JERRY GOODMAN - On the Future of Aviation (1985) APE (image+.cue), lossless

After ten years away from recording, Jerry Goodman returned at the height of the new age trend of the mid-'80s. The violinist, a former member of the Flock and the Mahavishnu Orchestra, fit right in on the Private Music label, which was devoted to new instrumental music played on electric as well as acoustic instruments, in contrast to the Windham Hill model of strictly acoustic instrumentation. (In 2000, Goodman's three-album Private Music catalog was licensed and reissued by One Way.) Fans of the original Mahavishnu lineup may have expected a jazz fusion effort with Goodman's amplified violin soaring above all; instead, On the Future of Aviation contains pop-style compositions in which individual virtuosity is only a part of the overall conception, and on which Goodman seems to be playing guitars and synthesizers as much as violin. But if this is not a fusion record, neither is it a typically laid-back new age album. Rather, it fits in with Private Music labelmate Yanni's approach to new age, lively synth-based instrumental pop that draws upon many musical styles to create a hybrid. The most striking piece is "Orangutango," which typically mixes a tango rhythm with jungle sounds, exotic percussion, and a buoyant melody. As long as listeners are willing to encounter a stimulating composer rather than the violin soloist of old, they will enjoy Goodman's return to active duty. by William Ruhlmann  
Tracklist:
1 On The Future Of Aviation 6:36
Vocals – Linda Sears
2 Endless November 8:40
3 Outcast Islands 6:34
Synthesizer – Jeffery Vanston (C.J.) 
4 Orangutango 6:26
Drums – Phil Gratteau
5 Waltz Of The Windmills 5:50
Vocals – Linda Sears
6 Sarah's Lullaby 5:42
Vocals – Linda Sears
Credits:
Drums – Paul Wertico
Producer – Jerry Goodman, Martin Rubenstein
Programmed By [Fairlight Cmi] – Sanford Ponder
Synthesizer [Yamaha Dx-7, Oberheim Obx], Piano – Fred Simon
Violin [Acoustic], Electric Violin, Acoustic Guitar, Electric Guitar, Mandolin, Viola [Violo], Synthesizer – Jerry Goodman
Written-By, Arranged By – Jerry Goodman

JON ANDERSON - Angels Embrace (1995) FLAC (image+.cue), lossless

While many Jon Anderson fans knew he had it in him to do something very light and airy and perhaps even without vocals (Olias of Sunhillow essentially led the way), the fact that it's something this light and airy is likely to come as a bit of a shock. Anderson presents the listener with a soundscape made up of long, sustained notes and drifting chords, a construction in which the few melodies present take minutes to work through -- there's far more in common with the Hearts of Space catalog here than with much of Anderson's prior work, though the Vangelis influence is to be felt, too (especially on the quarter-hour "New Eire Land"). Another surprise is the mainly instrumental nature of the album -- Anderson takes very few vocals. Daughters Deborah and Jade pitch in along the way without much incident. On the whole, Angels Embrace sounds something like a lost Jon & Vangelis album, or Brian Eno in a frothy mood, and just like good background music for meditation, spiritual navel-gazing, and general situations where the alpha waves need a decent boost. by Steven McDonald

DEAD CAN DANCE - Spleen and Ideal (1985-2008) SACD / FLAC (image+.cue), lossless

With this amazing album, Dead Can Dance fully took the plunge into the heady mix of musical traditions that would come to define its sound and style for the remainder of its career. The straightforward goth affectations are exchanged for a sonic palette and range of imagination. Calling it "haunting" and "atmospheric" barely scratches even the initial surface of the album's power. The common identification of the duo with a consciously medieval European sound starts here -- quite understandable, when one considers the mystic titles of songs, references to Latin, choirs, and other touches that make the album sound like it was recorded in an immense cathedral. Opening number "De Profundis" sets this mood so thoroughly, with bells and drones and more supporting another bravura performance from Gerrard, while the immediately following "Ascension" builds on this initial effort with further style and grace. It's limiting to think of either album or band strictly in terms of simple revivalism of old music. While the elements being drawn on are certainly of an older range, the results owe as much to the technologies of arrangement and production and a consciously cinematic feeling as much as they do antique pasts. Similarly, the feeling is not simply European but worldwide, with Gerrard's glossolalia intentionally reaching beyond easy understanding. Perry's vocal efforts are no less compelling, his own high point occurring with the vast-sounding "Enigma of the Absolute," as a steady, massive drum pound echoes behind a similarly treated guitar/harpsichord combination, tinged with a striking string arrangement. The overall feeling is of an ancient religious service suddenly brought to life in a truly modern way, with stunning results. by Ned Raggett  

DEAD CAN DANCE - The Serpent's Egg (1988-2008) SACD / FLAC (image+.cue), lossless

Perry and Gerrard continued to experiment and improve with The Serpent's Egg, as much a leap forward as Spleen and Ideal was some years previously. As with that album, The Serpent's Egg was heralded by an astounding first track, "The Host of Seraphim." Its use in films some years later was no surprise in the slightest -- one can imagine the potential range of epic images the song could call up -- but on its own it's so jaw-droppingly good that almost the only reaction is sheer awe. Beginning with a soft organ drone and buried, echoed percussion, Gerrard then takes flight with a seemingly wordless invocation of power and worship -- her vocal control and multi-octave range, especially towards the end, has to be heard to be believed. Nothing else achieves such heights, but everything gets pretty darn close, a deserved testament to the band's conceptual reach and abilities. Slow plainsong chants such as "Orbis De Ignis" mix with the harpischord and overlaid vocals of "The Writing on My Father's Hand" and the slow build and sweep of "In the Kingdom of the Blind the One-Eyed Are Kings." Two of Perry's finest vocal moments occur here. The first, "Severance," is a slow, organ/keyboard led number that showcases his rich, warm vocals exquisitely -- it's no wonder that Bauhaus chose to cover it some years later on its reunion tour. "Ullyses," the album's closing track, makes for a fine ending as much as "The Host of Seraphim" did an opening, Perry's delivery almost like a reading from a holy book, the arrangement of strings and percussion rhythmic, addictive and lovely. by Ned Raggett 

DEAD CAN DANCE - Aion (1990-2008) SACD / FLAC (image+.cue), lossless

Their reputation growing by leaps and bounds, including a huge underground following in the U.S. -- they were able to tour there even without one domestic release available, while at one point Dead Can Dance was the biggest selling band in 4AD's history -- Perry and Gerrard once again did the business with Aion. Its cover taken from Bosch, Aion's medievalism was worn more openly than ever before, with songs adapted from centuries-old material. The beautiful, entrancing "Saltarello," with lead performance by what sounds like an old wind instrument, comes from an Italian dance of the 14th century, while the mysterious moods of "The Song of the Sibyl" derive from 16th-century Catalonia. The group's command of not merely recording possibilities -- witness the exquisite layering of vocals on the opening "The Arrival and the Reunion" -- but of musical traditions, instruments, and more from around the world was arguably never stronger. Gerrard's vocals in particular have an even stronger, richer feeling than before, not merely able to command with its power but softly calm and seduce. Perry, meanwhile, is no less compelling, his ever-strong, wonderful voice perfectly suited to his choice of material. The standout track is "Fortune Presents Gifts Not According to the Book" with lyrics from a Spanish poet. The musical combination of softly plucked guitar and buried organ drone is striking enough, swathed in reverb, but when Perry steps in with his vocals, matched by more sparkling keyboards, the result is yet another high point for a band laden with them. Guest performers once again assist throughout, including Perry's brother Robert on haunting, quite non-clichéd bagpipes for "As the Bell Rings the Maypole Spins" and singer David Navarro Sust, returning again to contribute some fine backing work. by Ned Raggett  

DEAD CAN DANCE - Into the Labyrinth (1993-2008) SACD / FLAC (image+.cue), lossless

With a regular American deal in place for the first time ever, thanks to 4AD's linkup with the WEA conglomerate, Dead Can Dance made a splash on commercial alternative radio with "The Ubiquitous Mr. Lovegrove," the first single from Into the Labyrinth. Raga drones, a strange clattering beat, a haunting wind instrument, orchestral shading, and Perry's ever-grand voice make it one of the more unlikely things to be heard on the airwaves in a while. It all begins with yet another jaw-dropper from Gerrard, "Yulunga (Spirit Dance)," with keyboards and her octave-defying voice at such a deep, rich level that it sweeps all before it. Wordless as always but never without emotional heft, the song slowly slides into a slow but heavy percussion piece that sounds a bit like "Bird" from A Passage in Time, but with greater impact and memorability. As the album slowly unwinds over an hour's length, the two again create a series of often astounding numbers that sound like they should be millennia old, mixing and matching styles to create new fusions. Perhaps even more impressive is that everything was performed solely by Perry and Gerrard -- no outside guests here, and yet everything is as detailed, lush, and multifaceted as many of their past albums. New classics from the band appear almost track for track: Gerrard's a cappella work on "The Wind That Shakes the Barley," the gentle beauty of "Ariadne," the rhythmic drive and chants of the title song. The conclusion is a slightly surprising but quite successful cover -- "How Fortunate the Man With None," an adaptation of a classic Bertolt Brecht tune about the turn of fortune's wheel. Given a restrained arrangement and Perry's singing, it brings Labyrinth to a satisfying end. by Ned Raggett  

CELTIC CROSS - Hicksville (Remastered & Remixed) 1998 / Mp3

V.A. RAJA RAM Presents Evolution Of Expanded Consciousness (2000) Mp3

MYSTERY OF THE YETI - The Mystery of the Yeti (1996) APE (image+.cue), lossless

MYSTERY OF THE YETI - Part 2 (1999) APE (image+.cue), lossless

THE INFINITY PROJECT - Mystical Experiences (1995) APE (image+.cue), lossless

NATACHA ATLAS - Ayeshteni (2001) WV (image+.cue), lossless

Though a native of Belgium, Natacha Atlas is of Egyptian ancestry and has been bewitching Western listeners with her melismatic Arabic vocals since the early '90s as a solo artist and a member of the worldbeat dance band Transglobal Underground. All of her solo albums have been impressive, but this one is her best so far. As always, she's helped out in the beats department by her colleagues in Transglobal Underground, and as always their stylistic promiscuity stands her in good stead: her original songs, sung in Arabic as usual, are an entrancing fusion of snaky, modal melodies and gutbucket funk grooves -- "Ashwa," "Mish Fadilak," and her adaptation of Zebda's "Soleil D'Egypte" are all every bit as rhythmically irresistible as they are seductively lovely. And the cover versions are, if anything, even better; she turns the torching Jacques Brel classic "Ne Me Quitte Pas" into a slinky dancefloor come-on, and delivers the best version of "I Put a Spell on You" since the death of Screamin' Jay Hawkins. Is there anything she can't do?  by Rick Anderson
Tracklist
1 Shubra 5:42
Arranged By – Transglobal Underground
Backing Vocals – The Mohandiseen Male Voice Choir
Cello – Emad Taha
Composed By [Additional] – Khaled Boughi
Drums, Programmed By – Hamid Man Tu
Engineer – Khaled Raouf
Mixed By – Philip Bagenal, Tim Whelan
Organ, Programmed By – Tim Whelan
Percussion – Khaled Rico
Producer – Transglobal Underground
Saxophone – Larry Whelan
Viola – Mahmoud Osman
Violin – Hani Farahat
Violin, Arranged By [Strings], Fiddle [Rababa] – Medhat Abdel Samie
Written-By – Kasiek, ManTu, Atlas
2 I Put A Spell On You 3:44
Arranged By – Transglobal Underground
Backing Vocals – The Mohandiseen Male Voice Choir
Cello – Taha Taha, Emad Taha
Drum [Nahrazan] – Mohamed Kly
Engineer – Khaled Raouf
Flute [Magruna] – Yehia Abdallah
Mixed By – Philip Bagenal, Tim Whelan
Percussion – Khaled Salah El Din Taha Abdalla
Piano, Programmed By – Tim Whelan
Producer – Transglobal Underground
Programmed By – Hamid Man Tu
Scratches – DJ Awe
Viola – Mahmoud Osman
Violin – Medhat Abdel Samie, Hani Farahat
Written-By – Screamin' Jay Hawkins
3 Ashwa 6:03
Cello – Emad Taha
Composed By [Additional] – Khaled Salah El Din Taha Abdalla, Khaled El Boughi
Drums – Hamid Man Tu
Engineer – Tom Rixton, Khaled Raouf
Flute [Kawala] – Ibrahim Kawala
Guitar – Tim Whelan
Mixed By – Philip Bagenal, Tim Whelan
Percussion, Backing Vocals [Whisper] – Khaled Rico
Producer – Mika Sabet
Programmed By, Arranged By – Mika Sabet
Viola – Mahmoud Osman
Violin [Additional] – Hani Farahat
Violin [Solo], Violin [Additional] – Medhat Abdel Samie
Written-By – Natacha Atlas
Zither [Quanun] – Ituch
4 Ayeshteni 4:57
Cello – Emad Taha
Composed By [Additional] – Khaled Salah El Din Taha Abdalla
Engineer – Khaled Raouf
Mixed By – Philip Bagenal, Tim Whelan
Oud – Essam Rashad
Percussion, Backing Vocals – Khaled Rico
Producer – Mika Sabet
Programmed By – Tim Whelan, Mika Sabet
Viola – Mahmoud Osman
Violin – Tamer Ghoneim, Medhat Abdel Samie, Hani Farahat
Written-By – Atlas, Sabet
5 Soleil D'Egypte 3:12
Adapted By – C Khaldy, Natacha Atlas
Mixed By – Philip Bagenal
Producer – Transglobal Underground, Zebda
Written-By – Magyd Cherfi, Zebda
6 Ne Me Quitte Pas 4:33
Arranged By – Transglobal Underground
Engineer – Philip Bagenal
Keyboards, Programmed By – Hamid Man Tu
Mixed By – Philip Bagenal
Piano, Guitar, Programmed By – Tim Whelan
Producer – Transglobal Underground
Strings – Heanafy Soliman
Written-By – Jacques Brel
7 Mish Fadilak 5:12
Cello – Emad Taha
Clarinet – Larry Whelan
Composed By [Additional] – Khaled Salah El Din Taha Abdalla, Samir Zaki
Engineer – Tom Rixton, Khaled Raouf
Flute [Kawala] – Ibrahim Kawala
Mixed By – Philip Bagenal
Oud – Mamdouh Gebari
Percussion – Khaled Rico
Producer – Fahd, Mika Sabet
Programmed By, Arranged By – Fahd, Mika Sabet
Viola – Mahmoud Osman
Violin – Tamer Ghoneim, Medhat Abdel Samie, Hani Farahat
Written-By – N. Atlas
Zither [Quanun] – Ituch
8 Rah 6:21
Cello – Emad Taha
Composed By [Additional] – Khaled Salah El Din Taha Abdalla
Drums – Hamid Man Tu
Effects [Clouds] – Larry Whelan
Engineer – Khaled Raouf
Flute [Kawala] – Ibrahim Kawala
Mixed By – Philip Bagenal
Percussion – Khaled Rico
Producer – Mika Sabet
Programmed By, Arranged By – Mika Sabet
Viola – Mahmoud Osman
Violin – Tamer Ghoneim, Hani Farahat
Violin, Fiddle [Rababa] – Medhat Abdel Samie
Written-By – Atlas, Sabet
9 Lelsama 5:52
Clarinet – Larry Whelan
Drums – Hamid Man Tu
Engineer – Tom Rixton, Khaled Raouf
Flute [Kawala] – Ibrahim Kawala
Flute [Magruna] – Yehia Abdallah
Guitar, Programmed By – Tim Whelan
Mixed By – Philip Bagenal, Tim Whelan
Percussion, Composed By [Additional] – Khaled Salah El Din Taha Abdalla
Producer – Mika Sabet
Programmed By, Arranged By – Mika Sabet
Violin – Medhat Abdel Samie
Written-By – Natacha Atlas
Zither [Quanun] – Ituch
10 Fakrenha 5:09
Arranged By – Transglobal Underground
Cello – Taha Taha, Emad Taha
Composed By [Additional] – Khaled Salah El Din Taha Abdalla, Khaled El Boughi
Effects [Ghosts] – Hamid Man Tu
Effects [Spirits] – Mika Sabet
Engineer – Khaled Raouf
Mixed By – Philip Bagenal, Tim Whelan
Percussion – Khaled Rico
Piano, Programmed By – Tim Whelan
Producer – Transglobal Underground
Saxophone – Larry Whelan
Viola – Mahmoud Osman
Violin – Tamer Ghoneim, Medhat Abdel Samie, Hani Farahat
Written-By – Natacha Atlas
Zither [Quanun] – Ituch
11 Manbai 7:43
Engineer – Khaled Raouf
Flute [Kawala] – Ibrahim Kawala
Mixed By – Philip Bagenal
Oud, Arranged By – Essam Rashad
Percussion – Khaled Rico
Producer – Essam Rashad
Remix – Nitin Sawhney
Written-By – Rashad, Atlas

NATACHA ATLAS - Ayeshteni

 (2001) Mantra / WV (image+.cue), lossless

O Púbis da Rosa

VAS - In the Garden of Souls (2000)

In the Garden of Souls is the third CD from Vas -- Azam Ali and Greg Ellis. Cameron Stone is a guest cellist. This is a grand-scale project. Ali's Farsi vocals tell tales of unknown splendor, triumph, sorrow, and pain. The dark passages and light passages weave throughout the soundscape effortlessly. Ellis is a superb multi-instrumentalist; his percussion surrounds ethereal atmospheres. Stone's cello provides a drone to splay the soundscape. This is consistent with the first two Vas albums. It is an excellent cross-cultural hybrid. It will appeal to fans of Sheila Chandra, Natacha Atlas, and Loreena McKennitt. by Jim Brenholts
Tracklist
1 In the Garden of Souls 10:26
Azam Ali / Greg Ellis
2 Inamorata 4:50
Azam Ali / Greg Ellis
3 Samaya 6:07
Azam Ali / Greg Ellis
4 Prayer for Soheil 5:04
Azam Ali / Greg Ellis
5 Ceremony of Passage 3:44
Azam Ali / Greg Ellis
6 Beyond Despair 1:37
Azam Ali / Greg Ellis
7 The Inward Coil 5:11
Azam Ali / Greg Ellis
8 Ephémère (Upon the Faded) 6:23
Azam Ali / Greg Ellis
9 Lila 5:26
Azam Ali / Greg Ellis
10 Unbecome 6:11
Azam Ali / Greg Ellis
11 Sevdama 7:32
Azam Ali / Greg Ellis
Credits
Udu, Tabla, Goblet Drum [Dumbek], Drums [Nagara], Cymbal, Bells, Drums [Frame Drum], Tom Tom [Toms], Gong, Keyboards, Voice, Dulcimer [Lap] – Greg Ellis
Voice, Dulcimer [Hammered], Tambura [Tanpura], Drums [Frame Drum], Tambourine [Riqq] – Azam Ali

VAS - In the Garden of Souls
 (2000) Narada World / CBR320k / scans

O Púbis da Rosa

REBEKKA BAKKEN & WOLFGANG MUTHSPIEL - Daily Mirror Reflected [2001]

If you found Daily Mirror, the avant-garde jazz song project of singer Rebekka Bakken and guitarist Wolfgang Muthspiel, to be just a bit too abstract, then you might want to take a stroll through this album, which consists of sometimes drastically remixed versions of songs from Daily Mirror. Many of these reworkings are no less challenging than the original songs. Ashley Slater and Tom Gandey's treatment of "Wonders," for example, takes bizarre electronic liberties with Bakken's voice and creates a strange digital collage using delay and a cheesy beatbox rhythm; "Emotions on a Lazy Day" is given a trip-hop setting by Gregor Hibe in which Muthspiel's guitar lines are torn to pieces and then thrown into a vortex of jungly breakbeats while Bakken sings sweetly above the fray. "Drawing Lines" gets a jazzy house mix at the hands of DJ Jeremiah, while the "Air of Decay Beatbox Mix" of "Angela" comes out sounding like an outtake from My Life in the Bush of Ghosts. Avant-garde dance music simply doesn't get much better than this. by Rick Anderson
Tracklist
1     Wonders (Ashley Slater & Tom Gandey Remix)    7:15
    Remix – Ashley Slater, Tom Gandey
2     Smack Of Dogskin (Godskin Remix)    5:11
    Remix – aleXdrum, Karl MöstlTrumpet – Matthieu Michel
3     Emotions On A Lazy Day (Emotions-Drumboi-Remix)    5:23
    Remix – Gregor Hilbe
4     Angela (Plush Mix)    6:39
    Remix – Steve Argüelles
5     It's OK (TeddyBut Remix)    6:34
    Remix – Teddy Kumpel
6     Nowhere (Hollywood Voodoo Lounge Remix)    6:41
    Remix – Frank Rothkamm
7     Drawing Lines (House Remix)    4:25
    Remix – DJ Jeremiah
8     Smack Of Dogskin     5:17
    (Remix With Aleatoire Programmation By Frederic Galliano)
9     Angela (An Air Of Decay Beatbox Mix)     4:21
Credits
    Lyrics By – Bernd Hagg (tracks: 2 to 4, 6 to 9)
    Music By – Wolfgang Muthspiel (tracks: 2 to 4, 6 to 9)
    Producer – Wolfgang Muthspiel
    Written-By – Rebekka Bakken (tracks: 1, 5)

 REBEKKA BAKKEN & WOLFGANG MUTHSPIEL
 Daily Mirror Reflected
 [2001] Material Records / CBR320 / scans

O Púbis da Rosa

SHPONGLE - Discography [1998 - 2017]

Eclipse Psychedelic duo Simon Posford and Raja Ram are Shpongle, an ambient techno/trance project formed in 1996 after the pair viewed a solar eclipse in India. After that event, they entered the studio and attempted to duplicate the experience in sonic form, and the result was a 20-minute track, "...And the Day Turned to Night," which was featured on a Twisted label compilation titled Eclipse. Shpongle's full-length debut album, Are You Shpongled?, was released in early 1999. Their sophomore effort, Tales of the Inexpressible, arrived in 2001 and featured the additions of Spanish and East Asian instrumentation. In 2005, the duo released their third album, Nothing Lasts... But Nothing Is Lost, which was intended to be their final project. However, Shpongle returned in 2009 with Ineffable Mysteries from Shpongleland, which incorporated world music themes, and the God Particle EP in 2010. Museum of Consciousness followed in 2013.  by Steve Huey

Albums Study

1998 - Are You Shpongled

2001 - Tales Of The Inexpressible

2003 - Remixed

2005 - Nothing Lasts... But Nothing Is Lost

2008 - Unreleased Remixes

2009 - Ineffable Mysteries From Shpongleland

2010 - The God Particle (feat. Benji)

2013 - Museum of Consciousness

2017 - Codex VI

Singles & EPs

2000 - Divine Moments Of Truth

2001 - The Crystal Skulls (GMS & 1300 Mics, Shpongle)

2004 - Dorset Perception, Beija Flor

2010 - Invisible Man In A Fluorescent Suit,  Nothing Is Something Worth Doing

2011 - The God Particle

Live

2009 - Live In Concert At The Roundhouse London 2008

SHPONGLE - Discography [1998 - 2017]

O Púbis da Rosa

BJÖRK ‎– Debut [1993] FLAC

Freed from the Sugarcubes' confines, Björk takes her voice and creativity to new heights on Debut, her first work after the group's breakup. With producer Nellee Hooper's help, she moves in an elegantly playful, dance-inspired direction, crafting highly individual, emotional electronic pop songs like the shivery, idealistic "One Day" and the bittersweet "Violently Happy." Despite the album's swift stylistic shifts, each of Debut's tracks are distinctively Björk. "Human Behaviour"'s dramatic percussion provides a perfect showcase for her wide-ranging voice; "Aeroplane" casts her as a yearning lover against a lush, exotica-inspired backdrop; and the spare, poignant "Anchor Song" uses just her voice and a brass section to capture the loneliness of the sea. Though Debut is just as arty as anything she recorded with the Sugarcubes, the album's club-oriented tracks provide an exciting contrast to the rest of the album's delicate atmosphere. Björk's playful energy ignites the dance-pop-like "Big Time Sensuality" and turns the genre on its head with "There's More to Life Than This." Recorded live at the Milk Bar Toilets, it captures the dancefloor's sweaty, claustrophobic groove, but her impish voice gives it an almost alien feel. But the album's romantic moments may be its most striking; "Venus as a Boy" fairly swoons with twinkly vibes and lush strings, and Björk's vocals and lyrics -- "His wicked sense of humor/Suggests exciting sex" -- are sweet and just the slightest bit naughty. With harpist Corky Hale, she completely reinvents "Like Someone in Love," making it one of her own ballads. Possibly her prettiest work, Björk's horizons expanded on her other releases, but the album still sounds fresh, which is even more impressive considering electronic music's whiplash-speed innovations. Debut not only announced Björk's remarkable talent; it suggested she had even more to offer.  by Heather Phares 

Tracklist
1 Human Behaviour  4:12
Björk / Nellee Hooper
2 Crying  4:49
Nellee Hooper
3 Venus as a Boy  4:41
Björk
4 There's More to Life Than This  3:21
Björk / Nellee Hooper
5 Like Someone in Love  4:33
Johnny Burke / James Van Heusen
6 Big Time Sensuality  3:56
Björk / Nellee Hooper
7 One Day  5:24
Björk
8 Aeroplane  3:54
Björk
9 Come to Me  4:55
Björk
10 Violently Happy  4:58
Björk / Nellee Hooper
11 The Anchor Song  3:32
Björk
12 Atlantic 2:04
13 Play Dead  3:58
Engineer [Mix] – Q (4)
Engineer [Programme] – Kerry Hopwood
Producer – Danny Cannon, David Arnold
Producer [Additional], Remix – Tim Simenon

Written-By – B. Gudmundsdottir, D. Arnold, J. Wobble
Credits
Arranged By [Brass] – Björk, Oliver Lake
Backing Vocals – Jhelisa Anderson             
Brass – Gary Barnacle, Mike Mower, Oliver Lake
Drums, Percussion – Bruce Willie Smith, Luis Jardim, Nellee Hooper
Guitar – Jon Mallison
Harp – Corki Hale
Keyboards – Björk
Organ [Hammond] – Garry Hughes
Programmed By, Keyboards – Garry Hughes, Marius de Vries, Martin Virgo, Paul Waller
Tabla, Directed By [Strings] – Talvin Singh
Written-By – Gudmundsdottir (tracks: 1 to 4, 6 to 12), Hooper (tracks: 1, 2, 4, 6)

BJÖRK ‎– Debut [1993]
 Mother Records ‎/ Polydor ‎/ FLAC / scans

O Púbis da Rosa

SHPONGLE - Nothing Lasts But Nothing Is Lost [2005] FLAC

 With sonic waves in a sea of synths, battalions of brazilian batucada beats, flamenco solo's, piano solo's, vocal soarings from Hari Om and trancey dubs this really is more music from the otherworld. A place of undefinable and indescribable beauty where all cultures collide, genres are rode over roughshot, and nothing is outlawed. For those that know them these will be sentiments they recognise and welcome as further evidence of Shongle's reputation. To those that don't, welcome to a new universe one with it's own language and musical map, a place of beauty and impermanence.

♫♪♫♪♫♪♫♪

1. Botanical Dimensions

2. Outer Shpongolia

3. Levitation Nation

4. Periscopes Of Consciousness

5. Schmaltz Herring

6. Nothing Lasts…

7. Shnitzled In The Negev

8. …But Nothing Is Lost

9. When Shall I Be Free?

10. The Stamen Of The Shamen

11. Circuits Of The Imagination

12. Linguistic Mystic

13. Mentalism

14. Invocation

15. Molecular Superstructure

16. Turn Up The Silence

17. Exhalation

18. Connoisseur Of Hallucinations

19. The Nebbish Route

20. Falling Awake

Total time: 01:07:04

O Púbis da Rosa

SHPONGLE - Remixed [2003]

Crystal Skulls (Western Rebel Alliance Remix) 6:34

...And The Day Turned To Fright (Eat Static Remix) 9:16

Star Shpongled Banner (Brothomstates Remix) 4:57

A New Way To Say "Hooray!" (Prometheus Remix) 7:51

My Head Feels Like A Frisbee 

(Delusions Of Grandeur Remix) 7:01

Dorset Perception (Total Eclipse Remix) 7:26

Around The World In A Tea Daze (Ott Remix) 8:25

Once Upon The Sea Of Blissful Awareness 

(Esionjim Remix) 6:04

CBR320/scan

O Púbis da Rosa

SHPONGLE - Are You Shpongled? [1999]

Are You Shpongled? builds on the ambient-trance aspirations of Shpongle's debut recording, the 20-minute opus "...And the Day Turned to Night," which is included here.

Tracklist

Shpongle Falls 8:33

Monster Hit 8:57

Vapour Rumours 10:26

Shpongle Spores 7:16

Behind Closed Eyelids 12:29

Divine Moments Of Truth 10:20

...And The Day Turned To Night 19:57

O Púbis da Rosa

TANGERINE DREAM - Force Majeure [1979] FLAC

Although Tangerine Dream is usually associated with synthesizers and the ambient movement that followed over a decade after such albums as Phaedra, Stratosfear, and Rubycon were recorded, Force Majeure shows the band displaying its roots in space rock. This time around, guitar and drums (played by Klaus Krieger) are as prominent as the keyboards. As the name would appear to indicate, the music on the album doesn't seem played so much as propelled forward, the overall pace rarely slackening for long. The title track is a suite that incorporates several distinct themes that segue into a cohesive whole via musical bridges. "Cloudburst Flight" is really an excuse for Edgar Froese to display his virtuosity on the electric six-string, which he does with amazing intensity. "Thru Metamorphic Rocks" begins with what sounds to be an album-ending theme, but then cross-fades into a hypnotic piece that builds upon a constant bed of pulsating sequencers and processed drums with various sound effects and still more keyboards until it fades out completely some 14 minutes later. An absolute necessity to those who might be at all curious about the band, or even successful experiments within the rock genre. Sections of the album would later appear in slightly altered versions on the soundtracks to the movies Risky Business and Thief.

Tracks:

1. Force Majeure - 18:15

2. Cloudburst Flight - 7:25

3. Thru Metamorphic Rocks - 14:28

All tracks written by Edgar Froese and Chris Franke.

Personnel:

- Edgar Froese - keyboards, electric & acoustic guitars, 

effects, producer

- Chris Franke - keyboards, sequencers, producer

- Klaus Krieger - drums, percussion

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- Eduard Meyer - cello, engineer

O Púbis da Rosa