Articles on this Page
- 03/19/18--00:13: _Arnd Stein - Zen Re...
- 03/19/18--00:37: _The Fleshtones – Bu...
- 03/19/18--01:07: _Alva Noto - Unieqav...
- 03/19/18--01:30: _Delphine Dora Eudaimon
- 03/19/18--02:36: _Billy Walker – Well...
- 03/19/18--02:36: _VA – The Many Faces...
- 03/19/18--03:12: _BLUES REVIVAL 40: H...
- 03/19/18--03:31: _Park Jiha Communion
- 03/19/18--03:36: _John Bramwell – Lea...
- 03/19/18--03:40: _El Vez - Endless Re...
- 03/19/18--04:13: _Claudia - Jesus Cri...
- 03/19/18--05:19: _Meat Loaf - Bad Att...
- 03/19/18--05:36: _Acollective – The C...
- 03/19/18--05:37: _Okol: Slit Drums an...
- 03/19/18--05:41: _stone flowers in bl...
- 03/19/18--07:36: _Bob Dylan – Yokoham...
- 03/19/18--08:00: _Nachtblut - Antik [...
- 03/19/18--08:00: _VA - Mas Y Mas [3CD...
- 03/19/18--08:00: _Jeavestone - Spices...
- 03/19/18--08:00: _Black Mountain - IV...
- 03/19/18--00:13: Arnd Stein - Zen Relaxation. Music For Inner Balance 2010 [FLAC]
- 03/19/18--00:37: The Fleshtones – Budget Buster (2018)
- 03/19/18--01:07: Alva Noto - Unieqav (2018) FLAC (tracks)
- 03/19/18--01:30: Delphine Dora Eudaimon
- 03/19/18--02:36: VA – The Many Faces Of Joy Division [3CD] (2015)
- 03/19/18--03:12: BLUES REVIVAL 40: HAMMIE NIXON (1908-1984)
- 03/19/18--03:31: Park Jiha Communion
- 03/19/18--03:36: John Bramwell – Leave Alone The Empty Spaces (2017)
- 03/19/18--03:40: El Vez - Endless Revolution [2CD Set] (2004)
- 03/19/18--04:13: Claudia - Jesus Cristo (1977) [Remastered 2007]
- 03/19/18--05:19: Meat Loaf - Bad Attitude (1984) [Vinyl Rip 24/96]
- 03/19/18--05:36: Acollective – The Coming of Light (2018)
- 03/19/18--05:37: Okol: Slit Drums and Whip Fighting in Madura
- 03/19/18--05:41: stone flowers in bloom.
- 03/19/18--07:36: Bob Dylan – Yokohama, Japan (2016)
- 03/19/18--08:00: Nachtblut - Antik [Limited Edition] (2009) 
- 03/19/18--08:00: VA - Mas Y Mas [3CD Box Set] (2002)
- 03/19/18--08:00: Jeavestone - Spices, Species And Poetry Petrol (2008)
- 03/19/18--08:00: Black Mountain - IV (2016)
FLAC | 236 MB | LINKS
Whether you know them as the “The Kings of Garage Rock” or “America’s Garage Rock Band”, there’s no debate that the Fleshtones are one of the hardest working (and rocking) bands of all time. They’ve stayed particularly busy in the past decade, releasing loads of new music that rivals the efforts of their forty-year career.
To honor the Fleshtones, we’re proud to release Budget Buster, a compilation of some of the finest b-sides and rarities they’ve put out over the last ten years, many of which are out-of-print and difficult to find (plus two unreleased tracks)!
Artist: Alva Noto | Album: Unieqav | Released: 2018 | Label: Raster-Noton | Catalog #: N-045 | Genre: Electronic, Ambient | Country: Germany | Duration: 00:54:44
320 kbps | 177 MB | LINKS
Known throughout his career as ‘The Tall Texan’ Billy Walker was an ever present in country music from the mid 1940s up to the 21st century. His biggest sustained success came through the mid 1960s onwards, but prior to that Billy had recorded prolifically for some of the biggest record labels in the world, scoring enough hits to keep those record labels invested in promoting his records. ‘Well, Hello There’ is a potent overview of Billy’s 1950s and early 1960s sides. It includes all of his Billboard Country Chart Hits plus a generous helping of 45s and album cuts that show he was adept at handling anything his record label required of him, from the rockabilly of “I’ve Got Leavin’ On My Mind” to the rockin’ western swing of “Whirlpool” to ballads like his first hit “Thank You For Calling” and Billy’s original version of the standard “Funny How Time Slips Away” and the shuffle beat of his biggest ever country hit, the #1 single “Charlie’s Shoes”. It was his ability to handle any type of song that kept Billy popular long after most of his peers had called it a day. He was still an in demand performer when he, his wife and most of his band died in a road accident in May 2006. This single CD cannot be bettered as a representation of the early years of Billy Walker. As with all Jasmine packages it’s beautifully re-mastered from the best available sources and sequence for maximum listening pleasure.
FLAC | 1,1 GB | LINKS
12 Tracks from Martin Hannett Sessions of the original Joy Division,16 Tracks from the Live Performance of the legendary Unknown Pleasures Album by the band of the former Joy Division and New Order Bass player Peter Hook Joy Division is one of the definitive bands from the rock culture. With their dark poetic inception and a sound marked by a new way of thinking about how music should be created, the Manchester band served as a model for countless artists. Today, just as it marks 35 years of the death of Ian Curtis (the legendary singer and lyricist of the group) The Many Faces Of Joy Division shows the hidden world behind the group, their rare recordings, side projects, their influences and the Manchester scene where the band bloomed. With a wonderful cover art, remastered sound and extensive liner notes, The Many Faces of Joy Division is an album not only for fans but for anyone who wants to understand the influence (and enjoy the music) of a truly transcendent bad, which made beauty out of sadness.
CD 1 – Joy Division – The Martin Hannett Sessions
01. Heart And Soul (Joy Division)
02. Love Will Tear Us Apart (Joy Division)
03. Twenty Four Hours (Joy Division)
04. Passover (Joy Division)
05. Decades (Joy Division)
06. Autosuggestion (Joy Division)
07. Leaders Of Men (Joy Division)
08. Shadowplay (Joy Division)
09. New Dawn Fades (Joy Division)
10. Ice Age (Joy Division)
11. Transmission (Joy Division)
12. At A Later Date (Joy Division)
CD 2 – Peter Hook & The Light “Unknown Pleasures” Live In Australia
01. No Love Lost (Peter Hook & The Light)
02. Leaders Of Men (Peter Hook & The Light)
03. Glass (Peter Hook & The Light)
04. Digital (Peter Hook & The Light)
05. Disorder (Peter Hook & The Light)
06. Day Of The Lords (Peter Hook & The Light)
07. Candidate (Peter Hook & The Light)
08. Insight (Peter Hook & The Light)
09. New Dawn Fades (Peter Hook & The Light)
10. She’s Lost Control (Peter Hook & The Light)
11. Shadowplay (Peter Hook & The Light)
12. Wilderness (Peter Hook & The Light)
13. Interzone (Peter Hook & The Light)
14. I Remember Nothing (Peter Hook & The Light)
15. Transmission (Peter Hook & The Light)
16. Love Will Tear Us Apart (Peter Hook & The Light)
CD 3 – The Roots & The Manchester Scene
01. Keep On Keeping On (Nolan Porter)
02. Totally Wired (The Fall)
03. Fleck (The Passage)
04. I’m Waiting For The Man (The Velvet Underground)
05. Sister Midnight (Iggy Pop)
06. Rock And Roll Part. 1 (The Glitter Band)
07. Sebastian (Cockney Rebel)
08. E=MC 2 (Rodion Gran Manigheo remix) (Giorgio Moroder)
09. The Face Behind The Scream (John Cooper Clarke)
10. I Wanna Be Me (Sex Pistols)
11. Ever Fallen In Love (Buzzcocks)
12. Boston Babies (Slaughter And The Dogs)
320 kbps | 55 MB | LINKS
I Am Kloot’s songwriter and frontman, John Bramwell, has announced the release of his first studio solo album “Leave Alone The Empty Spaces”.
The record is a stunning showcase of John’s skillful, widely acclaimed song-writing and his unique voice. It’s the first completely new collection of songs by John as a solo artist since he started his adventures away from I Am Kloot.
Title Of Album: Endless Revolution
Year Of Release: 2004
Label (Catalog#): Graciasland Records [GR002]
Country: United States
Genre: Rockabilly, Rock & Roll
Quality: FLAC (tracks,cue,log,scans)
Full Size: 642 mb
Upload: Turbobit / DipFile
Title Of Album: Jesus Cristo
Year Of Release: 1977/2007
Label (Catalog#): EMI [375830-2]
Genre: Latin Jazz, MPB, Soul/Funk, Vocal Pop
Quality: FLAC (tracks)
Full Size: 230 mb
Upload: Turbobit / HitFile / DipFile
???????????: Meat Loaf
??????: Bad Attitude
????: Hard Rock
??? ??????: 1984
????????: Arista (206 619)
??????: WavPack (image+.cue, scans)
????? ????????? ??????: Ex
??????: 912 Mb
320 kbps | 92 MB | LINKS
1. The Coming of Light (01:40)
2. Lele (03:29)
3. Circles (03:13)
4. PM to PM (03:35)
5. Back of my Head (02:26)
6. The Long Distance Hum (03:40)
7. Heart of Wool (03:55)
8. All Lights Up (03:40)
9. Rat King (03:05)
10. Believers (03:39)
11. Orange (00:42)
12. Sam (03:01)
13. Builder’s Tea (03:48)
Location: Batuputih, Sumenep Rgency, Madura Island (East Java Province)
There are many musical stories to be told on the island of Madura, a flat mass of land jutting from the north coast of East Java like a broken off peninsula. The Madurese people who hail from this dense, infertile island are known across Indonesia for their toughness and piety, and you’re likely to meet them in all corners of the archipelago: one of the largest ethnic groups in the country, there’s more of them spread outside their home island than on it. Their character and ubiquity as sate salesmen is well-known, but few folks outside of Madura could tell you about their music. It’s a shame, as Madura is packed with musical surprises, homespun village ensembles and modern musical movements.
Hoping to learn and hear more, I recently headed to Madura from the Javan port city of Surabaya, driving a rented motorbike across the massive and fairly new Suramadu bridge from the Javan port city of Surabaya. A few hours drive led me to Sumenep, a city and regency on the island’s far eastern tip famous for once being the site of a royal kingdom. While the city’s royal palace has stood empty for hundreds of years now, this corner of Madura is still known for the relative grace and refinement of its people (especially, Sumenep folks told me, compared to those cattle thieves in the west!)
In the countryside to the east of the city, distinctive Madurese musical traditions still thrive. Most surprising to me was okol, a kind of idiosyncratic gamelan played most often to liven up events featuring ojhung, or Madurese whip fighting. Similar to the glundhangan group I’d recorded amongst the diasporic Madurese of Jember, okol is an ensemble rooted in rough-hewn wood. While it seems there are only a few okol groups in existence (all centered around this corner of Sumenep), they all seem to gain their percussive power from huge, oddly-shaped slit drums or kentongan. These organically shaped barrels, carved from the soft wood of local palm trees, are the ancestors of similar instruments like the glundhangan’s dhungdhung and the pimped out kentongan of Jember’s funky musik patrol bands.
French ethnomusicologist Hélène Bouvier can back me up: the only foreigner to take an in-depth look at Madurese arts, Bouvier coincidentally spent some time in this corner of Madura as well, writing about okol in her book (Indonesian and French only!), Lebur: Seni Musik dan Pertunjukan dalam Masyarakat Madura [Lebur: Music and Performance Arts in Madurese Society.] Bouvier writes that the okol group she encountered also featured these huge kentongan (sometimes called dhuk-dhuk depending on the village). The largest one, she writes, was called egghung, possibly a Madurese take on the name I was given, gong. A musician sits to the side of this huge drum and divides musical cycles with a drawn out pounding of the top with a soft mallet. This sound, dry and bassy, is meant to evoke the resonant ring of a gamelan's largest gong. The other two kentongan are smaller and similarly stout. The musician straddles one of them and plays both of them together with two huge mallets, one wrapped with rubber and one pure wood. Wacking these various mallets on the side of the drum’s slits and on little protuberances jutting off of the drum’s end like a tail, the musician is able to summon a wide range of sounds, from bassy booms to dry taps. Together, this polyrhythmic arsenal of sounds is meant to mimic the sound of the Madurese ghendhang or barrel drum, so these twin torpedoes are likewise called ghendhang.
When Bouvier was around in the 80’s, the okol ensemble was relatively paired down: a set of small cymbals or kerca, (borrowed from the Madurese saronen ensemble, probably) rounded out the rhythmic side of things, while the melodic additions were simply the xylophone called ghambhang (gambang in Java) and maybe a flute (suling.) Nowadays the ghambhang has been paired with metallic instruments from a village gamelan: the metallophones peking and saron and even an old-fashioned gong (used to punctuate the spaces between the boom of the wooden “gong.”) In the group I saw, the kerca was also there, together with a busy cowbell-like instrument, kendokdok, made from the plantain-shaped root of the bamboo plant.
Madura has neither shadow puppet plays (wayang kulit) nor trance dance (kuda lumping or kuda kepang), so when gamelan is played, it is usually associated with loddrok, a kind of dance and theater form found across East Java (where, on the “mainland”, it’s called ludruk.) As a creative take on a village gamelan ensemble, the okol ensemble’s repertoire is borrowed from this loddrok tradition, with short, lively pieces stitching together melodic loops played in Madura’s favorite scale, the pentatonic slendro. In the group I saw, half of the pieces featured vocals or kejhung, with a man singing in a feminine voice in a high register. Other pieces seemed to be borrowed from the saronen tradition (maybe because the leader of this okol band also heads a saronen group), with that double reed wind instrument taking the lead while the usually melodic ghambhang switched over to imitating the looping gongs of that style.
As explained by Pak Sudiro, the okol group’s leader, and backed up by Bouvier, okol is played for a variety of ritualistic happenings at the heart of rural Madurese life. In the past it was often played for rokatan, a kind of annual spirit cleansing in the village, and also for rituals (minta hujan) where magic is used to summon rain during dry spells. Bouvier mentions that, just like glundhangan, it was also sometimes played to accompany popular pigeon racing events. Most commonly, though, okol is the backing band for the ritual whip fighting called ojhung. Set up on a tiny stage in a village clearing, the band sets the lively mood in between bouts where ballsy men get in a ring and beat each other vigorously with rattan whips. In other parts of Madura, okol is actually the name of a kind of wrestling, perhaps proof that the style, or at least the name, may be inseparable from this context of ritualistic showdowns.
It was a beautiful day for a whip fight. The afternoon sky was a bright blue as we weaved our way through irridescent rice paddies on a narrow dirt path, my motorbike struggling to keep up with the musicians ahead. The path led us through a thicket of bamboo and palm trees and finally into a small village where the air was already filled with the distorted voice of a sound man, “cek 1 2, cek 1 2.” Pulling my motor onto the side of the road, I followed Pak Sudiro to a bamboo veranda stacked with those wonderful slit drums, bulbous kentongan painted a festive red and white. I grabbed a smaller one by the slit and helped Pak Sudiro lug it over to a tiny, meter-high stage in a grassy clearing. To the side of the stage, I saw the sound guy leaning over a primitive mixing desk, cables leading through the grass to a motorcycle stacked high with speakers like some kind of Mad Max battle bike.
The ojhung crowds had not yet begun to gather as the band arranged their set-up, cheap mics swung over kentongan from low-hung rafters, wooden knocks and booms blasted from those motorcycle stacks across an empty field. On the other side of the ring, an odd team of transgender women and old ladies where setting up shop at some improvised warungs where they would sell ginger coffee and fritters.
Despite the lack of a crowd, the band launched into their set with an instrumental opener called “Lamongan.” Pak Sari, an older man in a short-sleeved batik shirt and red headband, immediately seemed to be stealing the show. Straddling one of the red and white kentongan like a seasoned cowboy, the man unleashed a flurry of mallet hits on the twin drums, a polyrhythmic storm weaving around the measured flourishes of the ghambhang and metallophones.
This was exciting stuff, but so far it was failing to attract an audience beyond me and a gang of naughty kids who seemed in it more for the white dude high-fives than the okol jams. People started to whisper that the ojhung whip fight wasn’t going to happen - nobody was ready to get whipped today. I’d heard boasts of big crowds at these shows, but so far I was beginning to doubt the vitality of this tradition.
After the band drummed up excitement with a few upbeat numbers, though, a crowd started trickling in, and soon enough the first fight seemed to be on. On one side of the ring, an older mustachioed man with a handsome grin started to prepare for the showdown, stripping down to a sarong tied tight around his groin like a loincloth. On the opposite side of the grassy field, his opponent emerged, a tough looking young man with small eyes and a fresh, nasty-looking wound on his knee. Both were outfitted with homemade armor: their left hands were wrapped in a tight, protective fabric, or tangkes, while their heads were squeezed into woven burlap helmets or bukot which made them look bizarrely like ill-equipped astronauts.
Soon they converged in the ring, a raised rectangle of earth surrounded by a spare wooden fence. Each was handed a lopalo, short rattan whips threaded with yellow string. The okol band had been pumping up the growing crowd, but as the referee brought the men together in their fighting stance, the band fell silent. It was time.
Right legs forward, the men leaned forward and simultaneously lashed out, their whips landing immediate blows on bare chests and backs. There was little chance to defend, it seemed, with the strategy seeming to be to get as many blows in as possible before the referee rushed back into the ring. Less than half a minute of lashing passed before it was over, the men turning and walking proud out of the ring.
Who won? I asked my friend, confused by the whole thing. Oh, he laughed, there’s no winner. You just get to show off your scars!
And so it continued, three rounds of fierce whipping, the downtime filled with the busy, percussive sound of okol. As the sun sank lower in the sky, the show was declared over, and the crowd dispersed once more. The fighters walked off with fresh scars to show, masculinity coolly asserted and confirmed. The okol band hauled their kentongan back to storage, they too having fulfilled their purpose in the ritual. We headed back through the paddies just as the light began to turn golden, a flock of pigeons tagged with wooden whistles whirring through the air. It was a beautiful day for a whip fight.
Recordings, Photos, and Video by Palmer Keen
Music by Bintang Keramat:
Peking/Saronen/Vokal - Pak Sudiro
Ghambhang - Pak Oda
Ghendhang - Pak Sari
Saron - Pak Nini
Kerca - Romdan
Gong - Pak Suroto
Vokal - Pak Risdem Muliadi
to start out the week before having to go to work i wanna share this really nice 80's german synth album, sounds like something private music woulda put out.
FLAC | 543 MB | LINKS
01. Things Have Changed 6:30
02. She Belongs To Me 5:21
03. Beyond Here Lies Nothin’ 4:16
04. What’ll I Do 3:13
05. Duquesne Whistle 6:45
06. Melancholy Mood 3:03
07. Pay In Blood 4:28
08. I’m A Fool To Want You 4:43
09. That Old Black Magic * 3:10
10. Tangled Up In Blue 6:13
01. High Water (For Charley Patton) 6:01
02. Why Try To Change Me Now 3:44
03. Early Roman Kings 5:57
04. The Night We Called It A Day 3:46
05. Spirit On The Water 6:28
06. Scarlet Town 6:00
07. All Or Nothing At All * 3:14
08. Long And Wasted Years 4:00
09. Autumn Leaves 5:49
10. Blowin’ In The Wind 6:12
11. Love Sick 6:41
??????: Antik [Limited Edition]
????: Dark Metal | Melodic Gothic Metal | Black Metal
????????: Napalm Records GmbH. [NPR 389]
???: 2009 
??????: FLAC (*image + .cue,log, covers)
??????: Depositfiles | Turbobit (3% ?? ??????????????)
Title Of Album: Mas Y Mas
Year Of Release: 2002
Label (Catalog#): WEA 
Genre: Latin Pop/Rock, Funk / Soul, Blues
Quality: FLAC (tracks,cue,log)
Full Size: 1.64 gb
Upload: Turbobit / DipFile
Title Of Album: Spices, Species And Poetry Petrol
Year Of Release: 2008
Country : Finland
Genre: progressive rock
Quality : FLAC (*image + .cue,log,scans)
Time : 43:36
Full Size: 289,0 MB