Hello, you're allowed to comment/share  your thoughts on the Electric Universe connected Alien Skies analysis by Dave Talbott, i've posted several short films on his theory, let's face it-shocking analysis of what happened in Earth's skies, giving rise to the myths of our ancestors and even when i'm relatively well-versed in (pre)history it's hard to fathom how our species could so almost completely dissociate with what happened, that these days people simply refuse to believe anything like that could have happened. Sadly our scientists are just as confused as the priesthood are, that said the Hebrews recon our (new) world started 5.780 years ago (or 3.729 BC), which fits nicely for the restart of planet Earth after the skies had settled under our current sun. Btw the Maya and Hindu believe our current age started 3103-12 BC(remarkably close considering they lived more than an ocean apart) Amnesia is a serious condition that might well explain our destructive nature towards the planet we live on, after the mythical golden age turned into death and destruction and ages of war up-to today (and beyond)


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We all seek a state of higher consciousness that awakens and enlivens our whole being. Masters of meditation and yoga, great artists, inventors, and highly accomplished people in many walks of life have learned to develop and live from such a state.

British researcher and Zen master C. Maxwell Cade spent decades analyzing the brainwave patterns of these extraordinary people. He discovered that they each shared a common pattern of brainwaves, which Cade called the awakened-mind pattern, and which he believed held the key to tapping into one’s highest potential for clarity of mind, deep insight, creative inspiration, and peak performance.

Created by Dr. Jeffrey Thompson, Awakened Mind System uses breakthrough audio recording processes to help you access this brainwave pattern so that you can directly experience the enormous benefits of this heightened state of consciousness. Dr. Jeffrey Thompson’s pioneering work with thousands of patients led to groundbreaking discoveries in how sound frequency patterns built into musical soundtracks induce brainwave entrainment. Dr. Thompson’s audio programs are used by psychotherapists, hypnotherapists, MDs, chiropractors, and bodywork professionals in 26 countries.


Dr. Thompson embeds inaudible pulses of sound that mirror the awakened-mind pattern into an ambient musical soundtrack. As you listen, your own brainwaves begin to reflect the awakened-mind pattern, drawing you easily into states of deep insight, clarity of mind, creative inspiration, and peak performance.

    Based on over 15 years of pioneering clinical research
    Use with headphones or ordinary speakers
    Contains no spoken words or subliminal messages



Dr. Jeffrey Thompson - Awakened Mind System 2.0 ( 74min flac   264mb).

01 Awakened Mind System 2.0 29:51
02 Awakened Mind System 2.0 continued 30:03

“Use this program to help you enter the state of 'flow,' where you can draw on your unconscious as a source of guidance and wisdom, and guide you toward expanded consciousness and your own enlightenment.”
—Dr. Jeffrey Thompson

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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 7 ( 65min mp3  31mb)


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)
V For Vendetta 6 ( 65min mp3  28mb)

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Hello, a new host BayFiles today, let me know if it works for you


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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Salt-N-Pepa exhibited a lot of growth on Blacks' Magic (1990), their third album and, by far, best to date. For their follow-up, Very Necessary, released a long three and a half years later, in 1993, the ladies delivered a fairly similar album. Like its predecessor, Very Necessary boasts a pair of major hits ("Whatta Man,""Shoop") and a lot of fine album tracks. Also like Blacks' Magic, Very Necessary is filled with strong, prideful rhetoric: femininity, sex, relationships, romance, respect, love -- these are the key topics, and they're a world apart from those of the gangsta rap that was so popular circa 1993. And as always, the productions are dance-oriented, with a contemporary R&B edge. Most tracks were produced by Hurby "Luvbug" Azor, though Salt is credited on a few, chief among them "Shoop." Very Necessary is just as impressive as Blacks' Magic, if not more so. The key difference is, Blacks' Magic was a striking leap forward for Salt-N-Pepa, who were somewhat of a novelty act up to that point, whereas Very Necessary is a consolidation of everything that had worked so well for the duo previously. Hence the lack of surprises here. Still, the raised expectations don't change the fact that Very Necessary is one of the standout -- and, for sure, one of the most refreshingly unique -- rap albums of its era.



 Salt 'N' Pepa - Very Necessary (flac   346mb)

01 Groove Me 4:23
02 No One Does It Better 3:52
03 Somebody's Gettin' on My Nerves 3:55
04 Whatta Man 5:09
05 None of Your Business 3:33
06 Step 3:11
07 Shoop 4:08
08 Heaven or Hell 4:45
09 Big Shot 3:48
10 Sexy Noises Turn Me On 3:58
11 Somma Time Man 3:26
12 Break of Dawn 3:46
13 PSA 3:20

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The four years separating Salt-N-Pepa's latter-day blockbuster Very Necessary and its successor, Brand New, is an eternity in hip-hop. During that time, styles and fashions change rapidly, leaving many artists behind. Salt-N-Pepa suffer from being out of the spotlight for so long -- they don't sound in tune with the times, they sound like they're stuck in 1993. However, that isn't necessarily a bad thing, since the group does this kind of thing very well. There isn't anything that stands out like "Whatta Man" or "Shoop," but there's enough strong moments to make it worthwhile for longtime fans.



 Salt 'N' Pepa - Brand New   (flac   401mb)

01 R U Ready 3:51
02 Good Life 3:53
03 Do Me Right 4:29
04 Friends 4:44
05 Say Ooh 4:10
06 Imagine 5:26
07 Knock Knock 4:34
08 Gitty Up 4:00
09 Boy Toy 4:24
10 Brand New 4:07
11 Silly of You 3:52
12 The Clock Is Tickin' 4:52
13 Hold On 5:29
14 R U Ready (Remix) 4:00

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Alas Salt n Pepa didn't make many albums, just 5, hence you get some bonus in the form of 4 hit 12" singles



Salt 'N' Pepa - Maxi Singles (flac   530mb)

01 Push It (Remix) 4:26
02 Push It 4:09
03 Push It (Instr.) 4:09
04 Idle Chatter 1:30

01 Shoop (Original Version) 4:01
02 Shoop (Ghetto Lab Remix) (The Radio Edit) 4:23
03 Shoop (Ghetto Lab Remix) (The Full Rub) 5:31
04 Shoop (Catch The Groove Mix) 5:02
05 Shoop (Guru Mix) 3:50
06 Shoop (European Radio Mix) 3:57
07 Shoop (Danny D Radio Mix) 3:51

01 Whatta Man (Video Remix) 4:26
02 Whatta Man (With En Vogue) (Luvbug Remix 1) 5:10
03 Whatta Man (With En Vogue) (12” Danny D) 6:09
04 Push It (Remix) 4:26
05 Let's Talk About AIDS 3:33

01 The Brick Track Versus Gitty Up (Rickidy Raw Hide Radio Mix) 3:12
02 Whatta Man (Radio Edit) 4:10
03 Let's Talk About Sex 3:31
04 Gitty Up 4:02

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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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A Sufi mystic walks into a bar and asks the bar tender, “Have you ever seen me before?” The bar tender answers “No, never”, to which the Sufi replies, “Then how do you know it’s not me?”

A Tarīqah (طريقة‎‎) is an order of Sufism., or especially for the mystical teaching and spiritual practices of such an order with the aim of seeking haqīqah  "ultimate truth".

Tariqa means "the inner path" in the language of the Sufis and speaks of those who offer their soul in divine submission. It adresses those, who do not look for therapeutic crutches, but submit themselves to the Divine Will with the Breath Of The Heart.



Klaus Wiese - Ted de Jong - Tariqa (flac 225mb)

01 Tariqa 74:49


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Qalandar Black Rose: Sufi Trance Music is Klaus Wiese's best CD. That says quite a lot considering that he is extremely prolific, with over 30 albums in his discography. This is a collaboration with Saam Schlamminger. It is their expression of the spirit of the Qalandar, a freewheeling sect of Sufis. They have no ties to any of the other sects and they do not follow the traditional rules and tenets of Sufism. The music reflects their loose style. It is dark and ominous with a strong sense of foreboding. Wiese's sound design incorporates powerful overtone elements. The liner notes list only acoustic instruments, so the recording techniques create the atmospheres. The deep drone has a strong personality. Wiese and Schlamminger have keen senses and deep spiritual beliefs. The soundscape includes Sufi poetry and a unique dervish prayer. The dervishes pray by altering their breathing patterns.



Klaus Wiese (with Saam Schlaminger) - Qalandar Black Rose (flac 315mb)

01 Tscheschme-Tark 10:50
02 Tscheschme-Djadu 8:30
03 Tscheschme-Chomaar 3:50
04 Tscheschme-Mast 5:38
05 Tscheschme-Labb 11:54
06 Tscheschme-Qalb 8:01
07 Tscheschme 16:50

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Klaus Wiese is known for his extensive discography of deep meditative music. Among this many works there are many masterpieces. Nevertheless, the collaboration with Jim Cole and Mathias Grassow on Cosmic Chasm, occupies a special and respectable place in the list of masterpieces.

When listening to this release, you don’t even have to try to meditate. He will meditate on your own. If you try to briefly express the feelings that the album evokes, then these words: "Cosmic Reality". Grassov’s musical strength, which in his other releases still has a human and soft face, here reveals its true uncompromising essence: the listener has to withstand the attack of Latitude. To stay alive will help Jim Cole's incredible voice, which despite the detached, cold sound, as if coming from a human heart. I personally associate Cole on this album with a certain cosmic being who calls something into life from the center of the Universe. Beauty is simply beyond.
Peaceful, minimalistic, spiritual, soothing, instrumental, atmospheric, meditative, repetitive , Beneath Zero is his greatest hit of all time.



Klaus Wiese, Jim Cole and Mathias Grassow - Cosmic Chasm ( flac   313mb)

01 Existence 29:20
02 Beneath Zero 34:02
03 Dust 11:19


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Soma, in ancient Vedic writings, was a strong drink that could help one commune with gods. It also meant "body" to the ancient Greeks. Robert Rich and Steve Roach released an album by this name in 1992. Klaus Wiese released Soma in 2000. He describes it as "inner space music." That description is accurate. These atmospheres, built upon low drones, are perfect for exploring the psyche and the soul. Building upon Wiese's description, the surest way to the inner self is through the exploration of the external self and the environment. This album is totally atmospheric and totally mesmerizing. There are no distractions and there is an infinite number of hidden meanings. The psyche of the listener determines the route of the journey.



Klaus Wiese - Soma   (flac   275mb)

01 Soma I 12:11
02 The Divine 10:06
03 Astral Garden 10:52
04 Feathers 5:28
05 Noor 6:51
06 Soma II 14:30

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While it is difficult to choose a "best" from a library of excellence, Dunya is the best Klaus Wiese CD. It is the small extras that raise this album to the next level. In addition to zithers, keyboards, and bowls, Wiese incorporates a choir, a tambura, and nature samples into his sound design. The choir performs in overtone harmonics. The nature sounds add relaxation effects and the tambura adds just enough melody to offset the drones. While the psychoactive effects of the bowls have been well documented, these extras are stunning and pull the soundscapes in new directions. The spiritual and emotional responses are astounding. This is one of the best discs of this style. It stands with the best psychoactivity of Robert Rich, Steve Roach.....



Klaus Wiese - Dunya (flac 272mb)

01 Ocean I 5:14
02 Akhira I 13:36
03 Ocean II 3:16
04 Dunya 28:33
05 Akhira II 9:54
06 Taksim 4:11

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Hello,


12 correct requests for this week, one too early, one at the wrong place,   whatever another batch of 41re-ups (13.5gig)


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  26 th... N'Joy

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3x Aetix Back in Flac (  Laughing Clowns ‎- Cruel, But Fair Compilation 1, Laughing Clowns ‎- Cruel, But Fair Compilation 2, Laughing Clowns ‎- Cruel, But Fair Compilation 3 )


3x Beats Back In Flac (FSOL - Papua New Guinea Transitions, FSOL - By Any Other Name, FSOL  - The Pulse EPs)



4x Friedman Back in Flac (Flanger - Outerspace, Friedman & Liebezeit - Secret Rhythm, Nine Horses - Snow Born Sorrow, VA - Difficult Easy Listening)


3x Grooves Back in Flac ( United Future Organization - 3rd Perspective , United Future Organization - Bon Voyage , United Future Organization - V )



3xSundaze Back In Flac (JBK - Beginning To Melt + Seed , JBK - Playing in a room with people, JBK - _ ISM)



3x Aetix Back in Flac ( Julian Cope - World Shut Your Mouth, Julian Cope - Fried + bonus, Julian Cope - My Nation Underground)



4x Aetix Back in Flac (  Nick Lowe  - Jesus Of Cool, Nick Lowe - Labour Of Lust, Rockpile  - Seconds Of Pleasure, Nick Lowe  - Nick The Knife )



4x Beats Back in Flac  (VA - Renegade Selector - Series 2.2, VA - Metalheadz, Platinum Breakz , VA - Metalheadz, Platinum Breakz 2, VA - MSX00.1 10th Anniversary S E)



4x Sundaze Back in Flac (  Steve Roach - On This Planet, Steve Roach, Roger King - Dust to Dust, Steve Roach - Slow Heat, Steve Roach - Atmospheric Conditions )




3x Sundaze Back in Flac ( VA - Space Night Vol. 01,  VA - Space Night Vol. 02-1,  VA - Space Night Vol. 02-2)



3x Sundaze NOW in Flac (  Field Rotation - Licht Und Schatten, Field Rotation - Acoustic Tales, Field Rotation - And Tomorrow I Will Sleep)



3x Aetix Back in Flac (  The Passions - Thirty Thousand Feet In China,  Marine Girls - Lazy Ways,Beach Party, Isabelle Antena - En Cavale )



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Hello,


Few artists have had the cultural impact that Missy Elliott has, her visionary presence as both a producer and an artist reshaping the entirety of rap and R&B that followed her. From worldwide breakthrough-producing hits for artists like Aaliyah and Tweet to Grammy Award-winning solo albums, Elliott put her stamp on the music industry at large throughout the late '90s and 2000s. Even when slowing down on her solo output in the 2010s, Elliott continued working as a producer, and her watershed albums like 1997's Supa Dupa Fly and 2002's Under Construction changed the course of commercial rap and R&B for years to come.  . ....... N Joy

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Melissa Arnette Elliott was born on July 1, 1971, at Portsmouth Naval Hospital in Portsmouth, Virginia. She is the only child of mother Patricia Elliott, a power-company dispatcher, and father Ronnie, a U.S. Marine no longer on active duty, working as a shipyard welder. Elliott grew up in an active church choir family, and singing was a normal part of her youth. At the age of four, she wanted to be a performer, and, as biographer Veronica A. Davis writes, she "would sing and perform for her family". In later years, she feared no one would take her seriously, because she was always the class clown. While her father was an active Marine, the family lived in Jacksonville, North Carolina, in a manufactured home community. Elliott blossomed during this part of her life. She enjoyed school for the friendships that she formed even though she had little interest in schoolwork. She would later get well above average marks on intelligence tests, and she was advanced two years ahead of her former class. Her move in grades caused isolation, and she purposely failed, eventually returning to her previous class. When her father returned from the Marines, they moved back to Virginia, where they lived in extreme poverty.

Life in Virginia saw many hardships. Elliott talks about domestic abuse by her father. She refused to stay over at friends homes out of fear that on her return home she would find her mother dead. When Elliott was eight, she was molested by a cousin. In one violent incident, Ronnie Elliott dislocated his wife's shoulders and during another, Elliott herself was threatened with a gun. At the age of fourteen, Elliott's mother decided to end the situation and fled with her daughter on the pretext of taking a joyride on a local bus. In reality, the pair had found refuge at a family member's home where their possessions were stored in a loaded U-Haul truck. Elliott tells her that she feared her father would kill them both for leaving. In 1991, Elliott formed an all female R&B group, called Fayze (later renamed Sista), with friends La'Shawn Shellman, Chonita Coleman, and Radiah Scott. She recruited her neighborhood friend Timothy Mosley (Timbaland) as the group's producer and began making demo tracks, among them included the 1991 promo "First Move". Later in 1991, Fayze caught the attention of Jodeci member and producer DeVante Swing by performing Jodeci songs a cappella for him backstage after one of his group's concerts. In short order, Fayze moved to New York City and signed to Elektra Records through DeVante's Swing Mob imprint and also renaming the group Sista. Sista's debut song was titled "Brand New", which was released in 1993 Elliott took Mosley—whom DeVante re-christened Timbaland—and their friend Melvin "Magoo" Barcliff along with her.

All 20-plus members of the Swing Mob—among them future stars such as Ginuwine, Playa, and Tweet—lived in a single two-story house in New York and were often at work on material both for Jodeci and their own projects. While Elliott wrote and rapped on Raven-Symoné's 1993 debut single, "That's What Little Girls Are Made Of", she also contributed, credited and uncredited, to the Jodeci albums Diary of a Mad Band (1993) and The Show, the After Party, the Hotel (1995). Timbaland and DeVante jointly produced a Sista album, entitled 4 All the Sistas Around da World (1994). Elliott met R&B artist Mary J. Blige while Blige was in sessions for her second album My Life. Though videos were released for the original and remix versions of the single "Brand New", the album was shelved and never released. One of the group's tracks, "It's Alright" featuring Craig Mack did however make the cut on the soundtrack of the 1995 motion picture Dangerous Minds but by the end of 1995, Swing Mob had folded and many of its members dispersed. Elliott, Timbaland, Magoo, Ginuwine, and Playa remained together and collaborated on each other's records for the rest of the decade as the musical collective The Superfriends.

After leaving Swing Mob, Elliott and Timbaland worked together as a songwriting/production team, crafting tracks for acts including SWV, 702, and most notable Aaliyah. The pair wrote and produced nine tracks for Aaliyah's second album, One in a Million (1996), among them the hit singles "If Your Girl Only Knew", "One in a Million", "Hot Like Fire", and "4 Page Letter". Elliott contributed background vocals and/or guest raps to nearly all of the tracks on which she and Timbaland worked. One in a Million went double platinum and made stars out of the production duo. Elliott and Timbaland continued to work together for other artists, later creating hits for artists such as Total; "What About Us?" (1997), Nicole Wray; "Make It Hot" (1998), and Destiny's Child; "Get on the Bus" (1998), as well as one final hit for Aaliyah, "I Care 4 U", before her death in 2001. Elliott also wrote the bulk of Total's second and final album Kima, Keisha, and Pam and Nicole Wray's debut Make It Hot (both released in 1998). Elliott began her career as a featured vocalist rapping on Sean "Puffy" Combs's Bad Boy remixes to Gina Thompson's "The Things That You Do", (which had a video featuring cameo appearances by Notorious B.I.G and Puff Daddy), MC Lyte's 1996 hit single "Cold Rock a Party" (backup vocals by Gina Thompson), and New Edition's 1996 single "You Don't Have to Worry". In 1996, Elliott also appeared on the Men of Vizion's remix of "Do Thangz" which was produced by Rodney Jerkins (coincidentally the producer of the original version of "The Things That You Do").

Combs had hoped to sign Elliott to his Bad Boy record label. Instead, she signed a deal in 1996 to create her own imprint, The Goldmind Inc., with East West Records, which at that time was a division of Elektra Entertainment Group, for which she would record as a solo artist. Timbaland was again recruited as her production partner, a role he would hold on most of Elliott's solo releases. Missy continued to work with other artists and appeared on LSG's song "All the Time" with Gerald Levert, Keith Sweat, Johnny Gill, Faith Evans, and Coko in 1997 on Levert Sweat Gill classic album. The same year, she rapped in "Keys To My House" with old friends group LeVert. In the center of a busy period of making guest appearances and writing for other artists, Elliott's debut album, Supa Dupa Fly, was released in mid-1997; the success of its lead single "The Rain" led the album to be certified platinum. The success was also a result of the music videos of her single releases, which were directed by Harold "Hype" Williams, who created many groundbreaking hip hop, Afro-futuristic videos at the time. The album was nominated for Best Rap Album at the 1998 Grammy Awards, but lost to Puff Daddy's No Way Out. The year also saw Elliott perform live at the MTV Video Music Awards show on a remix to Lil' Kim's "Ladies Night" with fellow rappers Da Brat, Angie Martinez and TLC-rapper Left Eye. Elliott continued her successful career in the background as a producer and writer on Total's single "Trippin'", as well as working with several others in the hip-hop and R&B communities. Elliott co-wrote and co-produced two tracks on Whitney Houston's 1998 album My Love Is Your Love, providing vocal cameos for "In My Business" and "Oh Yes". Elliott also produced and made a guest appearance on Spice Girl Melanie Brown's debut solo single, "I Want You Back", which topped the UK Singles Chart. 1999–2001: Da Real World and Miss E… So Addictive. Although a much darker album than her debut, Elliott's second album was just as successful as the first, selling 1.5 million copies and 3 million copies worldwide. She remarked, "I can't even explain the pressure. The last album took me a week to record. This one took almost two months…I couldn't rush it the second time because people expect more." Da Real World (1999) included the singles "All n My Grill", a collaboration with Nicole Wray and Big Boi (from OutKast), a remix to "Hot Boyz" and "She's a Bitch". Also in 1999, Elliott was featured, alongside Da Brat, on the official remix to a Mariah Carey single "Heartbreaker".

Missy Elliott next released Miss E... So Addictive on May 15, 2001. The album spawned the massive pop and urban hits "One Minute Man", featuring Ludacris and Trina, and "Get Ur Freak On", as well as the international club hit "4 My People" and the less commercially successful single "Take Away". The double music video for "Take Away/4 My People" was released in the fall of 2001, shortly after the 9/11 terrorist attacks and the death of Elliott's friend Aaliyah in August. The "Take Away" video contained images of and words about Aaliyah, and the slow ballad acted as a tribute to her memory. The remainder of the video was the more upbeat "4 My People", contained scenes of people dancing happily in front of American flags and Elliott dressed in red, white and blue. Though "Take Away" was not a success on radio, "4 My People" went on to become an American and European club hit due to a popular remix by house music duo Basement Jaxx in 2002. Tweet's appearance on Elliott's "Take Away" as well as her cameo at Elliott's house on MTV Cribs helped to create a buzz about the new R&B singer. Tweet's own debut single, "Oops (Oh My)", was co-written by Elliott and released through Goldmind in February 2002. The single was a top ten hit, thanks partially to Elliott's songwriting and guest rap, and to Timbaland's unusual production on the track. Elliott co-produced the Christina Aguilera, Lil' Kim, Mýa and Pink cover of "Lady Marmalade" for the album Moulin Rouge! Music from Baz Luhrmann's Film,[27] which went to number one on the Billboard Hot 100 in 2001.
2002–2004: Under Construction and This Is Not a Test!

For her next outing, Elliott and Timbaland focused on an old school sound, utilizing many old school rap and funk samples, such as Run–D.M.C.'s "Peter Piper" and Frankie Smith's "Double Dutch Bus." Elliott's fourth album, 2002's Under Construction (see 2002 in music) is known as the best selling female rap album with 2.1 million copies sold in the United States. In 2002, Elliott won a Grammy Award for Best Rap Solo Performance for "Get Ur Freak On". In 2003, Under Construction received Grammy nominations for Best Rap Album and Album of the Year. The New York Times designated Under Construction "this year's best hip-hop album." Elliott released two singles off of Under Construction. The lead single, "Work It" reached #2 on Billboard's Hot 100 chart and won the "Video of the Year" award at MTV's Video Music Awards. The second single, "Gossip Folks" featuring Ludacris, became a Top 10 hit on Billboard's Hot 100 chart, was one of the most-played music videos on MTV, MTV2, MTV Jams, and BET in 2003 and was embraced by the dance community, as well as the mainstream, due to a Fatboy Slim remix. A third single was never released, though a video was shot for "Back In The Day" featuring Jay-Z and Elliott was.

In between albums, Elliott produced the "American Dream Remix" (featuring Tweet's additional vocals) of Madonna's single "American Life," was featured rapper on Timbaland & Magoo's return single, "Cop That Shit", and produced "Fighting Temptation" (featuring herself, Beyoncé, Free and MC Lyte) for the soundtrack to the Cuba Gooding Jr. and Beyoncé Knowles movie of the same name. The track reached #1 in Japan but failed to chart in the U.S. Hot 100. Elliott was also featured on Wyclef Jean's "Party to Damascus" and Ghostface Killah's "Tush" singles, the latter of which became a minor 2004 dance hit, and had a pivotal role in the film Honey. Gap approached Elliott later in the year to co-star in a commercial with Madonna, which received much media attention. Elliott furthered her relationship with Madonna by performing the controversial 2003 MTV Video Music Awards show opening alongside Madonna, Britney Spears and Christina Aguilera. A year after Elliott's most successful album to date was released, Elliott felt pressured by her label to release another album hoping to capitalize on her recent success. Elliott's singles, "Pass That Dutch" and "I'm Really Hot", from her fifth album, This Is Not a Test! (released November 2003), both rose the urban charts. However, both were not as successful at pop radio in comparison to many of her previous efforts. This Is Not A Test sold 690,000 copies in the United States and has been certified Platinum by the Recording Industry Association of America (RIAA). Elliott has since stated that "the album This Is Not A Test came out extremely too quickly for me. I didn't want it to come out when it did." In 2004, Elliott was featured on Ciara's hit single "1, 2 Step", with her verse interpolating Teena Marie's single, "Square Biz". Elliott premiered her own reality show on the UPN Network, The Road to Stardom with Missy Elliott in 2005 even though it was not renewed for a second season.

Elliott wanted to "give people the unexpected" by utilizing producers other than Timbaland and a "more to the center" sound not as far left as her other music. Her sixth solo album, The Cookbook was released on July 4, 2005, debuted at number two on the U.S. charts and was certified gold by the Recording Industry Association of America (RIAA), selling 645,000 copies in the United States. Elliott's work during The Cookbook era was heavily recognized. Elliott received 5 Grammy nominations in 2005, including one for Best Rap Album for The Cookbook. The album's first single, "Lose Control," won a Grammy for Best Short Form Video and was nominated for Best Rap Song. "Lose Control" also garnered Elliott six 2005 MTV VMA award nominations (winning Best Dance Video and Best Hip-Hop Video). Elliott won Best Female Hip Hop Artist at the 2005 American Music Awards, and was nominated for Best International Female Artist at the 2006 BRIT Awards. "Lose Control" featuring Ciara and Fatman Scoop, became a Top 5 hit in the midyear (peaking at number three on the Billboard Hot 100). The second single, Teary Eyed, did not chart, although the video charted on MTV's TRL for a few weeks, and BET's 106 & Park for a few days. The third single, "We Run This", was released with heavy airplay on VH1, MTV, and BET. It served as the lead single for the soundtrack to the gymnastics-themed film Stick It. The song was also nominated for a Grammy Award in the Best Rap Solo Performance category in 2006. Respect M.E., Elliott's first greatest hits album, was released outside the United States and Canada on September 4, 2006, only in South Africa, Australia, Europe, Japan, and Brazil. The collection became her second top ten album in the UK and her highest charting album to date, peaking at number seven there.

Elliott was an honoree of the 2007 VH1 Hip Hop Honors. In honor of her career, many artists performed some of her biggest hits. Timbaland and Tweet performed "The Rain (Supa Dupa Fly)", Eve and Keyshia Cole performed "Hot Boyz" and "Work It", Fatman Scoop and Ciara performed "Lose Control", and Nelly Furtado performed "Get Ur Freak On (The Remix)." Since 2007, Elliott's seventh studio album has had several different forms with extensive delays. In 2007, she worked with Timbaland, Swizz Beatz, Danja, T-Pain and DJ Toomp and planned to release an album at the beginning of 2008. In January 2008, "Ching-a-Ling" was released as the lead single for the Step Up 2: The Streets soundtrack, which also featured "Shake Your Pom Pom" produced by Timbaland. Elliott released the song "Best, Best" in the same year and renamed the albums previous title FANomenal to its current tentative title Block Party. She later decided against Block Party and four years later, in 2012, Elliott released two Timbaland-produced singles ("9th Inning" and "Triple Threat") exclusively to iTunes. Though the songs managed to chart on Billboard Hot Digital Songs, in an interview with Yahoo's The Yo Show, Missy talked about her hiatus from making records: "Your brain needs time to refresh! Things happen in your life where you can then write something else instead of the same three topics. Like, how many times we gonna talk about the club? I gotta feel like what I'm giving the fans is 100 percent and that it's game-changing. I don't just throw out microwave records."

In between the recording of her seventh album, Missy Elliott found success behind the scenes. Elliott's writing and production helped her reach #1 on Billboard's Hot R&B/Hip-Hop Songs with Keyshia Cole's "Let It Go" (2007), Jazmine Sullivan's "Need U Bad" (2008), and Monica's "Everything to Me" (2010). Since 2008, songs written and/or produced by Elliott for Fantasia ("Free Yourself"), Jennifer Hudson ("I'm His Only Woman"), Monica ("Everything to Me"), Keyshia Cole ("Let It Go"), and Jazmine Sullivan ("Need U Bad" and "Holding You Down (Goin' in Circles)") have all received Grammy nominations. Both Fantasia's "Free Yourself" (2005) and Sullivan's "Holding You Down (Goin' In Circles)" reached #3 on Billboard's Hot R&B/Hip-Hop Songs. In mid-2010, Elliott embarked on a two-part tour with stops in Europe, Asia, Africa and Australia,[44] while she also performed at VH1's "Hip Hop Honors: The Dirty South" in a tribute to Timbaland, performing "Get Ur Freak On" and "Work It". In 2008 she made an appearance in "Whatcha Think About That" by The Pussycat Dolls, and performed live in different places with them. In 2011 and 2012, Elliott made guest appearances on "All Night Long" by Demi Lovato, "Nobody's Perfect" by J. Cole, the remix of "Why Stop Now" by Busta Rhymes with Chris Brown and Lil Wayne, and a remix of Katy Perry's "Last Friday Night (T.G.I.F.)" that helped catapult "T.G.I.F." to #1 on the Billboard Hot 100. She also produced Monica's singles "Anything (To Find You)" and "Until It's Gone".

Throughout 2013, Missy Elliott was featured on Eve's album cut "Wanna Be," as well as international artists singles, Little Mix's "How Ya Doin'?" and "NiLiria" with K-pop musician G-Dragon, which was named by Complex magazine as one of the "50 Best Songs of 2013". Elliott also contributed to her protégée Sharaya J's two releases, "Banji" and "Smash Up The Place/Snatch Yo Wigs". In December 2013, Elliott received a Grammy nomination with Fantasia and Kelly Rowland for their song "Without Me". As early as July 2013, Missy Elliott and Timbaland held recording sessions for Kat Dahlia's debut, My Garden (2015). In August 2013, R&B singer Faith Evans revealed that Missy Elliott would be featured on her sixth studio album, tentatively titled Incomparable. In March 2014, Evans revealed one of the tracks was named "I Deserve It", featuring Missy and her protégée Sharaya J, in which Evans cited it as a "banger" and "feel good" record. Evans also revealed that in total Elliott contributed three tracks to her album. On July 7, 2014, fellow R&B singer Monica confirmed that Elliott would be a feature on her upcoming eighth studio album. On July 29, 2014, a snippet of a Missy Elliott–produced song, nickname "I Love Him", premiered on Monica's official Instagram account.


In 2015, Missy Elliott performed at the Super Bowl XLIX halftime show with Katy Perry. Elliott performed a medley of "Get Ur Freak On", "Work It", and "Lose Control". The performance was well-received, and boosted digital sales of Elliott's work that week, with a twenty-five-fold increase in album sales (to 2,000 units) and a ten-fold increase in sales of the three songs she performed (to 71,000 units) compared to the week before. It also became the most watched Super Bowl halftime show in NFL history, receiving 118.5 million viewers in the United States. On February 3, 2015, it was confirmed that Elliott would be a feature on the upcoming remix to Diplo and Skrillex's "Take Ü There". On February 11, Elliott stated that she was still in the process of recording her seventh studio album, Block Party, with Timbaland. On April 2, 2015, Pharrell Williams confirmed that he was working on Elliott's album during an episode of The Tonight Show with Jimmy Fallon. On November 12, 2015, "WTF (Where They From)" and its music video were simultaneously released to digital outlets. By November 19, the song and its video had been streamed 6.1 million times in the US alone, with an additional count of 16 million views per YouTube viewing. On February 7, 2016, the day of the fiftieth Super Bowl, Missy Elliott released a promotional single, "Pep Rally". Later that month, Elliott reunited with former protégée Tweet and frequent collaborator Timbaland on the cut "Somebody Else Will" taken from the former's third studio album, Charlene. By March 15, 2016, First Lady Michelle Obama proclaimed that she had assembled a collaborative track featuring vocals from Missy Elliott, Kelly Clarkson, Janelle Monáe and Zendaya alongside production credit from pop songwriter Diane Warren and Elliott titled "This Is for My Girls". The iTunes-exclusive record will be used to both coincide with Ms. Obama's SXSW speech and to promote her third-world educational initiative Let Girls Learn. Following a surprise appearance with TLC on the 2016 televised special Taraji's White Hot Holidays, Elliott announced plans to release a documentary chronicling her impact on the production scene in both audio and video. The midnight of January 27, 2017, saw the full-length release to a new Elliott single titled "I'm Better", featuring production and vocal assistance from recurring sideman Lamb and shared directing credit by Elliott and longtime colleague Dave Meyers.

In July 2018, Missy Elliott teased fans by appearing on a snippet nicknamed "ID" by Skrillex, a release date for the single has yet to be announced. One month later, Elliott appeared on the Ariana Grande number "Borderline", taken from the singer's fourth studio album Sweetener (2018). In October 2018, Elliott announced that she is working on her new album, which would be released in 2019. On March 20, 2019, Lizzo released a collaboration with Elliott titled "Tempo". In April 2019 Elliott took to Instagram stating "I just finished a long project I been working on since last year & this my mood 'Keep On Moving' I'm about to show y'all I'm on some next ish." She announced Iconology on August 22, several hours before its release.

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Arguably the most influential album ever released by a female hip-hop artist, Missy "Misdemeanor" Elliott's debut album, Supa Dupa Fly, is a boundary-shattering postmodern masterpiece. It had a tremendous impact on hip-hop, and an even bigger one on R&B, as its futuristic, nearly experimental style became the de facto sound of urban radio at the close of the millennium. A substantial share of the credit has to go to producer Timbaland, whose lean, digital grooves are packed with unpredictable arrangements and stuttering rhythms that often resemble slowed-down drum'n'bass breakbeats. The results are not only unique, they're nothing short of revolutionary, making Timbaland a hip name to drop in electronica circles as well. For her part, Elliott impresses with her versatility -- she's a singer, a rapper, and an equal songwriting partner, and it's clear from the album's accompanying videos that the space-age aesthetic of the music doesn't just belong to her producer. She's no technical master on the mic; her raps are fairly simple, delivered in the slow purr of a heavy-lidded stoner. Yet they're also full of hilariously surreal free associations that fit the off-kilter sensibility of the music to a tee. Actually, Elliott sings more on Supa Dupa Fly than she does on her subsequent albums, making it her most R&B-oriented effort; she's more unique as a rapper than she is as a singer, but she has a smooth voice and harmonizes well. Guest rappers Busta Rhymes, Lil' Kim, and da Brat all appear on the first three tracks, which almost pulls focus away from Elliott until she unequivocally takes over with the brilliant single "The Rain (Supa Dupa Fly)"; elsewhere, "Sock It 2 Me,""Beep Me 911," and the weeded-out "Izzy Izzy Ahh" nearly match its genius. Elliott and Timbaland would continue to refine and expand this blueprint, sometimes with even greater success, but Supa Dupa Fly contains the roots of everything that followed.



 Missy Elliott - Supa Dupa Fly (flac   369mb)

01 Busta's Intro 1:53
02 Hit 'Em Wit da Hee 4:19
03 Sock It 2 Me 4:17
04 The Rain (Supa Dupa Fly) 4:11
05 Beep Me 911 4:57
06 They Don't Wanna Fuck Wit Me 3:18
07 Pass da Blunt 3:17
08 Bite Our Style (Interlude) 0:43
09 Friendly Skies 4:59
10 Best Friends 4:07
11 Don't Be Commin' (In My Face) 4:11
12 Izzy Izzy Ahh 3:54
13 Why You Hurt Me 4:31
14 I'm Talkin' 5:02
15 Gettaway 4:25
16 Busta's Outro 1:38
17 Missy's Finale 0:24

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It's really not that difficult to hurdle the sophomore blues provided you're an excellent songwriter and performer, that you have the same, equally excellent producer behind the scenes who contributed to the first album, and most importantly, that you haven't tampered with the hit-making formula from the first. Thankfully, Da Real World is clearly a Missy Elliott album in most respects, with Timbaland's previously trademarked, futuristic-breakbeat production smarts laced throughout. The churchgoing Elliott has often remarked that she wishes she didn't need profanity to get attention, and the album accordingly includes satirical nods to other clichéd notions of hip-hop -- the single "She's a Bitch" is the best example, wherein Elliott reappropriates the insult to refer to strong females. She also takes on the cartoonish Eminem for "Bus a Rhyme," a track that turns out to be one of the best on the album. Da Brat and Aaliyah make repeat appearances, and Redman and OutKast's Big Boi also contribute to this excellent follow-up.



 Missy Elliott - Da Real World  (flac   416mb)

01 Mysterious (Intro) 1:06
02 Beat Biters 4:23
03 Busa Rhyme 5:00
04 All N My Grill 4:32
05 Dangerous Mouth 3:28
06 Hot Boyz 3:35
07You Don't Know 4:48
08 Mr. D.J. 4:30
09 Checkin' for You (Interlude) 2:08
10 Stickin' Chickens 4:54
11 Smooth Chick 4:17
12 We Did It 3:51
13 Throw Your Hands Up (Interlude) 1:18
14 She's a Bitch 3:59
15 U Can't Resist 4:36
16 Crazy Feelings 4:35
17 Religious Blessings (Outro) 0:39


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Missy Elliott for being the most sexually aggressive person, of either gender, in mainstream rap, and maybe even pop as whole.  It's an absolutely hilarious inversion of the sexual braggadocio present in so much hip-hop; amidst all the men bragging about all the women they can have and all the things they can make them do, here's a woman shouting louder and more intimidatingly than any of them, challenging them to prove it -

Sounding more assured of her various strengths than at any time since her startling debut, Missy "Misdemeanor" Elliott broke in several directions for 2001's Miss E...So Addictive. At the same time, she's a sexed-up rapper demanding respect from men, a loved-up club diva leading the charge of rappers into the brave new world of dance culture, and a sensitive female spreading syrup over a few great ballads. It's a tribute to her incredible songwriting skills and Timbaland's continuing production excellence that she can have it any way she wants it and still come away with a full-length that hangs together brilliantly. She definitely starts out hardcore, with a pair of self-explanatory titles ("Dog in Heat,""One Minute Man") featuring Elliott cooling down on a trio of rappers (Redman, Method Man, Ludacris) and definitely getting the best of them. By "Get Ur Freak On," the lead single, she's changed angles and become a new-millennium diva straddling the worlds of hip-hop and commercial dance with bumping club tracks like "Scream a.k.a. Itch" and "4 My People." But before listeners can reconcile Elliott the club kid, special guest Ginuwine takes the album into love-ballad territory with "Take Away," a half-step ballad with an irresistible plucked-string production from Timbaland. Though Miss E...So Addictive is undeniably Elliott's affair, Timbaland's production really stretches out and pulls the album together. He's less reliant on his oft-copied trademarks, and more willing to experiment with left-field samples and seemingly odd bridges that always work despite the audio high-wire act. Though it fails to come up with anything to top her big singles hit, "The Rain (Supa Dupa Fly)," Miss E...So Addictive is her best album so far.



Missy Elliott - Miss E… So Addictive (flac   442mb)

01 So Addictive (Intro) 0:54
02 Dog in Heat 5:01
03 One Minute Man 4:35
04 Lick Shots 3:52
05 Get Ur Freak On 3:56
06 Scream a.k.a. Itchin' 3:57
07 Old School Joint 4:00
08 Take Away 4:58
09 4 My People 4:48
10 Bus-A-Bus Interlude 1:10
11 Whatcha Gon' Do 3:14
12 Step Off 3:58
13 X-Tasy 3:35
14 Slap! Slap! Slap! 4:05
15 I've Changed (Interlude) 1:05
Bonus
16 One Minute Man (Remix) 4:35
17 4 My People (Basement Jaxx remix) 3:36
Hidden Tracks
18-28 [silence] 0:48
29 Higher Ground (Interlude) 1:47
30 Higher Ground 5:03


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Hello, being part of the media (in a minuscule way) i feel i have to reassure my visitors that this site is Corona virus free, i rarely see a visitor from China here anyway. The media such a bunch of nincompoops Panic! Don't Panic it's dad's army all over again. Many more die of the 'regular' flue. Meanwhile US Republicans have become a fascist party, it could become very very nasty if the Democrats fail to defeat Trump in November. Meanwhile those brexit Brits proclaim they entered heaven and everywhere will come up roses, oh dear i foresee the 'downstairs' minded brits finally grasp their 'upstairs' lords and ladies tricked them once again, in delivering their lives into heir hands.Oh yes that's what you get when you let demons like Murdoch spew his bile.. meanwhile giant grasshoppers eat their way through the horn of Africa, this really could become yet another disaster that befalls the region, many millions see their food turn into fat grasshoppers..and yes there's also some potential big business in it too.



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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Ming Noir is an ambient CD which is built on the reduced emotions of the taoistic world. Stretched in time, referring to the minimal expression of beauty, it offers more a perfume in a psychic room than an impressive design.
Ming Noir is meant to act on an unseen presence, in which melodic moods shine up and disappear into the movements of an undefined background.



Klaus Wiese - Ming Noir (flac 240mb)

01 Towers of the Night I 10:02
02 Chi 2:01
03 Ming Noir 12:17
04 Towers of the Night II 6:39
05 The Bracelet 4:56
06 Wu-Wei 9:03
07 Ninja 10:03
08 Rosewood Room 5:30


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"ZEN" leads you into the reduced world of the ZEN-Meditation, where the AS-IS and the BEING-HERE are the points of importance. Therefore this album restricts itself to the repetition of little, homogenous sound elements, which offer a centre for the listener and bring back the own thoughts and feelings to the self.



Klaus Wiese - ZEN (Tibetische Klangschalen III) (flac 174mb)

01 Timeless 54:46

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"Maquam" is an absolute masterwork of singing bowl drone, drone music, and simply music and sound in general. With seventy-seven singing bowls all tuned slightly differently, Klaus Wiese crafts a monolithic, eternal, sepulchral drone that persists throughout the entire album. At first it appears static, yet upon closer listening one can hear what seems like an almost infinite amount of harmonics emerging from the tonal haze. "Maquam I" sees the drone accompanied by distant chanting and an otherworldy siren-like sound, as well as a steady, low-end drum keeping a kind of natural breathing rhythm. Exceptional. On "Maquam II", the drone is slightly raised in pitch, but sounds essentially the same. This is the most rhythmic of the pieces, with Ted de Jong's tabla drumming featured prominently. There are also some gorgeous, incredibly subdued synth lines that complement the background drone perfectly. Finally, "Maquam III" disavows all supporting players, and simply features the unadulterated drone for twenty minutes. Here its truly staggering depth and harmonic complexity is revealed.



Klaus Wiese - Maquam ( flac   227mb)

01 Maquam I 24:05
02 Maquam II 28:14
03 Maquam III 20:06


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"Ritualistic Simplicity" is the keyword for this music.Another milestone in meditative Singing Bowl composition. There is just one track, but the ever-changing harmonics are not at all monotonous. A selection out of 50 Bowls, harmonizing together, was chosen to record this album live in one session, with no cuts or overdubs.

The Tibetans say: "Listen to the sound of the Singing Bowls and when the sound is gone keep on listening".



Klaus Wiese - Touch of Silence   (flac   145mb)

01 Touch of Silence 55:23

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Ambient music is a kind of dividing into the uncharted, in terms of the time-map as well as the melodic landscapes. It is much about an expression of the in-between of certain atmospheres and of ambiguity. This album plays with common notions of obvious melodic structures on the outside, but it points at something else behind. In this context, sequence and abrupt change into the essential are as important as the dosis of the unknown. This makes it similar to a perfume-code and its calligraphy. So I choose the direct title Perfume for this album. May the listener decide about the choice of flavours.



Klaus Wiese - Perfume (flac 278mb)

01 Velvet Octaves 15:41
02 Deer's Gate 4:02
03 Overland-Express 3:11
04 Handkerchief of Chopin 2:52
05 Drunken Leg 2:25
06 Tabla-Ballet 2:24
07 7 Up 2:44
08 Chandeliers 6:32
09 Insect Ride 6:44
10 The Canyon 2:33
11 Mungo Trail 5:14
12 Sweet Lemon 2:05

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Hello,


14 correct requests for this week, one too early, one at the wrong place,   whatever another batch of 47re-ups (14.5gig)


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 February  02nd... N'Joy

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2x Roots Back in Flac (  Ethiopia - Ari Polyphonies, VA - Rough Guide To The Music Of Kenya )



3x Beats Back In Flac (Transwave - Hypnorhythm, Transwave - Helium, Transwave - Phototropic)



4x Aetix Back in Flac (The Lords Of The New Church - I , The Lords Of New Church - Is Nothing Sacred, The Lords Of New Church - The Method To Our Madness, The Lords Of The New Church - Killer Lords)



3x Aetix Back in Flac ( Japan ‎- Tin Drum , Japan ‎- Oil On Canvas, Rain Tree Crow ‎- Rain Tree Crow )



4xSundaze Back In Flac (VA - Space Night Vol. 03 alpha, , VA - Space Night Vol. 03 beta, VA - Space Night Vol. 04 alpha, VA - Space Night Vol. 04 beta)



4x Sundaze Back in Flac ( Steve Roach - Structures from Silence, Steve Roach - Quiet Music I,  Steve Roach - Quiet Music II, Steve Roach - Quiet Music III)



6x Spaced Back in Flac (  Bill Nelson - Duplex , Bill Nelson - Duplex Instrumental, Jam & Spoon - 2002 Tripomatic, Vor der Flut, Jalal - Mankind, ON U - Celebration)



4x Beats Back in Flac  (Solomon Burke - No Man Walks Alone, Solomon Burke - If You Need Me + Rock 'N Soul , Solomon Burke - King Solomon, Solomon Burke - I Wish I Knew)



2x Grooves NOW in Flac (  Genius Of Rap, The Sugarhill Story , Schoolly D - The Adventures Of Schoolly-D  )




3x Beats Back in Flac ( DJ Shadow and - In-Flux-Hindsight,  DJ Shadow - Endtroducing,  DJ Shadow - Excessive Ephemera, DJ Shadow - The DJ S Remix Project)



3x Sundaze NOW in Flac (  Sounds From The Ground - Footprints, Sounds From The Ground – High Rising, Sounds From The Groud – Brightwhitelight)



3x Sundaze Back in Flac (  Bluetech – Prima Materia,  Bluetech – Elementary Particles, Bluetech – Phoenix Rising )



2x Sundaze NOW in Flac ( John Foxx and Harold Budd – Translucence and Drift Music, John Foxx, Steve D'Agostino, Steve Jansen - A Secret Life )




4x Aetix Back in Flac (  Gang Of Four - Solid Gold + Another Day Another Dollar, Gang Of Four - Hard, Gang Of Four - The Peel Sessions Album, Gang Of Four - Songs Of The Free )



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Hello, the book closed last week but today we reopen it, sharing the complete original comic that gave rise to millions owning a guy fawkes mask, alas the US seems to keep drifting towards a fascist state run by filthy rich white men supported by mentally impaired gun lovers and of course those so called christians who clearly are in league with the devil. These people are not very smart and as such difficult to reach with reason, meanwhile the media keep on spewing out violence, eagerly enlarged by Hollywood and Co. End of days still refuses to be, but hey maybe the US will get it's own highly contagious somewhat deadly virus, one thing i'm sure of, there will be much more hysterics and likely many more deaths, most shot dead by those mentally impaired gun lovers.



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In this 8 part web series Alan Moore, author of graphic novels like "Watchmen", "V for Vendetta" and "From Hell", draws us into his world-view. We follow one of the most influential graphic artists into a universe of occultism, mysticism and anarchy. Between dystopian visions and far-sighted social analysis, Moore explains how his comics are a swan song to our era.


Inside Alan Moore's Head



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Composer Dario Marianelli's (Pride & Prejudice, Brothers Grimm) soundtrack for director James McTeigue's controversial adaptation of Alan Moore's best-selling comic V for Vendetta is a sensuous blend of bombastic action cues and atmospheric vocal pop. With a main theme that riffs on everything from Batman to Gladiator, Marianelli paints a taut, futuristic London with a sea of tympani and brass. Quieter woodwind and string sections help build character but are equally menacing, keeping with the bleak subject matter. Julie London, Cat Power, and Antony and the Johnsons provide some moody lounge moments, but it's Marianelli's show, painting a totalitarian government in the deepest blues he can muster.



Dario Marianelli - V For Vendetta Filmscore ( 63min flac   266mb).

01 Remember Remember 6:42
02 Cry Me a River by Julie London 2:48
03 "...Governments Should Be Afraid of Their People..." 3:11
04 Evey's Story 2:48
05 Lust at the Abbey 3:17
06 The Red Diary 7:33
07 Valerie 8:48
08 Evey Reborn 3:50
09 I Found a Reason by Cat Power 2:02
10 England Prevails 5:44
11 The Dominoes Fall 5:28
12 Bird Gurhl by Antony & The Johnsons 3:17
13 Knives and Bullets (And Cannons Too) 7:33


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This episode marks the beginning of a special 10-part series, "Top 10 Reasons the Universe is Electric." In this first chapter, we explore the significance of the astrophysical enigma of pervasive cosmic magnetic fields. Basic physics classes teach that electric currents produce magnetic fields. But why is this law of physics almost nowhere evident in the standard astrophysical literature? Plasma physics and electrical engineering hold the key to explaining the origins of powerful magnetic fields throughout the cosmos.



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Electric currents flowing through space plasmas can be recognized through their distinct filamentary shape. With remarkable advances in space telescopes, we see today in unprecedented detail filamentary structures that pervade the visible universe at all scales. The appearances of these unique structures have proved puzzling far more often than not to astronomers. In this episode, we explore why filamentation throughout the cosmos is just one of ten reasons why the Universe is electric.





If you see a CC with this video, it means that subtitles are available. To find out which ones, click on the Gear Icon in the lower right area of the video box and click on “subtitles” in the drop down box. Then click on the subtitle that you would like.

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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.

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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V for Vendetta is a British graphic novel written by Alan Moore and illustrated by David Lloyd (with additional art by Tony Weare). Initially published, starting in 1982, in black-and-white as an ongoing serial in the short-lived UK anthology Warrior, it morphed into a ten-issue limited series published by DC Comics. Subsequent collected editions have been typically published under DC's more specialized imprint, Vertigo. The story depicts a dystopian and post-apocalyptic near-future history version of the United Kingdom in the 1990s, preceded by a nuclear war in the 1980s that devastated most of the rest of the world. The white supremacist, neo-fascist, outwardly Christofascistic, and homophobic fictional Norsefire political party has exterminated its opponents in concentration camps, and now rules the country as a police state.

The comics follow the story's title character and protagonist, V, an anarchist revolutionary dressed in a Guy Fawkes mask, as he begins an elaborate and theatrical revolutionist campaign to kill his former captors, bring down the fascist state, and convince the people to abandon fascism in favour of anarchy, while inspiring a young woman, Evey Hammond, to be his protégée.

DC Comics sold more than 500,000 copies of the graphic novel in the United States by 2006. Warner Bros. released a film adaptation of the same name in 2005.



V For Vendetta CBR ( 398 pages  344mb)

V for Vendetta 30th Anniversary Deluxe Edition collects DC Comics' original 10-issue series in its entirety, including the "bridging" pages colored by David Lloyd, which originally ran between the issues' story pages. This deluxe volume also includes Lloyd's and Moore's introductions to the series as well as Moore's extended history of its creation, "Behind the Painted Smile," and an expanded sketchbook section by Lloyd.


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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)
V For Vendetta 6 ( 65min mp3  28mb)
V For Vendetta 7 ( 65min mp3  31mb)
V For Vendetta 8 ( 35min mp3  17mb)


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Hello,  it's all about shambles these days, in China the party proved once again that keeping the truth can be haunting as the truth turned out to be a lie just to save face, the corona virus had triggered the alarm weeks before it was made public and acted upon. The doctor that issued a warning got told to shut up, and today died of the corona virus after he contracted it looking after patients. This is very worriesome a 34 old healthy male, likely overworked/stressed, but expected to survive the virus, but he didn't. This doesn't bode well for the many healthcare workers currently trying to help their landsmen. It's beginning to look like a slowmotion car crash, talking of slow motion what about that democratic causus in Iowa, it still hasn't been fully counted, last results are awaited in the post. So what happened, an untested app made by Shadow.inc (couple of ex Clinton guys) didn't work, the telephone infrastructure collapsed, when 2000 destricts tried to phone in the results. Yes Iowa is a backwater and yes the Democratic party is still fearful of Sanders who clearly won the popular vote, but then this guy has unamerican ideas like sharing, affordable healthcare and education for all, unacceptable to the elite and the socalled real Americans. The US calls itself a Christian country but its lost the track of Jesus a long time ago, and instead follows the track of the devil. Just look at how they treated Donald T., his accusers were denied to speak by the jury, who subsequently concluded that are was no case against Donald T. and aquitted him, that's justice in a fascist state.




Few artists have had the cultural impact that today's artist has, her visionary presence as both a producer and an artist reshaping the entirety of rap and R&B that followed her. From worldwide breakthrough-producing hits for artists like Aaliyah and Tweet to Grammy Award-winning solo albums, Elliott put her stamp on the music industry at large throughout the late '90s and 2000s. Even when slowing down on her solo output in the 2010s, She continued working as a producer, and her watershed albums like 1997's Supa Dupa Fly and 2002's Under Construction changed the course of commercial rap and R&B for years to come.  . ....... N Joy

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Melissa Arnette Elliott was born on July 1, 1971, at Portsmouth Naval Hospital in Portsmouth, Virginia. She is the only child of mother Patricia Elliott, a power-company dispatcher, and father Ronnie, a U.S. Marine no longer on active duty, working as a shipyard welder. Elliott grew up in an active church choir family, and singing was a normal part of her youth. At the age of four, she wanted to be a performer, and, as biographer Veronica A. Davis writes, she "would sing and perform for her family". In later years, she feared no one would take her seriously, because she was always the class clown. While her father was an active Marine, the family lived in Jacksonville, North Carolina, in a manufactured home community. Elliott blossomed during this part of her life. She enjoyed school for the friendships that she formed even though she had little interest in schoolwork. She would later get well above average marks on intelligence tests, and she was advanced two years ahead of her former class. Her move in grades caused isolation, and she purposely failed, eventually returning to her previous class. When her father returned from the Marines, they moved back to Virginia, where they lived in extreme poverty.

Life in Virginia saw many hardships. Elliott talks about domestic abuse by her father. She refused to stay over at friends homes out of fear that on her return home she would find her mother dead. When Elliott was eight, she was molested by a cousin. In one violent incident, Ronnie Elliott dislocated his wife's shoulders and during another, Elliott herself was threatened with a gun. At the age of fourteen, Elliott's mother decided to end the situation and fled with her daughter on the pretext of taking a joyride on a local bus. In reality, the pair had found refuge at a family member's home where their possessions were stored in a loaded U-Haul truck. Elliott tells her that she feared her father would kill them both for leaving. In 1991, Elliott formed an all female R&B group, called Fayze (later renamed Sista), with friends La'Shawn Shellman, Chonita Coleman, and Radiah Scott. She recruited her neighborhood friend Timothy Mosley (Timbaland) as the group's producer and began making demo tracks, among them included the 1991 promo "First Move". Later in 1991, Fayze caught the attention of Jodeci member and producer DeVante Swing by performing Jodeci songs a cappella for him backstage after one of his group's concerts. In short order, Fayze moved to New York City and signed to Elektra Records through DeVante's Swing Mob imprint and also renaming the group Sista. Sista's debut song was titled "Brand New", which was released in 1993 Elliott took Mosley—whom DeVante re-christened Timbaland—and their friend Melvin "Magoo" Barcliff along with her.

All 20-plus members of the Swing Mob—among them future stars such as Ginuwine, Playa, and Tweet—lived in a single two-story house in New York and were often at work on material both for Jodeci and their own projects. While Elliott wrote and rapped on Raven-Symoné's 1993 debut single, "That's What Little Girls Are Made Of", she also contributed, credited and uncredited, to the Jodeci albums Diary of a Mad Band (1993) and The Show, the After Party, the Hotel (1995). Timbaland and DeVante jointly produced a Sista album, entitled 4 All the Sistas Around da World (1994). Elliott met R&B artist Mary J. Blige while Blige was in sessions for her second album My Life. Though videos were released for the original and remix versions of the single "Brand New", the album was shelved and never released. One of the group's tracks, "It's Alright" featuring Craig Mack did however make the cut on the soundtrack of the 1995 motion picture Dangerous Minds but by the end of 1995, Swing Mob had folded and many of its members dispersed. Elliott, Timbaland, Magoo, Ginuwine, and Playa remained together and collaborated on each other's records for the rest of the decade as the musical collective The Superfriends.

After leaving Swing Mob, Elliott and Timbaland worked together as a songwriting/production team, crafting tracks for acts including SWV, 702, and most notable Aaliyah. The pair wrote and produced nine tracks for Aaliyah's second album, One in a Million (1996), among them the hit singles "If Your Girl Only Knew", "One in a Million", "Hot Like Fire", and "4 Page Letter". Elliott contributed background vocals and/or guest raps to nearly all of the tracks on which she and Timbaland worked. One in a Million went double platinum and made stars out of the production duo. Elliott and Timbaland continued to work together for other artists, later creating hits for artists such as Total; "What About Us?" (1997), Nicole Wray; "Make It Hot" (1998), and Destiny's Child; "Get on the Bus" (1998), as well as one final hit for Aaliyah, "I Care 4 U", before her death in 2001. Elliott also wrote the bulk of Total's second and final album Kima, Keisha, and Pam and Nicole Wray's debut Make It Hot (both released in 1998). Elliott began her career as a featured vocalist rapping on Sean "Puffy" Combs's Bad Boy remixes to Gina Thompson's "The Things That You Do", (which had a video featuring cameo appearances by Notorious B.I.G and Puff Daddy), MC Lyte's 1996 hit single "Cold Rock a Party" (backup vocals by Gina Thompson), and New Edition's 1996 single "You Don't Have to Worry". In 1996, Elliott also appeared on the Men of Vizion's remix of "Do Thangz" which was produced by Rodney Jerkins (coincidentally the producer of the original version of "The Things That You Do").

Combs had hoped to sign Elliott to his Bad Boy record label. Instead, she signed a deal in 1996 to create her own imprint, The Goldmind Inc., with East West Records, which at that time was a division of Elektra Entertainment Group, for which she would record as a solo artist. Timbaland was again recruited as her production partner, a role he would hold on most of Elliott's solo releases. Missy continued to work with other artists and appeared on LSG's song "All the Time" with Gerald Levert, Keith Sweat, Johnny Gill, Faith Evans, and Coko in 1997 on Levert Sweat Gill classic album. The same year, she rapped in "Keys To My House" with old friends group LeVert. In the center of a busy period of making guest appearances and writing for other artists, Elliott's debut album, Supa Dupa Fly, was released in mid-1997; the success of its lead single "The Rain" led the album to be certified platinum. The success was also a result of the music videos of her single releases, which were directed by Harold "Hype" Williams, who created many groundbreaking hip hop, Afro-futuristic videos at the time. The album was nominated for Best Rap Album at the 1998 Grammy Awards, but lost to Puff Daddy's No Way Out. The year also saw Elliott perform live at the MTV Video Music Awards show on a remix to Lil' Kim's "Ladies Night" with fellow rappers Da Brat, Angie Martinez and TLC-rapper Left Eye. Elliott continued her successful career in the background as a producer and writer on Total's single "Trippin'", as well as working with several others in the hip-hop and R&B communities. Elliott co-wrote and co-produced two tracks on Whitney Houston's 1998 album My Love Is Your Love, providing vocal cameos for "In My Business" and "Oh Yes". Elliott also produced and made a guest appearance on Spice Girl Melanie Brown's debut solo single, "I Want You Back", which topped the UK Singles Chart.
1999–2001: Da Real World and Miss E… So Addictive. Although a much darker album than her debut, Elliott's second album was just as successful as the first, selling 1.5 million copies and 3 million copies worldwide. She remarked, "I can't even explain the pressure. The last album took me a week to record. This one took almost two months…I couldn't rush it the second time because people expect more." Da Real World (1999) included the singles "All n My Grill", a collaboration with Nicole Wray and Big Boi (from OutKast), a remix to "Hot Boyz" and "She's a Bitch". Also in 1999, Elliott was featured, alongside Da Brat, on the official remix to a Mariah Carey single "Heartbreaker".

Missy Elliott next released Miss E... So Addictive on May 15, 2001. The album spawned the massive pop and urban hits "One Minute Man", featuring Ludacris and Trina, and "Get Ur Freak On", as well as the international club hit "4 My People" and the less commercially successful single "Take Away". The double music video for "Take Away/4 My People" was released in the fall of 2001, shortly after the 9/11 terrorist attacks and the death of Elliott's friend Aaliyah in August. The "Take Away" video contained images of and words about Aaliyah, and the slow ballad acted as a tribute to her memory. The remainder of the video was the more upbeat "4 My People", contained scenes of people dancing happily in front of American flags and Elliott dressed in red, white and blue. Though "Take Away" was not a success on radio, "4 My People" went on to become an American and European club hit due to a popular remix by house music duo Basement Jaxx in 2002. Tweet's appearance on Elliott's "Take Away" as well as her cameo at Elliott's house on MTV Cribs helped to create a buzz about the new R&B singer. Tweet's own debut single, "Oops (Oh My)", was co-written by Elliott and released through Goldmind in February 2002. The single was a top ten hit, thanks partially to Elliott's songwriting and guest rap, and to Timbaland's unusual production on the track. Elliott co-produced the Christina Aguilera, Lil' Kim, Mýa and Pink cover of "Lady Marmalade" for the album Moulin Rouge! Music from Baz Luhrmann's Film,[27] which went to number one on the Billboard Hot 100 in 2001.
2002–2004: Under Construction and This Is Not a Test!

For her next outing, Elliott and Timbaland focused on an old school sound, utilizing many old school rap and funk samples, such as Run–D.M.C.'s "Peter Piper" and Frankie Smith's "Double Dutch Bus." Elliott's fourth album, 2002's Under Construction (see 2002 in music) is known as the best selling female rap album with 2.1 million copies sold in the United States. In 2002, Elliott won a Grammy Award for Best Rap Solo Performance for "Get Ur Freak On". In 2003, Under Construction received Grammy nominations for Best Rap Album and Album of the Year. The New York Times designated Under Construction "this year's best hip-hop album." Elliott released two singles off of Under Construction. The lead single, "Work It" reached #2 on Billboard's Hot 100 chart and won the "Video of the Year" award at MTV's Video Music Awards. The second single, "Gossip Folks" featuring Ludacris, became a Top 10 hit on Billboard's Hot 100 chart, was one of the most-played music videos on MTV, MTV2, MTV Jams, and BET in 2003 and was embraced by the dance community, as well as the mainstream, due to a Fatboy Slim remix. A third single was never released, though a video was shot for "Back In The Day" featuring Jay-Z and Elliott was.

In between albums, Elliott produced the "American Dream Remix" (featuring Tweet's additional vocals) of
Madonna's single "American Life," was featured rapper on Timbaland & Magoo's return single, "Cop That Shit", and produced "Fighting Temptation" (featuring herself, Beyoncé, Free and MC Lyte) for the soundtrack to the Cuba Gooding Jr. and Beyoncé Knowles movie of the same name. The track reached #1 in Japan but failed to chart in the U.S. Hot 100. Elliott was also featured on Wyclef Jean's "Party to Damascus" and Ghostface Killah's "Tush" singles, the latter of which became a minor 2004 dance hit, and had a pivotal role in the film Honey. Gap approached Elliott later in the year to co-star in a commercial with Madonna, which received much media attention. Elliott furthered her relationship with Madonna by performing the controversial 2003 MTV Video Music Awards show opening alongside Madonna, Britney Spears and Christina Aguilera. A year after Elliott's most successful album to date was released, Elliott felt pressured by her label to release another album hoping to capitalize on her recent success. Elliott's singles, "Pass That Dutch" and "I'm Really Hot", from her fifth album, This Is Not a Test! (released November 2003), both rose the urban charts. However, both were not as successful at pop radio in comparison to many of her previous efforts. This Is Not A Test sold 690,000 copies in the United States and has been certified Platinum by the Recording Industry Association of America (RIAA). Elliott has since stated that "the album This Is Not A Test came out extremely too quickly for me. I didn't want it to come out when it did." In 2004, Elliott was featured on Ciara's hit single "1, 2 Step", with her verse interpolating Teena Marie's single, "Square Biz". Elliott premiered her own reality show on the UPN Network, The Road to Stardom with Missy Elliott in 2005 even though it was not renewed for a second season.

Elliott wanted to "give people the unexpected" by utilizing producers other than Timbaland and a "more to the
center" sound not as far left as her other music. Her sixth solo album, The Cookbook was released on July 4, 2005, debuted at number two on the U.S. charts and was certified gold by the Recording Industry Association of America (RIAA), selling 645,000 copies in the United States. Elliott's work during The Cookbook era was heavily recognized. Elliott received 5 Grammy nominations in 2005, including one for Best Rap Album for The Cookbook. The album's first single, "Lose Control," won a Grammy for Best Short Form Video and was nominated for Best Rap Song. "Lose Control" also garnered Elliott six 2005 MTV VMA award nominations (winning Best Dance Video and Best Hip-Hop Video). Elliott won Best Female Hip Hop Artist at the 2005 American Music Awards, and was nominated for Best International Female Artist at the 2006 BRIT Awards. "Lose Control" featuring Ciara and Fatman Scoop, became a Top 5 hit in the midyear (peaking at number three on the Billboard Hot 100). The second single, Teary Eyed, did not chart, although the video charted on MTV's TRL for a few weeks, and BET's 106 & Park for a few days. The third single, "We Run This", was released with heavy airplay on VH1, MTV, and BET. It served as the lead single for the soundtrack to the gymnastics-themed film Stick It. The song was also nominated for a Grammy Award in the Best Rap Solo Performance category in 2006. Respect M.E., Elliott's first greatest hits album, was released outside the United States and Canada on September 4, 2006, only in South Africa, Australia, Europe, Japan, and Brazil. The collection became her second top ten album in the UK and her highest charting album to date, peaking at number seven there.

Elliott was an honoree of the 2007 VH1 Hip Hop Honors. In honor of her career, many artists performed some of her biggest hits. Timbaland and Tweet performed "The Rain (Supa Dupa Fly)", Eve and Keyshia Cole performed "Hot Boyz" and "Work It", Fatman Scoop and Ciara performed "Lose Control", and Nelly Furtado performed "Get Ur Freak On (The Remix)." Since 2007, Elliott's seventh studio album has had several different forms with extensive delays. In 2007, she worked with Timbaland, Swizz Beatz, Danja, T-Pain and DJ Toomp and planned to release an album at the beginning of 2008. In January 2008, "Ching-a-Ling" was released as the lead single for the Step Up 2: The Streets soundtrack, which also featured "Shake Your Pom Pom" produced by Timbaland. Elliott released the song "Best, Best" in the same year and renamed the albums previous title FANomenal to its current tentative title Block Party. She later decided against Block Party and four years later, in 2012, Elliott released two Timbaland-produced singles ("9th Inning" and "Triple Threat") exclusively to iTunes. Though the songs managed to chart on Billboard Hot Digital Songs, in an interview with Yahoo's The Yo Show, Missy talked about her hiatus from making records: "Your brain needs time to refresh! Things happen in your life where you can then write something else instead of the same three topics. Like, how many times we gonna talk about the club? I gotta feel like what I'm giving the fans is 100 percent and that it's game-changing. I don't just throw out microwave records."

In between the recording of her seventh album, Missy Elliott found success behind the scenes. Elliott's writing and production helped her reach #1 on Billboard's Hot R&B/Hip-Hop Songs with Keyshia Cole's "Let It Go" (2007), Jazmine Sullivan's "Need U Bad" (2008), and Monica's "Everything to Me" (2010). Since 2008, songs written and/or produced by Elliott for Fantasia ("Free Yourself"), Jennifer Hudson ("I'm His Only Woman"), Monica ("Everything to Me"), Keyshia Cole ("Let It Go"), and Jazmine Sullivan ("Need U Bad" and "Holding You Down (Goin' in Circles)") have all received Grammy nominations. Both Fantasia's "Free Yourself" (2005) and Sullivan's "Holding You Down (Goin' In Circles)" reached #3 on Billboard's Hot R&B/Hip-Hop Songs. In mid-2010, Elliott embarked on a two-part tour with stops in Europe, Asia, Africa and Australia,[44] while she also performed at VH1's "Hip Hop Honors: The Dirty South" in a tribute to Timbaland, performing "Get Ur Freak On" and "Work It". In 2008 she made an appearance in "Whatcha Think About That" by The Pussycat Dolls, and performed live in different places with them. In 2011 and 2012, Elliott made guest appearances on "All Night Long" by Demi Lovato, "Nobody's Perfect" by J. Cole, the remix of "Why Stop Now" by Busta Rhymes with Chris Brown and Lil Wayne, and a remix of Katy Perry's "Last Friday Night (T.G.I.F.)" that helped catapult "T.G.I.F." to #1 on the Billboard Hot 100. She also produced Monica's singles "Anything (To Find You)" and "Until It's Gone".


Throughout 2013, Missy Elliott was featured on Eve's album cut "Wanna Be," as well as international artists singles, Little Mix's "How Ya Doin'?" and "NiLiria" with K-pop musician G-Dragon, which was named by Complex magazine as one of the "50 Best Songs of 2013". Elliott also contributed to her protégée Sharaya J's two releases, "Banji" and "Smash Up The Place/Snatch Yo Wigs". In December 2013, Elliott received a Grammy nomination with Fantasia and Kelly Rowland for their song "Without Me". As early as July 2013, Missy Elliott and Timbaland held recording sessions for Kat Dahlia's debut, My Garden (2015). In August 2013, R&B singer Faith Evans revealed that Missy Elliott would be featured on her sixth studio album, tentatively titled Incomparable. In March 2014, Evans revealed one of the tracks was named "I Deserve It", featuring Missy and her protégée Sharaya J, in which Evans cited it as a "banger" and "feel good" record. Evans also revealed that in total Elliott contributed three tracks to her album. On July 7, 2014, fellow R&B singer Monica confirmed that Elliott would be a feature on her upcoming eighth studio album. On July 29, 2014, a snippet of a Missy Elliott–produced song, nickname "I Love Him", premiered on Monica's official Instagram account.


In 2015, Missy Elliott performed at the Super Bowl XLIX halftime show with Katy Perry. Elliott performed a medley of "Get Ur Freak On", "Work It", and "Lose Control". The performance was well-received, and boosted digital sales of Elliott's work that week, with a twenty-five-fold increase in album sales (to 2,000 units) and a ten-fold increase in sales of the three songs she performed (to 71,000 units) compared to the week before. It also became the most watched Super Bowl halftime show in NFL history, receiving 118.5 million viewers in the United States. On February 3, 2015, it was confirmed that Elliott would be a feature on the upcoming remix to Diplo and Skrillex's "Take Ü There". On February 11, Elliott stated that she was still in the process of recording her seventh studio album, Block Party, with Timbaland. On April 2, 2015, Pharrell Williams confirmed that he was working on Elliott's album during an episode of The Tonight Show with Jimmy Fallon. On November 12, 2015, "WTF (Where They From)" and its music video were simultaneously released to digital outlets. By November 19, the song and its video had been streamed 6.1 million times in the US alone, with an additional count of 16 million views per YouTube viewing. On February 7, 2016, the day of the fiftieth Super Bowl, Missy Elliott released a promotional single, "Pep Rally". Later that month, Elliott reunited with former protégée Tweet and frequent collaborator Timbaland on the cut "Somebody Else Will" taken from the former's third studio album, Charlene. By March 15, 2016, First Lady Michelle Obama proclaimed that she had assembled a collaborative track featuring vocals from Missy Elliott, Kelly Clarkson, Janelle Monáe and Zendaya alongside production credit from pop songwriter Diane Warren and Elliott titled "This Is for My Girls". The iTunes-exclusive record will be used to both coincide with Ms. Obama's SXSW speech and to promote her third-world educational initiative Let Girls Learn. Following a surprise appearance with TLC on the 2016 televised special Taraji's White Hot Holidays, Elliott announced plans to release a documentary chronicling her impact on the production scene in both audio and video. The midnight of January 27, 2017, saw the full-length release to a new Elliott single titled "I'm Better", featuring production and vocal assistance from recurring sideman Lamb and shared directing credit by Elliott and longtime colleague Dave Meyers.

In July 2018, Missy Elliott teased fans by appearing on a snippet nicknamed "ID" by Skrillex, a release date for the single has yet to be announced. One month later, Elliott appeared on the Ariana Grande number "Borderline", taken from the singer's fourth studio album Sweetener (2018). In October 2018, Elliott announced that she is working on her new album, which would be released in 2019. On March 20, 2019, Lizzo released a collaboration with Elliott titled "Tempo". In April 2019 Elliott took to Instagram stating "I just finished a long project I been working on since last year & this my mood 'Keep On Moving' I'm about to show y'all I'm on some next ish." She announced Iconology on August 22, several hours before its release.

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For her 4th album Missy Elliott really got everything right and released the best album of her career. Of course this wouldn't have been possible without her partner in crime Timbaland, on which he also shines as one of the best moments of his career. Under Construction features some of her most famous singles, and is also a pretty fresh hip hop album that doesn't sound like nothing else.

The fact that Missy Elliott still considers her work to be "under construction" should, justifiably, send everyone else in the rap world scurrying back to the drawing board. No other commercial rapper sounded more in command of her production and flow than Elliott during 2002, and it's no surprise that Under Construction ranks as one of the best rap LPs of the year (granted, it came against relatively weak competition). While Timbaland's stark digital soul girds these tracks, Missy herself continues her artistic progression, trying to push hip-hop forward with an almost pleading intro and neatly emphasizing her differences from other rappers by writing tracks for nearly every facet of the female side of relationships. The hit single "Work It" turns the tables on male rappers, taking charge of the sex game, matching their lewdest, rudest rhymes, and also featuring the most notorious backmasked vocal of the year. Elliott more than keeps up with a dirty-minded Method Man as well on "Bring the Pain," strikes back at haters on the self-explanatory "Gossip Folks," and produced her own duet with Beyoncé Knowles, "Nothing Out There for Me," a track that finds her trying to lure Knowles out to a party (using her best Timbaland impression) over the wishes of the diva's home-bound man. She also recognizes the constantly changing aspects of sexuality, admitting how dependent she is on a man during "Play That Beat" but ruminating on the curious power of the female persuasion on "P***ycat." Elliott goes on a refreshing old-school tear with "Back in the Day," featuring Jay-Z having more fun than he's had in a while and Missy crooning, "What happened to those good old days, when hip-hop was so much fun/those parties in the summer y'all, and no one came through with a gun." The album closes with the TLC duet "Can You Hear Me," a tribute to Aaliyah and Lisa "Left Eye" Lopes. Missy Elliott obviously understands how important hip-hop can be when rappers concentrate on the music instead of the violent lifestyle; fortunately, her talents are just as strong as her vision.



 Missy Elliott - Under Construction (flac   437mb)

01 Go to the Floor 5:23
02 Bring the Pain 2:59
03 Gossip Folks 3:54
04 Work It 4:52
05 Back in the Day 4:56
06 Funky Fresh Dressed 3:56
07 Pussycat 4:38
08 Nothing Out There for Me 3:05
09 Slide 3:43
10 Play That Beat 3:02
11 Ain't That Funny 2:48
12 Hot 4:08
13 Can You Hear Me 4:26
14 Work It (Remix) 5:06

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Listeners shouldn't blame Missy Elliott for slipping into a holding pattern for her fifth album, This Is Not a Test! Early on she arrived at a distinctive sound -- the confident, clubbed-up jam with little melodic power but endless reserves of kinetic energy, courtesy of Timbaland's rubbery productions -- and she refined it well with hits like 2001's "Get Ur Freak On" and the following year's "Work It" and "Gossip Folks." Still, although she remains by far the most interesting figure in hip-hop, This Is Not a Test! has more filler than Elliott's allowed on a record since 1999's Da Real World. (Little surprise considering it appeared just over a year after 2002's Under Construction.) Granted, listeners and club fans looking for hit material will certainly find plenty on display. While the single "Pass That Dutch" is little more than a warmed-up "Work It" rewrite (albeit one studded with auditory change-ups from alarm clocks to car alarms to audience noise to the whinnying of a horse), she compensates nicely with the blazing electro shock of "I'm Really Hot" and the down-and-dirty moaning of her Nelly duet, "Pump It Up." And Timbaland's productions are still above and beyond any others on earth, with a dizzying roster of next-generation beats -- conceived in ring modulators, echo chambers, torpedo tubes, rusty pipes; anywhere except a standard drumkit -- matched to dark, technoid effects capable of raising the eyebrows of even the most experimental laptop programmers. However, most of the guest features fall flat: Fabolous wastes an excellent opportunity to match wits with Missy, giving her the shy-guy routine on "Is This Our Last Time," while Jay-Z is uninvolved on his feature, "Wake Up." Elephant Man's bounce track, "Keep It Movin," works well, but the R. Kelly duet, "Dats What I'm Talkin About," has Elliott playing -- perhaps too agreeably -- the inexperienced young girl to Kelly's mature lover. There's no need to blame Missy for not making a record that's tight all the way through, especially since few artists in the R&B world are held to such scrutiny. Still, an album like This Is Not a Test! is an effective argument for song-by-song downloads.



 Missy Elliott - This Is Not a Test!  (flac   351mb)

01 Baby Girl Interlude / Intro 2:13
02 Bomb Intro / Pass That Dutch 3:37
03 Wake Up 4:05
04 Keep It Movin 3:39
05 IIs This Is Our Last Time 5:26
06 Ragtime Interlude / I'm Really Hot 3:31
07 Dat's What I'm Talking About 4:49
08 Don't Be Cruel 4:33
09 Toyz Interlude / Toyz 2:52
10 Let It Bump 2:49
11 Pump It Up 3:06
12 It's Real 2:52
13 Let Me Fix My Weave 3:59
14 Spelling Bee Interlude / Spelling Bee 3:34
15 I'm Not Perfect 3:50
16 Outro 1:19

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Critics and fans were praising Missy Elliott and Timbaland so much during 2002-2003 that the hottest production combo in hip-hop may have started believing that a great production is synonomous with a great song. This Is Not a Test!, her first major mistake, featured cutting-edge tracks in abundance, but virtually nothing in the way of heavyweight material. Its follow-up, The Cookbook, brings the focus back to Missy the rapper and songwriter, wisely (in most cases) leaving the productions to a more varied cast than any of her previous records. Ironically though, Elliott herself produced the lead single, "Lose Control," giving it a tight electro feel (courtesy of some vintage '80s samples from Cybotron and Hot Streak). It's only the first nod to the type of old-school party jam that Elliott does better than ever here; "We Run This" resurrects the "Apache" break and a classic Sugarhill Gang track for one of the best club tunes of the year, Rich Harrison gives a bright, brassy production to another party song, "Can't Stop," and "Irresistible Delicious" featuring Slick Rick sounds at least 15 years removed from contemporary rap (yes, that's a good thing). In a few spots The Cookbook isn't too far removed from This Is Not a Test! -- Elliott forces a few rhymes, plays to type with her themes, and uses those outside producers to follow trends in hip-hop (she could have easily accompanied a 12-track record of her usual solid material with a watered-down "New Sounds in Hip-Hop & R&B EP" that would kick off with the syrupy Houston retread "Click Clack," the Neptunes' tired "On & On," and the bland pop-idol duet "My Man" featuring Fantasia). What's different here is how relaxed Elliott is, how willing she seems to simply go with what comes naturally and sounds best. "My Struggles" isn't the myopic confessional suggested by the title, but an East Coast all-stars jam that features one of her best raps ever and deftly switches in midstream to allow Mary J. Blige to reprise her "What's the 411?" classic (to say nothing of Grand Puba's verse). And the final track, "Bad Man," sees one of the most welcome collaborations seen in rap for some time, as Elliott joins dancehall heroes M.I.A. and Vybz Kartel (plus a drumline from Atlanta A&T).



Missy Elliott - The Cookbook (flac   392mb)

01 Joy 4:49
02 Partytime 3:04
03 Irresistible Delicious 4:15
04 Lose Control 3:47
05 My Struggles 2:52
06 Meltdown 4:16
07 On & On 4:45
08 We Run This 3:25
09 Remember When 4:18
10 4 My Man 5:10
11 Can't Stop 3:49
12 Teary Eyed 3:49
13 Mommy 2:58
14 Click Clack 2:54
15 Time and Time Again 3:49
16 Bad Man 5:14


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Hello, there's a huge storm brewing that will unleash everything that isn't stuck, come monday morning the world will look different outside all over north western Europe, an odd thing however the storm is called Ciara, but Sabine in Germany. Not that it matters much it will flatten forests anyway and cause black outs, floods and all kind of mayhem. The emergency services will have one heck of a day in front of them great men and women will risk their lives to save the day. Great respect is due.


Today's artist is an English guitarist and singer-songwriter, originally from Bristol, England and now based in France, who plays dark folk music. He also produced and recorded electronic music under the name The Third Eye Foundation.. .......N-Joy

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Guitarist, vocalist, and electronic musician Matt Elliott has been making dark, haunting, and sometimes apocalyptic music since the mid-'90s. He began playing with several space rock bands from his native Bristol, England, including Flying Saucer Attack, AMP, and Movietone. In 1996, he began releasing a torrent of albums and EPs under his groundbreaking Third Eye Foundation project. The Foundation blended claustrophobic jungle and hip-hop breakbeats with noisy collages of guitars and found samples, resulting in some of the most jarring, unsettling electronic music of its time. 3EF and V/Vm shared the first installment of FatCat's lauded Split Series in 1997. The project released four well-regarded albums on Domino (in the U.K.) and Merge (in the United States), which also issued the 2001 collection I Poo Poo on Your Juju, compiling remixes for Blonde Redhead, Tarwater, Yann Tiersen, and others.

 Matt Elliott's work as the Third Eye Foundation melds layers of droning noise with clattering drums and harrowing samples, resulting in disturbing yet captivating reflections of a life plagued by fear and hopelessness. Elliott originated from Bristol, England, and his work has combined influences from the city's space rock, drum'n'bass, and trip-hop scenes. He'll often combine supremely fast, chopped-to-smithereens breaks with other drums or samples that are heavily slowed down or stretched out, producing an extremely disorienting effect. Following a burst of activity resulting in several acclaimed albums, singles, and remixes from 1996 to the beginning of the 21st century, Elliott put the Foundation on hold and focused on writing downcast, experimental folk-influenced songs under his own name, but he's revived the project on occasion.

During the early '90s, Elliott played in a group called the Secret Garden along with Richard Walker, who left in 1992 and founded the experimental group Amp. Elliott contributed to early releases by Amp and Flying Saucer Attack, two groups from Bristol that blended harsh noise with ethereal elements, and were often referred to as space rock. Semtex, the Third Eye Foundation's debut full-length, appeared on Linda's Strange Vacation in 1996, and pushed these elements further, with vocals and guitars by Debbie Parsons (aka Foehn) trapped under a maelstrom of relentless distorted drums. Three other singles appeared during the same year, including an unrelated EP on Domino that also bore the title Semtex, and featured overdriven breakbeats similar to the work Alec Empire was producing at the time. Another release, In Version, featured remixes of tracks by Amp, Flying Saucer Attack, and Crescent.

In 1997, 3EF shared a split 12" with V/Vm, kicking off FatCat Records' split series. The Foundation remained with Domino in the U.K., while signing to Merge in the United States for second full-length Ghost, which appeared in 1997, as did the Sound of Violence EP. Pan Odyssey, a collaborative EP with Bump & Grind, was released by Sub Rosa in 1998. Shortly following the Fear of a Wack Planet single, the full-length You Guys Kill Me appeared by the end of the year. Little Lost Soul, a slightly more restrained full-length, was released in 2000, and 3EF's remixes for artists including Yann Tiersen, Tarwater, and Blonde Redhead were rounded up on 2001's I Poo Poo on Your Juju.

In 2003, Elliott began releasing music under his own name, drifting away from electronic music and closer to dark, dreamlike experimental indie folk. He also moved to France and began recording for the Ici d'Ailleurs label. A 2004 mix CD, OuMuPo 1, was credited to the Third Eye Foundation, but the project was put on ice until the politically motivated full-length The Dark was released in 2010. Following three more albums credited to Matt Elliott, the Third Eye Foundation returned in 2018 with the dub-influenced full-length Wake the Dead.

The Mess We Made
The Mess We Made, Elliott's debut solo album under his own name, was released in 2003. The name change also marked the shift in his work from electronic music to dark, dreamlike experimental folk. Following the album, he moved to France and signed with French label Ici D'Ailleurs. His subsequent albums were far more influenced by chansons and Eastern European music, but they continued the dark themes of his previous work, as evidenced by titles such as Drinking Songs and Failing Songs. In 2009, Elliott participated in This Immortal Coil, a tribute to Coil's Jhonn Balance that also included contributions from Tiersen, DAAU, and Bonnie "Prince" Billy. The project's full-length The Dark Age of Love was issued by Ici D'Ailleurs. Elliott also toured with Tiersen that year, opening for the composer as well as playing in his band. In 2010, Elliott made a surprising return to the Third Eye Foundation moniker for the release of the politically motivated The Dark. He returned to his given name in 2012 for The Broken Man. Only Myocardial Infarction Can Break Your Heart followed in 2013, and The Calm Before arrived three years later.


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This would be Matt Elliott's lone outing that really bears that much resemblance to his former bands. The feedback drenched guitar assault of Flying Saucer Attack is the main form of sound here, however, Mr Elliott decided to add vaguely electronic beats to the proceedings and tone down the noise to just above "hypnoticly ambient" (they have settings like that on amps now, you should really check it out.). So the result is something intriguing if not frequently enjoyable. See, while the main pattern of each song is interesting and even in some cases catchy, thats really all each song amounts to. Thus we are left with a repeating motif of feedback, percussion and occasional intruders in the mix. This leads to something that would work insanely well as background music yet the minute you tune in for a more involved listen you wind up bored shitless. Right? Well actually, it's not as boring as you'd imagine. Heck I'd go as far as to say that it deserves a deeper listen, that way the seeming endless repetition reveals itself to be more evocative than it has any right to be. At least on the first side. Side 2 is nowhere near as effective, terrible and beautiful at the same time.



The Third Eye Foundation - Semtex (flac 311mb)

01 Sleep 7:03
02 Still-Life 11:24
03 Dreams on His Fingers 5:45
04 Next of Kin 6:06
05 Once When I Was an Indian 12:29
06 Rain 5:23


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Excellent moody, ethereal yet monolithic experimental electronic music from the mind of Matt Elliot. Brilliant tunes that shift from ethereal (What To Do But Cry), to atmospheric (Corpses As Bedmates, Ghosts...) to dark monolithic textures (The Star's Gone Out) to sorrowful (Donald Crowhurst).
Lush, morbid, expansive, dark electronica instrumentals that sound like nothing else in music. It's a shame this style didn't catch on, too, because despite having a penchant for sampling Metal Machine Music, the sounds here are both addictive and repulsive, having the strange effect of making you come back to listen to it again and again whether you want to or not. It's almost like decayed music: you can hear the rust, the creaks and screeches that make you cringe, but there's a beauty in it, as well. Really one of the best records in it's genre.



The Third Eye Foundation - Ghost   (flac 271mb)

01 What to Do but Cry? 6:59
02 Corpses as Bedmates 8:52
03 The Star's Gone Out 6:05
04 The Out Sound From Way In 5:57
05 I've Seen the Light and It's Dark 8:01
06 Ghosts... 7:21
07 Donald Crowhurst 4:18

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If it's not the samples themselves but what you do with them, You Guys Kill Me gets extra points for effort. The beats and effects Matt Elliott concocted aren't incredibly original (there's the sewing-machine Brazilian bossa shuffle and the downbeat from Boogie Down Productions'"Bridge Is Over," along with various effects including howling dogs, dark crackly strings and metallic), but the slice-and-dice production, along with creative processing, transforms them into revelatory darkside symphonies. Elliott sounds as though he's Ed Rush's indie-rockin' sibling, fooling around with big brother's equipment and crafting a very twisted version of post-rock tech-step reminiscent of Amon Tobin as well as Rome. Strangely, it works.



The Third Eye Foundation - You Guys Kill Me   ( flac   260mb)

01Galaxy of Scars 6:56
02 For All the Brothers and Sisters 4:14
03 There's a Fight at the End of the Tunnel 4:40
04 An Even Harder Shade of Dark 8:35
05 Lions Writing the Bible 1:59
06 No Dove No Covenant 4:55
07 I'm Sick and Tired of Being Sick and Tired 4:40
08 That Would Be Exhibiting the Same Weak Traits 6:07
09 In Bristol With a Pistol 3:03


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Little Lost Soul is the Third Eye Foundation's first album of the 21st century and the most consistent to date. TEF uses the drum'n'bass elements of u-ziq and Squarepusher but leaves the trip-over-yourself aspects behind. Combined with swelling synths and angelic vocals, this album is a ride through the dark side of a genre appropriately labeled "drill'n'bass." The percussion is meticulously constructed; each beat is placed for a purpose and new rhythms are exposed upon repeated listens. Vague tinges of jazz are also present, mostly in the tappy snare drum and fretless upright bass sounds. All parts combine and build chaotically, most notably halfway through the album on "Half a Tiger." Little Lost Soul does have its calmer moments, too, where strings and slower trip-hoppish beats gel into a truly melodic package, as in "Lost." A clever use of dynamics and note placement, along with a knowledge of when not to play, prove Matt Elliot's progress as a modern electronic composer. In the end, Little Lost Soul is what many electronic albums aren't. It is tasteful.



The Third Eye Foundation - Little Lost Soul (flac   257mb)

01 I've Lost That Loving Feline 4:31
02 What Is It With You 4:22
03 Stone Cold Said So 6:07
04 Half a Tiger 7:10
05 Lost 10:55
06 Are You Still a Cliché? 1:57
07 Goddamit You've Got to Be Kind 8:40  

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I Poo Poo on Your Juju -- surely a more meaningful or attractive title could have been generated? -- assembled hard-to-find Third Eye Foundation remixes, along with one new track. To its credit, it doesn't sound like an odds-and-ends collection of reworkings, but strong enough to hold up on its own merits. The Third Eye Foundation, the project of Matt Elliott, has sometimes been portrayed as a drum'n'bass act. But actually this would be more aptly characterized as intelligent and eclectic electronica, only sometimes using drum'n'bass elements. It's a diverse grouping, including a treatment of a work by French composer Yann Tiersen and a remix of a cover of Jonathan Richman's "When I Dance." It's best when it crafts hauntingly attractive yet somewhat disquieting moods with its blend of misty and wobbly textures, as on the Tiersen piece. The ones employing more common electronic percussive elements are less distinctive, and the range is wide enough that it may be hard to find many listeners who like everything here. Throughout, Elliott is adept at painting upon or adding a wealth of sounds -- jungle noises, electronic tones, classical piano, spooky special effects, a female voice, wavering bell rings -- into his craft. Dark, elemental and startlingly beautiful, these eight tracks, stark, Nyman-ish piano, hum and static, swelling string, syncopated, distressed beats, otherworldly voices and myriad alien noises are merged in a contrastingly sheer/muted world, which owes much to the depth and space of good dub.



The Third Eye Foundation - I Poo Poo On Your Juju (flac 283mb)

01 Yann Tiersen - La Dispute (3rd Eye Foundation Remix) 6:30
02 Tarwater - To Describe You (3rd Eye Foundation Remix) 4:46
03 Urchin - Snuffed Candles (3rd Eye Foundation Remix) 7:57
04 The Remote Viewer - All Of The WCKW Want To Be Abstract (3ef Version) 5:43
05 Matt Elliott Vs. Chris Morris - Push Off My Wire 5:42
06 Blonde Redhead - Four Damaged Lemons 5:08
07 Faultline - Mute (3rd Eye Foundation Remix) 6:25
08 Glänta Vs. Third Eye Foundation - When I Dance 7:55


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Hello, Ciara didn't make victims, i guess the explicite weather warnings worked with a public already glued to the news, following the Corona crises, which causes Aldi to run out of bami, because the feeble minded stay away from Chinese restaurants, and buy their bami at Aldi i joked at the till when for a third week running they were out of stock. More worriesome Chinese people feel unwanted sometimes in a very explicite way, clearly a lot of people really don't understand what is going on.


12 correct requests for this week, one too early, one at the wrong place, one double (shifted to next time)  whatever another batch of 43re-ups (13.5gig)


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 February  09th... N'Joy

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4x Sundaze Back in Flac (Steve Roach n Robert Rich - Strata, Steve Roach - Forgotten Gods, Steve Roach n Robert Rich - Soma, Steve Roach - World's Edge )



4x Grooves Back in Flac (Solomon Burke - Don't Give Up On Me, Solomon Burke - Make Do With What You Got, Solomon Burke - Nothing's Impossible, Solomon Burke & De Dijk - Hold On Tight)


3x Sundaze Back in Flac ( The Edge & Michael Brook - OST Captive , Michael Brook & Pieter Nooten - Sleeps With The Fishes, Bill Laswell & Terre Thaemlitz - WEB)



3x Aetix Back In Flac (The Go-Betweens - Send Me a Lullaby, The Go-Betweens - Before Hollywood, The Go-Betweens - Tallulah)



3x Aetix Back in Flac ( Buggles - The Age Of Plastic, T. Dolby - The Golden Age Of Wireless, The Passions - Michael & Miranda )



4xSundaze Back In Flac (VA - Space Night Vol. 05 alpha,  VA - Space Night Vol. 05 beta, VA - Space Night Vol. 06 alpha, VA - Space Night Vol. 06 beta)



1x Around Back in Flac ( Rhythm 'n Sound feat Tikiman - Showcase)



5x Sundaze Back in Flac ( Michael Rother- Flammende Herzen,  Phantom Band - I,  Phantom Band - Freedom Of Speech, Czukay, Wobble, Liebezeit - Full Circle, Jah Wobble's Solaris - Live In Concert)



4x Aetix Back in Flac (  Throbbing Gristle ‎– Kreeme Horn, Throbbing Gristle - 2nd Annual Report , Throbbing Gristle - 20 Jazz Funk Greats, Throbbing Gristle - 3rd Annual Report )



3x Sundaze Back in Flac (  VA - Dub Backups One, VA - Dub Backups Two-1, VA - Dub Backups Two-2)



3x Sundaze Back in Flac  (FSOL - From The Archives Vol. 2, FSOL - From The Archives Vol. 3, Yage (FSOL) - The Woodlands Of Old )



1x Aetix NOW in Flac (  Bauhaus - Burning From The Inside )


A New adennum,

please return if you have it

Danielle Dax - The BBC Sessions

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Hello, a day later as I was completely knackered yesterday. To today's post, since i started this blog 13+ years ago it states my interest in (pre)history a book that set me on a trip to Egypt was Fingerprintz of the Gods authored by Graham Hancock who's book Sign and the Seal (about the lost ark) i read before. The establishment vehemently describes Graham as a crank, a pseudo this or that, it's really embarrassing that these self described sane people who know what is right or wrong (for now), apparently never seen any of the many talks he has given and that are available on Youtube and watch a madman ranting about scientists afraid to be scientific and break the 19th century deadlock on what is true. I'm joking here but i find Graham Hancock to be a great and eloquent speaker, who knows full well he takes on the full ire of the Archaeological society, that have a vested interest in keeping their past, the past for all. They will stop at nothing like preventing diggs at places that could upset their fantasy of the past. Oh how they wished they could have stopped the dig at Göbekli Tepe a giant complex with giant smooth slabs with exquisite imagery protruding from the slab, and all this when according to the archaeological charts only some simple pottery existed in Syria and nothing like it anywhere else, we're talking 10.000 BC here. A boon too, for those that claim the Sfinx-complex was build 11,600 years ago, who were always told, why aren't there other remnants of these smart guys. One would think those Archaeological elite tone down a little but these sorry guys see their sandcastle crumble and cry foul, and that nasty Mr.Hancock should be locked up for daring to expose our failures and shortsightedness. In that light it should be seen how Wikipedia let's itself be used by the powers that be in defaming Graham Hancock . A serious researcher always careful to provide booknotes but who has the big advantage not being tied down by a school of thought and more importantly can take multidisciplinary work into account. And whilst the scientific American tries to debunk his work, over in N.E. Brazil 100,000 year traces are found of humans, which is of cause strictly forbidden, but then once again these are German archeologists (like at Göbekli Tepe), they don't get sacked when returning with the 'wrong' results.

Anyway Fingerprints of the Gods stirred up a hornets nest where even the BBC was called in to debunk and show of their skill in selective reporting, meanwhile millions have learned about the unexplained Piri Reis map which proved without doubt that serious skilled mapmaking went on when Antartica was icefree, way before the official fairytale starts of the human race. Really i don't understand why the powers that be are so against the idea that this planet had an earlier high civilization, i'm fine with it. The coming weeks Graham reads his book, ok it lacks the odd map and picture but you can listen to it at your leisure in bed, on the road or in the train.


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Founder and president of Brain Sync, Kelly Howell is internationally acclaimed for her pioneering work in mind expansion. The author of over 60 best-selling audio programs, Kelly is the creator of Brain Sync's Brain Wave Audio Technology. "Kelly Howell is a masterful guide in helping to integrate body, mind, and spirit. In an age where life is becoming increasingly hectic, her instruction is invaluable." Her 20 years of research into spiritual practices and meditation, combined with her work with physicians and biofeedback therapists, have enabled Brain Sync to refine its extraordinary audio technology into the exceptionally powerful, life-enhancing audio programs so many have come to rely on.

Brain Massage

You're thrashed. It's been a hard day and you feel the pressure of mental overload. No worries. Simply slip on your headphones and listen to Brain Massage meditaiton music with binaural beats. At the end of thirty minutes you will feel cleansed and refreshed at the deepest levels.

Completely free of spoken words or guidance, this program harmonically layers Gamma (40Hz) and Delta waves to massage your brain into relaxation. As your brainwaves entrain to Gamma binaural and Delta binaural beats, you'll tingle all over with a rush of cleansing energy swirling through your mind and body. A revitalizing flood of positive energy is released as your autonomic nervous system relaxes into deep states of reverie.

    Meditation music to refresh your brain
    Wash away stress and tension
    Relieve headaches
    Overcome stressful feelings



Brain Sync - Brain Massage ( 58min mp3   77mb).

01 Brain Sync - Brain Massage - 1 - Music + Brainwaves 29:41
02 Brain Sync - Brain Massage - 2 - Ambiance + Brainwaves 28:59


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This episode marks the beginning of a special 10-part series, "Top 10 Reasons the Universe is Electric." In this first chapter, we explore the significance of the astrophysical enigma of pervasive cosmic magnetic fields. Basic physics classes teach that electric currents produce magnetic fields. But why is this law of physics almost nowhere evident in the standard astrophysical literature? Plasma physics and electrical engineering hold the key to explaining the origins of powerful magnetic fields throughout the cosmos.



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In Number 4 of our ongoing series, "The Top Ten Reasons the Universe is Electric," we explore an ongoing astrophysical enigma -- the Fermi Bubbles, giant gamma-ray structures which scientists have dubbed "incandescent bulbs screwed into the center of the galaxy." In this episode, we explore why such a feature is both explicable and predictable in the Electric Universe.





If you see a CC with this video, it means that subtitles are available. To find out which ones, click on the Gear Icon in the lower right area of the video box and click on “subtitles” in the drop down box. Then click on the subtitle that you would like.

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On 6th July 1960 Lt Colonel Harold Ohlmeyer, a United States Airforce Commander, sent a reply to a letter from one Professor Charles Hapgood who had requested his opinion on a feature found on a map of 1513 AD called the Piri Reis Map. Lt Colonel Ohlmeyer’s reply was a bombshell. The map, showing the coastline of the east coast of the Americas and the west coast of Africa, the Colonel remarked, also seemed to show the coastline of Queen Maud Land in Antarctica free of ice – a condition it had not been in for some 9000 years!

In fact, it is only in recent times that modern man has been able to map this coastline using sub-surface surveying techniques that can penetrate the ice sheet that lies on top of it.

Ohlmeyer had no idea how a map existing in the 16th century could have got hold of such knowledge.

This was one of the many mysteries that lead Graham to begin his epic journey into man’s past that is Fingerprints of the Gods – and it is a mystery whose solution is mindblowing.

Travelling first to South and Meso-America, Graham finds evidence of myths of a white-skinned ‘god’ named Quetzalcoatl or ‘Viracocha’ who came from a drowned land bringing knowledge of farming and culture after a great flood. Tied in with these myths Graham begins to crack an ancient code imprinted in these ancient tales that refer to the ‘great mill’ of the heavens.

It is an astronomical code that deals with the position of the stars over vast periods of time – a code that reveals the ancients knew far, far more than they are generally credited with. Traces of the same code appear in Egyptian myth, and it is to this desert land that Graham and Santha travel, finding there haunting parallels in architecture and ritual to the New World sites they have just left behind.

Moreover, the whole layout of the Giza plateau seems to point to a date many thousands of years earlier than the date of its supposed construction – a date revealed in the astronomical alignments of the Pyramids, the ‘mansions of a million years’, home of the god Osiris, the bringer of agriculture to the Egyptians, like Quetzalcoatl, after a flood.

Could the Piri Reis maps be evidence for a previously unknown complex maritime civilisation, capable of mapping the globe? A global culture, cataclysmically destroyed at the end of the ice age, remnants of which survived the devastation to pass on their knowledge to the shaken world?

Were the figures of Osiris and Quetzalcoatl survivors of this lost race – passing down not only advanced geographical knowledge, but a secret astronomical code veiled in myth that pointed to the devastation in the past, and warned of that which is to come?

From the mysterious sites of Tiahuanaco and Teotihuacan, to the enduring enigmatic Sphinx and pyramids of Egypt, the grandiose Nazca lines of Peru to the stark primal beauty of the Osireion at Abydos, this is a journey both around the globe and into the heart of the true prehistoric origins of man. Part adventure, part detective story, this book will force you to revaluate your beliefs of the past.

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Could the story of mankind be far older than we have previously believed? Using tools as varied as archaeo-astronomy, geology, and computer analysis of ancient myths, Graham Hancock presents a compelling case to suggest that it is.In Fingerprints of the Gods, Hancock embarks on a worldwide quest to put together all the pieces of the vast and fascinating jigsaw of mankind’s hidden past. In ancient monuments as far apart as Egypt’s Great Sphinx, the strange Andean ruins of Tihuanaco, and Mexico’s awe-inspiring Temples of the Sun and Moon, he reveals not only the clear fingerprints of an as-yet-unidentified civilization of remote antiquity, but also startling evidence of its vast sophistication, technological advancement, and evolved scientific knowledge. A record-breaking number one bestseller in Britain, Fingerprints of the Gods contains the makings of an intellectual revolution, a dramatic and irreversible change in the way that we understand our past—and so our future.



Graham Hancock - 'Fingerprints of the Gods The Quest Continues 0-6 ( 102min  48mb)

narrated by the man himself, Graham Hancock

00 Introduction in 2016 - 'Fingerprints of the Gods The Quest Continues (New Updated Edition)' 3:35
01 Chapter 1 A Map of Hidden Places 18:09
02 Chapter 2 Rivers in the Southern Continent 20:12
03 Chapter 3 Fingerprints of a Lost Science 17:44
04 Chapter 4 Flight of the Condor 17:01
05 Chapter 5 The Inca Trail to the Past 9:29
06 Chapter 6 He Came in a Time of Chaos 15:52

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previously




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Hello,



Today's Artist is Dana Elaine Owens (born March 18, 1970), she is an American rapper, singer, songwriter, actress, and producer. Born in Newark, New Jersey, she signed with Tommy Boy Records in 1989 and released her debut album All Hail the Queen on November 28, 1989, In her music career, Dana has sold nearly 2 million records worldwide. She has been dubbed as the "Queen of Jazz-Rap". She became the first female hip-hop recording artist to get nominated for an Oscar. she is a recipient of a Grammy Award, with six nominations, a Golden Globe Award, two Screen Actors Guild Awards, with two nominations, two NAACP Image Awards, including thirteen nominations, one Emmy Award, with three nominations and an Academy Award nomination. She was the first hip-hop artist to receive a star on the Hollywood Walk of Fame. . ....... N Joy

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Queen Latifah was certainly not the first female rapper, but she was the first one to become a bona fide star. She had more charisma than her predecessors, and her strong, intelligent, no-nonsense persona made her arguably the first MC who could properly be described as feminist. Her third album, Black Reign, was the first album by a female MC ever to go gold, a commercial breakthrough that paved the way for a talented crew of women rappers to make their own way onto the charts as the '90s progressed. Latifah herself soon branched out into other media, appearing in movies and sitcoms and even hosting her own talk show. Yet even with all the time she spent away from recording, she remained perhaps the most recognizable woman in hip-hop, with a level of respect that bordered on iconic status.

Queen Latifah was born Dana Owens in Newark, NJ, on March 18, 1970; her Muslim cousin gave her the nickname Latifah -- an Arabic word meaning "delicate" or "sensitive" -- when she was eight. As a youngster, she starred in her high school's production of The Wiz, and began rapping in high school with a group called Ladies Fresh, in which she also served as a human beatbox. In college, she adopted the name Queen Latifah and hooked up with Afrika Bambaataa's Native Tongues collective, which sought to bring a more positive, Afrocentric consciousness to hip-hop. She recorded a demo that landed her a record deal with Tommy Boy, and released her first single, "Wrath of My Madness," in 1988; it was followed by "Dance for Me." In 1989, Latifah's full-length debut, All Hail the Queen, was released to strongly favorable reviews, and the classic single "Ladies First" broke her to the hip-hop audience. In addition to tough-minded hip-hop, the album also found Latifah dabbling in R&B, reggae, and house, and duetting with KRS-One and De La Soul. It sold very well, climbing into the Top Ten of the R&B album charts. Latifah quickly started a management company, Flavor Unit Entertainment, and was responsible for discovering Naughty by Nature. Her 1991 sophomore album, the lighter Nature of a Sista, wasn't quite as popular, and when her contract with Tommy Boy was up, the label elected not to re-sign her. Unfortunately, things got worse from there -- she was the victim of a carjacking, and her brother Lance perished in a motorcycle accident.

Latifah emerged with a new sense of purpose and secured a deal with Motown, which issued Black Reign in 1993. Dedicated to her brother, it became her most popular album, eventually going gold; it also featured her biggest hit single, "U.N.I.T.Y.," which hit the R&B Top Ten and won a Grammy for Best Solo Rap Performance. By this point, Latifah had already begun her acting career, appearing in Jungle Fever, House Party 2, and Juice, as well as the TV series The Fresh Prince of Bel Air. In 1993, she was tabbed to co-star in the Fox comedy series Living Single, which ran until 1997; during that period, acting was her primary focus, and she also co-starred as a bank robber in the 1996 film Set It Off. That same year, Latifah was pulled over for speeding and was arrested when a loaded gun and marijuana were discovered in her vehicle; she pled guilty to the charges and was fined.

Order in the Court
After Living Single was canceled in 1997, Latifah returned to the recording studio and finally began work on her fourth album. Order in the Court was released in 1998 and found her playing up the R&B elements of her sound in a manner that led some critics to draw comparisons to Missy Elliott; she took more sung vocals, and also duetted with Faith Evans and the Fugees' Pras. The album sold respectably well on the strength of the singles "Bananas (Who You Gonna Call?)" and "Paper." The same year, she appeared in the films Sphere and Living Out Loud, singing several jazz standards in the latter. The Queen Latifah Show, a daytime talk show, debuted in 1999 and ran in syndication until 2001. In November 2002, Latifah ran afoul of the law again; she was pulled over by police and failed a sobriety test, and was placed on three years' probation after pleading guilty to DUI charges. However, this mishap was somewhat overshadowed by her performance in the acclaimed movie musical Chicago, which garnered her Best Supporting Actress nominations from both the Screen Actors Guild and the Golden Globes.


In 2004, she released The Dana Owens Album, a diverse collection of covers and interpretations -- from Dr. Buzzard's Original Savannah Band's "Hard Times" to Billy Strayhorn's "Lush Life" -- that highlighted her singing skills rather than her rapping. Trav'lin' Light followed with a similar format in 2007, ranging from the Pointer Sisters to Shirley Horn, with guest appearances from Joe Sample, George Duke, Erykah Badu, and Jill Scott. During the years between the releases, she acted in several movies, including Taxi, Beauty Shop, Last Holiday, and Hairspray. In 2009, she released the star-studded Persona, a pop-flavored album produced by Cool & Dre.

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Not flawless, no, but pretty damn great anyway and ca. 1989 let me tell you it was a breath of fresh air just to hear a female rapper who not only could hold her own - she wasn't the first by any means - but who also didn't feel the need to stoop down to the guys' level. Nothing like "The Showstopper" or "Roxanne's Revenge" here where Latifah takes one of theirs and flips it around, she just rolls her eyes at the knuckleheads and moves along to do her own thing. And don't get me wrong, it's a fine thing in a battle of the sexes to use the enemy's own weapons against him, but in some ways it's even better just to sneak around the side and flank them outright, not allowing the sexists to define the terms of the battle.

As strong a buzz as Queen Latifah created with her debut single of 1988, "Wrath of My Madness" and its reggae-influenced B-side "Princess of the Posse," one would have expected the North Jersey rapper/actress' first album, All Hail the Queen, to be much stronger. Though not a bad album by any means, it doesn't live up to Latifah's enormous potential. The CD's strongest material includes "Evil That Men Do," a hardhitting duet with KRS-One addressing Black-on-Black crime and other social ills; the infectious hip-house number "Come Into My House"; the rap/reggae duet with Stetsasonic's Daddy-O "The Pros"; and the aforementioned songs. Unfortunately, boasting numbers like "A King and Queen Creation" and "Queen of Royal Badness" aren't terribly memorable. Especially disappointing is "Mama Gave Birth to the Soul Children," a duet with De La Soul that surprisingly, is both musically and lyrically generic. To be sure, Latifah's rapping skills are top-notch -- which is why All Hail the Queen should have been consistently excellent instead of merely good.



 Queen Latifah - All Hail The Queen (flac   385mb)

01 Dance for Me 3:46
02 Mama Gave Birth to the Soul Children (feat. De La Soul) 4:29
03 Come Into My House 4:18
04 Latifah's Law 3:53
05 Wrath of My Madness 4:17
06 The Pros (feat. Daddy-O) 5:47
07 Ladies First (feat. Monie Love) 3:58
08 A King and Queen Creation (feat. DJ Mark The 45 King) 3:39
09 Queen of Royal Badness 3:29
10 Evil That Men Do 4:07
11 Princess of the Posse 3:54
12 Inside Out 4:16
13 Dance for Me (Ultimatum Remix) 4:09
14 Wrath of My Madness (Soulshock Remix) 5:34
15 Princess of the Posse (DJ Mark The 45 King Remix) 4:06

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Nature of a Sista isn't the outstanding album Queen Latifah is quite capable of recording. But even so, it's a decent sophomore effort that has more strengths than weaknesses. The North Jersey native tends to spend too much time boasting about her microphone skills -- something that can wear thin in a hurry -- but there's no denying the fact that she has considerable technique. As on her first album, Latifah indicates that she could hold her own in a battle with just about any rapper, male or female. And the positive image she projects is certainly commendable. But as likeable as much of this album is, it's obvious that she is capable of a lot more.  Her use of Jamaican dialect and her ability to ride rhythms is just amazing.Her voice is a charm.This album reveals her intellect through her lyrics.It led m to get atleast one other of her albums - no regrets.She does not call herself QUEEN for nothing.Listen to this album and you will see for yourself.



 Queen Latifah - Nature Of A Sista' (flac   286mb)

01 Latifah's Had It Up 2 Here 4:26
02 Nuff of the Ruff' Stuff' 3:50
03 One Mo' Time 4:49
04 Give Me Your Love 3:49
05 Love Again 3:40
06 Bad As a Mutha 4:00
07 Fly Girl 4:01
08 Sexy Fancy 3:55
09 Nature of a Sista' 3:19
10 That's the Way We Flow 3:22
11 If You Don't Know 4:58
12 How Do I Love Thee 4:59

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Latifah's best album and one of the definitive (and most significant) female Hip-Hop albums and albums in general. Nearly every track is nothing less than spectacular, an amazing soundtrack. Latifah proved once again why she's just as good as any of the males out there. Black Reign marked Latifah's move to Motown, and was also a return to the tough-talking, lyrically frank, frequently controversial material that established her as arguably the finest female rapper. "Coochie Bang" and "Weekend Love" were harsh and explicit attacks on would-be hit-and-run lovers, while "Just Another Day" and "I Can't Understand" examined the continuing inequities plaguing inner-city youth, and "Superstar" took a pointedly unglamorous view of her situation and the perils of hip-hop supremacy. The singles "Black Hand Side", "UNITY" and "Just Another Day" are early '90s classics that everybody knows and loves, but the rest of the record benefits from this combination of Dirty Jerz grit & grime, mixed with beautiful jazz chords, and an all around East Coast sensibility that is reminiscent of Black Moon and early Wu-Tang. The best thing about this record is how Queen manages to execute the difficult task of educating the masses, and getting her much deserved props, all the while maintaining her femininity, which is something female MC's have always had trouble doing. This record is REAL Hip-Hop with class, dignity, respect, great singing, and beautiful production.



Queen Latifah - Black Reign (flac   324mb)

01 Black Hand Side 3:22
02 Listen 2 Me 4:42
03 I Can't Understand 3:49
04 Rough... 5:03
05 4 the DJ's (Interlude) 1:37
06 Bring tha Flava 3:25
07 Coochie Bang... 3:46
08 Superstar 3:56
09 No Work 2:51
10 Just a Flow (Interlude) 1:30
11 Just Another Day... 4:27
12 U.N.I.T.Y. 4:11
13 Weekend Love 4:09
14 Mood Is Right 3:27
15 Winki's Theme 5:29


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Hello, there's a huge storm unleashing everything that isn't stuck, come monday morning the world will look different outside all over north western Europe, this week the storm is called Dennis, yes the Brexiteers are tested again .  Usually my sundaze posts are well planned in advance, not so today. Too my own amazement i hadn't posted much of today's artists, yet i remember being as stunned by their free napster download album Ágætis Byrjun as most that got it, a remarkable gift that kept on giving back. In the years that followed i kept with them, so now it's high time i posted some of their work here.


Today's artist excels over pretty much all other (heavy) rock music is that while many have looked across space for inspiration and atmosphere, our boys instead went into the earth. and who knows what impossible number of variables had to come together just so in order to create that magic (yes) that they have, regardless of explanation. that these musicians have gone on to tour and sell-out shows in europe, the americas, and the pacific (something relatively few musicians do) speaks quite a bit considering their unique sound. or vice-versa, because they don't really sound like anyone else, right? They're as much slowcore as they are post-rock, and they certainly have their orchestral, operatic, and minimalistic moments as well, in short ' Victory Rose ' evokes (strong) emotions.  .......N-Joy

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Jón Þór "Jónsi" Birgisson (guitar and vocals), Georg Hólm (bass) and Ágúst Ævar Gunnarsson (drums) formed the group in Reykjavík in January 1994. The band's name is Icelandic wordplay: while the individual words Sigur and Rós mean, respectively, Victory and Rose, "Victory Rose" wouldn't be grammatically correct; the name is actually borrowed from Jónsi's younger sister Sigurrós, who was born a few days before the band was formed, and then split into two words. They soon won a record deal with the local Sugarcubes-owned record label Bad Taste, because they thought the falsetto vocals were very cute and would appeal to teenage girls. In 1997, they released Von  meaning "hope") and in 1998 a remix collection named Von brigði . This name is also Icelandic wordplay: Vonbrigði means "disappointment", but Von brigði means "variations on Von". The band was joined by Kjartan Sveinsson on keyboards in 1998. He is the only member of Sigur Rós with musical training, and has contributed most of the orchestral and string arrangements for their later work

International acclaim came with 1999's Ágætis byrjun (A Good Beginning"). The band attracted a huge critical acclaim throughout the world in the second half of 2000, particularly in america, after they made the move to offer it as a free download on Napster, who impressed by it, really brought them into the picture. Tens of thousands downloads later and the musiclabels were in a franctic hunt to sign them, they ended up with MCA who let them retain the most artistic freedom. The band toured north america for the first time in april and may 2001, and the vast majority of the dates sold out straight away. perhaps due to the hype in the american media, the shows were attended by many big name celebrities, somewhat to the band's bemusement.The album's reputation spread by word of mouth over the following two years. Soon critics worldwide were praising it effusively, and the band was playing support to established acts such as Radiohead. Three songs, "Ágætis byrjun", "Svefn-g-englar", and a live take, from a summer 2000 concert in Denmark, of the then-unreleased "Njósnavélin" (later 'unnamed'"Untitled #4") appeared in the Cameron Crowe film Vanilla Sky. Sigur Rós spent the first three months of 2001 off the road, setting up their own studio and making their third album. Meanwhile, Ágætis Byrjun found a label in the U.S. and worldwide press became increasingly positive and varied; both Entertainment Weekly and The Wire ran features on the band. The group began touring again in April, playing more shows in Europe, a handful in the States, and several more in Japan throughout the remainder of the year. By the end of the year, Ágætis Byrjun had won the Shortlist Prize for Artistic Achievement in Music; it was also declared Iceland's Best Album of the Century.

In 2001, Sigur Rós christened their newly completed studio by recording an EP titled Rímur with an Icelandic fisherman named Steindór Andersen. The EP contains six songs, all of which feature Steindór Andersen reciting traditional Icelandic rímur poetry. Sigur Rós accompany him on three songs. Two songs feature Steindór alone. The last song on the EP, "Lækurinn", is a duet with Sigurður Sigurðarson. A thousand copies of the EP were printed and sold during the spring tour of 2001. The EP was sold in a blank-white-paper case. In 2001 the band toured in Canada, performing at Massey Hall in Toronto in September. Drummer Ágúst left the band after the recording of Ágætis byrjun and was replaced by Orri Páll Dýrason. In 2002, their highly anticipated follow-up album ( ) was released. Upon release all tracks on the album were untitled, though the band later published song names on their website. All of the lyrics on ( ) are sung in Vonlenska, also known as Hopelandic, a language without semantic meaning, which resembles the phonology of the Icelandic language. It has also been said that the listener is supposed to interpret their own meanings of the lyrics which can then be written in the blank pages in the album booklet.

In 2002, the band also wrote an original score for the Bodyscript dance production by Wayne McGregor Random Dance in collaboration with Sadler's Wells Theatre and the Arts Council England. Sigur Rós collaborated with Radiohead in October 2003 to compose music for Merce Cunningham's dance piece Split Sides; Sigur Rós's three tracks were released on the March 2004 EP Ba Ba Ti Ki Di Do.

Their fourth album, Takk... (["Thanks...") employs the distinctive sound of their second album in a more rock oriented structure with greater use of the guitar, and was released in September 2005. "Hoppípolla""Hopping into puddles"), the second official single from Takk..., was released in November alongside a new studio remake of "Hafsól" ("Ocean Sun"), a song that was previously released on the band's 1997 debut, Von. "Hoppípolla" was used in the trailers for the BBC's natural history series Planet Earth in 2006, as well as the closing credits for the 2006 FA Cup final, ITV's coverage of the 2006 Oxford and Cambridge Boat Race, advertisements for the BBC's coverage of England games during the 2006 FIFA World Cup, on television advertisements for RTÉ's Gaelic games coverage in Ireland, and on an advertisement for Oxfam. It was also used in the final scene of the movie Penelope, for the trailer of the film Children of Men and for the trailer of the film Slumdog Millionaire.

An extended Sæglópur EP was released in July 2006 in most parts of the world and in August in the United States. Its original release was scheduled in May, but because of the sudden demand of "Hoppípolla" it was pushed back from that date. Sigur Rós recorded three new songs to appear on the EP ("Refur", "Ó friður", and "Kafari"). In July 2006, Sigur Rós finished a major world tour with stops in Europe, the United States (where they played a headline show at the Hollywood Bowl), Canada, Australia, New Zealand, Hong Kong and Japan. Upon return to their homeland, Sigur Rós provided a series of free surprise outdoor concerts throughout Iceland in July and August, playing in various venues such as abandoned bunkers and community coffee shops, all of which were included in the 2007 documentary film Heima. They also performed twice in the United States in February.

In August 2007, a limited DVD+CD edition of the 2002 soundtrack to the documentary Hlemmur was released. Hvarf/Heim was released on 5 November (6 November in the U.S.), a double compilation album containing studio versions of previously unreleased songs — "Salka" [ˈsalka], "Hljómalind" (formerly known as "Rokklagið"), "Í Gær" [i ˈcaɪ̯r] and "Von" on Hvarf, and acoustic studio versions of the songs: "Samskeyti""Starálfur""Vaka""Ágætis Byrjun", "Heysátan" and "Von", on Heim. On the same day (20 November in the U.S.) Heima, a live DVD of the previous summer's Iceland tour, was released. Just prior to the release of Hvarf/Heim, on 29 October, a single named "Hljómalind" was released.

The band's fifth regular studio album Með Suð Í Eyrum Við Spilum Endalaust ("with a buzz in our ears we play endlessly"), recorded with producer Flood in downtown Reykjavík, was released in June 2008 to generally positive reviews. Stylistically different from their earlier releases, it featured fewer strings and more guitar, and had more pop-oriented songs, making it "the group's most accessible effort" while maintaining the "majestic beauty that defines the band's music. The final track "All Alright" is the band's first to be sung in English, though all the other lyrics are in Icelandic.


The band were announced as a headlining act for the 2008 Splendour in the Grass Festival in Byron Bay, Australia, Latitude Festival 2008, and the 2008 La Route du Rock Festival in St Malo, France. In addition, the band performed a late-night set at the 2008 Bonnaroo Music Festival in Manchester, Tennessee, where they blew a speaker at the end of their second song. Jónsi Birgisson commented, "The piano is exploding, I think," one of the few things spoken in English. The band released the first song from the album titled "Gobbledigook" for free on their website, along with a music video. On 8 June, the whole album was made available for free streaming on their website and Last.fm.

In autumn 2008 Sigur Rós embarked on a world tour supporting their newly released album. The band played as a four-piece without Amiina and the brass band, the first time the band had played as a four-piece in seven years. The tour started on 17 September 2008 in the United States, at the United Palace Theater in New York City, and finished with a concert in Reykjavík at Laugardalshöll on 23 November 2008. The majority of the tour was European with the exception of concerts in the United States, Australia, Canada and Japan.

The group ended its hiatus in April of 2010, playing a set at the Coachella Festival. In October of 2011, they released their first live album, Inni, a document of their 2008 tour. Their understated sixth studio album, Valtari (Steamroller), was issued in May of the following year. Quickly returning, Sigur Rós took their sound in a darker, more aggressive direction with their seventh album, 2013's Kveikur, which found them pushing their sound into unsettling areas. After the album's release the band stayed busy touring. They also branched out, making appearances on both the animated series The Simpsons and HBO's Game of Thrones. In 2017, they collaborated with Somers on two instrumental recordings for a season four episode of Black Mirror. Also that year, to coincide with their own Norður og Niður Festival in Iceland, they released the soundtrack/film production Route One, as well as the Jónsi and Somers EP All Animals. Both albums were also reissued on vinyl for Record Store Day, and released to digital platforms in 2018.




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Though darker and more fractured than the string-laden nooks of the follow-up, it's just as sprawling and outright bombastic. It's remarkable that such a young band would be this experimental at this stage in their lifespan, but the sheer breadth gets to be an albatross. Poking fun at '70s prog rock is just as easy as shooting at cement gargoyles on a suburban rooftop, especially when you're an indie kid or a fan of post-rock. But Sigur Rós makes Yes look like the Minutemen. Whittled down to 40 minutes, Von would be considerably more effective than it already is.Von opens up with "Sigur Rós", a near 10-minute ambient piece that immediately displays the album's ominous nature. Triumphant? Not at all. Uplifting? Far from it. In fact, "Sigur Rós" is probably one of the scariest songs ever put to tape. This dark ambient epic sounds like a journey through the scorching infernos of Hell; the mysterious windchimes and shakers, dissonant synthesizer chords, thunder, and bone-chilling, high-pitched screams provide the listener with some absolutely terrifying timbres. Do not listen to this track alone in a dark room; you will probably regret it. Though it might be a rather aimless track compared to some other songs on Von, "Sigur Rós" succeeds at trying to establish the album's dark mood, and is quite literally unlike anything else that the band has ever done. It's an atmospheric masterwork., and a few other spots seem to drag on for the sake of sucking time. That doesn't prevent Von from being impressive, veering from Gavin Bryars-style aquatic minimalism to My Bloody Valentine-style dream pop. Varying states of isolationist ambience run throughout, whether evoking unrest or tranquil rest. You can practically envision a stray headboard floating through the Sinking of the Titanic-type passages, and the lush "Myrkur" comes from a planet where MBV's Kevin Shields and Kitchens of Distinction's Julian Swales are accorded the level or worship that Earth gives to Hendrix and Clapton. And then there's that voice, one of the most distinctly unintelligible voices since the Cocteau Twins' Liz Fraser. Boy? Girl? One would be hard-pressed to guess without liner notes. Based on pure sound, Von is just as much of a treat as the acclaimed follow-up.



Sigur Rós - Von (flac 395mb)

01 Sigur Rós 9:47
02 Dögun 5:50
03 Hún Jörð... 7:18
04 Leit að lífi 2:34
05 Myrkur 6:14
06 18 sekúndur fyrir sólarupprás 0:18
07 Hafssól 12:25
08 Veröld ný og óð 3:29
09 Von 5:12
10 Mistur 2:16
11 Syndir Guðs (Opinberun frelsarans) 7:42
12 Rukrym 8:59


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First of all, one should mention that if the listener expects 1998's "Von Brigði" to be another high quality Sigur Rós work measured upon their standards, he or she is only partially right. Other than most reviews for this album, up to now I cannot find a loss in quality here. Since many listeners long for genres they can put music into... well, maybe think of it as well-crafted and intelligent electronic or drum and bass music that creates some kind of forest in whose branches the tunes from the very first phase of Sigur Rós hide like elves. The whole concept is worked out by electronica artists mostly hailing from Iceland, including Múm, Gus Gus, Hassbræður, and on the final track, Leit af lifi, the album's highlight in my opinion, even Sigur Rós themselves re-invent one of their songs originally entitled Leit að lifi as found on their 1997 masterpiece debut "Von".

Recycle Bin puts songs from the group's debut LP in the hands of Gus Gus, Biogen, and an assorted cast of unfamiliars. As with most full-length remix affairs, the results are hit-and-miss. Somewhat disappointingly, only a handful of Von's tracks are retooled: two are handled twice, and one is thrice reconstructed. Despite the overlap and mostly minor-league remixing, it's still lightly pleasurable. The primary hope for future Sigur Rós remixers would be to mess around more with the vocals. One can imagine that there must be a million and one things that can be done to the elfin, siren-like hymns. All in all, Von Brigði is excellent for fans of Sigur Rós who are opened for the band's music in a fairly new perspective - you are going to listen to some great pieces although it may for sure appear unusual to some at first.



Sigur Ros - Von Brigi ( Recycle Bin) (flac 334mb)

01 Syndir Guðs (Endurunnið af Biogen) 6:58
02 Syndir Guðs (Endurunnið af múm) 4:54
03 Leit af lífi (Endurunnið af Plasmic) 5:28
04 Myrkur (Endurunnið af Ilo) 5:32
05 Myrkur (Endurunnið af Dirty-Bix) 5:04
06 180 sekúndur fyrir sólarupprás (Endurunnið af Curver) 3:00
07 Hún jörð (Endurunnið af Hassbræður) 5:20
08 Leit af lífi (Endurunnið af Thor) 5:35
09 Von (Endurunnið af gus gus) 7:25
10 Leit af lífi (Endurunnið af Sigur Rós) 5:02

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Their first album is called Von (hope). frequently unrecognisable from the bulk of their subsequent work, Von is an experimental and ambient work.The band really found their feet with their second album, Ágætis Byrjun (a good beginning). the album was originally released only in Iceland, but was discovered by brighton's fatcat records, who snapped the band up and released the album in the uk in august 2000. The band attracted a huge critical acclaim throughout the world in the second half of 2000, particularly in america, after they made the move to offer it as a free download on Napster, who impressed by it, really brought them into the picture. Tens of thousands downloads later and the musiclabels were in a franctic hunt to sign them, they ended up with MCA who let them retain the most artistic freedom. The band toured north america for the first time in april and may 2001, and the vast majority of the dates sold out straight away. perhaps due to the hype in the american media, the shows were attended by many big name celebrities, somewhat to the band's bemusement.

Two years had passed since Sigur Rós' debut. By this time, the band recruited in a new keyboardist by the name of Kjartan Sveinsson and it seems to have done nothing but take the band to an even higher state of self-awareness. Even on aesthetic matters, Sigur Rós entitle their sophomore effort not in a manner to play up the irony of high expectations, but in a modest realization. This second album -- Ágætis Byrjun -- translates roughly to Good Start. So as talented as Von might have been, this time out is probably even more worthy of dramatic debut expectations. Indeed, Ágætis Byrjun pulls no punches from the start. After an introduction just this side of one of the aforementioned Stone Roses' backward beauties, the album pumps in the morning mist with "Sven-G-Englar" -- a song of such accomplished gorgeousness that one wonders why such a tiny country as Iceland can musically outperform entire continents in just a few short minutes. The rest of this full-length follows such similar quality. Extremely deep strings underpin falsetto wails from the mournfully epic ("Viðar Vel Tl Loftárasa") to the unreservedly cinematic ("Avalon"). One will constantly be waiting to hear what fascinating turns such complex musicianship will take at a moment's notice. At its best, the album seems to accomplish everything lagging post-shoegazers like Spiritualized or Chapterhouse once promised.



Sigur Rós - Ágætis Byrjun ( flac   358mb)

01 Intro (1:36)
02 Svefn-g-englar (10:04)
03 Starálfur (6:47)
04 Flugufrelsarinn (7:47)
05 Ný Batterí (8:11)
06 Hjartað Hamast (Bamm Bamm Bamm) (7:10)
07 Viðrar Vel Til Loftárása (10:18)
08 Olsen Olsen (8:03)
09 Ágætis Byrjun (7:56)
10 Avalon (4:00)

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Classic songs given the dignified treatment they deserve by one of the best. I would have preferred a variety of singers, but Steindor does a great job. Turn down the lights and imagine yourself huddled in an old Icelandic loft on a rainy autumn night! Worth it alone for track five which is absolutely stunning. I would have liked to have heard them do some more stuff with Steindor Anderson - I love his voice, the quality of his voice is stunning--deep yet melodic.Kind of Ingmar Bergman imagery it creates.



Sigur Ros feat Steindor Andersen - Rimur EP (flac   105mb)

01 Kem ég enn af köldum Heiðum 6:19
02 Til ei ltur tíðin Mér 1:00
03 Fjöll í austri Fagurblá 6:00
04 Slær á hafið Himinblæ 1:29
05 Hugann seiða svalli Frá 6:02
06 Lækurinn 5:50

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Sigur Rós released their third album in october 2002, entitled ( ). the lyricless and titleless album was a darker, rawer and less accessible follow up to ágætis byrjun and came out to favourable reviews around the world, the album sold well and even reached #52 on the american billboard chart. Set the controls for the heart of the sun: Sigur Rós had another baby and they named it ( ). It's just as excessive in length as its elder siblings, it's just as precious and almost as over-the-top sounding, and it's artfully packaged with next to no information provided -- no photo collage from the triumphant world tour, no acknowledgments of the supportive Reykjavik massive. No track titles are present, either -- the band has made them known, but obviously not through the traditional route. Whatever the issues with this record, musical or not, ( ) will only further repel the detractors. Despite the fact that it arrives three years after Ágaetis Byrjun's original release, there are only adjustments -- no significant developments -- in the group's sound. The relentlessly funereal tempos, the elegant arrangements, and the high-pitched warbling/cooing remain in abundance. The overall mood of the album is subdued in relation to its predecessor. This is particularly true for the second half of the album, which is cleaved by a half-minute gap of silence. The sudden stratospheric crescendos resorted to previously are smoothed out, riding subtle gradients that allow for somber, elongated passages of drones and minimal instrumental interplay. The orchestral nuances, contributed by the string quartet Amina, take on a more background role. The fact that the emotional extremes are few and far between makes the album difficult to wade through -- its impact would've been tripled with about half an hour lopped off, but where to begin? None of these eight songs deserve to be left on the cutting-room floor. So perhaps it's most effective when digested in halves. Are Sigur Rós pretentious somnambulists bearing gimmicks, or are they Nordic gods bearing musical bliss? Regardless of the side you're on, ( ) is further proof that this group does what it does very well.



Sigur Ros - ( ) (flac 324mb)

01 [untitled] 6:38
02 [untitled] 7:33
03 [untitled] 6:33
04 [untitled] 7:32
05 [untitled] 9:57
06 [untitled] 8:48
07 [untitled] 12:59
08 [untitled] 11:45


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Hello, a huge re up of 52 titles today, phew.


11 correct requests for this week, one too early, one at the wrong place, one double (shifted to next time)  whatever another batch of 52re-ups (16.1gig)


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 February  16th... N'Joy

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5x Aetix Back in Flac ( Colourbox - EP1 + Live, Colourbox - Colourbox,  Colourbox - 7 inchers, Colourbox - 12 inchers, M.A.R.R.S. - Pump Up The Volume )


6x Aetix Back in Flac (Danielle Dax - Pop-Eyes, Danielle Dax - The BBC Sessions, Danielle Dax - Blast The Human Flower, Danielle Dax - Jesus Egg That Wept, Danielle Dax - Inky Bloaters, Danielle Dax - Dark Adapted Eye )


3x Aetix Back in Flac ( Bauhaus - Mask,  Bauhaus - The Sky's Gone Out, Bauhaus - Swing The Heartache)



4x Sundaze Back in Flac (Monade - Socialisme Ou Barbarie , Monade - A Few Steps Move, Monade - Monstre Cosmic, Little Tornados - We Are Divine)


4x Grooves Back in Flac ( Solomon Burke - Homeland, Solomon Burke - Soul Of The Blues, Solomon Burke - Live At The House Of The Blues, Solomon Burke - The Definition of Soul )



2x Grooves Back In Flac (Trouble Funk - Drop The Bomb, E.U. - Livin' Large)



4xSundaze Back In Flac (VA - Space Night Vol. 07 alpha,  VA - Space Night Vol. 07 beta, VA - Space Night Vol. 08 alpha, VA - Space Night Vol. 08 beta)



3x Sundaze Back in Flac ( Neu! - Neu!,  Cluster - Grosses Wasser, Cluster - Curiosum)



9x Aetix Back in Flac ( Wire - Pink Flag,  Wire - Chairs Missing,  Wire - 154,  Wire - Document  & Eyewitness, Gilbert & G Lewis - 8 Time, He Said - Take+Care, Colin Newman - A-Z, Wire - A Bell Is A Cup, still in ogg P'o -Whilst Climbing Thieves Vie)


4x Sundaze Back in Flac (  Higher Intelligence Agency - Colourform, Higher Intelligence Agency - Freefloater , HIA Meets Deep Space Network, System Error - Nothing)


8x Beats Back in Flac (Fischerspooner - #1, ADULT. - Anxiety Always, Vector Lovers - Vector Lovers, Sex In Dallas - Around The War, The Prodigy - The Jilted Generation , The Crystal Method - Vegas , The Youngsters - Lemonorange)


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Hello,


Anyway Fingerprints of the Gods stirred up a hornets nest where even the BBC was called in to debunk and show of their skill in selective reporting, meanwhile millions have learned about the unexplained Piri Reis map which proved without doubt that serious skilled mapmaking went on when Antartica was icefree, way before the official fairytale starts of the human race. Really i don't understand why the powers that be are so against the idea that this planet had an earlier high civilization, i'm fine with it. The coming weeks Graham reads his book, ok it lacks the odd map and picture but you can listen to it at your leisure in bed, on the road or in the train.

So last week as i wrote this i started thinking as to why the powers that be so forcefully try to prevent current day humans to research what went on before. I'm afraid in this day and age of conspiracy theories and fake news going out on a limb is called for in trying to create an explanation. First of T.P.T.B. know ! what went on before, and how it came to an end. Taking into account Plato's account of his grandfathers (Solon) story about Atlantis destruction in one night, these were men with skills that would still baffle us and probably gods in the eyes of the nomads that roamed the Earth at that time. Superiority can easily become arrogance which can cause enmity to occur with creatures unable to beat them directly, but smart enough to think up a cunning plan to destroy those 'smart-asses', a plan that would go unnoticed by the universe and thusfar unused by our sci-fi writers, direct a comet onto the enemy's safe house, the calculations were correct and 'Atlantis' was no more. Earth reverted into a primitive state as centers of knowlege were swept away by a 120 meters rise of the coastal seaside where this seafaring civilization had resided. Just a handfull of Atlanteans survived, in South America and in Africa, in Egypt they gave us Geometry and Astronomy, in Turkey (Göbekli Tepe) they seeded agriculture, the same thing happened in South America. A gift still giving. But without a network knowledge was lost and reduced to scraps, it will take a great network to reassemble them. Anyway T.P.T.B. have reluctantly admitted there have been two meteor strikes, one striking the Ice caps that restarted the ending ice age 13,000 years ago and one 11,600 years ago, but that one mainly hit water as it caused the Earth covered with thick clouds causing an immediate rise in temperture, and a 1000 years of rain fertilizing the whole world again. So why are T.P.T.B so afraid the truth might come out and possibly implying them and how come they are still the T.P.T.B after all this time ?


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This Brainwave Mind Voyages file contains six powerful 10 minute brainwave entrainment sessions that are specifically engineered to use modern techniques of vibrational sound therapy to harness the mystical powers of transcendental numbers and the intrinsic patterns of life found within Sacred Geometry. The influence of these magical numbers, sequences and ratios can be seen everywhere in nature: spirals, vortex formation, plants, cellular growth. These timeless patterns are literally the primal blueprints of life, the patterns of creation itself. We have taken these primordial frequencies and expressed them acoustically using advanced vibrational sound technologies. The psychoacoustic magic of this process we call Acoustic Alchemy can be used to transform your awareness in profound ways. These psychoacoustic tracks were created by combining several complex multi-layered sound frequencies, the Sacred Creation Patterns, into an advanced harmonic matrix that you can use to access heightened states of awareness. You can use these cosmic constants to shift your awareness and expand your consciousness. This file contains the exclusive BMV Autonomic Audio-Pacing Technology. The soundscape contains embedded heartbeats and controlled breathing patterns floating in the distance. Your heart rate and breathing will naturally slow down to mirror the rhythm of this progressive relaxation. You now have instant brainwave training at the press of a button. You can create the ideal setting to improve meditation, relaxation, self-healing, creativity, problem solving, brainstorming, trance work and more. Like the beat of a shaman's drum, the embedded tones will synchronize your brainwaves. You can create instant results that would normally take years of meditation to achieve. Geniuses like Einstein, Tesla, Edison and others have harnessed the powers of their brainwaves, and now, you can too.


Brainwave Mind Voyages - Sacred Geometry ( 60min flac   323mb).

01 Phi - The Golden Number Track.10:00
02 The Golden Ratio, Section or Mean Track 10:00
03 Fibonacci Series - Pattern of Life Track 10:00
04 All-Knowing Harmonic Progression Track 10:00
05 Absolute 33 - Pyramid Power Frequency Track 10:00
06 # Sri Yantra Mandala - Om Creation Sound 10:00

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One of the strangest hypothetical astrophysical objects is called a neutron star. Scientists tell us that the material leftover from a supernova explosion of a massive star collapses gravitationally, forming an incredibly small yet massively dense star mostly composed of tightly packed neutrons. A rotating neutron star is said to emit narrow beams of radiation, called pulsars. But the theoretical and evidential objections to this hypothesis are numerous. In this episode we explore the promising theoretical alternatives in the disciplines of plasma physics and electrical engineering.



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In the first five installments of this series, we outlined some of the most compelling evidence that the role of electromagnetism throughout the cosmos is vastly more significant than modern space science has ever entertained. So far, we have explored this question through an examination of the highest energy electromagnetic phenomena at the vastest scales throughout the cosmos.

We now move our attention to our own celestial neighborhood and the dynamic interactions between the Sun and all of the bodies which move within its electrical domain. In this episode, we explore why planetary electrical discharge — beginning with planets in the inner solar system — are the sixth of ten reasons why the universe is electric.





If you see a CC with this video, it means that subtitles are available. To find out which ones, click on the Gear Icon in the lower right area of the video box and click on “subtitles” in the drop down box. Then click on the subtitle that you would like.

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On 6th July 1960 Lt Colonel Harold Ohlmeyer, a United States Airforce Commander, sent a reply to a letter from one Professor Charles Hapgood who had requested his opinion on a feature found on a map of 1513 AD called the Piri Reis Map. Lt Colonel Ohlmeyer’s reply was a bombshell. The map, showing the coastline of the east coast of the Americas and the west coast of Africa, the Colonel remarked, also seemed to show the coastline of Queen Maud Land in Antarctica free of ice – a condition it had not been in for some 9000 years!

In fact, it is only in recent times that modern man has been able to map this coastline using sub-surface surveying techniques that can penetrate the ice sheet that lies on top of it.

Ohlmeyer had no idea how a map existing in the 16th century could have got hold of such knowledge.

This was one of the many mysteries that lead Graham to begin his epic journey into man’s past that is Fingerprints of the Gods – and it is a mystery whose solution is mindblowing.

Travelling first to South and Meso-America, Graham finds evidence of myths of a white-skinned ‘god’ named Quetzalcoatl or ‘Viracocha’ who came from a drowned land bringing knowledge of farming and culture after a great flood. Tied in with these myths Graham begins to crack an ancient code imprinted in these ancient tales that refer to the ‘great mill’ of the heavens.

It is an astronomical code that deals with the position of the stars over vast periods of time – a code that reveals the ancients knew far, far more than they are generally credited with. Traces of the same code appear in Egyptian myth, and it is to this desert land that Graham and Santha travel, finding there haunting parallels in architecture and ritual to the New World sites they have just left behind.

Moreover, the whole layout of the Giza plateau seems to point to a date many thousands of years earlier than the date of its supposed construction – a date revealed in the astronomical alignments of the Pyramids, the ‘mansions of a million years’, home of the god Osiris, the bringer of agriculture to the Egyptians, like Quetzalcoatl, after a flood.

Could the Piri Reis maps be evidence for a previously unknown complex maritime civilisation, capable of mapping the globe? A global culture, cataclysmically destroyed at the end of the ice age, remnants of which survived the devastation to pass on their knowledge to the shaken world?

Were the figures of Osiris and Quetzalcoatl survivors of this lost race – passing down not only advanced geographical knowledge, but a secret astronomical code veiled in myth that pointed to the devastation in the past, and warned of that which is to come?

From the mysterious sites of Tiahuanaco and Teotihuacan, to the enduring enigmatic Sphinx and pyramids of Egypt, the grandiose Nazca lines of Peru to the stark primal beauty of the Osireion at Abydos, this is a journey both around the globe and into the heart of the true prehistoric origins of man. Part adventure, part detective story, this book will force you to revaluate your beliefs of the past.

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Could the story of mankind be far older than we have previously believed? Using tools as varied as archaeo-astronomy, geology, and computer analysis of ancient myths, Graham Hancock presents a compelling case to suggest that it is.In Fingerprints of the Gods, Hancock embarks on a worldwide quest to put together all the pieces of the vast and fascinating jigsaw of mankind’s hidden past. In ancient monuments as far apart as Egypt’s Great Sphinx, the strange Andean ruins of Tihuanaco, and Mexico’s awe-inspiring Temples of the Sun and Moon, he reveals not only the clear fingerprints of an as-yet-unidentified civilization of remote antiquity, but also startling evidence of its vast sophistication, technological advancement, and evolved scientific knowledge. A record-breaking number one bestseller in Britain, Fingerprints of the Gods contains the makings of an intellectual revolution, a dramatic and irreversible change in the way that we understand our past—and so our future.



Graham Hancock - 'Fingerprints of the Gods The Quest Continues 7-13 ( 98min  48mb)

narrated by the man himself, Graham Hancock

07 Chapter 7 Were There Giants Then 18:34
08 Chapter 8 The Lake at the Roof of the World 9:12
09 Chapter 9 Once and Future King 10:26
10 Chapter 10 The City at the Gate of the Sun 13:25
11 Chapter 11 Intimations of Antiquity 18:01
12 Chapter 12 The End of the Viracochas 13:39
13 Chapter 13 Blood and Time at the End of the World 16:13

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previously

Graham Hancock - 'Fingerprints of the Gods The Quest Continues 0-6 ( 102min  48mb)


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Hello,

Today's Artist is Dana Elaine Owens (born March 18, 1970), is an American rapper, singer, songwriter, actress, and producer. Born in Newark, New Jersey, she signed with Tommy Boy Records in 1989 and released her debut album All Hail the Queen on November 28, 1989, In her music career, Dana has sold nearly 2 million records worldwide. She has been dubbed as the "Queen of Jazz-Rap". She became the first female hip-hop recording artist to get nominated for an Oscar. she is a recipient of a Grammy Award, with six nominations, a Golden Globe Award, two Screen Actors Guild Awards, with two nominations, two NAACP Image Awards, including thirteen nominations, one Emmy Award, with three nominations and an Academy Award nomination. She was the first hip-hop artist to receive a star on the Hollywood Walk of Fame. . ....... N Joy

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Queen Latifah was certainly not the first female rapper, but she was the first one to become a bona fide star. She had more charisma than her predecessors, and her strong, intelligent, no-nonsense persona made her arguably the first MC who could properly be described as feminist. Her third album, Black Reign, was the first album by a female MC ever to go gold, a commercial breakthrough that paved the way for a talented crew of women rappers to make their own way onto the charts as the '90s progressed. Latifah herself soon branched out into other media, appearing in movies and sitcoms and even hosting her own talk show. Yet even with all the time she spent away from recording, she remained perhaps the most recognizable woman in hip-hop, with a level of respect that bordered on iconic status.

Queen Latifah was born Dana Owens in Newark, NJ, on March 18, 1970; her Muslim cousin gave her the nickname Latifah -- an Arabic word meaning "delicate" or "sensitive" -- when she was eight. As a youngster, she starred in her high school's production of The Wiz, and began rapping in high school with a group called Ladies Fresh, in which she also served as a human beatbox. In college, she adopted the name Queen Latifah and hooked up with Afrika Bambaataa's Native Tongues collective, which sought to bring a more positive, Afrocentric consciousness to hip-hop. She recorded a demo that landed her a record deal with Tommy Boy, and released her first single, "Wrath of My Madness," in 1988; it was followed by "Dance for Me." In 1989, Latifah's full-length debut, All Hail the Queen, was released to strongly favorable reviews, and the classic single "Ladies First" broke her to the hip-hop audience. In addition to tough-minded hip-hop, the album also found Latifah dabbling in R&B, reggae, and house, and duetting with KRS-One and De La Soul. It sold very well, climbing into the Top Ten of the R&B album charts. Latifah quickly started a management company, Flavor Unit Entertainment, and was responsible for discovering Naughty by Nature. Her 1991 sophomore album, the lighter Nature of a Sista, wasn't quite as popular, and when her contract with Tommy Boy was up, the label elected not to re-sign her. Unfortunately, things got worse from there -- she was the victim of a carjacking, and her brother Lance perished in a motorcycle accident.

Latifah emerged with a new sense of purpose and secured a deal with Motown, which issued Black Reign in 1993. Dedicated to her brother, it became her most popular album, eventually going gold; it also featured her biggest hit single, "U.N.I.T.Y.," which hit the R&B Top Ten and won a Grammy for Best Solo Rap Performance. By this point, Latifah had already begun her acting career, appearing in Jungle Fever, House Party 2, and Juice, as well as the TV series The Fresh Prince of Bel Air. In 1993, she was tabbed to co-star in the Fox comedy series Living Single, which ran until 1997; during that period, acting was her primary focus, and she also co-starred as a bank robber in the 1996 film Set It Off. That same year, Latifah was pulled over for speeding and was arrested when a loaded gun and marijuana were discovered in her vehicle; she pled guilty to the charges and was fined.

Order in the Court
After Living Single was canceled in 1997, Latifah returned to the recording studio and finally began work on her fourth album. Order in the Court was released in 1998 and found her playing up the R&B elements of her sound in a manner that led some critics to draw comparisons to Missy Elliott; she took more sung vocals, and also duetted with Faith Evans and the Fugees' Pras. The album sold respectably well on the strength of the singles "Bananas (Who You Gonna Call?)" and "Paper." The same year, she appeared in the films Sphere and Living Out Loud, singing several jazz standards in the latter. The Queen Latifah Show, a daytime talk show, debuted in 1999 and ran in syndication until 2001. In November 2002, Latifah ran afoul of the law again; she was pulled over by police and failed a sobriety test, and was placed on three years' probation after pleading guilty to DUI charges. However, this mishap was somewhat overshadowed by her performance in the acclaimed movie musical Chicago, which garnered her Best Supporting Actress nominations from both the Screen Actors Guild and the Golden Globes.


In 2004, she released The Dana Owens Album, a diverse collection of covers and interpretations -- from Dr. Buzzard's Original Savannah Band's "Hard Times" to Billy Strayhorn's "Lush Life" -- that highlighted her singing skills rather than her rapping. Trav'lin' Light followed with a similar format in 2007, ranging from the Pointer Sisters to Shirley Horn, with guest appearances from Joe Sample, George Duke, Erykah Badu, and Jill Scott. During the years between the releases, she acted in several movies, including Taxi, Beauty Shop, Last Holiday, and Hairspray. In 2009, she released the star-studded Persona, a pop-flavored album produced by Cool & Dre.

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The hooks on the rap records indicated it could be possible, the roles in Living Out Loud and Chicago made it possible -- the first record in which Dana Owens, better known as Queen Latifah, does nothing but sing. On The Dana Owens Album, she takes on vocal standards and an unlikely array of blues, pop, and soul classics that were adaptable to this intimate setting. The worst thing about it? It makes you upset that it isn't her seventh or eighth record in this vein. Owens' seasoned voice isn't the only attraction. This is a big-time production with a cast of all-star support that includes Arif and Joe Mardin, Herbie Hancock, Vinnie Colaiuta, Jeff Porcaro, and John Patitucci. And then there's Al Green, who steps in to duet on a sizzling and delicately playful cover of his "Simply Beautiful." The range of material is very surprising. The assurance in Screamin' Jay Hawkins'"I Put a Spell on You" is all the more spooky given Owens' poised quietude; Dr. Buzzard's Original Savannah Band's "Hard Times" (!) is one or two production tricks away from sounding like a missing cut from a '70s Rufus & Chaka Khan record; the version of Bill Withers'"The Same Love That Made Me Laugh" is so faithful and knowing that a young Owens must've worn out her parents' copy; the Mamas & the Papas'"California Dreamin'," unlike so many other versions, doesn't sound ironic or willfully corny; and most fitting of all is Joe Zawinul's "Mercy, Mercy, Mercy," in which Owens is able to let loose and belt it out a little. Through and through, this is a real delight -- very classy and a whole lot of fun. Owens has been a busy woman the past several years, whether in front of a camera or behind the scenes, but she really ought to consider doing this type of thing more often. She inhabits the skin of a sultry saloon sista singa and she wears that skin like a big ole rich beaver coat, smooth, full and warm.  This whole album feels warm, yo.  Not Les Jazz Hot, and not lazy Cali Cool jazzy, but warrrrrrmmm… like cocoa that’s been brewed to just the right temperature and flavor.  



 Queen Latifah - The Dana Owens Album (flac   296mb)

01 Baby Get Lost 3:43
02 I Put A Spell On You 3:08
03 Simply Beautiful 4:11
04 The Same Love That Made Me Laugh 3:53
05 Moody's Mood For Love 3:59
06 Close Your Eyes 2:56
07 California Dreamin' 3:42
08 Hard Times 5:22
09 Mercy, Mercy, Mercy 3:27
10 Hello Stranger 3:00
11 If I Had You 4:05
12 Lush Life 4:25

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Trav'lin' Light, Queen Latifah's follow-up to her first collection of pop standards, The Dana Owens Album (2004), is, if anything, even better than that Grammy-nominated set. Contemporary performers often get into trouble when they take on music of the pre-rock era, but this one, who is by now so far removed from her origins that she probably should be referred to as a former rapper, not only has the vocal talent to carry it off, she also has put in the hard work with producers, arrangers, musicians, and (no doubt) a vocal coach to create a more-than-credible album. Previously, Queen Latifah made the jump from rapper to Oscar-nominated actress, and her acting classes also seem to have come in handy here. In song after song, she has come up with a character to portray through the lyrics, and that helps make her interpretations convincing. Sometimes, it is the songwriters themselves she seems to be channeling. "Poetry Man," the leadoff track, is not far removed from Phoebe Snow's original, although Queen Latifah wisely undersings where Snow elaborated. Similarly, on "I Love Being Here with You" and "I Want a Little Sugar in My Bowl," she seems more than familiar with the originals by authors Peggy Lee and Nina Simone, and her versions are affectionate annotations on them. She probably knows the '40s song "Don't Cry Baby" through its '60s revivals by Etta James and Aretha Franklin, and without competing against those greats gives it an enthusiastic treatment. And, of course, the title song dates to a Billie Holiday recording with Paul Whiteman; Queen Latifah suggests Holiday's style without aping it. She is ably assisted by some expert studio supporters including producers Tommy LiPuma and Ron Fair and arrangers Jerry Hey and John Clayton; no expense has been spared in filling several studios with dozens of musicians, including full string and horn sections and such name soloists as Stevie Wonder (featured on harmonica on "Georgia Rose") and Joe Sample (piano on "Georgia Rose,""Trav'lin' Light," and "I Want a Little Sugar in My Bowl"). A great deal of thought has gone into the song choices (executive producer Monica Lynch is thanked specifically for her suggestions), which range from the '20s all the way up to "I Know Where I've Been" from the 2007 Hairspray soundtrack. Finally, however, it is the singer herself who deserves the credit for making the album work. As with her acting, Queen Latifah's singing is most laudable for not trying to do too much; she may evoke James or Simone or Holiday (or Smokey Robinson or the Pointer Sisters), but she never tries to outsing them; rather, her versions are glosses on the greats she and her producers so admire.



 Queen Latifah - Trav'lin' Light (flac   344mb)

01 Poetry Man 4:40
02 Georgia Rose feat. Stevie Wonder 3:44
03 Quiet Nights of Quiet Stars 3:54
04 Don't Cry Baby 2:54
05 I Love Being Here With You 2:53
06 I'm Gonna Live Till I Die 2:10
07 Trav'lin' Light 4:06
08 I Want a Little Sugar in My Bowl 3:06
09 I'm Not in Love 4:48
10 What Love Has Joined Together 3:41
11 How Long (Betcha' Got a Chick on the Side) 5:42
12 Gone Away 5:51
13 I Know Where I've Been 4:14

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Persona kicks off with 'The Light' which is an uplifting and fitting track where Queen basically lets all know that she is back lyrically as a femme-c. Her flow is on point and the track is a mix of light and grit. Next is 'Fast Car' which features a guest rap spot by Missy Elliot. This cut has a futuristic feel and is apparently the next single per Queen in interviews during the promo of the album. 'Cue the Rain' the first single, follows in its original 6+ minute form where she sings a portion of Fleetwood Mac's 'The Chain.''The Couch' has Queen exploring her sensual side, which continues with 'Take Me Away (With You)' featuring a Prince-esque sounding Marsha Ambrosius of Floetry on ad-libs and the hook. Queen mixes singing with a nice flow. The track goes on with 'With You' which has a Euro-Dance vibe to it, one of the stand out tracks in my opinion and a total departure for Queen that she executes magnificently.

'Hard to Love Ya' is an urban and truthful song featuring Busta Rhymes while 'What's the Plan' has a throwback early 80s sound with Queen just on the hook singing "What's the plan?"'Long Ass Week' is a nice, chill rap cut encouraging nothing but relaxation and good times in spite of. 'Runnin' is a relationship song dealing with the theme of the title. 'People' featuring Mary J. Blige is another inspirational track where Queen flows effortlessly over a mid-tempo track; it sounds like she is preaching almost the way she puts it down. 'If He Wanna' produced by the Neptunes is another exceptional stand out track, her voice is the purest you might ever hear on the album, if not ever, and she vocally hits a couple of runs and ad-libs that are exciting to hear. 'Over the Mountain' and 'The World' finish off the album as typical story-teller/inspirational songs.

The album should definitely be commended. This is an album. Even the not-so strong cuts can be appreciated because work was put into this. Although I do loathe the ever played-out auto tune bit she uses here and there on the album, for songs like 'Fast Car' and 'With You' they just wouldn't work without it; Queen doesn't overuse it or try to compete with the younger artist doing it today, which will make songs like these classic a decade from now and not just swept under the rug. You can tell this wasn't some fly-by-night project. I know that this will probably not be commercially received as it deserves to be given the current state the music industry is in, but I hope there is a break through because this album deserves the ears of many. This album is definitely more Pop, Dance, and R&B than anything, with a dabble of rap here and there, to give all Queen Latifah fans something they can enjoy, hence the title: Persona



Queen Latifah - Persona (flac   440mb)

01 The Light
02 Fast Cars
03 My Couch (feat. Dre)
04 Hard To Love Ya (feat. Busta Rhymes, Shawn Stockman & Dre)
05 Runnin
06 Take Me Away (With You) (feat. Marsha Ambrosius)
07 Cue The Rain
08 Long Ass Week
09 People (feat. Mary J. Blige & Jadakiss)
10 The World
11 Spotlight
12 If You Want To
13 Over The Mountain
14 Champion
15 Fair Weather Friend

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Queen Latifah - Come Into My House+Mama Gave Birth to the Soul Children (flac   287mb)

01 Come Into My House (The Richie Rich Mix) 8:14
02 Come Into My House (Richie Rich Dub Vocal Mix) 4:18
03 Come Into My House (Orbital Dub Mix) 3:13
04 Come Into My House (Mark the 45 King Mix) 4:12

01 Mama Gave Birth to the Soul Children (Infant Mix) 3:40
02 Mama Gave Birth to the Soul Children (The Open University Remix) 7:04
03 Mama Gave Birth to the Soul Children (Instrumental Mix 6:15
04 Mama Gave Birth to the Soul Children (Original Version) 6:05
05 Mama Gave Birth to the Soul Children (The Primary Mix) 3:54


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Hello, there was this season's first official F1 training this week and Mercedes flew out of the blocks and they had a new gimmick adjustable front wheel steering, something that looks rather retro, just in case the drivers might get bored. Well they were the fastest and the rest said we're just testing. Vettel was sick the first day and the next day his Ferrari was sick, last year they were the fastest but a month later at the first race they didn't impress..just saying



Today's artist excels over pretty much all other (heavy) rock music is that while many have looked across space for inspiration and atmosphere, our boys instead went into the earth. and who knows what impossible number of variables had to come together just so in order to create that magic (yes) that they have, regardless of explanation. that these musicians have gone on to tour and sell-out shows in europe, the americas, and the pacific (something relatively few musicians do) speaks quite a bit considering their unique sound. or vice-versa, because they don't really sound like anyone else, right? They're as much slowcore as they are post-rock, and they certainly have their orchestral, operatic, and minimalistic moments as well, in short ' Victory Rose ' evokes (strong) emotions.  .......N-Joy

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Jón Þór "Jónsi" Birgisson (guitar and vocals), Georg Hólm (bass) and Ágúst Ævar Gunnarsson (drums) formed the group in Reykjavík in January 1994. The band's name is Icelandic wordplay: while the individual words Sigur and Rós mean, respectively, Victory and Rose, "Victory Rose" wouldn't be grammatically correct; the name is actually borrowed from Jónsi's younger sister Sigurrós, who was born a few days before the band was formed, and then split into two words. They soon won a record deal with the local Sugarcubes-owned record label Bad Taste, because they thought the falsetto vocals were very cute and would appeal to teenage girls. In 1997, they released Von  meaning "hope" and in 1998 a remix collection named Von brigði This name is also Icelandic wordplay: Vonbrigði means "disappointment", but Von brigði means "variations on Von". The band was joined by Kjartan Sveinsson on keyboards in 1998. He is the only member of Sigur Rós with musical training, and has contributed most of the orchestral and string arrangements for their later work


International acclaim came with 1999's Ágætis byrjun (A Good Beginning"). The band attracted a huge critical acclaim throughout the world in the second half of 2000, particularly in america, after they made the move to offer it as a free download on Napster, who impressed by it, really brought them into the picture. Tens of thousands downloads later and the musiclabels were in a franctic hunt to sign them, they ended up with MCA who let them retain the most artistic freedom. The band toured north america for the first time in april and may 2001, and the vast majority of the dates sold out straight away. perhaps due to the hype in the american media, the shows were attended by many big name celebrities, somewhat to the band's bemusement.The album's reputation spread by word of mouth over the following two years. Soon critics worldwide were praising it effusively, and the band was playing support to established acts such as Radiohead. Three songs, "Ágætis byrjun", "Svefn-g-englar", and a live take, from a summer 2000 concert in Denmark, of the then-unreleased "Njósnavélin" (later 'unnamed'"Untitled #4") appeared in the Cameron Crowe film Vanilla Sky. Sigur Rós spent the first three months of 2001 off the road, setting up their own studio and making their third album. Meanwhile, Ágætis Byrjun found a label in the U.S. and worldwide press became increasingly positive and varied; both Entertainment Weekly and The Wire ran features on the band. The group began touring again in April, playing more shows in Europe, a handful in the States, and several more in Japan throughout the remainder of the year. By the end of the year, Ágætis Byrjun had won the Shortlist Prize for Artistic Achievement in Music; it was also declared Iceland's Best Album of the Century.

In 2001, Sigur Rós christened their newly completed studio by recording an EP titled Rímur with an Icelandic fisherman named Steindór Andersen. The EP contains six songs, all of which feature Steindór Andersen reciting traditional Icelandic rímur poetry. Sigur Rós accompany him on three songs. Two songs feature Steindór alone. The last song on the EP, "Lækurinn", is a duet with Sigurður Sigurðarson. A thousand copies of the EP were printed and sold during the spring tour of 2001. The EP was sold in a blank-white-paper case. In 2001 the band toured in Canada, performing at Massey Hall in Toronto in September. Drummer Ágúst left the band after the recording of Ágætis byrjun and was replaced by Orri Páll Dýrason. In 2002, their highly anticipated follow-up album ( ) was released. Upon release all tracks on the album were untitled, though the band later published song names on their website. All of the lyrics on ( ) are sung in Vonlenska, also known as Hopelandic, a language without semantic meaning, which resembles the phonology of the Icelandic language. It has also been said that the listener is supposed to interpret their own meanings of the lyrics which can then be written in the blank pages in the album booklet.

In 2002, the band also wrote an original score for the Bodyscript dance production by Wayne McGregor Random Dance in collaboration with Sadler's Wells Theatre and the Arts Council England. Sigur Rós collaborated with Radiohead in October 2003 to compose music for Merce Cunningham's dance piece Split Sides; Sigur Rós's three tracks were released on the March 2004 EP Ba Ba Ti Ki Di Do.

Their fourth album, Takk... (["Thanks...") employs the distinctive sound of their second album in a more rock oriented structure with greater use of the guitar, and was released in September 2005. "Hoppípolla""Hopping into puddles"), the second official single from Takk..., was released in November alongside a new studio remake of "Hafsól" ("Ocean Sun"), a song that was previously released on the band's 1997 debut, Von. "Hoppípolla" was used in the trailers for the BBC's natural history series Planet Earth in 2006, as well as the closing credits for the 2006 FA Cup final, ITV's coverage of the 2006 Oxford and Cambridge Boat Race, advertisements for the BBC's coverage of England games during the 2006 FIFA World Cup, on television advertisements for RTÉ's Gaelic games coverage in Ireland, and on an advertisement for Oxfam. It was also used in the final scene of the movie Penelope, for the trailer of the film Children of Men and for the trailer of the film Slumdog Millionaire.

An extended Sæglópur EP was released in July 2006 in most parts of the world and in August in the United States. Its original release was scheduled in May, but because of the sudden demand of "Hoppípolla" it was pushed back from that date. Sigur Rós recorded three new songs to appear on the EP ("Refur", "Ó friður", and "Kafari"). In July 2006, Sigur Rós finished a major world tour with stops in Europe, the United States (where they played a headline show at the Hollywood Bowl), Canada, Australia, New Zealand, Hong Kong and Japan. Upon return to their homeland, Sigur Rós provided a series of free surprise outdoor concerts throughout Iceland in July and August, playing in various venues such as abandoned bunkers and community coffee shops, all of which were included in the 2007 documentary film Heima. They also performed twice in the United States in February.

In August 2007, a limited DVD+CD edition of the 2002 soundtrack to the documentary Hlemmur was released. Hvarf/Heim was released on 5 November (6 November in the U.S.), a double compilation album containing studio versions of previously unreleased songs — "Salka" [ˈsalka], "Hljómalind" (formerly known as "Rokklagið"), "Í Gær" [i ˈcaɪ̯r] and "Von" on Hvarf, and acoustic studio versions of the songs: "Samskeyti""Starálfur""Vaka""Ágætis Byrjun", "Heysátan" and "Von", on Heim. On the same day (20 November in the U.S.) Heima, a live DVD of the previous summer's Iceland tour, was released. Just prior to the release of Hvarf/Heim, on 29 October, a single named "Hljómalind" was released.

The band's fifth regular studio album Með Suð Í Eyrum Við Spilum Endalaust ("with a buzz in our ears we play endlessly"), recorded with producer Flood in downtown Reykjavík, was released in June 2008 to generally positive reviews. Stylistically different from their earlier releases, it featured fewer strings and more guitar, and had more pop-oriented songs, making it "the group's most accessible effort" while maintaining the "majestic beauty that defines the band's music. The final track "All Alright" is the band's first to be sung in English, though all the other lyrics are in Icelandic.


The band were announced as a headlining act for the 2008 Splendour in the Grass Festival in Byron Bay, Australia, Latitude Festival 2008, and the 2008 La Route du Rock Festival in St Malo, France. In addition, the band performed a late-night set at the 2008 Bonnaroo Music Festival in Manchester, Tennessee, where they blew a speaker at the end of their second song. Jónsi Birgisson commented, "The piano is exploding, I think," one of the few things spoken in English. The band released the first song from the album titled "Gobbledigook" for free on their website, along with a music video. On 8 June, the whole album was made available for free streaming on their website and Last.fm.

In autumn 2008 Sigur Rós embarked on a world tour supporting their newly released album. The band played as a four-piece without Amiina and the brass band, the first time the band had played as a four-piece in seven years. The tour started on 17 September 2008 in the United States, at the United Palace Theater in New York City, and finished with a concert in Reykjavík at Laugardalshöll on 23 November 2008. The majority of the tour was European with the exception of concerts in the United States, Australia, Canada and Japan.

The group ended its hiatus in April of 2010, playing a set at the Coachella Festival. In October of 2011, they released their first live album, Inni, a document of their 2008 tour. Their understated sixth studio album, Valtari (Steamroller), was issued in May of the following year. Quickly returning, Sigur Rós took their sound in a darker, more aggressive direction with their seventh album, 2013's Kveikur, which found them pushing their sound into unsettling areas. After the album's release the band stayed busy touring. They also branched out, making appearances on both the animated series The Simpsons and HBO's Game of Thrones. In 2017, they collaborated with Somers on two instrumental recordings for a season four episode of Black Mirror. Also that year, to coincide with their own Norður og Niður Festival in Iceland, they released the soundtrack/film production Route One, as well as the Jónsi and Somers EP All Animals. Both albums were also reissued on vinyl for Record Store Day, and released to digital platforms in 2018.




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Hlemmur, is a soundtrack, so you should not ask for continuity, since its original mission is to accompany a film, and not be a musical work, but film. A soundtrack is a piece from which minutes of music are extracted to add to a movie, in some ways its purpose is dismemberment in order to accompany a moment. This album is perfect company, but also a good album (in the musical), and there is its beauty, which is its overreach, the elimination of the music-cinematic border, and having a beautiful duality. Hlemmur contains short but well-formed ideas for small sections of this film that few have seen. The synths and ambience are quite soothing and relaxing, bringing to mind the past generally and occasionally punctured by some lo-fi drumming and looped vocals. There's nothing critically strenuous here and is a bit bland if you want to listen to something, but as a partner to something else - be it the film, that essay you've been putting off, or even cleaning up - this is the one.



Sigur Rós - Hlemmur (flac 164mb)

01 Jósep Tekur Fimmuna Í Vinnuna 3:04
02 Hlemmur 1:38
03 Fyrsta ferð 2:35
04 Vetur 1:47
05 Hvalir í útrýmingarhættu 3:00
06 Hlemmur 2 0:43
07 Þversögn 2:09
08 1970 1:14
09 Jósep Tekur Fimmuna Í Vinnuna 2 1:47
10 Ég mun læknast! 1:54
11 1993 1:12
12 Hlemmur 3 1:19
13 Síðasta ferð 2:38
14 23:20 (Lokað) 1:42
15 Byrgið 1:36
16 Áfram ísland 1:22
17 Allt tekur sinn tíma! 2:46
18 Hannes 2:39
19 Óskabörn Þjóðarinnar 4:45

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Sigur is a nice companion release to the full ( ) album. Track 1 is Vaka, the same opening song as on the album. Track 2 was intended to be a remix of Vaka but became something a little different. Tracks 3 and 4 were played together on tour under the title Smáskífa; they are more ambient-ish and experimental. The band would later repeat this release style with the Sæglópur EP accompanying Takk...
Ba Ba Ti Ki Di Do was written as accompaniment for Merce Cunningham's 'Split Sides' dance piece (this being the Sigur Rós half - the other half was written by Radiohead and remains unreleased), Ba Ba Ti Ki Di Do is SR at their most experimental. Entirely instrumental save the voice sample saying the titular words, it's composed mainly with mallet instruments, and serves as a kind of precursor to the band's work in similar fashion, especially on Takk... . There was a time when I thought this release simply a throwaway EP, but have recently come to see the light; in at least two of the sections of the piece, there is this ethereal, full, lifting climax of sweet strings and synthesizers, and the mallet instruments ebb and flow around it. Absolutely stunning moment if you're sitting there vegetating and avoiding essay writing. Highly recommended if you're into the band's experimental tendencies. The main song, "Sæglópur", is really huge and it gives you goosegumps! Definately, or else you're a musically dead. Now this is an EP, which means it has some extra tracks!  The titles on the extra tracks are inspired by words in the Sæglópur-lyrics.
The first of the three non album tracks, "Refur", has nice and kind of cozy harmonies on piano. Though almost 3 minutes of just the same chord being strum, is kind of boring. Sounds like an endless outro. The second track, "Ó Fridur", is the most interesting one. The start is a bit annoying, but also kind of cool, but here, as on the previous track, it goes on for too long. After what seems like an eternity, we get to the nice part, where we even get some singing! This is in hopelandic, and suits the song well, and makes you feel you didn't waste 3 minutes of your life after all. "Kafari" is the last song on the EP, and unfortunately, just a lot of "pling plong".



Sigur Ros - Sigur + Ba Ba Ti Ki Di Do + Sæglópur EP's (flac 360mb)

01 Sigur 1 Untitled  6:43
02 Sigur 9A Untitled 4:38
03 Sigur 9B Untitled 2:47
04 Sigur 9C Untitled 4:22

01 Ba Ba 6:12
02 Ti Ki 8:49
03 Di Do 5:42

01 Sæglópur 8:11
02 Refur 2:45
03 Ó Fridur 4:47
04 Kafari 6:10
05 Hafsól 9:59

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A strange thing happens before the two-minute mark in "Saeglopur." All the twinkling and cooing erupts, at what might seem like eight minutes earlier than normal, into a cathartic blast of tautly constructed group noise -- or, as those who prefer songs and motion over moods and atmospheres might say, "The good part comes.""Saeglopur" is emblematic of Sigur Rós' fourth album, released nearly three years (!) after ( ). Nothing resembles a drone, and no part of it could be described as funereal. Even so, Takk... is still very much a Sigur Rós album, due in large part to the ever-present otherworldly vocals, but also because the only real changes are the activeness of some arrangements -- arrangements that deploy a familiar combination of bass, drums, piano, vocals, lots of strings, and some horns -- and some of the colors that are used. Despite opening with what sounds like a happy walk through a snow bank, the album is just as suited for a sunlit spring morning as ( ) was suited for a winter trudge across a foggy moor, so in that sense, it isn't a repeat and is more tactile than illusory, but it's not likely to win over anyone who suddenly felt an index finger push against the back of his throat while hearing "Svefn-G-Englar" for the first time. And it's not as if the band is suddenly writing three-minute pop songs, either. Half of the album's tracks are longer than six minutes, with extended cresting, sudden bursts of action, and a couple particularly fragile moments that seem to be on the brink of melting away. One thing to consider when wondering whether or not this band has changed in any way: they've gone from providing the background music to death announcements to "Sé Lest," a fluttering children's lullaby that is briefly crashed by an even more gleeful oom-pah-pah brass band.



Sigur Ros - Takk ( flac   304mb)

01 Intro (1:36)
02 Svefn-g-englar (10:04)
03 Starálfur (6:47)
04 Flugufrelsarinn (7:47)
05 Ný Batterí (8:11)
06 Hjartað Hamast (Bamm Bamm Bamm) (7:10)
07 Viðrar Vel Til Loftárása (10:18)
08 Olsen Olsen (8:03)
09 Ágætis Byrjun (7:56)
10 Avalon (4:00)

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After floating in the same cirrus clouds for a decade, it would seem that the time has come for a change. Not to say that the lulling orchestral swells or Jon Birgisson's schoolboy falsetto have lost any of their magic over time; it's just that after releasing 40-some similar-sounding songs with undecipherable lyrics, it becomes increasingly difficult to differentiate one from the next. However, Hvarf/Heim isn't the album to mark a musical departure for Sigur Rós. The bandmembers show no real sign of abandoning their style, so it seems understandable that they would want to show fans another side of themselves. Disc one, Hvarf, is a five-track collection of rarities from their vaults. The handful of tracks doesn't quite make for a fulfilling full-length, but with two of the songs almost hitting the ten-minute mark, the disc's entirety feels much longer than a mere EP. Consistently sprawling and lunar, the songs would feel right at home on Takk... or ( ). The standout track, "Hljómalind," is one of the more concise and traditional songs crafted over their journey, with the traditional instrumentation of reversed chimes and bowed guitar delays sawing textures into the fabric of the song, just before giving way to a powerful rock chorus from the mouth of a gently meowing alien. The traditional slow build is ignored for dynamics, and an unusually tangible hook hits like an old-fashioned punch to the face. The second disc, Heim, is comprised of six acoustically performed versions of favorites from their back catalog. Surprisingly, these songs don't sound remarkably different from the originals. Even without an electric guitar droning, they aren't sparse or minimal in the least, due to an additional string quartet, Amiina, filling in the gaps to create a lush soundscape. The reworkings are subtle, but the versions of "Samskeyti" and "Starálfur" remain beautiful and are slightly warmer and even more fragile than the originals. Completists will find this double-disc supplement of material appealing, and new fans wanting to get a quick feel for the band will probably enjoy it too, but the true excitement revolving around this promises to be in the accompanying release of the Heima DVD, a documentary -- with gorgeous cinematography -- that follows Sigur Rós' 2006 tour of their homeland and features music from these discs, which is perfectly fitting for a slow-motion shot of an iceberg melting in a spring sunrise.



Sigur Ros - Hvarf + Heim (flac   375mb)

Hvarf
01 Salka 7:08
02 Hljómalind 4:02
03 Í Gær 6:26
04 Von 9:15
05 Hafsól 9:55
Heim (Live Acoustic)
06 Samskeyti 5:22
07 Starálfur 5:28
08 Vaka 5:20
09 Ágætis Byrjun 6:36
10 Heysátan 4:43
11 Von 8:43

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Hello,


9 correct requests for this week, 3 ! too early, one at the wrong place,  whatever another batch of 29 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 February  23 rd... N'Joy

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4x Aetix Back in Flac ( The Pogues - Red Roses For Me , The Pogues - Rum Sodomy & The Lash,  The Pogues - If I Should Fall From Grace, The Pogues - Peace and Love )


4x Grooves Back in Flac ( Solomon Burke - Proud Mary(Bell 69-70), Solomon Burke - That's Heavy Baby , Solomon Burke - The Chess Collection, Solomon Burke - A Change Is Gonna Come ) 1727



3x Beats Back in Flac (Seefeel - Polyfusia , Seefeel - Succour, Seefeel - (Ch-Vox) Starethrough EP)


4x Aetix Back in Flac ( Elvis Costello - This Year's Model,  Elvis Costello & - Almost Blue, Elvis Costello & the Attractions - Trust, Elvis Costello & the Attractions - Trust Bonus)



3x Beats Back in Flac (Jeff Mills -  Waveform Transmission V 1 , Jeff Mills -  Waveform Transmission V 3, Jeff Mills - Purpose Maker Compilation)



5x Aetix Back In Flac (Happy Mondays - Squirrel And G-Man Twenty Four Hour Party People, Happy Mondays - Bummed, Happy Mondays - Bummed Bonus, Happy Mondays - Hallelujah, Happy Mondays - Pills 'n Thrills & Bellyache)


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



2x Aetix Back in Flac ( VA-New Wave Club Class-X Y-1,  VA-New Wave Club Class-X Y-2)



1x Aetix NOW in Flac (  Bauhaus - Burning From The Inside )


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