Hadra - The Mystic Dance" became Klaus Wieses "hit album". El-Hadra is a rhythmic meditation of the Sufis. Breath and heartbeat are equally involved and thus lead to trance-like states, not unlike Christian “heart prayer”, although Sufi meditation is carried out in a group and is anything but self-contained and quiet. Together with keyboardist and ambient musician Mathias Grassow (whose albums are always worth a recommendation) and long-time companion Ted de Jong on the tablas, Klaus Wiese merges and centers his previous sound achievements to a large whole and incidentally meets the taste of tens of thousands handset.

The focus is on the rhythm, which slowly but steadily increases in speed and leads the listener, or fellow dancer, ever further into the trance. Incidentally, the tablas were played through in a take, which probably also explains the natural flow of this recording. You are the pulse. The keyboards stretch the space and the zither seems to grind up all the rising thoughts and blow into an endless space. Even if the music seems very simple, very reduced, it is filled with treasures. Such music can only be a key, we provide the door and space.



Klaus Wiese - el-Hadra, The Mystik Dance ( flac   226mb)

01 el-Hadra, The Mystik Dance 52:28


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Klaus Wiese is a musical genius. He has proceeded beyond the purist's realm of acoustic singing bowls. Ceremony is a subtle blend of psychotropic bowls and psychoactive synths. Wiese explores the very limits of probability and goes to the nth degree of a new purity. The levels to which he can take the psyche build upon each other exponentially. It is like the proverbial upside-down pyramid. Thus, it is also a metaphor for life. As listeners travel this path of a conscious mind flux, they gather tools along the way. Some tools are intellectual, some are emotional, and some are devotional. All of the tools are, to some degree, spiritual. The six compositions are, in essence, merely movements in a long-form composition. The new purity is an essential device.



Klaus Wiese - Ceremony (flac   214mb)

01 Intro I 1:56
02 Déjà vu 28:19
03 Intro II 1:23
04 The Dream 16:53
05 Fergana I 5:16
06 Fergana II 6:31

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Two long meditative / obscure tracks from these masters of esoteric music done with sonorous sculptures resonances. Nono Orchestra are Klaus Wiese, Rick Rummler and Mani Reisser. They use what appear to be enormous sections of sheet metal formed into resonant instruments which make pluritimbral vibrations and layers of very low frequencies noise. This is very different than other deep noise projects. Often electronic artists create low noise using electronics and feedback but the sound here are formed much in the same principle of acoustic music. Various members of this quartet actually employ bows to create the vibrations of the metal in much the same way that a string musician would play his instrument. The result is an original and audibly vibrant low noise experience. Very textured, minimalistic, sombre, atmospheric, meditative, in short..fascinating.



Nono Orchestra - A-Kaori (flac 214mb)

01 A-Kaori 30:07
02 Dajjall 35:56

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Hello, that's a big batch this week , this when a seriously confused visitor still didn't get how to request a re-up, the procedure has been up here for years now....


11 correct requests for this week, one too early, one at the wrong place,   whatever another batch of 45 re-ups (15.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 ... ask 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 haven't been re-upped at least 12 months previously (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 January  19 th... N'Joy

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5x Aetix Back in Flac (  The Damned - Damned Damned Damned , The Damned - Music For Pleasure, The Damned - Machine Gun Etiquette, The Damned - The Black Album, The Damned - The Black Album Bonus )


4x Sundaze Back In Flac (Strangled Voice - Beauty Of Decay, R.Roo - Mgnovenie, R.Roo - Innerheaven, R.Roo - Hydref  )



4xGrooves Back in Flac (The Jacksons - The Jacksons, The Jacksons - Goin' Places, The Jacksons - Destiny, The Jacksons - Triumph)



4xSundaze Back In Flac (B.L. Reininger - Colorado Suite/Paris En Automne, Steven Brown - Music For Solo Piano, Winston Tong - Theoretically Chinese, Peter Principle - Tone Poems)



4x Sundaze Back in Flac ( Jonn Serrie - Planetary Chronicles Vl II , Jonn Serrie - Ixlandia , Jonn Serrie - Upon a Midnight Clear , Jonn Serrie - Spirit Keepers )



5x Sundaze Back in Flac ( Flying Saucer Attack - In Search Of .., Flying Saucer Attack - New Lands, Flying Saucer Attack - Mirror , Flying Saucer Attack - P.A. Blues, Flying Saucer Attack - Instrumentals)



3x Aetix Back in Flac (  The Plimsouls - The Plimsouls...Plus, The Plimsouls - Everywhere At Once, The Plimsouls - One Night In America)



7x Berlin Back in Flac  (To Rococo Rot - Hotel morgen, Allien, Ellen - Stadtkind , Tanzwut - Labyrinth der Sinne, T.Raumschmiere - Radio blackout, Malaria ! - Delirium (Remixed*Remade*Remodelled) , Thomas Fehlmann - Good Fridge 90-98, Rammstein - Live aus Berlin)



3x Beats Back in Flac (  Squarepusher ‎- Burningn'n Tree, Squarepusher ‎- Hard Normal Daddy, Squarepusher - Big Loada )


3x Beats Back in Flac ( The Aloof - Cover The Crime,  Eat Static - Implant,  The Grid - Evolver)



3x Beats NOW in Flac (  Renegade Soundwave - RSW 1, Renegade Soundwave - RSW 2, VA - Brit Hop & Amyl House )


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