Rho-Xs

Hello, today the 250th and final post of GoldyRhox, classic pop rock in the darklight a Canadian-American roots rock group, originally consisting of Rick Danko (bass guitar, double bass, fiddle, vocals), Levon Helm (drums, mandolin, guitar, vocals), Garth Hudson (keyboards, saxophones, trumpet), Richard Manuel (piano, drums, vocals) and Robbie Robertson (guitar, percussion, vocals). The members first came together as they joined rockabilly singer Ronnie Hawkins's backing group, the Hawks, one by one between 1958 and 1963.

In 1964, they separated from Hawkins, after which they toured and released a few singles as Levon and the Hawks and the Canadian Squires. The next year, Bob Dylan hired them for his U.S. tour in 1965 and world tour in 1966. Following the 1966 tour, the group moved with Dylan to Saugerties, New York, where they made the informal 1967 recordings that became The Basement Tapes, which forged the basis for their 1968 debut album, Music from Big Pink. Because they were always "the group" to various frontmen, Helm said the name worked well when the group came into its own. The group began performing as today's mystery group in 1968 and went on to release ten studio albums. Dylan continued to collaborate with them over the course of their career, including a joint 1974 tour.

The original configuration of the group ended its touring career in 1976 with an elaborate live ballroom performance featuring numerous musical celebrities. This performance was immortalized in Martin Scorsese's 1978 documentary. The group recommenced touring in 1983 without guitarist Robbie Robertson, who had found success with a solo career and as a Hollywood music producer. Following a 1986 show, Richard Manuel was found dead of suicide, but the remaining three members continued to tour and record albums with a succession of musicians filling Manuel's and Robertson's roles; the final configuration of the group included Richard Bell (piano), Randy Ciarlante (drums), and Jim Weider (guitar). Danko died of heart failure in 1999, after which the group broke up for good. Levon Helm was diagnosed with throat cancer in 1998 and was unable to sing for several years, but he eventually regained the use of his voice. He continued to perform and released several successful albums until he succumbed to the disease in 2012.

The group was inducted into the Canadian Music Hall of Fame in 1989 and the Rock and Roll Hall of Fame in 1994. In 2004 Rolling Stone ranked them No. 50 on their list of the 100 greatest artists of all time, and in 2008 they received the Grammy Lifetime Achievement Award.

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Most of the albums i 'll post made many millions for the music industry and a lot of what i intend to post still gets repackaged and remastered decades later, squeezing the last drop of profit out of bands that for the most part have ceased to exist long ago, although sometimes they get lured out of the mothballs to do a big bucks gig or tour. Now i'm not as naive to post this kinda music for all to see and have deleted, these will be a black box posts, i'm sorry for those on limited bandwidth but for most of you a gamble will get you a quality rip don't like it, deleting is just 2 clicks...That said i will try to accommodate somewhat and produce some cryptic info on the artist and or album.

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Today's mystery album is a triple album by the mystery group, released on Warner Bros. Records in 1978, catalogue 3WS 3146. It is the soundtrack to the 1978 film of the same name, and the final album by the original configuration of today's artists. The triple-album documents the Band's "farewell" concert which took place at Bill Graham's Winterland Ballroom on Thanksgiving Day 1976. The event included an actual Thanksgiving dinner for 5000 attendees, with ballroom dancing and a stage set for La Traviata borrowed from the San Francisco Opera.

The concert featured songs by today's mystery group interspersed with the group backing up a variety of musical guests. These included many with whom they had worked in the past, notably their previous employers Ronnie Hawkins and Bob Dylan. Van Morrison, a Woodstock neighbor, had co-written and sung on the track "4% Pantomime" for the Cahoots album. Individual members of the group had played with the invitees on the following albums: in 1972 with Bobby Charles for his eponymous album; in 1973 with Ringo Starr on Ringo; in 1974 with Joni Mitchell on Court and Spark and with Neil Young for On the Beach; in 1975 with Muddy Waters and Paul Butterfield on The Muddy Waters Woodstock Album; in 1976 with Eric Clapton on No Reason to Cry and with Neil Diamond on Beautiful Noise.

Sides one through five of the album consisted of songs taken from the concert. Side six comprised "The Last Waltz Suite," new numbers composed by Robertson and performed by today's mystery group on an MGM soundstage. Here today a 2014 MFSL remaster with booklet ...N'Joy

Goldy Rhox 250-1 (flac 365mb)

Goldy Rhox 250-2 (flac 370mb)

Goldy Rhox 250 (ogg 296mb)

Ok so this is the final Goldy Rhox post, it never really got the interest i expected, so after almost 5 years it's time to quit the format, in place of it here will be a weekly re-ups posting.

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Hello, as Trumps marches on, the contours of 1600 Pennsylvania Avenue becomes more visible, the republican competition fall unmourned to the wayside and the democrats pull out all the stops to block the advancement of the non establishment candidate (Sanders). Hilary stands no chance against Trump he will paint her in the corner where she belongs, the 1%.

Today's artists are .an American jazz, R&B, soul, funk and disco group, originally formed in 1964 as the Jazziacs based in Jersey City, New Jersey. They went through several musical phases during their recording career, starting out with a purist jazz sound, then funk and R&B, progressing to a smooth pop-funk ensemble, and in the post-millennium creating music with a modern, electro-pop sound. They have sold over 70 million albums worldwide ... N'joy

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Formed as a jazz ensemble in the mid-'60s, Kool & the Gang became one of the most inspired and influential funk units during the '70s, and one of the most popular R&B groups of the '80s after their breakout hit "Celebration" in 1979. Just as funky as James Brown or Parliament (and sampled almost as frequently), Kool & the Gang relied on their jazz backgrounds and long friendship to form a tightly knit group with the interplay and improvisation of a jazz outfit, plus the energy and spark of a band with equal ties to soul, R&B, and funk.

Robert "Kool" Bell and his brother Ronald (or Khalis Bayyan) grew up in Jersey City, NJ, and picked up the music bug from their father. A professional boxer, he was also a serious jazz lover and a close friend of Thelonious Monk. With Robert on bass and Ronald picking up an array of horns, the duo formed the Jazziacs in 1964 with several neighborhood friends: trombone player Clifford Adams, guitarists Charles Smith and Woody Sparrow, trumpeter Robert "Spike" Michens, alto saxophonist Dennis Thomas, keyboard player Ricky West, and drummer Funky George Brown (all of whom, except Michens and West, still remained in the group more than 30 years later).

The Bell brothers' father Bobby and uncle Tommy were boxers. They moved to New York to train and lived in the same apartment building as Thelonious Monk who became Robert's godfather when he was born. Miles Davis would drop by because he wanted to be a boxer.[5] They played occasionally with McCoy Tyner, Pharoah Sanders and Leon Thomas.

The growing earthiness of soul inspired the Jazziacs to temper their jazz sensibilities with rhythms more akin to R&B, and the newly renamed Soul Town Band began playing clubs in Greenwich Village. After a mix-up with a club owner resulted in the group being billed Kool & the Flames, they moderated the title to Kool & the Gang and found a leg up with the tiny De-Lite Records. Three singles from their self-titled debut album hit the pop charts, and although the position wasn't incredibly high, Kool & the Gang became a quick success on the R&B charts. Always a staple of their appeal, the group's live act was documented on two 1971 LPs, Live at the Sex Machine and Live at P.J.'s, including left-field covers of "Walk On By" and "Wichita Lineman" (as well as the not so unusual "I Want to Take You Higher").

Studio albums followed in 1972 and 1973, but it was with Kool & the Gang's sixth LP, Wild and Peaceful, that they hit the big time. "Funky Stuff" became their first Top 40 hit at the end of 1973. Then both "Jungle Boogie" and "Hollywood Swinging" reached the pop Top Ten. During the next four years, however, Kool & the Gang could only manage an occasional Top 40 hit ("Higher Plane,""Spirit of the Boogie"), and though they did win a Grammy award for "Open Sesame" (from the Saturday Night Fever soundtrack), the rise of disco -- a movement centered around producers and vocalists, in direct contrast to the group's focus on instrumentalists -- had appeared to end their popularity.

Then, in 1979, the group added two new vocalists, Earl Toon, Jr. and, more importantly, James "J.T." Taylor, a former Jersey nightclub singer. Kool & the Gang also began working with jazz fusion arranger Eumir Deodato, who produced their records from 1979 to 1982. The first such album, Ladies Night, was their biggest hit yet, the first of three consecutive platinum albums, with the Top Ten singles "Too Hot" and the title track. Celebrate!, released in 1980, spawned Kool & the Gang's only number one hit, "Celebration," an anthem favored by innumerable wedding receptions since. With Deodato, the group produced several more hits, including the singles "Take My Heart (You Can Have It if You Want It),""Get Down on It," and "Big Fun," and the albums Something Special in 1981 and As One a year later. After Deodato left the fold in late 1982, Kool & the Gang proved their success wasn't solely due to him; they had two immense hits during 1984-1985 ("Joanna" and "Cherish"), as well as two more Top Tens, "Misled" and "Fresh." The group's string of seven gold or platinum records continued until 1986's Forever, after which James "J.T." Taylor amicably left the group for a solo career.

Although Taylor did reasonably well with his solo recordings (many of which were produced by Ronald Bell), Kool & the Gang quickly sank without him. They replaced Taylor with three vocalists, Skip Martin (formerly of the Dazz Band), Odeen Mays, and Gary Brown, but failed to chart their albums Sweat (1989) and Unite (1993). Taylor finally returned to the group in 1995 for the release of a new album, State of Affairs. They continued well throughout the 2000s, releasing 2001's Gangland, 2004's The Hits: Reloaded, and 2007's Still Kool (recorded after the 2006 death of co-founder Charles Smith). They often collaborated with new and well-known younger talent.

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Kool & the Gang's funky debut was an unexpected hit, with a first single (self-titled) climbing both the pop and R&B charts. Subsequent singles -- "The Gang's Back Again,""Let the Music Take Your Mind," and "Funky Man," -- followed the first into the charts, and there were plenty of other standout tracks: "Raw Hamburger,""Chocolate Buttermilk," and "Kool's Back Again." Though barely over a half an hour long, Kool and the Gang is a blast of a record containing strong elements that would become the band's trademarks: smooth melodies, suave rhythms, and brassy horns. This is one of Kool & the Gang's jazzier albums and a strong debut worth checking out, though less accessible than any of their later pop recordings.

Kool & The Gang - Kool & The Gang (flac 204mb)

01 Kool & The Gang 2:57
02 Breeze & Soul 5:29
03 Chocolate Buttermilk 2:14
04 Sea Of Tranquility 3:33
05 Give It Up 3:40
06 Since I Lost My Baby 2:07
07 Kool's Back Again 2:53
08 The Gang's Back Again 2:44
09 Raw Hamburger 3:37
10 Let The Music Take Your Mind 2:58

Kool & The Gang - Kool & The Gang (ogg 84mb)

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Kool & the Gang's fourth album -- but only their second studio record -- was just as strong and joyous as its live predecessors, though it featured a few more vocals and emphasized strong musicianship over hard grooves. (Of course, the band always did pretty well at both.) The title track and "Love the Life You Live" were two more great party jams to add to their repertoire, despite the growing similarity of Robert "Kool" Bell's basslines. The two-part "Electric Frog" was a squelchy instrumental spotlighting an Arp synthesizer and some great ensemble playing on the chorus, while the band reserved a great feature for trumpeter Robert "Spike" Mickens on "Blowin' with the Wind.""Love the Life You Live" was the most fully realized early Kool & the Gang jam, and the one that most looks forward to their parade of hits to come ("Funky Stuff,""Hollywood Swinging"). Ending the album with a smile (if not style) was "Funky Granny," a lightweight but hilarious sequel to their 1970 hit "Funky Man."

Kool & The Gang - Music Is The Message (flac 204mb)

01 Music Is The Message 5:18
02 Electric Frog (Part 1) 3:43
03 Electric Frog (Part 2) 3:02
04 Soul Vibrations 4:39
05 Love The Life You Live (Parts 1 & 2) 5:40
06 Stop, Look, Listen (To Your Heart) 3:26
07 Blowin' With The Wind 2:31
08 Funky Granny 5:55

Kool & The Gang - Music Is The Message (ogg 98mb)

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Good Times was a bit spotty compared to Music Is the Message, compromising Kool & the Gang's legendary funk instincts for a variety of digressions that don't turn out the way they should. There's much more good than bad though, beginning with the title track, a school's-out jam just in time for summer. "Making Merry Music" is in a similar mold and just as good, while the group leaps into wild, unhinged, horn-driven funk for "Rated X" and "Country Junky." The songs that make it less interesting are the maudlin ballad "Wild Is Love," a salute by music director and tenor Khalis Bayyan to one of his influences with "I Remember John W. Coltrane," and the meandering "North, South, East, West." The closer, "Father, Father," is a solid attempt at recording social-message soul along the lines of Curtis Mayfield, but for much of the time, Good Times sacrifices the group's hallmarks (deep-pocket grooves and fast, intricate ensemble playing) on the altar of artistic experimentation.

Kool & The Gang - Good Times (flac 201mb)

01 Good Times 4:16
02 Country Junky 2:55
03 Wild Is Love 3:24
04 North, East, South, West 3:38
05 Making Merry Music 3:04
06 I Remember John W. Coltrane 4:02
07 Rated X 4:02
08 Father, Father 5:37

Kool & The Gang - Good Times (ogg 81mb)

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Prior to James "JT" Taylor adding pop flavor vocals, which help garner a handful of top selling albums, this was Kool & the Gang's most successful album, spawning three bonafide R&B hits. Produced by Robert Bell, and featuring Donal Boyce's incredulous vocals, these songs have held up well. The fast, chugging "Jungle Boogie" was a club favorite, while "Funky Stuff," with its "whoa whoa whoa" hook, was slower and spacier than "Jungle Boogie." The band formerly known as the Jazziacs got their first R&B number one with "Hollywood Swinging," a slightly faster than mid-tempo song with whistles, festive ambiance and lead vocals by keyboardist Ricky West. All three hits were inspired by Manu Dibango's "Soul Makossa," and were recorded in one night at a studio in midtown Manhattan. The title cut flash backs to their prerecording jazz days, when they dazzled New Jerseyites with their playing skills.

Kool & The Gang - Wild & Peaceful (flac 252mb)

01 Funky Stuff 3:00
02 More Funky Stuff 2:50
03 Jungle Boogie 3:03
04 Heaven At Once 5:01
05 Hollywood Swinging 4:36
06 This Is You, This Is Me 5:23
07 Life Is What You Make It 3:53
08 Wild And Peaceful 9:26

Kool & The Gang - Wild & Peaceful (ogg 100mb)

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Hello,

Much to its credit, electronic dance music has always played fast and loose with its own history. A hugely sprawling form hyped on progress, it seems to announce a new aesthetic revolution every few weeks. Movements divide into micromovements, which then splinter into even smaller subsets, which in turn fan out into different camps, and so on. Each gets its own name, its own historical precursors, its own migration lines, its own self-aware philosophy. And even if, like the high sciences, these variations get parsed out in a language largely impenetrable to those not obsessed with obscure nuance, at the very least they stand in for electronica’s heartening faith in meaningful change. Underlying that spirit, though, is a conflict over the importance of the music’s dance roots. Fans of the unfortunately named IDM (Intelligent Dance Music; ugh) consider danceability a sort of blight on their new language, while dance-floor populists dismiss the former as obnoxiously cerebral and pretentious.

Glitch is a genre of electronic music that emerged in the late 1990s. It has been described as a genre that adheres to an "aesthetic of failure," where the deliberate use of glitch-based audio media, and other sonic artifacts, is a central concern. Sources of glitch sound material are usually malfunctioning or abused audio recording devices or digital electronics, such as CD skipping, electric hum, digital or analog distortion, bit rate reduction, hardware noise, software bugs, crashes, vinyl record hiss or scratches and system errors. In a Computer Music Journal article published in 2000, composer and writer Kim Cascone classifies glitch as a subgenre of electronica, and used the term post-digital to describe the glitch aesthetic.

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Mille Plateaux (the name was taken from Mille Plateaux, a philosophy book by Gilles Deleuze and Félix Guattari, published in 1980).is an influential electronica record label founded 1993 by Achim Szepanski in Frankfurt, Germany. In 2000, to take advantage of the popularity of glitch music in the electronic music scene, Mille Plateaux released their Clicks & Cuts Series, which showed both Mille Plateaux and non-Mille Plateaux glitch music luminaries exploring the genre.

In early 2004, Mille Plateaux parent company Force Inc. Music Works went bankrupt due to the collapse of Germany's main independent music distributor, EFA-Medien. Mille Plateaux and other Force Inc. Music Works owned labels were folded at that time. The label was revived briefly in late 2004 under the name MillePlateauxMedia, with 4 releases. In 2005, two releases were made by RAI STREUBEL MUSIC S.L. on the label Supralinear with the note "by Mille Plateaux".

In 2006, Mille Plateaux (along with the other former Force Inc. Music Works labels Force Inc. and Force Tracks) was taken over by the Berlin-based company Disco Inc. Ltd., who only released two CD albums. In March 2008, Mille Plateaux was acquired by TOTAL RECALL, an online store and distributor for used and new music. With new owner Marcus Gabler, known as singer of the band Okay as the A&R manager, they aim to close the gap existing since 2003 and continue the original work. Mille Plateaux relaunched its activities on 7 May 2010, with three new albums.

Sublabels
Ritornell Started 1999. Even more abstract and experimental than the parent.
Cluster Started 2010. Releases experimental ambient music.
Force Intel (sister label) Started 2010. Releases less experimental electronic music, typically IDM.

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There's no evading Mille Plateaux's ambitions with Clicks & Cuts, Vol. 2, a mammoth triple-disc compilation pretentiously attempting to both summarize and further the German techno label's self-termed click movement. The label's first volume appeared a year earlier and took some time to resonate before garnering tremendous critical praise by the year's end. Thankfully, after a year's worth of follow-up records, press releases, and year-end awards, the curiously awaited Clicks & Cuts, Vol. 2 doesn't disappoint, proving that there is more to the click movement than hype and overwrought theorizing. First of all, contrary to what this album's academic liner notes may have you believe, don't get too hung up on exactly what the click aesthetic implies: Just know that the music found on this compilation was composed on computers rather than analog gear, the artists tend to employ some sort of subtle glitch-like sounds, and that the sonic vocabulary for composing this music is remarkably vast. Given these common attributes, it's no surprise that the 36 artists featured here present an oceanic breadth of styles. Some (SND, Farben, Auch) drift toward stark yet melodic minimal techno, some (Vladislav Delay, Kid 606, Rude Solo) aim for the dancefloor; others (Andreas Tilliander, Mikael Stavostrand) revel in murky dub, others (All, Full Swing, Thomas Brinkmann) unleash dizzying whirlwinds of sound. And, unfortunately, several (the near-entirety of the third disc) present unpleasant experiments where the jarring, abrasive, and/or boring characteristics outweigh anything of interest. So, as you would probably expect with a compilation this vast, no matter how diverse your tastes, you're not going to like everything here -- there is just way too much variety. Still, you have to acknowledge Mille Plateaux for being comprehensive, even if it dilutes the album as a whole; they've perfectly summarized a vibrant techno movement.

Clicks & Cuts 2-1 (flac 314mb)

01 snd - Circa 1666 6:19
02 Farben - The Videoage (re-edit) 5:40
03 Andreas Tilliander - Vibetan 4:35
04 Frank Bretschneider - Walking On Ice 6:34
05 alva.noto - Neue Stadt (Skizze 8) 4:14
06 Deltidseskapism - Tanken Aterskapad 6:34
07 Tomas Jirku - Pohdka 5:59
08 Swayzak - Kisonga 6:49
09 Geez 'N' Gosh - 012001 4:57
10 Random Inc. - Losing Touch 4:57
11 Dan Abrams - Academic 6:10
12 März - "Ranking + Rating 5:05

Clicks & Cuts 2-1 (ogg 167mb)

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Clicks & Cuts 2-2 (flac 318mb)

01 Vladislav Delay - Holiday 6:17
02 Kid606 - While You Were Sleeping 6:50
03 Reinhard Voigt - Personal 4:59
04 Mikael Stavöstrand - Repl 4:49
05 AUCH - The Animal Factory 5:21
06 Rude Solo - Tight 4:12
07 Antonelli Electr. - Unintense 5:41
08 All - All Music 4:44
09 Full Swing - Drive 4:29
10 Thomas Brinkmann - 0100 6:34
11 Donnacha Costello - ri2.2 5:05
12 Sutekh - 19xx 4:36

Clicks & Cuts 2-2 (ogg 158mb)

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Clicks & Cuts 2-3 (flac 281mb)

01 Twerk - Inorganic Clarity 4:22
02 Hakan Lidbo - Megalodon 5:59
03 Kit Clayton - Material Problem 5:01
04 M² - Tone Exploitation 5:56
05 Fennesz - Menthol 3:50
06 Matmos - Keine Zähne 4:02
07 Taylor Deupree - Clir 6:30
08 Richard Charier - Filer 6:57
09 cyclo. - c5.1 4:16
10 Pansonic - Arvio (long edit) 6:49
11 Station Rose - Smoother Than Strange 4:32
12 DAT Politics - Hardwai 2:52

Clicks & Cuts 2-3 (ogg 156mb)

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Hello,

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

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

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

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

Watchmen The Motion Comic 05 Fearful Symmetry... (avi 233mb)

05 Fearful Symmetry... 25:31

Rorschach continues to pursue his "mask killer" theory, focusing on Moloch. Moloch is murdered and Rorschach is the target of a setup, leading to his capture by the police.

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previously

Watchmen The Motion Comic 01 At Midnight, All the Agents... (avi 233mb)
Watchmen The Motion Comic 02 Absent Friends... (avi 233mb)
Watchmen The Motion Comic 03 The Judge of All the Earth... (avi 233mb)
Watchmen The Motion Comic 04 Watchmaker... (avi 233mb)

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Hello, as we learned yesterday Hollywood priced the fact fiction of Spotlight more than the fact fiction of the Revenant which clearly is more of a Trump movie, Spotlight is more of a Rodham-Clinton movie. Coincidence ? No. After months of noise tomorrow there's super tuesday and to the dismay of the Republican leadership Trump is likely to win their candidacy, they just couldn't do what John Oliver did in 20 minutes sundaynight. He made mincemeat of him and to top it all up came up with Trumps original family name..DRUMPH yes from now on it's Donald Drumpf for president You can change a name but not ones genetics..

Today,again. a Brazilian songwriter, composer, arranger, singer, and pianist/guitarist. He was a primary force behind the creation of the bossa nova style, and his songs have been performed by many singers and instrumentalists within Brazil and internationally. Widely known as the composer of "Garota de Ipanema" ("The Girl from Ipanema"), one of the most recorded songs of all time, Jobim has left a large number of songs that are now included in jazz and pop standard repertoires. The song "Garota de Ipanema" has been recorded over 240 times by other artists.....N'Joy

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Antônio Carlos Jobim was born in the middle-class district of Tijuca in Rio de Janeiro. His father Jorge de Oliveira Jobim (São Gabriel, Rio Grande do Sul, April 23, 1889 – July 19, 1935) was a writer, diplomat, professor and journalist. When Antônio was still an infant, his parents separated and his mother, Nilza Brasileiro de Almeida, moved with her children (Antônio Carlos and his sister Helena Isaura) to Ipanema, the beachside neighborhood the composer would later celebrate in his songs. In 1935, when the elder Jobim died, Nilza married Celso da Frota Pessoa, who would encourage his stepson's career. He was the one who gave Jobim his first piano. As a young man of limited means, Jobim earned his living by playing in nightclubs and bars and later as an arranger for a recording label, before starting to achieve success as a composer.

Jobim's musical roots were planted firmly in the work of Pixinguinha, the legendary musician and composer who began modern Brazilian music in the 1930s. Among his teachers were Lúcia Branco, and, from 1941 on, Hans-Joachim Koellreutter. Jobim was also influenced by the French composers Claude Debussy and Maurice Ravel, by the Brazilian composers Heitor Villa-Lobos, Ary Barroso, and by jazz. Among many themes, his lyrics talked about love, self-discovery, betrayal, joy and especially about the birds and natural wonders of Brazil, like the "Mata Atlântica" forest, characters of Brazilian folklore, and his home city of Rio de Janeiro

Jobim became prominent in Brazil when he teamed up with poet and diplomat Vinícius de Moraes to write the music for the play Orfeu da Conceição (1956). The most popular song from the show was "Se Todos Fossem Iguais A Você" ("If Everyone Were Like You"). Later, when the play was turned into a film, producer Sacha Gordine did not want to use any of the existing music from the play. Gordine asked de Moraes and Jobim for a new score for the film Black Orpheus (1959).This collaboration proved successful, and Vinicius went on to pen the lyrics to some of Jobim's most popular songs.

A key event in making Jobim's music known in the English speaking world was his collaboration with the American jazz saxophonist Stan Getz, João Gilberto and Gilberto's wife at the time, Astrud Gilberto, which resulted in two albums, Getz/Gilberto (1963) and Getz/Gilberto Vol. 2 (1964). The release of Getz/Gilberto created a bossa nova craze in the United States, and subsequently internationally. Jobim wrote many of the songs on Getz/Gilberto, which became one of the best-selling jazz albums of all time, and turned Astrud Gilberto, who sang on "The Girl from Ipanema" and "Corcovado", into an international sensation. At the Grammy Awards of 1965 Getz/Gilberto won the Grammy Award for Album of the Year, Grammy Award for Best Jazz Instrumental Album, Individual or Group and the Grammy Award for Best Engineered Album, Non-Classical. "The Girl from Ipanema" won the Grammy Award for Record of the Year.

Jobim was married to Thereza Otero Hermanny on October 15, 1949 and had two children with her: Paulo Jobim (born 1950), an architect and musician, married and father of Daniel Jobim (born 1973) and Dora Jobim (born 1976); and Elizabeth "Beth" Jobim (born 1957), a painter. Jobim and Thereza divorced in 1978. On April 30, 1986 he married 29-year-old photographer Ana Beatriz Lontra, with whom he had two more children: João Francisco Jobim (1979–1998) and Maria Luiza Helena Jobim (born 1987). Daniel, Paulo's son, Tom's grandson; followed his grandfather to become a pianist and composer.

In early 1994, after finishing his album Antonio Brasileiro, Jobim complained to his doctor, Roberto Hugo Costa Lima, of urinary problems. A bladder tumor was detected, but Jobim postponed the recommended immediate surgery for several months, while he tried spiritual treatment with a Brazilian medium and started working on his album Tom Jobim. His operation took place at Mount Sinai Hospital, in New York, on December 2, 1994. On December 8, while recovering from surgery, he had a cardiac arrest caused by a pulmonary embolism and two hours later another cardiac arrest, from which he died. His last album, Antonio Brasileiro, was released posthumously three days after his death.

Jobim is widely regarded as one of the most important songwriters of the 20th century. Many of Jobim's songs are jazz standards. American jazz singers Ella Fitzgerald and Frank Sinatra prominently featured Jobim's songs on their albums Jobim was an innovator in the use of sophisticated harmonic structures in popular song. Some of his melodic twists, like the melody insisting on the major seventh of the chord, became common use in jazz after him. The Brazilian collaborators and interpreters of Jobim's music include Vinícius de Moraes, João Gilberto (often credited as a co-creator of bossa nova), Chico Buarque, Gal Costa, Elis Regina, Sérgio Mendes, Astrud Gilberto, and Flora Purim. Eumir Deodato and the conductor/composer Claus Ogerman arranged many recordings of Jobim tunes. He won a Lifetime Achievement Award at the 54th Grammy Awards in 2012. As a posthumous homage, on January 5, 1999, the Municipality of Rio de Janeiro changed the name of Rio's Galeão International Airport, located on Governador Island, to bear the composer's name. Galeão Airport is explicitly mentioned in his composition "Samba do Avião". In 2014, Jobim was posthumously inducted to the Latin Songwriters Hall of Fame. In 2015, Billboard named Jobim as one of The 30 Most Influential Latin Artists of All Time.

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By 1967, bossa nova had become quite popular within jazz and traditional pop audiences, yet Frank Sinatra hadn't attempted any Brazil-influenced material. Sinatra decided to record a full-fledged bossa nova album with the genre's leading composer, Antonio Carlos Jobim. Arranged by Claus Ogerman and featuring Jobim on guitar and backing vocals, Francis Albert Sinatra & Antonio Carlos Jobim concentrated on Jobim's originals, adding three American classics -- "Baubles, Bangles and Beads,""Change Partners," and "I Concentrate on You" -- that were rearranged to suit bossa nova conventions. The result was a subdued, quiet album that used the Latin rhythms as a foundation, not as a focal point. Supported by a relaxed, sympathetic arrangement of muted brass, simmering percussion, soft strings, and Jobim's lilting guitar, Sinatra turns in an especially noteworthy performance; he has never sounded so subtle, underplaying every line he delivers and showcasing vocal techniques that he never had displayed before. Francis Albert Sinatra & Antonio Carlos Jobim doesn't reveal its pleasures immediately; the album is too textured and understated to be fully appreciated within one listen. After a few plays, the album begins to slowly work its way underneath a listener's skin, and it emerges as one of his most rewarding albums of the '60s.

Francis Albert Sinatra & Antonio Carlos Jobim - Id (flac 154mb)

01 The Girl From Ipanema (Gârota De Ipanema) 3:16
02 Dindi 3:30
03 Change Partners 2:43
04 Quiet Nights Of Quiet Stars (Corcovado) 2:45
05 Meditation (Meditacào) 2:56
06 If You Never Come To Me 2:12
07 How Insensitive (Insensatez) 3:18
08 I Concentrate On You 2:40
09 Baubles, Bangles And Beads 2:35
10 Once I Loved (O Amor En Paz) 2:36

(ogg mb)

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This album has had a somewhat confusing release history, appearing as it did amid a flurry of activity by Jobim (including his work with Frank Sinatra) and bouncing between several labels since its first release in 1967. Made up of instrumentals as well as songs (all of the latter in English), it was a superb showcase for the melodic aspect of Jobim's art, though the material, like so much of Jobim's work during his explosive first decade of international recognition, represented something of a work in progress, a fact borne out by the subsequent reworking of the stunning closing number, "Zingaro," as "Retrato Em Branco E Preto." Claus Ogerman's musical direction offers a mix of influences, ranging from Dom um Romão's drumming to the presence of the first violinist of the New York Philharmonic, all combining to sympathetic effect. The post-2000 CD remasterings also offer superb sound and excellent annotation.

Antonio Carlos Jobim - A Certain Mr. Jobim (flac 155mb)

01 Bonita 2:55
02 Se Todos Fossem Iguais A Voce 2:16
03 Off Key (Desafinado) 3:05
04 Photography 2:09
05 Surfboard 2:44
06 Once Again (Outra Vez) 2:06
07 I Was Just One More For You (Esperanca Perdida) 2:23
08 Estrada Do Sol 3:28
09 Don't Ever Go Away (Por Causa De Voce) 2:45
10 Zingaro 2:16

(ogg mb)

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On Jobim's second A&M album, Eumir Deodato takes over the chart-making tasks, and the difference between him and Claus Ogerman is quite apparent in the remake of "The Girl From Ipanema": the charts are heavier, more dramatic, and structured. Sometimes the arrangements roll back so one can hear, say, the dancing multi-phonic flute of wildman Hermeto Pascoal on "Tema Jazz," and the rhythms often veer away from the familiar ticking of the bossa nova. Jobim is his usual understated self, adding very subtle electric piano to his arsenal of acoustic piano and guitar, but the material sometimes falls short of Jobim's tip-top level (dead giveaway: "Tide" is a clever rewrite on the chord changes of "Wave"). Still, it's beautifully made and very musical at all times.

Antonio Carlos Jobim - Tide (flac 318mb)

01 Girl From Ipanema 4:50
02 Carinhoso 2:47
03 Tema Jazz 4:35
04 Sue Ann3:03
05 Remember 4:00
06 Tide4:03
07 Takatanga 4:42
08 Caribe 2:42
09 Rockanalia 4:45
10 Tema Jazz (Alternate Take) 2:49
11 Tide (Alternate Take)4:00
12 Tema Jazz (Alternate Take) 5:43
13 Tema Jazz (Master Take In Full) 8:11

Antonio Carlos Jobim - Tide (ogg 118mb)

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Recorded in 1970 at Rudy Van Gelder's studio in New Jersey under the production auspices of Creed Taylor, the arrangement and conducting skills of Deodato, and the engineering expertise of Van Gelder himself, Jobim's Stone Flower is quite simply one of his most quietly stunning works -- and certainly the high point of his time at Columbia. Nearly a decade after the paint peeled from the shine of bossa nova's domination of both the pop and jazz charts in the early '60s, Creed Taylor brought Jobim's tender hush of the bossa sound back into the limelight. With a band that included both Jobim and Deodato on guitars (Jobim also plays piano and sings in a couple of spots), Ron Carter on bass, João Palma on drums, Airto Moreira and Everaldo Ferreira on percussion, Urbie Green on trombone, Joe Farrell on soprano saxophone, and Harry Lookofsky laying down a soulful violin solo on the title track, Jobim created his own version of Kind of Blue. The set opens with the low, simmering "Tereza My Love," with its hushed, elongated trombone lines and shifting acoustic guitars floating on the evening breeze. It begins intimate and ends with a closeness that is almost uncomfortably sensual, even for bossa nova. And then there are the slippery piano melodies Jobim lets roll off his fingers against a backdrop of gauzy strings and syncopated rhythms in both "Choro" and "Brazil." The latter is a samba tune with a sprightly tempo brought to the fore by Jobim's sandy, smoky vocal hovering ghost-like about the instrumental shimmer in the mix. Take, for instance, the title track with its stuttered, near imperceptible percussion laid under a Jobim piano melody of such simplicity, it's harmonically deceptive. It isn't until Lookofsky enters for his solo that you realize just how sophisticated and dense both rhythm and the chromatic lyricism are. The album closes with a reprise of "Brazil," restating a theme that has, surprisingly been touched upon in every track since the original inception, making most of the disc a suite that is a lush, sense-altering mediation, not only on Jobim's music and the portraits it paints, but ON the sounds employed by Taylor to achieve this effect. Stone Flower is simply brilliant, a velvety, late-night snapshot of Jobim at his peak.

Antonio Carlos Jobim - Stone Flower (flac 220mb)

01 Tereza My Love 4:22
02 Children's Games 3:29
03 Choro 2:08
04 Brazil 7:24
05 Stone Flower 3:19
06 Amparo 3:39
07 Andorinha 3:29
08 God And The Devil In The Land Of Sun 2:21
09 Sabia 3:57
10 Brazil (Alternate Take) 5:25

Antonio Carlos Jobim - Stone Flower (ogg 97mb)

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Hello, what have we learned from super tuesday ? Clinton wins thanks to the African vote (will they never learn). Trumps takes most states but Cruz wins his home and neighbour state, Minnesota votes for pretty boy Rubio and Trump comes in third (doesn't bode well for Minnesota if Trump becomes president). In short the pundits can cantinue ranting.

Today's artists is the musical brainchild of English folk musician Douglas Pearce, better known as Douglas P. Death In June was originally formed in Britain in 1981 as a trio, but after the other members left in 1985 to work on other projects, the group became the work of Douglas Pearce and various collaborators. Pearce now lives in Australia. Over Death In June's two decades of existence, numerous shifts in style and presentation have occurred, resulting in an overall shift from initial post-punk and Industrial Records influence to an overall more acoustic and folk music-oriented approach. Pearce has cited Friedrich Nietzsche, the Norse Eddas, Yukio Mishima, Saxon poetry, and Jean Genet as strong influences upon his work. Although sometimes considered controversial, Death In June has become very influential in certain post-industrial musical circles. ..N'Joy

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Pearce formed Death in June in 1981 in England, along with Patrick Leagas and Tony Wakeford. Pearce and Wakeford had been members of the political punk band Crisis, which formed in 1977. Crisis had gained a substantial following in the UK punk subculture. Crisis performed at rallies for The Right to Work, Rock Against Racism, and the Anti-Nazi League.

Death in June soon left the reticent[citation needed] punk scene behind and began to infuse their sound with electronics and martial style drumming, combined with a Joy Division-influenced post-punk sound. Their lyrics maintained much of the poetry and political urgency of the early Crisis recordings. Tracks such as the early single sides "Holy Water" and "State Laughter" demonstrated an ongoing fascination with political systems. Further on, Douglas P. would abandon any overt interest in politics in favor of a more esoteric approach to his work.

Douglas P. introduced a folk influence to Current 93/David Tibet, who in turn contributed to Death in June's Nada! (1985) LP and its remix version titled 93 Dead Sunwheels (1989), as well as the albums The World That Summer, Brown Book, and The Wall of Sacrifice. He continued his work with Death in June, ending their collaborations with a contribution to the (1995) LP, Rose Clouds of Holocaust before their eventual split.

Experimental musician Boyd Rice was a friend of the group and had documented one of their earliest performances back in 1982. He was later invited to contribute a spoken word piece to The Wall of Sacrifice LP. From then on, a long series of recording collaborations continued between Boyd Rice and Douglas P. which included the albums Music, Martinis and Misanthropy, In the Shadow of the Sword, Heaven Sent, God & Beast, Wolf Pact, and finally Alarm Agents. Douglas P. also made a small appearance acting alongside Boyd Rice in the film Pearls Before Swine directed by Richard Wolstencroft.

Les Joyaux De La Princesse collaborated with Douglas P. on the Östenbräun double cassette release. Douglas P. sent LJDLP source material, which LJDLP would remix and send back after making any musical or aesthetic changes Douglas P. would later appear live with Les Joyaux De La Princesse for a joint show in 2001.

Douglas P. having recently moved to Australia, came back into contact with John Murphy of Knifeladder and previously of SPK. Murphy began playing live percussion with Death in June during tours from 1996 onwards. From 2000 a period of very stripped down, largely acoustic live performances for Death in June began up until Douglas P. announced no further live shows in 2005. In September 2011 a European tour was announced commemorating the 30th anniversary of the group's foundation in 1981. However the tour started off in Sydney, Australia without the actual inclusion of John Murphy.

After queuing to meet his idol Douglas P. backstage at a performance in Munich in December 1996, Albin Julius Martinek of Der Blutharsch later collaborated and toured throughout Europe between 1998-2000 with Death in June. Together, they produced the albums Take Care & Control and Operation Hummingbird, as well as the live album Heilige!. In comparison to previous Death In June works these were remarkably extroverted yet plagiaristic, courtesy of Martinek's contributions, sampling musical motifs from the likes of Richard Wagner, Franz Schubert, French 1960s pop icon Serge Gainsbourg amongst others. This resulted in a bombastic, neoclassical, post-industrial and extremely martial sound with few traces of the previous folk elements. The music created during this period could be classified as a part of the martial music genre which Pearce had initiated in 1986 on "The World That Summer" album with tracks like 'Death Of A Man' and again in 1989 on "The Wall Of Sacrifice" album with the title track and 'Death Is A Drummer'. Pearce wrote a song loosely inspired by an untitled Der Blutharsch song for the Fire Danger Season Der Blutharsch tribute compilation. The track title was later created/revealed as "Many Enemies Bring Much Honour", which also appears on the rework and rarities album entitled 'Abandon Tracks!'

The late 1990s marked the beginning of a court case between Death in June and World Serpent Distribution regarding payment and distribution issues with several other artists that were then on the label. This led to many artists that had sided with or had a similar experience to Pearce's leaving the distribution company and largely moving to Tesco Distribution Germany, as well as other then well established labels such as Eis & Licht.Eventually, Pearce was issued an out of court settlement for the case, which, according to him, led to the demise of World Serpent Distribution This led to reissues of most of the major albums in the Death in June discography being made freely available, with overhauled, deluxe packaging and a considerably cheaper price.

On the All Pigs Must Die LP, Pearce was assisted by Andreas Ritter of the neofolk group Forseti who played accordion on a few tracks on the first half of the LP. This marked a return to the previous folk sound of Death in June. Death in June have also appeared live with Forseti and Pearce appeared on Forseti's Windzeit LP. After Andreas Ritter suffered a stroke and subsequent loss of memory and ability to play musical instruments, Pearce contributed acoustic versions of Death in June songs to a tribute album to Ritter entitled Forseti Lebt released in August 2006.

After completing the Alarm Agents LP, Pearce announced it would be his final collaboration with Rice, citing

the decision as having been mutually decided during the recording of Alarm Agents in a studio situated in a valley in Wellington, New Zealand as helicopters flew beneath the two of them. In 2013, in order to dismiss all speculation and questions about future collaborations between Pearce and Rice, Rice announced via Facebook that he had severed personal and business relationships with Pearce.

In April 2009, users of the Death in June Yahoo Group pointed the YouTube videos from pianist Miro Snejdr doing covers of classic Death in June titles. Consequently, the piano-based album Peaceful Snow was released in November 2010, with rearrangements by Miro Snejdr of Douglas P.'s guitar-based demo recordings. Those original recordings were later released on the album The Snow Bunker Tapes in 2013. Since 2012, Miro Snejdr is also performing live with Death in June, either on piano or accordion.

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"The Guilty Have No Pride" stands as an astonishing listen to this day. It contains all the musical ingredients of the best British post-punk era records – thundering, almost tribal style drums; bass upfront in the mix; skeletal guitar relatively low in the mix; plenty of cold industrial sounding noises; and oozing with gloomy atmosphere. And yet all of the above is so hypercharged in this case that the result seems to stand on its own. This album sonically overpowers all its contemporaries. It's Joy Division made five times heavier.

The lyrical content could not get any darker. This group is obsessed with Nazi Germany, and every track offers a bleak and violent picture of the world, with little glimmer of hope. The most famous track "Heaven Street" for example is about a road in a concentration camp, specifically the last road you're scheduled to take. "This road leads to heaven....""The Guilty Have No Pride" is also a unique record because you can see Death in June working as a "band" at this point, with Douglas Pearce, Tony Wakeford, and Patrick Leagas sharing center stage roughly equally, and all doing an equally fine job. The latter two would exit before long and Death in June would become more of a solo project led by Douglas P." -Tracks 08>10 are taken from the 12" Heaven Street, track 11 is taken from the 7" State Laughter/Holy Water.

Death In June - The Guilty Have No Pride (flac 270mb)

01 Till The Living Flesh Is Burned (4:21)
02 All Alone In Her Nirvana (2:59)
03 State Laughter (5:48)
04 Nothing Changes (2:57)
05 Nation (3:47)
06 Heaven Street Mk II (4:10)
07 The Guilty Have No Pride (2:31)
08 Heaven Street (5:39)
09 In The Night Time (3:32)
10 We Drive East (3:02)
11 Holy Water (3:59)

Death In June - The Guilty Have No Pride (ogg 103mb)

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"Burial" is a half studio, half live album originally released in 1984 on Leprosy Discs. It was the last recording to feature the original Death In June lineup, as Tony Wakeford departed the group shortly thereafter.
This is a re-release of an album that marks the very beginning of what would prove to be an enormous Death in June discography. _Burial_ is actually the second effort of the band, the last featuring Tony Wakeford before his initial departure. By 1984, angry punksters Crisis had miraculously transformed into Death in June -- gone were the leftist ideas and in came black uniforms adorned by the totenkopf. Still, the band didn't really sound like Nazi drummerboys at a Nurnberg rally. _Burial_ is a weird record that bears a notable punk feel, clearly signifying what the band members practiced some years before.
The actual studio tracks are but five, the rest of the album consisting of live recordings. Opener "Death of the West" still serves as one of the neofolk evergreens: a simple but emotional anti-capitalist anthem composed in classic Death in June fashion, concentrating on strumming acoustic guitar and vocals exclusively. "Fields", "Nirvana" and "Black Radio" all possess a definite '80s sound, meaning they're unmistakably post-punk and have strong new wave leanings. "Sons of Europe" delivers more pathos: martial drumming, trumpets blowing and atonal singing -- it is probably the strangest track of the album.

The live section, recordedlive at the Clarendon Hotel, London, October 6th, 1983, is predictably psychedelic and somewhat chaotic. Even more than the studio material, the live recordings deliver a mix of proto-industrial, psychedelic rock and punk-influenced wave sound that is impenetrably esoteric and avant-garde.

Death In June - Burial (flac 221mb)

(Studio)
01 Death Of The West 2:10
02 Fields 2:45
03 Nirvana 2:46
04 Sons Of Europe 2:48
05 Black Radio 6:55
(Live)
06 Till The Living Flesh Is Burned 7:21
07 All Alone In Her Nirvana 3:51
08 Fields 3:33
09 We Drive East 3:40
10 Heaven Street 6:42

Death In June - Burial (ogg 84mb)

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Nada! was the breakthrough record where Death in June abandoned the mix of industrial noise, punk, and Joy Division-styled mayhem to embark on a new style of apocalyptical folk, and though Current 93, Death in June spin-off bands like Sixth Comm and Sol Invictus, and countless other groups on World Serpent followed that path, Death in June was one of the pioneers. Acoustic guitars feature heavily on "The Honour of Silence," the short "Leper Lord,""(Behind the Rose) Fields of Rape," and "She Said Destroy," most of them co-written with David Tibet of Current 93. In fact "Fields of Rape" has some of the same lyrics as the piece of the same name on Current 93's nightmarish Dogs Blood Rising, but instead of mixing nursery rhyme and distorted screams with industrial noises, the Death in June version turns the piece into a rather catchy folk song, though one imbued to the core with gloom and decay. The rest of the album traverses similar territory, despair and torture, death and war, utter bleakness. A few of the tracks revert to the earlier Death in June of mechanical rhythms and strange sound effects, and "Crush My Love" offers strange repeated keyboard textures and droning vocals with some weird effects at the end. Except for the stupid "C'Est un Reve," a piece about Nazi war criminal Klaus Barbie, Nada! is excellent stuff.

Death In June - Nada! (flac 334mb)

01 The Torture Garden 6:14
02 Last Farewell 5:33
03 The Calling 4:56
04 Doubt To Nothing 4:01
05 The Honour Of Silence 3:20
06 The Calling (Mk II) 5:38
07 Leper Lord 1:15
08 Rain Of Despair 4:24
09 Foretold 5:00
10 Behind The Rose (Fields Of Rape) 2:54
11 She Said Destroy 3:34
12 Carousel 4:49
13 C'est Un Rêve 3:28
14 Crush My Love 4:20

Death In June - Nada! (ogg 144mb)

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This double album finds Death in June covering similar ground to the earlier LP Nada! from a year earlier. Jackboot rhythms, acoustic guitar strums, electronic effects, and Douglas Pearce's low, droning vocals and gloomy choruses conspire to paint a vision slightly more depressing than Joy Division. While "Come Before Christ and Murder Love" could almost be a pop song on heavy downers, other pieces offer more experimentalism. David Tibet adds backup vocals on most of the songs on the first record, his raspy voice offering an interesting contrast to Pearce's smoother lead, and at times Tibet is either whispering or screaming in the background. "Break the Black Ice" with the echoed voices and creepy little piano runs over a bed of acoustic guitar textures is frightening. This piece and several others have horn fanfares, elsewhere gongs and a tinkly music box can be heard. The second disc has three instrumental versions of tracks from the first record on one side, while the flip side is taken up by "Death of a Man," a long collage piece with mechanical rhythms, found-sound voices in many different languages, what sounds like monkeys shrieking, and other effects. The record may not be quite as strong as the earlier Nada!, especially with the filler on the second LP, but still finds Death in June moving forward.

Death In June - The World That Summer (flac 423mb)

01 Blood Of Winter (4:09)
02 Hidden Among The Leaves (4:29)
03 Torture By Roses (3:33)
04 Come Before Christ And Murder Love (4:24)
05 Love Murder (5:09)
06 Rule Again (4:01)
07 Break The Black Ice (4:06)
08 Rocking Horse Night (3:31)
09 Blood Victory (4:17)
10 Death Of A Man (15:28)
11 Reprise 1 (Rule Again) (3:21)
12 Reprise 2 (Break the Black Ice) (4:05)
13 Reprise 3 (Blood Victory) (5:21)

Death In June - The World That Summer (ogg 167mb)

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

With 31 re-ups today most of the current requests have been fulfilled, however there's still thousands of postings that could be re-upped, all it takes is a simple civilized request at the page where its originally posted. That said i've seen a number of requests for music i posted earlier this year 2015, these are on the long list simply because most visitors here have already had these choices recently, my priority lies with older posts (i've been posting for 9 years now)

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

Looka here another batch of 31 re-ups, requests fullfilled up to Februari 16th ...N' Joy

5x Sunshine, Cruise NOW In Flac (Joe Arroyo - Rebellion, VA - Tropical Extravaganza, VA - Cumbia Cumbia) back in ogg VA - Socatrain, Los Muchachos - Fiesta

3x Roots NOW In Flac (Maya Dread - Kaya Dub, Harry Mudie - In Dub Confrence, Scientist v. Jammy - Big Showdown)

1x Sundaze Back In Flac (Manuel Gottsching - E2 E4)

4x Sundaze - Basic Channel Back In Flac ([BC-01-03] Cyrus - Enforcement, Phylyps & Lyot, [BC-04-6] Basic Channel - Q 1.1, Inversion, Quadrant Dub, [BC-07-08-09] Octagon & Octaedre, Radiance, Phylyps Trak II, [BC-BR] Paperclip People - Basic Reshape,[BC-QD] Quadrant - Infinition & Hyperprism)

3x Roots (Zimbabwe) Back in Flac ( The Soul of Mbira, Thomas Mapfumo - Singles 1977-86, Chiwoniso - Rebel Woman)

To the anon requesting this, im sorry that you missed my year long tour of Africa but asking me to re-up it all is going to be ignored by me, so please one post request at the time.

3x Dinosaur JR Back in Flac (Dinosaur, You're Living All Over Me, Bug)

3x Smithereens Back in Flac ( Especially for You , Green Thoughts, 11)

3x Harold Budd Back in Flac (Luxa, The Room, Avalon Sutra )

3x Green On Red Back in Flac (Green On Red + Gas Food Lodging, No Free Lunch + the Killer Inside Me, Here Comes the Snakes)

3x Roots Back in Flac (Third World Child, Heat, Dust & Dreams, Anthology)

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Hello, nothing changed despite the desperate attempts by the Republican leadership attacking it's own frontrunner, Trump marches on, the contours of 1600 Pennsylvania Avenue become more visible, the republican competition fall unmourned to the wayside and the democrats pull out all the stops to block the advancement of the non establishment candidate (Sanders). Hilary stands no chance against Trump he will paint her in the corner where she belongs, the 1%.

Today's artists are .an American jazz, R&B, soul, funk and disco group, originally formed in 1964 as the Jazziacs based in Jersey City, New Jersey. They went through several musical phases during their recording career, starting out with a purist jazz sound, then funk and R&B, progressing to a smooth pop-funk ensemble, and in the post-millennium creating music with a modern, electro-pop sound. They have sold over 70 million albums worldwide ... N'joy

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Formed as a jazz ensemble in the mid-'60s, Kool & the Gang became one of the most inspired and influential funk units during the '70s, and one of the most popular R&B groups of the '80s after their breakout hit "Celebration" in 1979. Just as funky as James Brown or Parliament (and sampled almost as frequently), Kool & the Gang relied on their jazz backgrounds and long friendship to form a tightly knit group with the interplay and improvisation of a jazz outfit, plus the energy and spark of a band with equal ties to soul, R&B, and funk.

Robert "Kool" Bell and his brother Ronald (or Khalis Bayyan) grew up in Jersey City, NJ, and picked up the music bug from their father. A professional boxer, he was also a serious jazz lover and a close friend of Thelonious Monk. With Robert on bass and Ronald picking up an array of horns, the duo formed the Jazziacs in 1964 with several neighborhood friends: trombone player Clifford Adams, guitarists Charles Smith and Woody Sparrow, trumpeter Robert "Spike" Michens, alto saxophonist Dennis Thomas, keyboard player Ricky West, and drummer Funky George Brown (all of whom, except Michens and West, still remained in the group more than 30 years later).

The Bell brothers' father Bobby and uncle Tommy were boxers. They moved to New York to train and lived in the same apartment building as Thelonious Monk who became Robert's godfather when he was born. Miles Davis would drop by because he wanted to be a boxer.[5] They played occasionally with McCoy Tyner, Pharoah Sanders and Leon Thomas.

The growing earthiness of soul inspired the Jazziacs to temper their jazz sensibilities with rhythms more akin to R&B, and the newly renamed Soul Town Band began playing clubs in Greenwich Village. After a mix-up with a club owner resulted in the group being billed Kool & the Flames, they moderated the title to Kool & the Gang and found a leg up with the tiny De-Lite Records. Three singles from their self-titled debut album hit the pop charts, and although the position wasn't incredibly high, Kool & the Gang became a quick success on the R&B charts. Always a staple of their appeal, the group's live act was documented on two 1971 LPs, Live at the Sex Machine and Live at P.J.'s, including left-field covers of "Walk On By" and "Wichita Lineman" (as well as the not so unusual "I Want to Take You Higher").

Studio albums followed in 1972 and 1973, but it was with Kool & the Gang's sixth LP, Wild and Peaceful, that they hit the big time. "Funky Stuff" became their first Top 40 hit at the end of 1973. Then both "Jungle Boogie" and "Hollywood Swinging" reached the pop Top Ten. During the next four years, however, Kool & the Gang could only manage an occasional Top 40 hit ("Higher Plane,""Spirit of the Boogie"), and though they did win a Grammy award for "Open Sesame" (from the Saturday Night Fever soundtrack), the rise of disco -- a movement centered around producers and vocalists, in direct contrast to the group's focus on instrumentalists -- had appeared to end their popularity.

Then, in 1979, the group added two new vocalists, Earl Toon, Jr. and, more importantly, James "J.T." Taylor, a former Jersey nightclub singer. Kool & the Gang also began working with jazz fusion arranger Eumir Deodato, who produced their records from 1979 to 1982. The first such album, Ladies Night, was their biggest hit yet, the first of three consecutive platinum albums, with the Top Ten singles "Too Hot" and the title track. Celebrate!, released in 1980, spawned Kool & the Gang's only number one hit, "Celebration," an anthem favored by innumerable wedding receptions since. With Deodato, the group produced several more hits, including the singles "Take My Heart (You Can Have It if You Want It),""Get Down on It," and "Big Fun," and the albums Something Special in 1981 and As One a year later. After Deodato left the fold in late 1982, Kool & the Gang proved their success wasn't solely due to him; they had two immense hits during 1984-1985 ("Joanna" and "Cherish"), as well as two more Top Tens, "Misled" and "Fresh." The group's string of seven gold or platinum records continued until 1986's Forever, after which James "J.T." Taylor amicably left the group for a solo career.

Although Taylor did reasonably well with his solo recordings (many of which were produced by Ronald Bell), Kool & the Gang quickly sank without him. They replaced Taylor with three vocalists, Skip Martin (formerly of the Dazz Band), Odeen Mays, and Gary Brown, but failed to chart their albums Sweat (1989) and Unite (1993). Taylor finally returned to the group in 1995 for the release of a new album, State of Affairs. They continued well throughout the 2000s, releasing 2001's Gangland, 2004's The Hits: Reloaded, and 2007's Still Kool (recorded after the 2006 death of co-founder Charles Smith). They often collaborated with new and well-known younger talent.

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Kool & The Gang were really on the roll in terms of funk in the mid 70's. Following Wild & Peaceful their sound began to change. Well aware they were now starting to get popular hit songs on the radio,the band began with this album the very very gradual slickening up of their sound that would culminate with huge success by decades end. Here it was a sudtle change. But they were still in high gear in terms of funk. Right off the bat with "Street Corner Symphony" the changes are apparent. That loose rhythm is still there,so are the horns. But the drumming is slicker and the presense of synthesizers in the arrangements,which are used to provide a mild electronic seasoning more than anything. "Fruitman" has a bit more of a soul jazz-funk flavor to it,with a health conscious lyric very apropot considering the commonly stated poor dietary habits of many black Americans. On the title track and "Higher Plane" that jazz-funk sound,with a lot of sleeker vocal harmonies are applied to songs that tend to go deeper into the band members burgeoning sense of spirituality. Much as with EWF,they are perfectly willing to share their message of the unity of differences with the listener. There are two wonderful instrumentals here too in the rhythmically boistorous "Whiting H&G" and of course the slower jam "Summer Madness" with it's crawling,melodic synthesizer line.

One thing about this album is that their production was sharpening up significantly. They were really starting to establish how their type of funk would function as a studio entity as well as a live one. Where every single one of these songs could of course be easily reproduced on stage,they are very much more clean sounding and studiocentric productions than anything the band had recorded previous to this. This quality of blending the hardest edged Kool & The Gang funk with a heavier studio sound actually represented the peak of the bands sound in a similar manner to the Charles Stepney produced Earth Wind & Fire productions of the same era. A year later they would expand on this sound even further with their signiture mid 70's opus Spirit of the Boogie. But the sound that would come to the surface so heavy on that album really begins here.

Kool & The Gang - Light Of Worlds (flac 205mb)

01 Street Corner Symphony 4:32
02 Fruitman 5:19
03 Rhyme-Tyme People 3:19
04 Light Of Worlds 4:21
05 Whiting H. & G. 3:17
06 You Don't Have To Change 2:39
07 Higher Plane 4:57
08 Summer Madness 4:16
09 Here After 2:54

Kool & The Gang - Light Of Worlds (ogg 75mb)

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Discussing Kool & the Gang in the early '70s, James Brown enthused, "They're the second-baddest out there...They make such bad records that you got to be careful when you play a new tape on the way home from the record store. Their groove is so strong you could wreck." And that really says it all. Kool & the Gang were funk's kings in 1975, and Spirit of the Boogie was the finest album they ever recorded -- the staggering climax of their development thus far. The record-buying public thought so too -- the album gave the band their first Top Five R&B hit. Spirit of the Boogie may have been first and foremost a funk masterpiece, but it was also so much more. From the African art on the foldout sleeve to the spiritual and musical purity of many of the songs, this album not only bound the band's reverence for their roots to a blistering, street-smart funk, but also demonstrated a keen awareness of their own role in their musical odyssey. "Ancestral Ceremony" pays homage by quoting from Kool's earlier songs, while "Jungle Jazz" tracks back to the original pounding jams that imbibed 1973's "Jungle Boogie." The title track, meanwhile, is quintessential Kool & the Gang -- fiery funk which is kept in check by rhythm and chant. It gave the band a springtime number one on the R&B charts -- their third. This is a phenomenal set, a superlative album. And because the grooves are so strong, it's easy to forgive weak moments -- most especially the mawkish "Sunshine and Love." Kool & the Gang were outstanding during this period, before they caught the disco bug. Spirit of the Boogie remains a proud achievement.

Kool & The Gang - Spirit Of The Boogie (flac 284mb)

01 Spirit Of The Boogie 4:52
02 Ride The Rhythm 2:56
03 Jungle Jazz 4:45
04 Sunshine And Love 3:30
05 Ancestral Ceremony 3:50
06 Mother Earth 5:39
07 Winter Sadness5:16
08 Caribbean Festival 7:33
Bonus Track:
09 Caribbean Festival (Disco Version) 4:05

Kool & The Gang - Spirit Of The Boogie (ogg 98mb)

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Following on the heels of their 1975 smash Spirit of the Boogie, Kool & the Gang hit the road to tour the album and record new material. One tumultuous show, at London's Rainbow Theatre, became the core of Love & Understanding. Three live tracks, "Hollywood Swinging,""Summer Madness," and a dreamily mellow "Universal Sound," are all excellent reminders of just how good this band could sound when they found the vibe and had the funk firmly in hand. But as good as this stuff is, there are ominous glimmers among the goods, of musical moves the band were contemplating -- heard most markedly in the bland "Sugar" and "Do It Right Now." For, despite the sureness with which they were creating driving funk, they were also struggling with the oncoming disco explosion. That push-pull was duly reflected in the album. The studio tracks are the most uneven. At their best, they are dominated by the opening title track and its near-instrumental twin shadow "Come Together," which closes. Both songs are horn heavy, an insistent call for unity, love, and peace. The rest of the album is sandwiched between this jazzy cacophony but, despite the rocky moments, Love and Understanding remains a remarkable album, recorded at a time when the band was still reveling in the grip of pure funk, uncorrupted by the mainstream.

Kool & The Gang - Love & Understanding (flac 259mb)

01 Love & Understanding 7:51
02 Sugar 5:37
03 Do It Right Now 3:55
04 Cosmic Energy 3:11
05 Hollywood Swinging 5:40
06 Summer Madness 8:01
07 Universal Sound 4:04
08 Come Together 2:48

Kool & The Gang - Love & Understanding (ogg 102mb)

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Open Sesame is the tenth studio album by the funk band Kool & the Gang. This 1976 release from the band continues to capture that early to mid 70's Jazz-Funk that had made Kool&The Gang popular,however on this release featuring the lush vocals of the all-female vocal group "Something Special" the sound is more R&B with hints of Disco in the midst. Most diehard 70's Kool&The Gang fans should still be satisfied with the work the group layed out on this release,there is a wealth of great material on this late 70's gem. The album yielded the hit title track "Open Sesame" which achieved some success, first as a top ten R&B single, then later as part of the Saturday Night Fever soundtrack "Super Band" also reached the R&B top twenty. The album was the second of two albums released by the band in 1976.

Kool & The Gang - Open Sesame (flac 354mb)

01 Open Sesame - Part 1 3:49
02 Gift Of Love 4:10
03 Little Children 5:30
04 All Night Long 3:56
05 Whisper Softly 6:06
06 Super Band 4:56
07 L-O-V-E 3:26
08 Sunshine 3:30
Bonus Tracks
09 Open Sesame (Groove With The Genie) - Part 2 4:28
10 Super Band (Single Version) 3:22
11 Open Sesame (Groove With The Genie) (Disco Version) 8:44

Kool & The Gang - Open Sesame (ogg 128mb)

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Hello,

Today's artist is a musician, composer and video artist in Berlin. His work is known for precise sound placement, complex, interwoven rhythm structures and its minimal, flowing approach. His subtle and detailed music is echoed by his visuals: perfect translated realizations of the qualities found in music within visual phenomena. ....N'Joy

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Frank Bretschneider is a German electronic musician. He works primarily with sine waves and white noise as his source material. He also releases material under the name Komet. Bretschneider (1956) was born and raised in Karl-Marx-Stadt (Chemnitz since 1990), where his aesthetic developed as he listened to pirate radio and smuggled Beastie Boys tapes in the former East Germany. After studying fine arts and inspired by science fiction radio plays and films he began experimenting with tape machines, synthesizers, and modified guitars in 1984, as well as exploring the possibilities of exchange between visual art and music by various means such as film, video and computer graphics.

In 1986, after establishing his cassette label klangFarBe, Bretschneider founded AG Geige, a successful and influential East German underground band. Though limited to the East before the wall came down, they were invited to perform across Germany and internationally after 1989 and released three albums before splitting in 1993. In 1995, Bretschneider and fellow AG. Geige band member Olaf Bender founded the Rastermusic record label. In 1999 this label merged with Carsten Nicolai's Noton label, to become Raster-Noton. Bretschneider has released material on record labels such as 12k, Raster-Noton, Mille Plateaux, Fällt and Bip Hop.

Most of Bretschneider’s early solo albums - about half a dozen - were under the alias Komet, the first, SAAT, appearing in 1996. Since then Bretschneider has released his work (in addition to raster noton) on various labels including 12k, Line, Mille Plateaux or Shitkatapult, and contributed to some well-known compilations like Clicks & Cuts on Mille Plateaux and raster-noton’s 20' TO 2000 series. 2001’s Curve, his second album for Mille Plateaux, was critically acclaimed and brought Bretschneider international attention. Followed 2003 by Gold, raster-noton’s most blatantly pop album by then. Gold, however, was topped by the percussive masterpiece released in late 2007, Rhythm, an album that was rated very highly by several major electronic music publications, notably »The Wire« magazine, who put the album among their top releases of 2007. 2010 saw the release of EXP, a rather complex and abstract audio-visual work and his 2012 album Kippschwingungen explores the sound of the Subharchord, a unique electronic instrument based on subharmonic sound generation. Super Trigger, his 2013 album for raster-noton, is an absolute trove of percussive tension. And his newest, Sinn + Form, is all about improvisation and analog modular synth chaos.

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Frank Bretschneider's Rand takes the oft-minimalist sounds of Germany's Mille Plateaux a bit farther towards nothingness than they traditionally go. The East German artist lays down 20 tracks of quiet, twinkling sounds in an amazing display of carefully organized symmetry, with the occasional rumble or pulse of bass accompanying the highly ordered sounds. Since there are 20 songs crammed onto this album, none of them last for more than a few minutes, presenting the listener with a wide range of song ideas that range from the vast spaciousness of the first few songs to the near technoness of the later tracks. Anyone with an ear for subtle sounds glimmering with delicacy will savor this album, but most listeners coming from the percussive field of techno, the pounding maelstrom of drum'n'bass, or the rhythmic realm of house will find themselves continually turning up the volume, wondering if they're missing something: there is no percussion, no ambient strings, no synths, few bass pulses, little to no static, only the occasional clicks or cuts, and little else. Songs such as "Mark" and "Pin" that integrate bass frequencies with the glistening clink and twinkle sounds tend to be the more rewarding moments on the otherwise ultra-minimal album.

Frank Bretschneider - Rand (flac 200mb)

01 Din 3:46
02 Mond 4:03
03 Glas 3:04
04 Pal 2:58
05 Mol 3:04
06 Pond 2:47
07 Mark 3:02
08 Rand 3:07
09 Last 2:49
10 Land 2:28
11 Verb 2:58
12 Pin 2:24
13 Watt 3:06
14 Nox 3:20
15 Mai 2:59
16 Bell 3:06
17 Norm 2:27
18 Term 3:19
19 M.D. 2:31
20 Tau 2:44

Frank Bretschneider - Rand (ogg 167mb)

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Esteemed German producer Frank Bretschneider returns with a much more casual second album for Mille Plateaux. His debut, Rand, found him supposedly employing "spatial metamorphic rhythm patterns" that resulted from a "computer-based, modulated synthesizer system." Fortunately, this time around you don't need to read a user's manual or study the philosophy of contemporary music to enjoy Curve. It's a fairly straightforward album that slowly evolves from clicky austere ambience into ambient dub by the halfway point. The fact that this album actually has beats and noticeable rhythms makes it instantly more listenable than his debut, and, furthermore, the fact that he seems to have a firm grasp on how to sequence them in such a mesmerizing manner makes this, in fact, engaging and worth returning to. The album just kind of meanders around in ambience until "Sat," where the sparse dub bassline comes in. From here, the album flows rather well until its conclusion. If you have the patience to wade through the near-nothingness that precedes this latter half, it only makes your listening experience all the more enjoyable, as you're practically starved for some rhythm or even just a beat by the time you reach "Sat." The nonstop mix from one track to the next adds to the album's atmospheric quality, making it a truly suturing listen much in the spirit of the better Mille Plateaux albums

Frank Bretschneider - Curve (flac 280mb)

01 Blue 6:08
02 Curve 7:26
03 Fall 6:52
04 Silk 8:58
05 Sat 9:32
06 Star 8:49
07 Tag 7:46
08 Tones 4:27

Frank Bretschneider - Curve (ogg 133mb)

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This pairing of Frank Bretschneider and Taylor Deupree brings together two of the world's most celebrated ambient glitch producers. Both producers -- the former from Berlin, the latter from New York -- established themselves as masters of microscopic sounds, the sort of sine wave/white noise-based music central to the glitch aesthetic -- or at least the ambient side of the style. So when the two announced their partnership, anticipation mounted quickly. The result of their work -- exchanging patch files via email, with Bretschneider doing the initial mix and Deupree doing the final remixing and re-processing -- is showcased on Balance, a nine-track album released by Mille Plateaux in 2002. The album seamlessly mixes the nine tracks, which vary quite a bit -- relative to other ambient glitch full-lengths, at least -- from one track to the next. Some tracks, such as "Vertical Invader" and "Autodrive," are composed of primarily high-frequency click- and beep-like melodies, while other tracks, such as "Moving Light" and "Freeze Frame," add percussion and bass to the melodies. Bretschneider and Deupree construct these tracks around rhythms and melodies rather than still ambience, making this album quite a bit more accessible to the general electronica audience than your standard ambient glitch album. Moreover, since the duo incorporates a variety of sounds from one track to the next in addition to the rhythms and melodies, Balance is one of the more dynamic releases within the style as well. Considering the past work of these two producers, Balance tends to be greater than the sum of its parts; though both producers had released similarly excellent albums in previous years, their work had never been this dynamic. Only sometimes do collaborations such as this better the work of the individual producers, but in this case, Bretschneider and Deupree do so, resulting in one of the best ambient glitch albums of its era. Furthermore, Deupree designs the album's packaging and Bretschneider contributes Quicktime visuals for the track "Autodrive," adding yet more craft to an already well-crafted album.

Frank Bretschneider & Taylor Deupree - Balance (flac 207mb)

01 Interlock 6:15
02 Moving Light 5:45
03 Dug In 5:09
04 Vertical Invader 5:25
05 Freeze Frame 4:15
06 Autodrive 4:31
07 Concrete 5:26
08 Half-Mute 4:42
09 Bluetime 4:29

Frank Bretschneider & Taylor Deupree - Balance (ogg 107mb)

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The 12k web site notes that Bretschneider is a fan of science fiction novels, and that he envisioned his work as a science fiction story of sorts, with a beginning, middle and end. It's a work of slowly building loops, clicks and whirls that echo in bubbly depths, and deep chasms of mutated sound waves. It sounds like a dark universe to me. Bretschneider is probably the foremost purveyor of minimal dance music. His plentiful output over the past decade (under his own name and numerous pseudonyms, like Komet) usually revolves around icy-sharp, glitch-fused beats. At its best, his music is as good as dance music is likely to get. But Looping I-VI is a departure from that formula. There are grooves, there are clicks, there is minimalism, but the emphasis is on atmosphere, not rhythm.

This is, as I said, a story. It begins with a slow, mumbling wave (kind of like a dense, dark passageway); eventually, tiny echoing clicks are added to the mix. The clicks then melt away, revealing a whole cavern of deep, oceanic waves and hard thumps. Then, at "Against a Blue Background," the thumps mellow and a melody emerges (like the emergence of life in an otherwise lifeless valley). This life grows and builds into other melodies, and these melodies all play together, mixing with the stray noises and echoes that lumber into view. Then the melodies slowly die out, replaced by sad simulations, silence, damp fuzz, and emptiness, which then mutates into new melodies that play and dance together before falling into yet another respite of cold echoes.

The album is one of death and rebirth, new musical life growing out of the embers of the old. I glimpse at least four sets of deaths and rebirths spread over 42 minutes. I like to imagine that each of those clicks and melodies revealed a different face or contour to a cavernous, dark world, and that the music, taken as a whole, tells the story of a character who spends his life searching for an elusive entity known only as "light." In this case, perhaps each of the magical melodies that surface here are glimpses of light, or what he thinks is light, revealed in the only language he knows, sound.

Frank Bretschneider - Looping I - VI (And Other Assorted Love Songs) (flac 199mb)

01 Looping I 4:17
02 Looping II 2:41
03 Paperthin 4:46
04 Looping III 2:11
05 Against A Blue Background 5:24
06 Rocket Summer 4:47
07 The Day It Rained Forever 2:32
08 Looping IV 5:39
09 Night Broadcast 5:37
10 Looping V 1:40
11 Go! Said The Bird 4:08
12 Looping VI 1:38

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

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

Watchmen The Motion Comic 06 The Abyss Gazes Also... (avi 233mb)

06 The Abyss Gazes Also... 25:31

In police custody, Rorschach is interviewed by Dr. Malcolm Long, a psychiatrist. Rorschach's history and identity are revealed.

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previously

Watchmen The Motion Comic 01 At Midnight, All the Agents... (avi 233mb)
Watchmen The Motion Comic 02 Absent Friends... (avi 233mb)
Watchmen The Motion Comic 03 The Judge of All the Earth... (avi 233mb)
Watchmen The Motion Comic 04 Watchmaker... (avi 233mb)
Watchmen The Motion Comic 05 Fearful Symmetry... (avi 233mb)

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

Today again that Brazilian songwriter, composer, arranger, singer, and pianist/guitarist. He was a primary force behind the creation of the bossa nova style, and his songs have been performed by many singers and instrumentalists within Brazil and internationally. Widely known as the composer of "Garota de Ipanema" ("The Girl from Ipanema"), one of the most recorded songs of all time, Jobim has left a large number of songs that are now included in jazz and pop standard repertoires. The song "Garota de Ipanema" has been recorded over 240 times by other artists.....N'Joy

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Antônio Carlos Jobim was born in the middle-class district of Tijuca in Rio de Janeiro. His father Jorge de Oliveira Jobim (São Gabriel, Rio Grande do Sul, April 23, 1889 – July 19, 1935) was a writer, diplomat, professor and journalist. When Antônio was still an infant, his parents separated and his mother, Nilza Brasileiro de Almeida, moved with her children (Antônio Carlos and his sister Helena Isaura) to Ipanema, the beachside neighborhood the composer would later celebrate in his songs. In 1935, when the elder Jobim died, Nilza married Celso da Frota Pessoa, who would encourage his stepson's career. He was the one who gave Jobim his first piano. As a young man of limited means, Jobim earned his living by playing in nightclubs and bars and later as an arranger for a recording label, before starting to achieve success as a composer.

Jobim's musical roots were planted firmly in the work of Pixinguinha, the legendary musician and composer who began modern Brazilian music in the 1930s. Among his teachers were Lúcia Branco, and, from 1941 on, Hans-Joachim Koellreutter. Jobim was also influenced by the French composers Claude Debussy and Maurice Ravel, by the Brazilian composers Heitor Villa-Lobos, Ary Barroso, and by jazz. Among many themes, his lyrics talked about love, self-discovery, betrayal, joy and especially about the birds and natural wonders of Brazil, like the "Mata Atlântica" forest, characters of Brazilian folklore, and his home city of Rio de Janeiro

Jobim became prominent in Brazil when he teamed up with poet and diplomat Vinícius de Moraes to write the music for the play Orfeu da Conceição (1956). The most popular song from the show was "Se Todos Fossem Iguais A Você" ("If Everyone Were Like You"). Later, when the play was turned into a film, producer Sacha Gordine did not want to use any of the existing music from the play. Gordine asked de Moraes and Jobim for a new score for the film Black Orpheus (1959).This collaboration proved successful, and Vinicius went on to pen the lyrics to some of Jobim's most popular songs.

A key event in making Jobim's music known in the English speaking world was his collaboration with the American jazz saxophonist Stan Getz, João Gilberto and Gilberto's wife at the time, Astrud Gilberto, which resulted in two albums, Getz/Gilberto (1963) and Getz/Gilberto Vol. 2 (1964). The release of Getz/Gilberto created a bossa nova craze in the United States, and subsequently internationally. Jobim wrote many of the songs on Getz/Gilberto, which became one of the best-selling jazz albums of all time, and turned Astrud Gilberto, who sang on "The Girl from Ipanema" and "Corcovado", into an international sensation. At the Grammy Awards of 1965 Getz/Gilberto won the Grammy Award for Album of the Year, Grammy Award for Best Jazz Instrumental Album, Individual or Group and the Grammy Award for Best Engineered Album, Non-Classical. "The Girl from Ipanema" won the Grammy Award for Record of the Year.

Jobim was married to Thereza Otero Hermanny on October 15, 1949 and had two children with her: Paulo Jobim (born 1950), an architect and musician, married and father of Daniel Jobim (born 1973) and Dora Jobim (born 1976); and Elizabeth "Beth" Jobim (born 1957), a painter. Jobim and Thereza divorced in 1978. On April 30, 1986 he married 29-year-old photographer Ana Beatriz Lontra, with whom he had two more children: João Francisco Jobim (1979–1998) and Maria Luiza Helena Jobim (born 1987). Daniel, Paulo's son, Tom's grandson; followed his grandfather to become a pianist and composer.

In early 1994, after finishing his album Antonio Brasileiro, Jobim complained to his doctor, Roberto Hugo Costa Lima, of urinary problems. A bladder tumor was detected, but Jobim postponed the recommended immediate surgery for several months, while he tried spiritual treatment with a Brazilian medium and started working on his album Tom Jobim. His operation took place at Mount Sinai Hospital, in New York, on December 2, 1994. On December 8, while recovering from surgery, he had a cardiac arrest caused by a pulmonary embolism and two hours later another cardiac arrest, from which he died. His last album, Antonio Brasileiro, was released posthumously three days after his death.

Jobim is widely regarded as one of the most important songwriters of the 20th century. Many of Jobim's songs are jazz standards. American jazz singers Ella Fitzgerald and Frank Sinatra prominently featured Jobim's songs on their albums Jobim was an innovator in the use of sophisticated harmonic structures in popular song. Some of his melodic twists, like the melody insisting on the major seventh of the chord, became common use in jazz after him. The Brazilian collaborators and interpreters of Jobim's music include Vinícius de Moraes, João Gilberto (often credited as a co-creator of bossa nova), Chico Buarque, Gal Costa, Elis Regina, Sérgio Mendes, Astrud Gilberto, and Flora Purim. Eumir Deodato and the conductor/composer Claus Ogerman arranged many recordings of Jobim tunes. He won a Lifetime Achievement Award at the 54th Grammy Awards in 2012. As a posthumous homage, on January 5, 1999, the Municipality of Rio de Janeiro changed the name of Rio's Galeão International Airport, located on Governador Island, to bear the composer's name. Galeão Airport is explicitly mentioned in his composition "Samba do Avião". In 2014, Jobim was posthumously inducted to the Latin Songwriters Hall of Fame. In 2015, Billboard named Jobim as one of The 30 Most Influential Latin Artists of All Time.

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Though this is one of the more obscure Jobim albums, it did introduce what some believe is Jobim's masterpiece, the hypnotically revolving song "Aguas de Marco" (heard here in Portuguese and English versions). Mostly, however, the record lets listeners in on another side of Jobim, the Debussy/Villa-Lobos-inspired creator of moody instrumental tone poems for films and whatnot, with the instrumental colors filled in by Jobim's old cohort, Claus Ogerman. This was supposed to be a breakthrough for Jobim, bursting out of the bossa nova idiom into uncharted territory, yet a lot of this often undeniably beautiful music merely treads over ground that Villa-Lobos explored long before ("Train to Cordisburgo" especially). In any case, Jobim would explore his serious muse with greater success later on.

Antonio Carlos Jobim - Jobim (flac 336mb)

01 Águas De Março (Waters Of March) 3:56
02 Ana Luiza 5:26
03 Matita Pere 7:11
04 Tempo Do Mar 5:09
05 Mantiqueira Range 3:31
Cronica Da Casa Assassinada (Chronicle Of The Murdered House) 9:57
06 Trem Para Cordisburgo 1:14
07 Chora Coração 3:23
08 Jardim Abandonado 3:13
09 Milagre E Palhaços 2:08

10 Um Rancho Nas Nuvens 4:04
11 Nuvens Douradas 3:16
12 Águas De Março (Waters Of March) 3:56

Antonio Carlos Jobim - Jobim (ogg 114mb)

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This beautiful -- and now legendary -- recording date between iconic Brazilian vocalist Elis Regina and composer, conductor, and arranger Tom Jobim is widely regarded as one of the greatest Brazilian pop recordings. It is nearly ubiquitous among Brazilians as a household item. Regina's voice is among the most loved in the history of Brazilian music. Her range and acuity, her unique phrasing, and her rainbow of emotional colors are literally unmatched, and no matter the tune or arrangement, she employs most of them on these 14 cuts. Another compelling aspect of this recording is the young band Jobim employs here and allows pretty free rein throughout. He plays piano on eight of these tracks, and guitar on two others, but the fluid, heightened instincts of these players -- guitarist Oscar Castro-Neves, Luizão Maia on bass, drummer Paulinho Braga, and pianist César Mariano -- reveal them to be at the top of their game for this rather informal date that does include a few numbers with a full orchestra. That said, most of these songs were completed as first takes with very little overdubbing. The ballads are stunning -- check"Modinha," written and arranged by Jobim. The chart, even with an orchestral backing, is amazingly terse because the composer knew Regina worked best within minimal settings. Only two minutes and 16 seconds in length, it nonetheless captures the Portuguese notion of "saudade" perfectly. Of course, most of these tunes are bossa novas. The opening "Águas de Março" features a deceptively simple cat-and-mouse vocal call and response, kicking the disc off on a light, cheerful note; it's a delightful and very sophisticated number, but it feels effortless. "Triste" is one of Jobim's finest tunes, and there is scarcely a better version of it than this one. Even with electric guitars (complete with a semi-funky solo in the middle eight) on top of the nylon strings, the gauzy yet pronounced rhythms and the languid melody delivered by Regina are gorgeous. "Corcovado" is done with an orchestra, full of lilting flutes and a deep string backdrop. It is mournful and sensual. Jobim plays guitar and piano here, and adds a hushed backing vocal to Regina's refrains. It's an unusual reading, but a stellar one. "Brigas, Nuncas Mais" is a wonderfully accented -- if brief -- bossa nova with all the percussion just above the threshold of hearing. It's all guitars, bass, and Regina in the first verse before the Rhodes piano and counterpoint enter near the end. She does more to express the true elegant sensuality of the bossa nova in a minute and 13 seconds than some singers have in a lifetime. Jobim's classic jazz ballad "Inútil Paisagem" is very difficult to deliver well, because it requires incredible restraint and emotion. Accompanied only by Jobim's piano -- and his all-but-whispered backing vocal -- this is truly one of Regina's greatest performances of the 1970s. It closes the album on a stunning high note, leaving nothing to be desired by the listener.

Elis Regina e Tom Jobim - Elis e Tom (flac 220mb)

01 Águas De Março 3:29
02 Pois É 1:45
03 Só Tinha De Ser Com Você 3:50
04 Modinha 2:12
05 Triste 2:38
06 Corcovado 3:53
07 O Que Tinha De Ser 1:40
08 Retrato Em Branco E Preto 3:02
09 Brigas, Nunca Mais 1:36
10 Por Toda Minha Vida 2:02
11 Fotografia 2:45
12 Soneto De Separação 2:18
13 Chovendo Na Roseira 3:10
14 Inútil Paisagem 3:11

Elis Regina e Tom Jobim - Elis e Tom (ogg 88mb)

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Urubu is the album that MCA's Jobim probably aspired to be, a total break away from the bossa nova past that is both ambitious and strikingly original. The shock of dissonant strings, percussive and wind sounds from the Brazilian interior greet us on the first track "Bôto," the first of four songs in which a defiant Jobim throws structural complexities at us and sings in Portuguese only. The second four tracks are an even more radical departure; all are classical orchestral pieces, melancholy and even anguished in tone, owing little or nothing to anyone, streaked with imaginative, even avant-garde orchestral touches from Claus Ogerman. Clearly we are not on the Ipanema beach anymore, and although this may be rough going for jazz-minded Jobim fans, the pay-off is a glimpse into the depths of Jobim's soul.

Antonio Carlos Jobim - Urubu (flac 211mb)

01 Boto (Porpoise) 6:07
02 Ligia 4:13
03 Correnteza 2:41
04 Angela 2:50
05 Saudade Do Brazil 8:08
06 Valse 3:14
07 Arquitetura De Morar (Architecture To Live) 8:08
08 O Homem (The Man) 2:31

Antonio Carlos Jobim - Urubu (ogg 86mb)

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In some ways, this is a strategic retreat for Antonio Carlos Jobim after the classical departures of the '70s -- a retrospective of past triumphs, including some of the most trod-upon standards ("Ipanema,""Desafinado,""One-Note Samba," etc.), with Claus Ogerman again at hand. But these are thoughtful retoolings, some subtle, some radical, ranging in backing from a lonely piano to elaborate yet sensitive Ogerman orchestral flights that cram more complexity than ever into the spaces (listen to his beguilingly involved take on "Double Rainbow") with only a few overbearing faux pas. Jobim's own vocals sound increasingly casual in temperament as he serves them up in an unpredictable mixture of Portuguese, English and scat. And there is much unfamiliar material here, often dressed up in a brooding classical manner. Originally a two-LP set and later on one CD, this is a snapshot of Jobim's view of his output as of 1980.

Antonio Carlos Jobim - Terra Brasilis (flac 392mb)

01 Dreamer (Vivo Sonhando) 3:04
02 Canta Mais (Sing Once More) 4:34
03 Olha Maria (Amparo) 4:05
04 One Note Samba 2:18
05 Dindi 4:15
06 Quiet Nights Of Quiet Stars (Corcovado) 3:28
07 Marina 2:54
08 Desafinado (Off Key) 3:25
09 Voce Vai Ver (You'll See) 2:56
10 Estrada Do Sol (Road To The Sun) 2:05
11 The Girl From Ipanema 4:48
12 Double Rainbow 4:05
13 Triste 3:04
14 Wave 3:40
15 Someone To Light Up My Life (Se Todos Fossem Iguais A Voce) 3:05
16 Falando De Amor (Speaking Of Love) 3:41
17 Two Kites 4:38
18 Modinha (Serenade) 3:39
19 Song Of The Sabia (Sabia) 4:06
20 This Happy Madness (Estrada Branca) 2:49

Antonio Carlos Jobim - Terra Brasilis (ogg 172mb)

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Hello,

Today's artists is the musical brainchild of English folk musician Douglas Pearce, better known as Douglas P. Death In June was originally formed in Britain in 1981 as a trio, but after the other members left in 1985 to work on other projects, the group became the work of Douglas Pearce and various collaborators. Pearce now lives in Australia. Over Death In June's two decades of existence, numerous shifts in style and presentation have occurred, resulting in an overall shift from initial post-punk and Industrial Records influence to an overall more acoustic and folk music-oriented approach. Pearce has cited Friedrich Nietzsche, the Norse Eddas, Yukio Mishima, Saxon poetry, and Jean Genet as strong influences upon his work. Although sometimes considered controversial, Death In June has become very influential in certain post-industrial musical circles. ..N'Joy

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Pearce formed Death in June in 1981 in England, along with Patrick Leagas and Tony Wakeford. Pearce and Wakeford had been members of the political punk band Crisis, which formed in 1977. Crisis had gained a substantial following in the UK punk subculture. Crisis performed at rallies for The Right to Work, Rock Against Racism, and the Anti-Nazi League.

Death in June soon left the reticent[citation needed] punk scene behind and began to infuse their sound with electronics and martial style drumming, combined with a Joy Division-influenced post-punk sound. Their lyrics maintained much of the poetry and political urgency of the early Crisis recordings. Tracks such as the early single sides "Holy Water" and "State Laughter" demonstrated an ongoing fascination with political systems. Further on, Douglas P. would abandon any overt interest in politics in favor of a more esoteric approach to his work.

For 1983's The Guilty Have No Pride LP, Death in June began to adopt a more traditional European folk sound, using more acoustic guitars, references to ancient and contemporary European history, and combining heavy percussion with electronic soundscapes and post-industrial experimentation.
The Nada! (1985) LP introduced a temporary dance sound to Death in June accompanied by other tracks with the previously introduced folk elements. Douglas P. would later state this period was brought about by Patrick Leagas, which is further justified by Leagas' other work as Sixth Comm and later by his joining Mother Destruction, where he would further explore themes of Germanic paganism and historically-inspired music.

Patrick Leagas abruptly left the group in April 1985 after a tour of Italy, resulting in many cancelled shows in the UK and Europe due to follow that tour. Leagas, who began calling himself Patrick O-Kill, later formed Sixth Comm. From that point until the present, Death in June has consisted solely of the work of Douglas P. and various collaborators.

In 1991, Douglas P. named and helped form World Serpent Distribution; a British distribution company that specialized in esoteric, experimental and post-industrial music, which would distribute his NER releases until the late 1990s. During this period, Pearce collaborated with many artists who also had material distributed through the company in various ways.

David Tibet formed Current 93 in 1982. After being introduced to Douglas P. by Alan McGee of Creation Records at the Living Room Club, London in 1983, Tibet eventually began working with Death in June. Upon meeting Tibet, Douglas P. began to devote more of his time to a new circle of collaborators, who introduced him to various Thelemic, Satanic and Hermetic disciplines that markedly affected his approach to composing music. Familiar with the Runic alphabet, Douglas P. introduced them to Tibet. Tibet similarly had been long interested in magic and religion and implemented these concepts in his early recordings with Current 93.

Douglas P. introduced a folk influence to Current 93/David Tibet, who in turn contributed to Death in June's Nada! (1985) LP and its remix version titled 93 Dead Sunwheels (1989), as well as the albums The World That Summer, Brown Book, and The Wall of Sacrifice. He continued his work with Death in June, ending their collaborations with a contribution to the (1995) LP, Rose Clouds of Holocaust before their eventual split.

Experimental musician Boyd Rice was a friend of the group and had documented one of their earliest performances back in 1982. He was later invited to contribute a spoken word piece to The Wall of Sacrifice LP. From then on, a long series of recording collaborations continued between Boyd Rice and Douglas P. which included the albums Music, Martinis and Misanthropy, In the Shadow of the Sword, Heaven Sent, God & Beast, Wolf Pact, and finally Alarm Agents. Douglas P. also made a small appearance acting alongside Boyd Rice in the film Pearls Before Swine directed by Richard Wolstencroft.

Les Joyaux De La Princesse collaborated with Douglas P. on the Östenbräun double cassette release. Douglas P. sent LJDLP source material, which LJDLP would remix and send back after making any musical or aesthetic changes Douglas P. would later appear live with Les Joyaux De La Princesse for a joint show in 2001.

Douglas P. having recently moved to Australia, came back into contact with John Murphy of Knifeladder and previously of SPK. Murphy began playing live percussion with Death in June during tours from 1996 onwards. From 2000 a period of very stripped down, largely acoustic live performances for Death in June began up until Douglas P. announced no further live shows in 2005. In September 2011 a European tour was announced commemorating the 30th anniversary of the group's foundation in 1981. However the tour started off in Sydney, Australia without the actual inclusion of John Murphy.

After queuing to meet his idol Douglas P. backstage at a performance in Munich in December 1996, Albin Julius Martinek of Der Blutharsch later collaborated and toured throughout Europe between 1998-2000 with Death in June. Together, they produced the albums Take Care & Control and Operation Hummingbird, as well as the live album Heilige!. In comparison to previous Death In June works these were remarkably extroverted yet plagiaristic, courtesy of Martinek's contributions, sampling musical motifs from the likes of Richard Wagner, Franz Schubert, French 1960s pop icon Serge Gainsbourg amongst others. This resulted in a bombastic, neoclassical, post-industrial and extremely martial sound with few traces of the previous folk elements. The music created during this period could be classified as a part of the martial music genre which Pearce had initiated in 1986 on "The World That Summer" album with tracks like 'Death Of A Man' and again in 1989 on "The Wall Of Sacrifice" album with the title track and 'Death Is A Drummer'. Pearce wrote a song loosely inspired by an untitled Der Blutharsch song for the Fire Danger Season Der Blutharsch tribute compilation. The track title was later created/revealed as "Many Enemies Bring Much Honour", which also appears on the rework and rarities album entitled 'Abandon Tracks!'

The late 1990s marked the beginning of a court case between Death in June and World Serpent Distribution regarding payment and distribution issues with several other artists that were then on the label. This led to many artists that had sided with or had a similar experience to Pearce's leaving the distribution company and largely moving to Tesco Distribution Germany, as well as other then well established labels such as Eis & Licht.Eventually, Pearce was issued an out of court settlement for the case, which, according to him, led to the demise of World Serpent Distribution This led to reissues of most of the major albums in the Death in June discography being made freely available, with overhauled, deluxe packaging and a considerably cheaper price.

On the All Pigs Must Die LP, Pearce was assisted by Andreas Ritter of the neofolk group Forseti who played accordion on a few tracks on the first half of the LP. This marked a return to the previous folk sound of Death in June. Death in June have also appeared live with Forseti and Pearce appeared on Forseti's Windzeit LP. After Andreas Ritter suffered a stroke and subsequent loss of memory and ability to play musical instruments, Pearce contributed acoustic versions of Death in June songs to a tribute album to Ritter entitled Forseti Lebt released in August 2006.

After completing the Alarm Agents LP, Pearce announced it would be his final collaboration with Rice, citing the decision as having been mutually decided during the recording of Alarm Agents in a studio situated in a valley in Wellington, New Zealand as helicopters flew beneath the two of them. In 2013, in order to dismiss all speculation and questions about future collaborations between Pearce and Rice, Rice announced via Facebook that he had severed personal and business relationships with Pearce.

In April 2009, users of the Death in June Yahoo Group pointed the YouTube videos from pianist Miro Snejdr doing covers of classic Death in June titles. Consequently, the piano-based album Peaceful Snow was released in November 2010, with rearrangements by Miro Snejdr of Douglas P.'s guitar-based demo recordings. Those original recordings were later released on the album The Snow Bunker Tapes in 2013. Since 2012, Miro Snejdr is also performing live with Death in June, either on piano or accordion.

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Six tracks of David Tibet (Current 93) fueled Death in June. Three of them take earlier material and rework it with that Tibetan charm, while three are culled (excuse me, I just had to say it) from earlier compilations. This collection keeps much of the overly-dark tone of the earlier Death in June material while making the remixed tracks a bit more accessible to the average pop-rock fan. The highlight here is the remix of "C'Est Un Reve," an earlier track that's rejuvenated here with an infusion of martial drumming and Tibet's usual mischevious-sounding voice nattering away at various times. However, the whole thing is just plain gorgeous.

Tracks 1-2 from From Torture to Conscience compilation LP. Track 3 from She Said Destroy 12". Tracks 4-6 are remixes & re-recordings done circa 1988. At the end of side B there are some samples taken from famous British TV series "The Prisoner"
Misanthropy selection, tracks 7,8,9 from Heaven Street 12" Tracks 10, 11 from State Laughter / Holy Water 7"
Track 12 is a rare version of 'Black Radio' known as 'Some Of Our Best Friends Live In South America' previously issued on the 'New Horizons' cassette-only compilation released in 1983, plus track 13 a recently discovered unissued longer version of 'Sons Of Europe'

Death In June - 93 Dead Sunwheels (flac 364mb)

01 The Torture Garden 6:13
02 Last Farewell 5:35
03 Doubt To Nothing 4:01
04 Behind The Rose (Fields Of Rape) 3:01
05 C'est Un Rêve 3:28
06 She Said Destroy 8:28
Misanthropy selection
07 Heaven Street 5:39
08 We Drive East 3:02
09 In The Night Time 3:32
10 State Laughter 5:48
11 Holy Water 3:59
12 Some Of Our Best Friends Live In South America 7:45
13 Sons Of Europe (Slaughtered) 3:25

(ogg 145mb)

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Another slab of Douglas Pearce misanthropy, Brown Book doesn't veer too far from the apocalyptical folk of the earlier Nada! and The World That Summer, acoustic strumming guitars, rhythms that thud slowly like the marching footsteps of an army, and some weird electronics effects thrown in, while Pearce sings in his low voice. Though less absent than on The World That Summer, Current 93's David Tibet provides lead vocals on a couple tracks, the synth-driven "Punishment Initiation" and the calmer "Born Again," with its simple guitar riff, while Rose McDowall backs Pearce on several others, her high childlike voice adding a nice contrast to his deep drones, especially when they duet on the trumpet-fanfare punctuated "To Drown a Rose." Though it's not quite as obvious as the similarly themed "Down in the Willow Garden" from Boyd Rice's Music, Martinis and Misanthropy, one wonders why McDowall would sing either of these songs. There's also plenty of ammunition for Death in June's detractors, songs like "Runes and Men,""Touch Defiles," and especially the title track, which sounds like World War II German soldiers singing with a minimal amount of tape effects underneath. Crying babies, gunshots and screams, spoken word bits, and even the industrial "We Are the Lust," with vocals by Coil's John Balance, who co-wrote the piece, create another grimly disturbing soundtrack that is oddly beautiful in places.

20th anniversary edition : deluxe boxset with original LP artwork and carved soapstone round box, limited to 1000 copies. Each copy has a unique colour, includes 4 round inserts and 4 patches.

Tracks 1-1 to 1-11 : From the original 'Brown Book'
Tracks 2-1 to 2-7 : Remastered tracks from 'Brown Book' Tracks 2-8, 2-9 & 2-11 : From 'Abandon Tracks' 2005.
Tracks 2-10 : From 'The Cathedral Of Tears' CD compilation 1991. Tracks 2-12 & 2-13 : From 'To Drown A Rose' 10" 1987 & 'The Corn Years'' CD compilation 1989. Track 2-14 : From 'Whiphand 6' logo version of 'The Cathedral Of Tears' CD compilation 1998.

Death In June - Brown Book (flac 521mb)

Original LP Version
101 Heilige Tod 1:01
102 Touch Defiles 2:21
103 Hail! The White Grain 4:14
104 Runes And Men 3:01
105 To Drown A Rose 4:26
106 Red Dog - Black Dog 3:05
107 The Fog Of The World 2:31
108 We Are The Lust 4:39
109 Punishment Initiation 3:26
110 Brown Book 4:26
111 Burn Again 2:01
20th Anniversary Edition
201 Heilige Tod 1:01
202 Touch Defiles 2:21
203 Hail! The White Grain 4:14
204 Runes And Men 3:01
205 To Drown A Rose 4:26
206 Red Dog - Black Dog 3:05
207 The Fog Of The World 2:31
208 Europa : The Gates Of Heaven And Hell 5:13
209 Punishment Inititation 3:28
210 Brown Book - Re-Read 3:08
211 Burn Again 2:00
212 Zimmerit 2:41
213 Europa : The Gates Of Heaven 3:52
214 Brown Book 4:51

Death In June - Brown Book (ogg 201mb)

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By the time of 1989's Wall of Sacrifice, Death in June was essentially a one-man project, although Doug Pearce is joined here by several collaborators, familiar and new: Non's Boyd Rice, filmmaker and occult author Nikolas Schreck, Strawberry Switchblade's Rose McDowall and David Tibet of Current 93. Wall of Sacrifice juxtaposes melodic neo-folk with experimental pieces that dispense with conventional song formats. The album is bookended by numbers from the latter category. On the opening title track, Pearce assembles a chaotic 16-minute soundscape, cutting and pasting together doomy repetitive piano notes, triumphant horn flourishes, martial drumming, old German songs and vocal samples. The track's sound-collage approach recalls some of Current 93's explorations on Nature Unveiled (1984) and Dogs Blood Rising (1984), but it's not particularly engaging. The ominous, epic closer, "Death Is a Drummer," is more successful; a hypnotic, droning electronic pulse gives this track a more satisfyingly unified feel as ghostly military music while female vocals fade in and out. The most rewarding material finds Pearce pursuing his apocalyptic folk muse on several sparse acoustic tracks. The brooding "Fall Apart" and "Hullo Angel" are compelling enough, but most memorable is the beautiful and austere "Giddy Giddy Carousel," which evokes Scott Walker's stirring Europhile ballads -- although Pearce's view is considerably darker than Walker's romanticism ("Europa has burned and will burn again"). While most of this material is either expansive and atmospheric or concise and melodic, some numbers combine the two tendencies. The brief dreamscape "Heilige Leben" fuses melancholic synth ambience and spectral voices; "Bring in the Night" achieves a similar effect (notwithstanding Boyd Rice's spoken word nonsense about the divine order of destruction and violence). Although Wall of Sacrifice isn't Death in June's strongest late-'80s album, it usefully maps the different sonic territories Pearce was exploring during that period.

Death In June - The Wall of Sacrifice (flac 222mb)

01 The Wall Of Sacrifice 16:01
02 Giddy Giddy Carousel 2:23
03 Heilige Leben 2:27
04 Fall Apart 2:29
05 Bring In The Night 4:20
06 In Sacrilege 4:00
07 Hullo Angel 1:36
08 Death Is A Drummer 9:18

Death In June - The Wall of Sacrifice (ogg 94mb)

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"Ostenbraun" had previously been released on tape only with a nice boxset presentation. "Ostenbraun" with DIJ was in origin a double-tape work, with interview to Douglas. This is not strictly a Death In June album. Basically, it's Death In June material that has been remixed by Les Joyaux De La Princesse. If you take the keyboard parts from some of DIJ's mid-80's works ('Brown Book' or 'The World That Summer'), bring them to the fore and add some DIJ friendly samples (sound effects/spoken word etc) then you'd get the idea of what is on offer here. It's pretty special and rather atmoospheric - perfect for if you need something to just wash over you. However, musically it's not as important as say, 'Brown Book' or 'Wall Of Sacrifce', or others in Death In June's back catalogue. 'Ostenbraun' is very hard to find now, seeing as it has been deleted for quite some time.

Death In June & Les Joyaux De La Princesse - Ostenbraun (flac 203mb)

01 Les Cavaliers Du Crépuscule 8:57
02 Heilige... 4:09
03 The Congress 3:05
04 SD XXI 1:22
05 Östenbräun (Collaboration I) 0:36
06 Nichts 3:38
07 Blood By Despair (Collaboration II) 10:52
08 Östenmarsch 3:41
09 A Röse For SD (After She's Dead) 3:24
10 Blood By Despair (Reprise) 2:11
11 Triumph Of The Will 0:13

Death In June & Les Joyaux De La Princesse - Ostenbraun (ogg 87mb)

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Hello,

Today's artists are .an American jazz, R&B, soul, funk and disco group, originally formed in 1964 as the Jazziacs based in Jersey City, New Jersey. They went through several musical phases during their recording career, starting out with a purist jazz sound, then funk and R&B, progressing to a smooth pop-funk ensemble, and in the post-millennium creating music with a modern, electro-pop sound. They have sold over 70 million albums worldwide ... N'joy

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Formed as a jazz ensemble in the mid-'60s, Kool & the Gang became one of the most inspired and influential funk units during the '70s, and one of the most popular R&B groups of the '80s after their breakout hit "Celebration" in 1979. Just as funky as James Brown or Parliament (and sampled almost as frequently), Kool & the Gang relied on their jazz backgrounds and long friendship to form a tightly knit group with the interplay and improvisation of a jazz outfit, plus the energy and spark of a band with equal ties to soul, R&B, and funk.

Robert "Kool" Bell and his brother Ronald (or Khalis Bayyan) grew up in Jersey City, NJ, and picked up the music bug from their father. A professional boxer, he was also a serious jazz lover and a close friend of Thelonious Monk. With Robert on bass and Ronald picking up an array of horns, the duo formed the Jazziacs in 1964 with several neighborhood friends: trombone player Clifford Adams, guitarists Charles Smith and Woody Sparrow, trumpeter Robert "Spike" Michens, alto saxophonist Dennis Thomas, keyboard player Ricky West, and drummer Funky George Brown (all of whom, except Michens and West, still remained in the group more than 30 years later).

The Bell brothers' father Bobby and uncle Tommy were boxers. They moved to New York to train and lived in the same apartment building as Thelonious Monk who became Robert's godfather when he was born. Miles Davis would drop by because he wanted to be a boxer.[5] They played occasionally with McCoy Tyner, Pharoah Sanders and Leon Thomas.

The growing earthiness of soul inspired the Jazziacs to temper their jazz sensibilities with rhythms more akin to R&B, and the newly renamed Soul Town Band began playing clubs in Greenwich Village. After a mix-up with a club owner resulted in the group being billed Kool & the Flames, they moderated the title to Kool & the Gang and found a leg up with the tiny De-Lite Records. Three singles from their self-titled debut album hit the pop charts, and although the position wasn't incredibly high, Kool & the Gang became a quick success on the R&B charts. Always a staple of their appeal, the group's live act was documented on two 1971 LPs, Live at the Sex Machine and Live at P.J.'s, including left-field covers of "Walk On By" and "Wichita Lineman" (as well as the not so unusual "I Want to Take You Higher").

Studio albums followed in 1972 and 1973, but it was with Kool & the Gang's sixth LP, Wild and Peaceful, that they hit the big time. "Funky Stuff" became their first Top 40 hit at the end of 1973. Then both "Jungle Boogie" and "Hollywood Swinging" reached the pop Top Ten. During the next four years, however, Kool & the Gang could only manage an occasional Top 40 hit ("Higher Plane,""Spirit of the Boogie"), and though they did win a Grammy award for "Open Sesame" (from the Saturday Night Fever soundtrack), the rise of disco -- a movement centered around producers and vocalists, in direct contrast to the group's focus on instrumentalists -- had appeared to end their popularity.

Then, in 1979, the group added two new vocalists, Earl Toon, Jr. and, more importantly, James "J.T." Taylor, a former Jersey nightclub singer. Kool & the Gang also began working with jazz fusion arranger Eumir Deodato, who produced their records from 1979 to 1982. The first such album, Ladies Night, was their biggest hit yet, the first of three consecutive platinum albums, with the Top Ten singles "Too Hot" and the title track. Celebrate!, released in 1980, spawned Kool & the Gang's only number one hit, "Celebration," an anthem favored by innumerable wedding receptions since. With Deodato, the group produced several more hits, including the singles "Take My Heart (You Can Have It if You Want It),""Get Down on It," and "Big Fun," and the albums Something Special in 1981 and As One a year later. After Deodato left the fold in late 1982, Kool & the Gang proved their success wasn't solely due to him; they had two immense hits during 1984-1985 ("Joanna" and "Cherish"), as well as two more Top Tens, "Misled" and "Fresh." The group's string of seven gold or platinum records continued until 1986's Forever, after which James "J.T." Taylor amicably left the group for a solo career.

Although Taylor did reasonably well with his solo recordings (many of which were produced by Ronald Bell), Kool & the Gang quickly sank without him. They replaced Taylor with three vocalists, Skip Martin (formerly of the Dazz Band), Odeen Mays, and Gary Brown, but failed to chart their albums Sweat (1989) and Unite (1993). Taylor finally returned to the group in 1995 for the release of a new album, State of Affairs. They continued well throughout the 2000s, releasing 2001's Gangland, 2004's The Hits: Reloaded, and 2007's Still Kool (recorded after the 2006 death of co-founder Charles Smith). They often collaborated with new and well-known younger talent.

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Digitally re-mastered and expanded edition of the R&B/Funk band's 1978 album. Since they'd released their debut album nearly a decade previous to this Kool & The Gang had been present for every single crucial development in funk music-right along with James Brown. That being the case,the quality of their output during the funk era was very high in relation to their commercial success. By the time the 70's entered it's second half,the music was changing. Kool & The Gang for their part responded very well with their previous release Open Sesame',and also added more female singers as well and slicker arrangements. By the time they put out this follow up that hadn't changed for them. Except their commercial fortunes.

"A Place In Space","Slick Superchick","Just Be True" and the title song represent what amounts to five in your face K&TG style funk numbers very much in their early/mid 70's style period. Each of these numbers are very high on that quotiont on their classic funk sound too. On songs like "Mighty Mighty High" and "Oasis" there's something of a new element beginning to take root in their sound that can also be heard on "Life's A Song". The collective style funk vocals are still a huge part of their sound. They have come to better refine the mellower and more melodically crafted elements that were becoming a bit more prominent before into their hard funk sound.

Kool & The Gang - The Force (flac 362mb)

01 A Place In Space 4:50
02 Slick Superchick 4:03
03 Just Be True 4:22
04 The Force 4:21
05 Mighty Mighty High 6:51
06 Oasis 6:04
07 Life's A Song 2:56
08 Free 2:10
09 Slick Superchick (Single Version) 3:27
10 A Place In Space (Single Version) 3:16
11 Mighty Mighty High (12" Disco Version) 11:32

Kool & The Gang - The Force (ogg 131mb)

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Kool & the Gang closed out the 1970s by edging the door shut on their classic sound. Ladies' Night marked the band's initial shift from their dirty funk to a more mainstream pop -- a lighter groove that primed clubbers for dance-'til-you-drop style partying. With the Brazilian fusion musician Eumir Deodato stepping into the production helm with a shared vision of "keep[ing] it simple and basic and clean," Kool & the Gang added a hot new spark to their sound, best illustrated across the title track, which topped the R&B charts for nearly a month. This ideal was also furthered on the downtempo soul of "Too Hot." The former was a jangly, spangly slab of pure dance that quickly became a club favorite, the latter a 180 degree shift that focused instead on vocalist James Taylor's rich timbre, a ballad of lost love where his vocals are smoother than even the sax solo. With the rest of the record falling into step behind these two giants, Ladies' Night kicked off Kool & the Gang's new musical era and, even though it certainly distanced some of their more funk-minded fans, it picked up a faithful army who'd keep the band in the charts for nearly a decade to come.

Kool & The Gang - Ladies' Night (flac 196mb)

01 Ladies Night 6:34
02 Got You Into My Life 4:21
03 If You Feel Like Dancin' 5:04
04 Hangin' Out 5:28
05 Tonight's The Night 7:19
06 Too Hot 5:04

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Although disco was well dead by the end of the 1970s, Kool & the Gang nevertheless unleashed a chart-topping, dance-club rattling monster that proved there was still life on the Excess Express. Celebrate, released in fall 1980, further gelled the exquisite relationship between the band and Brazilian fusion guru Deodato and, with equal nods to fusion, funk, and, yes, disco, the album gave the band a massive hit. Reaching into the Top Ten on both the R&B and pop charts, it furthered the comeback commenced with Ladies Night. But it was Celebrate's first baby, the unstoppable "Celebration," that provided the band a comeback of unparalleled heights. Ronald Bell predicted that the song would "be an international anthem," and he was proved right. Not only did it slam to the top of the U.S. charts, it was quickly adopted as a symbol of freedom -- first to welcome home the hostages released from Iran, then to laud Democrat Walter Mondale's presidential nomination. The downside was that this one song not only grossly overshadowed the album, but also set an unreachable standard for the rest of the set, which lost steam in its wake. Although "Jones Vs. Jones" crept into the charts, it was the thumping bass and drums on "Love Festival" and the disco ghosts of "Night People" which emerged as club favorites in the early part of the decade. And Celebrate itself marked the end of an era for Kool & the Gang, as the band would slip even farther from their funk roots and adopted dance grooves into the realms of smooth soul. But what a way to go!

Kool & The Gang - Celebrate! (flac 186mb)

01 Celebration 5:00
02 Jones Vs. Jones 4:18
03 Take It To The Top 4:19
04 Morning Star 3:48
05 Love Festiva 5:16
06 Just Friends 4:23
07 Night People 3:47
08 Love Affair 4:21

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With their long track record, Kool & the Gang have always offered dance-provoking rhythms and Something Special fits that bill, too. Featuring the number one single "Take My Heart (You Can Have It If You Want It)," James "J.T." Taylor approaches the song in a cool, mesmerizing tone, closing out the vamp in his falsetto with a burst of energy while the background vocals chant the subtitle throughout the chorus. Not known to lead a song in falsetto, Taylor further utilizes this talent on the motivated rhythms of the nocturnal scenario of "Steppin' Out." It maintained a steady stride, rising to the number ten spot on the charts. The third single from the album was "Get Down on It." As the title indicates, this is a gritty funk track that worked its way up the charts to claim the number three position, selling more than 500,000 copies. Although there were no more charted singles from this album, the entire collection is deserving of recognition. On a slower note, "Pass It On" and "No Show" received regional airplay. The former encourages people to spread love to all children, and the latter is a sorrowful account of a man left standing in the rain, waiting for the love that never showed. Both singles have similar rhythm arrangements. As for inspirational songs, "Stand Up and Sing" is a moderately paced single with lyrics that are uplifting.

Kool & The Gang - Something Special (flac 225mb)

01 Steppin' Out 4:43
02 Good Time Tonight 4:59
03 Take My Heart 4:22
04 Be My Lady 4:13
05 Get Down On It 4:51
06 Pass It On 4:31
07 Stand Up And Sing 4:29
08 No Show 4:16

Kool & The Gang - Something Special (ogg 82mb)

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Hello,

Today's artist is one of the vital producers in the global electronic network. A member of the raster-noton collective, he also has releases under the names Komet and Produkt. Bretschneider has created some spacial electronics of the late 90's and 00's, unlike so much output in the microscopic music scene, his music has always flourished with activity. Precise sound placement, volume levels and the contrast of tones in Bretschneider's production makes his compositions captivating. Bretschneider goes beyond the plug-in or plug research electronics. He redefins the genre by rendering the parameters playable, reentering the musical domain with unprecedented ease. Bretschneider discovers the complexity of the virtual: microtonality, clicks, complex rhythm textures, melodic fragments.. ....N'Joy

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Frank Bretschneider is a German electronic musician. He works primarily with sine waves and white noise as his source material. He also releases material under the name Komet. Bretschneider (1956) was born and raised in Karl-Marx-Stadt (Chemnitz since 1990), where his aesthetic developed as he listened to pirate radio and smuggled Beastie Boys tapes in the former East Germany. After studying fine arts and inspired by science fiction radio plays and films he began experimenting with tape machines, synthesizers, and modified guitars in 1984, as well as exploring the possibilities of exchange between visual art and music by various means such as film, video and computer graphics.

In 1986, after establishing his cassette label klangFarBe, Bretschneider founded AG Geige, a successful and influential East German underground band. Though limited to the East before the wall came down, they were invited to perform across Germany and internationally after 1989 and released three albums before splitting in 1993. In 1995, Bretschneider and fellow AG. Geige band member Olaf Bender founded the Rastermusic record label. In 1999 this label merged with Carsten Nicolai's Noton label, to become Raster-Noton. Bretschneider has released material on record labels such as 12k, Raster-Noton, Mille Plateaux, Fällt and Bip Hop.

Most of Bretschneider’s early solo albums - about half a dozen - were under the alias Komet, the first, SAAT, appearing in 1996. Since then Bretschneider has released his work (in addition to raster noton) on various labels including 12k, Line, Mille Plateaux or Shitkatapult, and contributed to some well-known compilations like Clicks & Cuts on Mille Plateaux and raster-noton’s 20' TO 2000 series. 2001’s Curve, his second album for Mille Plateaux, was critically acclaimed and brought Bretschneider international attention. Followed 2003 by Gold, raster-noton’s most blatantly pop album by then. Gold, however, was topped by the percussive masterpiece released in late 2007, Rhythm, an album that was rated very highly by several major electronic music publications, notably »The Wire« magazine, who put the album among their top releases of 2007. 2010 saw the release of EXP, a rather complex and abstract audio-visual work and his 2012 album Kippschwingungen explores the sound of the Subharchord, a unique electronic instrument based on subharmonic sound generation. Super Trigger, his 2013 album for raster-noton, is an absolute trove of percussive tension. And his newest, Sinn + Form, is all about improvisation and analog modular synth chaos.

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No one creates minimal funk better than Frank Bretschneider, aka Komet. Over the course of eight albums under the Komet moniker (and countless other projects under his own name), Bretschneider has created and perfected a wonderfully minimal dance groove aesthetic that relies on sharp snaps, subtle basslines, and red-hot breaks. Anyone who has heard Bretschneider's music will instantly recognize the pulsing clips, the bubbling bass, and the chirpy stabs of Gold.

For all of Gold's uniformly groovy beats, the music here is rather uneven. The first song, "Wheel," is a blistering, spinning kaleidoscope that reminds me of funkier version of the more elliptical songs on Rechenzentrum's Director's Cut. "Weiss," also, is a unique mix of 80s-style drum machine noises and 00s-style clip and clicks. It's an incredibly rich array of complex grooves, and I hear something new each time. By contrast, I've listened to each song on Gold about six times now, and by the fourth listen, I'd heard all there was to hear. There were few surprises or hidden little twitches here and there to keep me enthralled. Bretschneider's a great artist, and anyone with an desire to create IDM or experimental music should listen to his stuff to get an idea how to design interesting, listenable music out of abstract, minimal sounds.

Komet - Gold (flac 253mb)

01 Wheel 6:25
02 Omsk 5:52
03 Two 6:08
04 Blau 7:29
05 Weiss 4:53
06 Left 6:08
07 Twist 5:58
08 Gold 4:44

Komet - Gold (ogg 106mb)

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Status, the result of two of the genre’s most talented, and diffferent, composers; Frank Bretschneider and Ralph Steinbrüchel, sharing their sounds and styles. Status began in the Spring of 2003 when they designed their own sound sequences and samples and sent the material to each other, waiting and hearing what the other will create out of it. They played this game for nearly 2 years, sending sequences and tracks back and forth until both of them were satisfied with the result.
When the minimal 120bpm rhythmic structures of Frank Bretschneider and the austere sonic minimalism of Steinbrüchel get together, a rare piece of atmospheric rythmics is created. Sometimes very melodic, sometimes abstract, sometimes very rhythmic, sometimes nearly pop, and always minimal. Detailed, fragile and full at once Status shows where rhythmic and abstract music can get together, how different sonic worlds combine to create a unique listening experience.

Bretschneider + Steinbruchel - Status (flac 261mb)

01 Spirale 4:36
02 Antenne 4:08
03 Funktion 4:04
04 Periode 6:06
05 Phase 4:53
06 Spektrum 4:51
07 Basis 7:38
08 Passage 4:07
09 Position 3:55
10 Faktor 4:23
11 Impuls 5:56
12 Frequenz 3:54

Bretschneider + Steinbruchel - Status (ogg 130mb)

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The tenth release in the Brombron series, a co-production between Frans de Waard and Extrapool. Two or more musicians become artists in residence in Extrapool, an arts initiative in Nijmegen, The Netherlands, with a fully equipped sound recording studio. These artists can work in a certain amount of time on a collaborative project; a project they always wished to do, but didn't have the time or the equipment to realize.

Despite working within the rigid templates laid down by the roster of the Raster-Noton crew (he's a founding member). I've always found Frank's work to possess a dancefloor sensibility. On this collaboration with Rotterdam's Peter Duimelinks they take minimalist loops through textural deconstruction. Opener 'Knox' is so groovy, it'll propel you: sub merged bass and short-wave frequencies do battle against rhythmic pointillism. 'Prax' has more than a hint of Pole about it, with its fluttery patterns and weightlessness. In their playing together Bretschneider and Duimelinks go back to the core of minimal, click related techno music, to the early days of Komet and Goem. Minimal but engaging music, always with the heartbeat pulse at the bottom. My only complaint? It all runs far too short at just over 30 minutes.

Bretschneider + Duimelinks - Fflux (flac 163mb)

01 Interlock 6:15
02 Moving Light 5:45
03 Dug In 5:09
04 Vertical Invader 5:25
05 Freeze Frame 4:15
06 Autodrive 4:31
07 Concrete 5:26
08 Half-Mute 4:42
09 Bluetime 4:29

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Rhythm is neither pop nor avant-garde, but deals simply with the basic principles of any modern music: rhythm. Frank Bretschneider takes his, never simple, but all the more heartfelt relationship to rhythm and it’s complexity, to an intense inventory and, this time, works less out of suspenseful abstract sounds, than out of grooves. The terseness and precision of previous works remains, as well as a preference for high-voltage sounds halfway between noise and tone. New is the assemblage of the material. A combination of programming, composition and construction, which draws a clear distinction to his preferred loop-based work on foregone albums, is connected with Bretschneider's very idiosyncratic aesthetic of digital sound: controlled and objective. The whole follows simple mechanical states: on/off, forward/backward, up/down, slow/fast, loud/quiet, dull/brilliant, soft/hard and is characterized by the absence of any romanticism. Still this return to the elementary, the fundamental, does not diminish the music to dance-floor functionality, instead Bretschneider always stays emphatically musical and manages to generate sophisticated and complex rhythm-structures, which respectively induce minimal deviations in frequency and timing relationships to generate a surplus of funk. In all, Rhythm is probably Bretschneider’s most direct, clear and concentrated work yet.

Frank Bretschneider - Rhythm (flac 229mb)

01 A Soft Throbbing Of Time 7:46
02 The Big Black And White Game 5:31
03 We Can Remember It For You Wholesale 3:50
04 The Eight Day People 3:04
05 Other Days, Other Eyes 4:10
06 Construction Shack 4:11
07 The Moon Is A Hole In The Sky 6:54
08 All Summer In A Day 3:12
09 The October Game 2:45

Frank Bretschneider - Rhythm (ogg 104mb)

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A master at work -- that's the best way to sum up the music on Exp. Here, electro-glitch master Frank Bretschneider clicks and cuts his way through 35 itsy-bitsy pieces (none over three minutes, many under one). Each one is a careful work of quasi-beat layering and hollow texture weaving. The music is highly abstract but lively, rhythm-based but hardly danceable in a normal fashion (or with the regular number of limbs). As an audio journey, Exp is a thrilling ride with hardly a bump into it and, even though it clocks in at only 35 minutes, it would be entirely satisfying as is. However, the project also includes a strong visual component in the form of an extra data cd featuring an 18-minute experimental animation film by Bretschneider. After spending a while under the radar (his previous title for the revered experimental electronic music label Raster-Noton was released in 2007) -- and at the same moment the clicks-and-cuts movement's flagship label Mille Plateaux has been resurrected -- Frank Bretschneider sends us all a reminder as to why he should be considered one of that aesthetic's pioneers and major representatives

Frank Bretschneider - Exp (flac 161mb)

01 Monopuls 2:01
02 Blue: Cobalt 0:39
03 Strobe Room 1:00
04 Blue: Ultramarine 1:31
05 Chamber Jazz 1:05
06 Biplex 1:03
07 Blue: Cyan 0:38
08 B.L.U.E. (Best Linear Unbiased Estimator) 1:04
09 Polylog 1:12
10 Node 0:32
11 Orion 0:48
12 Spin 0:20
13 Novo Duplex 0:35
14 Blue: Electric 0:22
15 Mass 1:06
16 Blue: Aluminate 0:42
17 Ventilator 1:01
18 Colour Wheel 0:31
19 Tron 0:31
20 Echolog 1:05
21 Reflex 0:50
22 Multimath Duplex 0:21
23 Polycopter 2:55
24 Memory 1:47
25 Phased Out 0:41
26 Oscillation 0:14
27 Funkalogic 0:37
28 Monoplex 0:14
29 Multiplex 0:29
30 Panback 0:37
31 Blue: Prussian 0:30
32 Light Weight 0:48
33 Satellite 2:13
34 Crystal Dub 2:49
35 For Kyoka 2:29

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

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

Watchmen The Motion Comic 07 A Brother to Dragons... (avi 233mb)

07 A Brother to Dragons... 25:31

Silk Spectre continues to stay with Nite Owl and they become romantically involved. Nite Owl and Silk Spectre save people from an apartment fire, and resolve to break Rorschach out of prison.

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previously

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

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

Today the last focus on that Brazilian songwriter, composer, arranger, singer, and pianist/guitarist. He was a primary force behind the creation of the bossa nova style, and his songs have been performed by many singers and instrumentalists within Brazil and internationally. .....N'Joy

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Antônio Carlos Jobim was born in the middle-class district of Tijuca in Rio de Janeiro. His father Jorge de Oliveira Jobim (São Gabriel, Rio Grande do Sul, April 23, 1889 – July 19, 1935) was a writer, diplomat, professor and journalist. When Antônio was still an infant, his parents separated and his mother, Nilza Brasileiro de Almeida, moved with her children (Antônio Carlos and his sister Helena Isaura) to Ipanema, the beachside neighborhood the composer would later celebrate in his songs. In 1935, when the elder Jobim died, Nilza married Celso da Frota Pessoa, who would encourage his stepson's career. He was the one who gave Jobim his first piano. As a young man of limited means, Jobim earned his living by playing in nightclubs and bars and later as an arranger for a recording label, before starting to achieve success as a composer.

Jobim's musical roots were planted firmly in the work of Pixinguinha, the legendary musician and composer who began modern Brazilian music in the 1930s. Among his teachers were Lúcia Branco, and, from 1941 on, Hans-Joachim Koellreutter. Jobim was also influenced by the French composers Claude Debussy and Maurice Ravel, by the Brazilian composers Heitor Villa-Lobos, Ary Barroso, and by jazz. Among many themes, his lyrics talked about love, self-discovery, betrayal, joy and especially about the birds and natural wonders of Brazil, like the "Mata Atlântica" forest, characters of Brazilian folklore, and his home city of Rio de Janeiro

Jobim became prominent in Brazil when he teamed up with poet and diplomat Vinícius de Moraes to write the music for the play Orfeu da Conceição (1956). The most popular song from the show was "Se Todos Fossem Iguais A Você" ("If Everyone Were Like You"). Later, when the play was turned into a film, producer Sacha Gordine did not want to use any of the existing music from the play. Gordine asked de Moraes and Jobim for a new score for the film Black Orpheus (1959).This collaboration proved successful, and Vinicius went on to pen the lyrics to some of Jobim's most popular songs.

A key event in making Jobim's music known in the English speaking world was his collaboration with the American jazz saxophonist Stan Getz, João Gilberto and Gilberto's wife at the time, Astrud Gilberto, which resulted in two albums, Getz/Gilberto (1963) and Getz/Gilberto Vol. 2 (1964). The release of Getz/Gilberto created a bossa nova craze in the United States, and subsequently internationally. Jobim wrote many of the songs on Getz/Gilberto, which became one of the best-selling jazz albums of all time, and turned Astrud Gilberto, who sang on "The Girl from Ipanema" and "Corcovado", into an international sensation. At the Grammy Awards of 1965 Getz/Gilberto won the Grammy Award for Album of the Year, Grammy Award for Best Jazz Instrumental Album, Individual or Group and the Grammy Award for Best Engineered Album, Non-Classical. "The Girl from Ipanema" won the Grammy Award for Record of the Year.

Jobim was married to Thereza Otero Hermanny on October 15, 1949 and had two children with her: Paulo Jobim (born 1950), an architect and musician, married and father of Daniel Jobim (born 1973) and Dora Jobim (born 1976); and Elizabeth "Beth" Jobim (born 1957), a painter. Jobim and Thereza divorced in 1978. On April 30, 1986 he married 29-year-old photographer Ana Beatriz Lontra, with whom he had two more children: João Francisco Jobim (1979–1998) and Maria Luiza Helena Jobim (born 1987). Daniel, Paulo's son, Tom's grandson; followed his grandfather to become a pianist and composer.

In early 1994, after finishing his album Antonio Brasileiro, Jobim complained to his doctor, Roberto Hugo Costa Lima, of urinary problems. A bladder tumor was detected, but Jobim postponed the recommended immediate surgery for several months, while he tried spiritual treatment with a Brazilian medium and started working on his album Tom Jobim. His operation took place at Mount Sinai Hospital, in New York, on December 2, 1994. On December 8, while recovering from surgery, he had a cardiac arrest caused by a pulmonary embolism and two hours later another cardiac arrest, from which he died. His last album, Antonio Brasileiro, was released posthumously three days after his death.

Jobim is widely regarded as one of the most important songwriters of the 20th century. Many of Jobim's songs are jazz standards. American jazz singers Ella Fitzgerald and Frank Sinatra prominently featured Jobim's songs on their albums Jobim was an innovator in the use of sophisticated harmonic structures in popular song. Some of his melodic twists, like the melody insisting on the major seventh of the chord, became common use in jazz after him. The Brazilian collaborators and interpreters of Jobim's music include Vinícius de Moraes, João Gilberto (often credited as a co-creator of bossa nova), Chico Buarque, Gal Costa, Elis Regina, Sérgio Mendes, Astrud Gilberto, and Flora Purim. Eumir Deodato and the conductor/composer Claus Ogerman arranged many recordings of Jobim tunes. He won a Lifetime Achievement Award at the 54th Grammy Awards in 2012. As a posthumous homage, on January 5, 1999, the Municipality of Rio de Janeiro changed the name of Rio's Galeão International Airport, located on Governador Island, to bear the composer's name. Galeão Airport is explicitly mentioned in his composition "Samba do Avião". In 2014, Jobim was posthumously inducted to the Latin Songwriters Hall of Fame. In 2015, Billboard named Jobim as one of The 30 Most Influential Latin Artists of All Time.

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In 1977 and 1979, Tom Jobim recorded two albums with the singer Miúcha. Released in 1989, Echoes Of Rio is a compilation of the two albums. Miúcha, whose real name is Maria Heloisa Buarque de Hollanda, is none other than the sister of Chico Buarque, João Gilberto's wife and mother of Bebel Gilberto. Less known as 'Astrud Gilberto or Elis Regina, Miúcha cues with a real complicity to Tom Jobim. The album is in the Bossa Nova style even if the latter is passed fashion, however the charm of the Bossa Nova doesn't age with this much force of evocation.. However this compilation, resumed extremely alluring titles such as "Vai Levando", "Turma Do Funil (No Baixo Leblon)". Echoes Of Rio is an album "compilation" of Bossa Nova that makes you want to listen to more great titles of the 1960s(Tom Jobim, João Gilberto, Vinicius De Moraes, Baden Powell ...).

Antonio Carlos Jobim - Echoes of Rio (flac 282mb)

01 Turma Do Funil (No Baixo Leblon) 3:26
02 Triste Alegria 2:04
03 Aula De Matematica 2:39
04 Samba Do Carioca 2:44
05 Falando De Amor 2:34
06 Vai Levando 3:19
07 Tiro Cruzado 2:08
08 Comigo E Assim 3:12
09 Na Batucada Da Vida 2:50
10 Sei La "A Vida Tem Sempre Razao" 2:31
11 Pela Luz Dos Olhos Teus 2:45
12 Samba Do Avaio 2:52
13 Maninha 2:40
14 Choro De Nada 2:44
15 Dinheiro Em Penca 9:43

Antonio Carlos Jobim - Echoes of Rio (ogg 121mb)

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When one looks closely discography of Antônio Carlos Jobim, it recognizes 14 studio albums, one every two years between 1964 and 1994. But that collaboration and the realization of some Soundtracks which The Adventurers (1970) and Garota de Ipanema (1967). In the 80s, he produced the soundtrack of the movie Gabriela (1983). In short Gabriela (Cravo e Canela) is a Brazilian film directed by Bruno Barreto and adapted from the novel by Jorge Amado published in 1958. The film is, according to the reviews I've read, seems pretty missed despite the presence the casting of Marcello Mastroianni and Sônia Braga. The Soundtrack of Antônio Carlos Jobim is rather nice, a mix of symphonic Jazz quite popular with the Master and MPB songs performed by the sublime and delightful Gal Costa. The arrangements were made by Oscar Castro Neves. You can hear Tom Jobim singing on some tracks including the very Samba "Caminho da Mata". Anecdotal BO in the work of the Master. I pass

Antonio Carlos Jobim - Gabriela (Soundtrack) (flac 157mb)

01 Chegada Dos Retirantes 2:53
02 Tema De Amor De Gabriela 4:05
03 Pulando Carniça 3:31
04 Pensando Na Vida 2:41
05 Casório 2:50
06 Origens 2:18
07 Ataque Dos Jagunços 2:43
08 Caminho Da Mata 2:46
09 Ilhéus 2:34
10 Tema De Amor De Gabriela (Versão Completa) 5:00

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Passarim is Jobim's major statement of the '80s, emerging during a time when his concerns were turning increasingly toward the Planet Earth. The title song is one of Jobim's most haunting creations, a cry of pain about the the destruction of the Brazilian rain forest that resonates in the memory for hours. Also, by this time, Jobim had resumed touring with a large group containing friends and family, and they carry a great deal of the load here, with lots of airy female backup vocals, two worthy songs by Jobim's multi-talented son Paulo, and another by flutist/singer Danilo Caymmi. Recorded entirely in Rio, the record's overall sound is very different from Jobim's '60s and '70s work: denser, hazier, still grounded in the samba yet rougher in texture (as is Jobim's voice). Though not as immediately winning as the Creed Taylor-produced albums, this music repays repeated listening -- particularly the extended suite from Jobim's score for the film Gabriela -- and there are samples of his wry humor in "Chansong" and the bossa nova reworking of "Fascinatin' Rhythm"

Antonio Carlos Jobim - Passarim (flac 337mb)

01 Passarim 3:35
02 Bebel 3:11
03 Borzeguim 4:23
04 Looks Like December 3:45
05 Isabella 3:22
06 Fascinatin' Rhythm 2:10
07 Chansong 3:18
08 Samba Do Soho 2:59
09 Luiza 2:32
10 Brazil Nativo 3:51
11 Gabriela 7:56
Bonus Tracks
12 Anos Dourados 3:46
13 Passarim 3:36

Antonio Carlos Jobim - Passarim (ogg 119mb)

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Not only did Jobim stay active until the end of his life, he showed virtually no signs of creative burnout, as this, his last album, wondrously displays. Surrounded again by family and friends, he delivered a brace of 13 songs and compositions (plus two songs by the veteran songwriter Dorival Caymmi), many of them relatively new, most as heartbreakingly beautiful as anything from the bossa nova years. Sometimes Jobim's voice, never impressive, is almost gone and the production has a rough-hewn finish, but it doesn't matter; Jobim's craft and his brood carry him through, and son Paulo Jobim provides thick but highly competent orchestral arrangements. An especially touching passage is the brief "Samba de Maria Luiza," a Jobim duet with his little daughter Maria Luiza, who also turns up on the succeeding ode for the environment, "Forever Green." The final tone poem, "Trem De Ferro," obviously inspired by Heitor Villa-Lobos, is also the most startling, a strange chugging simulation of a train cutting through the underbrush. There is also an idiomatic duet with Sting on the familiar "How Insensitive" (later included on the Red, Hot and Rio anthology), and Caymmi makes a guest vocal appearance on "Maricotinha." Obviously Jobim still had a lot to give, making his death later in 1994 an even more poignant blow. Issued for the Latin market only, though pressed in the U.S., the CD is not difficult to locate in well-stocked big city shops.

Antonio Carlos Jobim - Antonio Brasilero (flac 282mb)

01 Só Danço Samba 2:05
02 Piano Na Mangueira 2:40
03 How Insensitive (Insensatez) 3:44
04 Querida 3:31
05 Surfboard 3:06
06 Samba De Maria Luiza 1:12
07 Forever Green 3:44
08 Maracangalha 2:40
09 Maricotinha 3:44
10 Pato Preto 4:20
11 Meu Amigo Radamés 3:54
12 Blue Train (Trem Azul) 5:05
13 Radamés Y Pelé 3:51
14 Chora Coração 3:08
15 Trem De Ferro 4:36

Antonio Carlos Jobim - Antonio Brasilero (ogg 111mb)

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Hello, supertuesday has brought predictable results Rubio (yucky smoothtalker) out, creepy Cruz mumbles on, too much relief Kasich wins his home state and yahoo Trump wins the rest, if someone doesn't shoot him the GOP is fucked and the socalled Democrats rejoice assuming Trump has no chance against their candidate (big mistake). Hilary won most states tonight, mainly because some of these don't allow independents to vote-they tend to vote for Sanders. As the party establishment obviously supports Clinton she most likely will be the candidate, if she wants to make sure she will be the next president she'll better ask Sanders as her vice president...

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Compiled by Bargeld on the new Mute compilation Kalte Sterne, these 13 tracks, most of which predate Neubauten's 1981 debut Kollaps, paint a picture of a band whose goal was to wring as much dread and catastrophe out of as limited a sound palette as possible. Some tracks, like closer "Durstiges Tier", consist of little more than skeletal gurgles of indeterminate origin, with Bargeld's whispered brain scrapings weaving in and out. Alexander Hacke is credited with "amplified bowed wire" on the track, and the thin, nasal sound he produces becomes the song's hideous, scoliated backbone. "13 Loecher (Leben Ist Illegal)" notoriously uses an electric drill as an instrument-- as literally "industrial" as music can get.

The first five songs feature the duo of Bargeld and percussionist/power toolist Andrew Chudy as they made their first steps into the void in 1980. Here, Chudy's vaguely tribal drums provide a rhythmic drive for Bargeld's guitar string noise, tortured whispers and creepy-as-shit Korg synthesizer drones. The greatest achievement of the band's first incarnation is probably "Tagesschau-Dub", a hypnotic, electronically assaulted percussion drone (it's hard to make percussion drone, but they manage it) piled high with incongruous samples from TV and radio. It's an astute collage and one of several tracks that betrays the band's initial interest in dub production techniques. On its own merits, Kalte Sterne is a treasure trove of prime artifacts from the infancy of an important and groundbreaking band.

Einstürzende Neubauten - Kalte Sterne (flac 335mb)

01 Fuer Den Untergang 4:18
02 Tan-Ze-Dub 4:12
03 Zuckendes Fleisch 3:34
04 13 Loecher (Leben Ist Illegal) 1:53
05 Tagesschau-Dub 6:10
06 Bakterien Fuer Eure Seele 3:46
07 Kalte Sterne 4:13
08 Aufrecht Gehen 3:47
09 Pygmaeen 1:20
10 Erlicher Stein 1:00
11 Schwarz 4:16
12 Thirsty Animal 9:05
13 Durstiges Tier 6:28

Einstürzende Neubauten - Kalte Sterne (ogg 131mb)

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Einstürzende Neubauten's first album, as one might imagine, is their most primitive and radical effort, the purest expression of their original aesthetic. This makes the album both historically significant and conceptually intriguing, of course, but what's most interesting about this album is that it still sounds surprising decades after its release. Often, albums that are considered extreme art statements upon their debut sound almost quaint a few years later, but while Kollaps perhaps sounds less extreme to ears that heard industrial music turned into disco pabulum by the likes of Nine Inch Nails than it did before, songs like the eight-minute title track and the rumbling live closer, "Negativ Nein," are still a fascinating blend of rhythm and random bashing, tonality and atonality, with anguished vocals by Blixa Bargeld that often seem to have little connection with anything else in the piece. The brief tracks, like the 80-second "Sehnsucht," are even more extreme explorations of pure noise. Starting as early as the next album, Einstürzende Neubauten would begin slowly introducing more mainstream musical concepts into their aesthetic, making Kollaps as undiluted a listening experience as there is in the entire catalog.

Einstuerzende Neubauten - Kollaps (flac 322mb)

01 Tanz Debil 3:23
02 Steh Auf Berlin 3:47
03 Negativ Nein 2:27
04 U-Haft-Muzak 3:41
05 Draußen Ist Feindlich 0:49
06 Schmerzen Hören 2:32
07 Jet'm 1:24
08 Kollaps 8:04
09 Sehnsucht 1:21
10 Vorm Krieg 0:20
11 Hirnsäge 1:55
12 Abstieg & Zerfall 4:28
13 Helga 0:39
+
14 Schieß Euch Ins Blut 3:06
Stahldubversions
15 Rohrbombe 1:02
16 Futuristischer Dub 1:03
17 Sado-Masodub 3:11
18 Liebesdub 1:29
19 Spionagedub 2:12
20 Mikrobendub 1:46
21 Gastarbeiterdub2:47
22 Rivieradub 2:46
23 Lünebest 1:58 .

Einstuerzende Neubauten - Kollaps (ogg 124mb)

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Einstürzende Neubauten's second album, 1983's Zeichnungen des Patienten O.T. (Drawings of Patient O.T.), is less extreme than their 1981 debut, but it's still a challenging listen. The title comes from the drawings of Oswald Tschirtner, a Swiss mental patient whose work is prized by collectors of "outsider artists," and the comparison is apt. Einstürzende Neubauten's music has the same bizarre leaps of logic and random connections that one finds in that sort of visual or verbal art, although starting with this album, the music is just controlled and sculpted enough to reveal that yes, the group does know exactly what they're doing. Many of the pieces are more songlike than the group's earlier work, with actual melodies encoded in the banging and howling, and a couple tracks that could even be called almost pretty. "Armenia" is the highlight, based on an Eastern European folk song form and featuring some long, droning, sustained notes that are similar to what some European post-minimalist composers (Gavin Bryars, Michael Nyman, etc.) were doing around the same time. Zeichnungen des Patienten O.T. is the best balance between Einstürzende Neubauten's chaotic early work and the more refined albums to come, and is possibly their best work.

Einstuerzende Neubauten - Zeichnungen Des Patienten O.T. / Drawings Of O.T. (flac 320mb)

01 Vanadium-I-Ching 4:54
02 Hospitalistische Kinder / Engel Der Vernichtung 5:09
03 Abfackeln! 3:32
04 Neun Arme 2:34
05 Herde 1:24
06 Merle (Die Elektrik) 2:20
07 Zeichnungen Des Patienten O.T.3:23
08 Finger Und Zähne 0:17
09 Falschgeld 2:42
10 Styropor 2:24
11 Armenia 4:57
12 Die Genaue Zeit 7:06
13 Wasserturm 6:27
14 Wardrobe 2:40
15 Blutvergiftung 1:51

Einstuerzende Neubauten - Zeichnungen Des Patienten O.T. / Drawings Of O.T. (ogg 125mb)

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

Looka here another batch of 27 re-ups, requests fullfilled up to March 12th ...N' Joy

3x Sundaze Back In Flac (Budd Cocteau Twins - Moon And The Melodies, Budd & Guthrie - Mysterious Skin, Budd & Guthrie-Night Falls/Day Breaks)

3x Aetix Back In Flac (Rain Parade - Emergency Third Rail Power Trip + Explosions EP, Rain Parade - Crashing Dream, Rain Parade - Beyond The Sunset)

6x Aetix NOW In Flac (New Order - Brotherhood, New Order - Substance A, New Order - Substance B, New Order - Power, Corruption & Lies, New Order - Power, Corruption & Lies bonus, New Order - Movement)

3x Roots Back In Flac (Prince Far I & The Arabs-Message From The King, Prince Far I & The Arabs - Dub To Africa, U-Roy - Dread In A Babylon)

5x Wave NOW in Flac ( TV 21 - A Thin Red Line, The Motels - The Motels, The Motels - Careful, Matt Johnson - Burning Blue Soul, Flying Lizards, The - Fourth Wall, The Fixx - Reach The Beach)

3x Aetix Back in Flac ( The Clash - Singles 01-05, The Clash - Singles 06-09, The Clash - Singles 10-11)

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

1x Ancient NOW in Flac ( Mediaeval Baebes - Mirabilis)

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Hello, the Formula 1 circus starts this weekend with still a comfortable lead for Mercedes so it seems, even considering Rosberg crashing his car in qualifying training one. Wet weather interfered with qualifying training two, it will be interesting how the qualifying pans out under the new rules. Rules that already have been announced temporary, bit of a marketing stunt then.

Today, the final post on.an American jazz, R&B, soul, funk and disco group, originally formed in 1964 as the Jazziacs based in Jersey City, New Jersey. They went through several musical phases during their recording career, starting out with a purist jazz sound, then funk and R&B, progressing to a smooth pop-funk ensemble, and in the post-millennium creating music with a modern, electro-pop sound. They have sold over 70 million albums worldwide ... N'joy

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Formed as a jazz ensemble in the mid-'60s, Kool & the Gang became one of the most inspired and influential funk units during the '70s, and one of the most popular R&B groups of the '80s after their breakout hit "Celebration" in 1979. Just as funky as James Brown or Parliament (and sampled almost as frequently), Kool & the Gang relied on their jazz backgrounds and long friendship to form a tightly knit group with the interplay and improvisation of a jazz outfit, plus the energy and spark of a band with equal ties to soul, R&B, and funk.

Robert "Kool" Bell and his brother Ronald (or Khalis Bayyan) grew up in Jersey City, NJ, and picked up the music bug from their father. A professional boxer, he was also a serious jazz lover and a close friend of Thelonious Monk. With Robert on bass and Ronald picking up an array of horns, the duo formed the Jazziacs in 1964 with several neighborhood friends: trombone player Clifford Adams, guitarists Charles Smith and Woody Sparrow, trumpeter Robert "Spike" Michens, alto saxophonist Dennis Thomas, keyboard player Ricky West, and drummer Funky George Brown (all of whom, except Michens and West, still remained in the group more than 30 years later).

The Bell brothers' father Bobby and uncle Tommy were boxers. They moved to New York to train and lived in the same apartment building as Thelonious Monk who became Robert's godfather when he was born. Miles Davis would drop by because he wanted to be a boxer.[5] They played occasionally with McCoy Tyner, Pharoah Sanders and Leon Thomas.

The growing earthiness of soul inspired the Jazziacs to temper their jazz sensibilities with rhythms more akin to R&B, and the newly renamed Soul Town Band began playing clubs in Greenwich Village. After a mix-up with a club owner resulted in the group being billed Kool & the Flames, they moderated the title to Kool & the Gang and found a leg up with the tiny De-Lite Records. Three singles from their self-titled debut album hit the pop charts, and although the position wasn't incredibly high, Kool & the Gang became a quick success on the R&B charts. Always a staple of their appeal, the group's live act was documented on two 1971 LPs, Live at the Sex Machine and Live at P.J.'s, including left-field covers of "Walk On By" and "Wichita Lineman" (as well as the not so unusual "I Want to Take You Higher").

Studio albums followed in 1972 and 1973, but it was with Kool & the Gang's sixth LP, Wild and Peaceful, that they hit the big time. "Funky Stuff" became their first Top 40 hit at the end of 1973. Then both "Jungle Boogie" and "Hollywood Swinging" reached the pop Top Ten. During the next four years, however, Kool & the Gang could only manage an occasional Top 40 hit ("Higher Plane,""Spirit of the Boogie"), and though they did win a Grammy award for "Open Sesame" (from the Saturday Night Fever soundtrack), the rise of disco -- a movement centered around producers and vocalists, in direct contrast to the group's focus on instrumentalists -- had appeared to end their popularity.

Then, in 1979, the group added two new vocalists, Earl Toon, Jr. and, more importantly, James "J.T." Taylor, a former Jersey nightclub singer. Kool & the Gang also began working with jazz fusion arranger Eumir Deodato, who produced their records from 1979 to 1982. The first such album, Ladies Night, was their biggest hit yet, the first of three consecutive platinum albums, with the Top Ten singles "Too Hot" and the title track. Celebrate!, released in 1980, spawned Kool & the Gang's only number one hit, "Celebration," an anthem favored by innumerable wedding receptions since. With Deodato, the group produced several more hits, including the singles "Take My Heart (You Can Have It if You Want It),""Get Down on It," and "Big Fun," and the albums Something Special in 1981 and As One a year later. After Deodato left the fold in late 1982, Kool & the Gang proved their success wasn't solely due to him; they had two immense hits during 1984-1985 ("Joanna" and "Cherish"), as well as two more Top Tens, "Misled" and "Fresh." The group's string of seven gold or platinum records continued until 1986's Forever, after which James "J.T." Taylor amicably left the group for a solo career.

Although Taylor did reasonably well with his solo recordings (many of which were produced by Ronald Bell), Kool & the Gang quickly sank without him. They replaced Taylor with three vocalists, Skip Martin (formerly of the Dazz Band), Odeen Mays, and Gary Brown, but failed to chart their albums Sweat (1989) and Unite (1993). Taylor finally returned to the group in 1995 for the release of a new album, State of Affairs. They continued well throughout the 2000s, releasing 2001's Gangland, 2004's The Hits: Reloaded, and 2007's Still Kool (recorded after the 2006 death of co-founder Charles Smith). They often collaborated with new and well-known younger talent.

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During their eight-year reign as one of the premiere R&B/funk bands, Kool & the Gang, featuring James "J.T." Taylor on lead, had one Top Ten hit after another and quite a few number one hits. This album did not spawn any number one singles, but it did house two festive Top Ten numbers in "Big Fun" and "Let's Go Dancin' (Ooh La, La, La)." The former has a rapid, groovin' bassline accentuated by some jittering horns. The latter is Caribbean-flavored single ideal for a popular party/cook-out dance called the electric slide. Respectively, they peaked at six and seven on the Billboard R&B charts. Though it appears that the lyric to the title song depicts a relationship between a man and woman, it is actually speaking of the band as an unit. The nine-piece outfit also pays homage to the great bandleader Cab Calloway with the rhythmic number "Hi De Hi, Hi De Ho." Aside from the two released singles, this album does not have that constant spark like some of their more accomplished efforts.

Kool & The Gang - As One (flac 191mb)

01 Street Kids 5:51
02 Big Fun 5:03
03 As One 4:42
04 Hi De Hi, Hi De Ho 4:01
05 Let's Go Dancin' (Ooh La, La, La) 6:43
06 Pretty Baby 4:56
07 Think It Over 4:37

(ogg mb)

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By the time 1983's In the Heart hit the streets, Kool & the Gang had left the fast lanes of funk for the smoother ride of the adult-oriented R&B expressway. Nevertheless, their grasp of 1980s soul sonics ensured that the band continued to top the charts with a verve and style that left their early influences firmly behind. With Ronald Bell temporarily stepping off the stage to shoulder the production, the band entered yet another fruitful era. With the monster hit "Joanna" setting the pace, Kool & the Gang powered their way through a set that seemed light to some, but still had enough force to push In the Heart into gold disc territory. Best heard across the aforementioned number one hit and, also, on the urgent, but still smooth "Tonight," the band also excelled on "September Love," a sleepy ballad that holds forth with a tender touch.

Kool & The Gang - In The Heart (flac 177mb)

01 In The Heart 3:53
02 Joanna 4:16
03 Tonight 3:51
04 Rollin' 3:11
05 Place For Us 3:40
06 Straight Ahead 3:30
07 Home Is Where The Heart Is 3:43
08 You Can Do It 4:06
09 September Love 4:36

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This album marked the end of Kool & the Gang's 15-year association with De-Lite Records. Impressively, the group charted each of those 15 years, including ten number one singles. Emergency continued that tradition, and was responsible for two of those number one singles. The first release, "Misled," with its crackin' bassline, led the charge; it peaked at number three on the Billboard R&B charts. "Fresh," an invigorating dance single with melodic verses and accented chorus chants, followed and surpassed "Misled," claiming the top spot. Mostly known for their funk and dance songs, the nine-piece band hit on a more tranquil note with "Cherish." With its adult contemporary appeal, the tender-flowing single eased its way to the top of the charts. All three of the aforementioned singles were also Billboard pop Top Ten singles. The final chapter in the group's De-Lite Records catalog came with the release of the title track, "Emergency," a rock-flavored single that crested at number seven on the Billboard R&B charts.

Kool & The Gang - Emergency (flac 208mb)

01 Emergency 5:15
02 Fresh 4:20
03 Misled 4:57
04 Cherish 4:45
05 Surrender 4:56
06 Bad Woman 5:35
07 You Are The One 7:00

Kool & The Gang - Emergency (ogg 81mb)

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Kool & the Gang's penultimate album, and vocalist James "J.T." Taylor's last with the band before he left for a solo career, 1986's Forever marked the group's final Top Ten hit. And, while it was still a slick slab of competent R&B, Forever was a far cry from the driving funk grooves of Kool's earlier material. Having been fully in the grasp of the mainstream since the beginning of the decade, Kool & the Gang popped a further three songs into the Top 20 in late 1986/early 1987. Both "Victory" and "Stone Love" are sharp, synthesized pop, while "Holiday," though heavy on lyrical clichés, is graced by a wonderful bassline -- sorely missed from much of the band's latter-day repertoire. The title track, meanwhile, emerges as an elegant ballad by 1980s standards, while elsewhere the band combines both elements across "Peace Maker" and the melancholy "Broadway," which hides power ballad rock guitars deep in the mix. Long past their classic funk prime, Kool & the Gang were also fast teetering on the precipice of wearing out their pop welcome as well. Despite some rocky moments, best forgotten, Forever remains a competent last hurrah for Taylor, and indeed for the band itself.

Kool & The Gang - Forever (flac 249mb)

01 Victory 4:37
02 I.B.M.C. 4:19
03 Stone Love 4:31
04 Forever 5:03
05 Holiday 4:12
06 Peace Maker 4:35
07 Broadway 3:40
08 Special Way 5:26
09 God's Country 5:04

Kool & The Gang - Forever (ogg 92mb)

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RhoDeo 1608 Goldy Rhox 250

RhoDeo 1608 Grooves

Sundaze 1609

RhoDeo 1609 Watchmen 05

RhoDeo 1609 Roots

RhoDeo 1609 Aetix

RhoDeo 1609 Re-Ups 47

RhoDeo 1609 Grooves

Sundaze 1610

RhoDeo 1610 Watchmen 06

RhoDeo 1610 Roots

RhoDeo 1610 Aetix

RhoDeo 1610 Re-Ups 48

RhoDeo 1610 Grooves

Sundaze 1611

RhoDeo 1611 Watchmen 7

RhoDeo 1611 Roots

RhoDeo 1611 Aetix

RhoDeo 1611 Re-Ups 49

RhoDeo 1611 Grooves