Thievery Corporation - Radio Retaliation (2008)

Date Released: September 23, 2008
Origin: United States
Genre: Trip-Hop, Chillout, Acid Jazz, Downtempo, Soft Trip-Hop, Dub
Label: Eighteenth Street

Site: http://thieverycorporation.com
Tracklist:
1. Sound The Alarm
2. Mandala
3. Radio Retaliation
4. Vampires
5. Hare Krisna
6. El Pueblo Unido
7. The Forgoten People
8. 33 Degree
9. Beautiful Drug
10. La Femme Parallel
11. Retaliation Suite
12. The Numbers Game
13. The shining Path
14. Blasting Through The City
15. Sweet Tides
__________________________________________________
The beautiful people are restless. Radio Retaliation retains the glazed-velvet façade, groin-grabbing bass beats, talented guest vocalists and nicely balanced international spice of Thievery Corporation's four prior albums, but this time producer-DJs Rob Garza and Eric Hilton, judging by their lyrics, are pissed. Closer in sound and sense to 2002's reggae-driven The Richest Man in Babylon than to 2005's psychedelightful Cosmic Game, Retaliation is a multinational dancefloor call to arms. There's definitely a party going on, but only after everyone has debated the ballot versus the bullet with their neighborhood MoveOn cadre.The fightin' words of Fela Kuti, Manu Chao and the Clash echo the loudest through Thievery's righteous (if relatively quiet) riot. Fela's son, Femi, could be quoting his father when he sings of, "Guns and debt/ Life and death/ IMF" over Afrobeat rhythms in "Vampires"; Jamaican crooner Sleepy Wonder rages and croons against Babylon atop the Sly and Robbie inspired riddims of the title track and "Sound the Alarm"; and Go-Go godfather Chuck Brown is all about "takin' back the power, gonna share the wealth" in "The Numbers Game."Luscious instrumentals like "Mandala" (featuring Anoushka Shankar's sitar), "Retaliation Suite" (acid afrojazz), and "The Shining Path" (shimmering lounge-adelica) are the less-retaliatory flip side to Thievery's sonic uprising. Likewise, Brazilian singer Seu Jorge's "Hare Krisna" (a plea for inner peace) and chanteuse LouLou's "Sweet Tides" once again find the Corporation smack dab in the eye of a quiet storm, making music so elegantly designed that any corporation would want to attach it to a car, a perfume or a hotel lobby, so universal is Thievery's appeal.

Review taken from: http://www.emusic.com/album/Thievery-Corporation-Radio-Retaliation-MP3-Download/11278917.html

Download link: http://rapidshare.com/files/161502845/Thievery_Corporation_-_Radio_Retaliation.rar

Variation of R.W.' portrait, 2008

Alfredo Esparza - Variation of R.W.' portrait, 2008

Thievery Corporation - Versions (2006)

Date Released: May 16, 2006
Origin: United States
Genre: Trip-Hop, Chillout, Acid Jazz, Downtempo, Soft Trip-Hop
Label: Eighteenth Street

Site: http://thieverycorporation.com
Tracklist:
1. Tarana – Ustad Sultan Khan
2. Habanos Days – Damian
3. This Is Not A Love Song – Nouvelle Vague
4. Beloved – Anoushka Shankar
5. Who Needs Forever – Astrud Gilberto
6. Desert – Emilie Simon
7. Lemon Tree – Herb Alpert
8. Originality – Thievery Corporation Ft. Sister Nancy
9. In Love – Fear Of Pop
10. The Girl’s Insane – The Januaries
11. Strange Days – The Doors
12. Revolution Solution (TC Remix) – Thievery Corporation
13. Shiva(TC Remix) – Thievery Corporation
14. Khalghi Stomp – Transglobal Underground
15. Angels – Wax Poetic Ft. Norah Jones
16. Nothing To Lose – Isabelle Antena
17. Cada Beijo – Bebel Gilberto
18. Dirt Little Secret – Sarah McLachlan
__________________________________________________
Michael Balzary, known to many as Flea from the Chilli Peppers, was once quoted as saying that when he hears a good bass line it makes him want to fuck. Thievery Corporation’s latest release “Versions” blends fat bass lines, melodic swells and yes, the desire to procreate for pure gratification when one hears the music. Driving south from LA to San Diego on the 5 South past San Clemente you pass the nuclear power station that is featured in many movies such as the Naked Gun. These two cone shaped nuclear reactors are to one a reminder of a pair of heavenly mammories. If Thievery Corporation was a pair of breasts they most certainly would be this pair – the most explosive set of tits in the world. Nearly 7 years after their first remix album “Abductions and Reconstructions” Thievery Corporation unleashes “Versions.” A new collaboration of rare and sublime remixes of songs by The Doors, Sarah McLachlan, Astrud Gilberto, Nouvelle Vague, Wax Poetic with Norah Jones, Anoushka Shankar, and Transglobal Underground, among many others. “Versions” signals a return to form for the duo Rob Garza and Eric Hilton. Released in 2005, “Cosmic Game” as a whole did not embody the sound that clearly defined Corp’s prominence. There were however some notable moments from Perry Farrell and David Byrne on the record. “Versions,” the 18-track collection showcases Thievery Corporation’s versatility and studio production talent to transform music by a wide range of artists into sonic gems baring the distinct Thievery sound.The opening track of “Versions” sets the tone with a haunting remix of Ustad Sultan Khan’s “Tarana” that glides along lazily through a haze of atmospherics. The sultry tones of Nouvelle Vague’s Camille leaves one dreaming of walking through an ominous forest at night yet calmed by the swells of a flute and the almost unearthly hum of a sitar. “Who Needs Forever” featuring Astrud Gilberto stands out as the strongest track on the album. This track sees you seated in a red leather booth wallowing in the blur of whiskey and then suddenly plucked out by a jazzy moving bass line that would bring death back to life – this coupled with the provocative tone of Astrud Gilberto’s voice is reminiscent of Thievery’s defining moment -- The Mirror Conspiracy.Corp’s brand new track “Originality,” a sub-heavy collaboration between Thievery Corporation and Sister Nancy, is a reggaelicious smoke infused anthem for the ages. On Angels, Nora Jones, an unlikely collaborator, surprises. Her voice glides through a rhythm- heavy underwater trance that brings back strong visions of Smoke City’s Underwater Love. Garza and Hilton managed to amass some of today’s sweetest songbirds and successfully couple them with an adventurous and compelling mix of their seminal electronic beats and bass lines. Versions stands to see Thievery once again spread their exotic blend of music which like rain absorbs moisture and then spreads its goodness for all to thrive.

Review taken from: http://www.kevchino.com/review/thievery-corporation/versions/872
Download link: http://rapidshare.com/files/158563591/Thievery_Corporation_-_Versions.rar

Variation of Dead Horse, 2007

Alfredo Esparza - Variation of Dead Horse, 2007

Thievery Corporation - The Cosmic Game (2005)

Date Released: February 21, 2005

Origin: United States

Genre: Trip-Hop, Chillout, Acid Jazz, Soft Tripo-Hop, Downtempo

Label: ESL Music, Inc / Eighteenth Street

Site: http://thieverycorporation.com
Tracklist:
1. Marching The Hate Machines (Into The Sun) (Ft. The Flaming Lips)
2. Warning Shots (Ft. Sleepy Wonder & Gujan)
3. Revolution Solution (Ft. Perry Farrell)
4. The Cosmic Game
5. Satyam Shivam Sundaram (Ft. Gunjan)
6. Amerimacka (Ft. Notch
7. Ambición Eterna (Eternal Ambition) (Ft. Verny Varela)
8. Pela Janela (Through The Window) (Ft. Gigi Rezende)
9. Sol Tapado (The Covered Sun) (Ft. Patrick de Santos)
10. The Heart’s A Lonely Hunter (Ft. David Byrne)
11. Holographic Universe (Ft. Gunjan)
12. Doors Of Perception (Ft. Gunjan)
13. Wires & Watchtowers (Ft. Sista Pat)
14. The Supreme Illusion (Ft. Gunjan)
15. The Time We Lost Our way (Ft. Loulou)
16. A Gentle Dissolve
__________________________________________________
What makes a great collaboration? At its worst, the collabo is a marketing tool and predictable, at its best, a creative detour and a catalyst for inspiration. For Thievery Corporation's fourth full-length of original material, the group turns increasingly to the aid of some handsome strangers to distill their prime influences of African diaspora music into a modern beat dub. The Corporation, the duo of Rob Garza and Eric Hilton, draws up an eclectic guest list and merges it into a characteristic chill-out collage. While the Flaming Lips, South Asian superstar Gunjan, and David Byrne anticipate a meeting of major minds, the results are admittedly subdued and subtle. Similar to how recent celeb-fest Handsome Boy Modeling School wrapped odd orgies in the loveage of Paul and Dan, the Corporation weaves each artist into its recognizable patchwork. Each contribution blends neatly together, and creates a cohesive whole.
The Cosmic Game unfolds in a steady and consistent manner, much like a mixtape segmented neatly by mood and theme. "Marching the Hate Machines (Into the Sun)" opens the album with a notable appearance from an Air-headed Wayne Coyne. Like Yoshimi sipping Virgin Suicides, the Corporation crafts hollow atmospheres, lonely guitar leads, and twinkling keyboards. The peaceful backing provides a counterpoint to the confrontational title and upfront lyrics: "Let's start by, making it clear / Who is the enemy here / And we'll show them / That it's not them / Who is superior." The song's chorus continues on to dream an abstract Armageddon for the negative ones, a bold statement from a group associated more with chill-outs and sessions. Given the current political rhetoric, the schism in social discourse, and the group's base in Washington, D.C., the tension is more appropriate than out-of-place. However, the Corporation sticks to its tried and true moves, and bathes Coyne's critique in such cozy warmth that the assault feels more like a well-oiled Trojan Horse.
Similar to how the Corporation molds a track around Coyne's recent maturation to slick-psych, the production throughout the album is tailored around the guests. The hard-breaking "Warning Shots" is unusually aggressive for the two, but its knocking drums, punchy guitar accents, and Tech9 loop back Sleepy Wonder's underwater toasting with necessary heat. The feverish gargle in the first half of the song also works within the context of the album by detonating the ambivalence established in the opening track. Gunjan's warm voice gradually weaves in and replaces Sleepy's rasp, transitioning to the soothing cool-down of the lightly tripping "Revolution Solution". In contrast to the complete immersion of its guests into the music on "Shots", the Corporation provides sparse backing for Perry Farrell, whose voice functions as an instrument, channeling Horace Andy through a modern Madchester beat dub. Singing now in a subdued tone, filling out the lower end of his range and displaying a throaty tenor not often heard, Farrell sounds convincing. Admittedly, when he sings, "I hope for comfort / But I never felt safe", his beat down Babylon sermon sounds like fodder from the privileged hippie camp, but crisp production supports Farrell's diatribe dance with just the right amount of substance.
The title track "The Cosmic Game" strips vocals and any specific rhetoric, functioning as a moment of respite that actually brings the album into focus. Although each voiceless track functions as a similar transition piece, "Game" reintroduces the group's career-long exploration of South Asian, Caribbean, and Afro-Latin roots. The quiet "Shiva" follows as Gunjan stretches out on one of her several features, fusing modernist reading with sleek mod production. Notch, featured on the Corporation's last album, takes a step deeper into the pocket by heavily buttering his toasts on "Amerimacka"; his critical warning shot is lover's rock smooth, but runs roots deep: "If she had only stood for love / That would have been enough / But now we all burn in her plan". Although "Amerimacka"'s critique parallels the tone of the first section of Game, it contrasts with the Corporation's trademark subtlety; Dark Days drums swaying below slow-mo bass, and keys and strings washed in echo are the group's bread and butter. The effects become tired toward the end, because they are used repeatedly and often in a predictable manner -- echo is often in triplet and eighth increments -- but this seems more a product of digitized quantizing than any fault of the duo's creativity. Although the majority of the album does not contain such thematic consistency as the opening salvo, the whole's abstract exploration of ambivalence and soft funk suits the group well.
The Corporation proceeds to sail down the Atlantic coastline for a party cruise. "Ambicion Eterna" breezes through with minimal hand percussion and soft vocals courtesy of Vermie Varela. The group ventures further south with the nu-brasilo-beat "Pela Janela". The duo avoids the common mistake of giving into drum machine four-on-the-floors, but instead allow live percussion to carry the bump, loping bass to do the dance, and wafting vocals to set the mood. Continuing the tour is "Sol Tapado", which breaks berimbau similar to how Cornershop funkified raga, while DC virtuoso Patrick de Santos moves the crowd with casual rhythm. Nimble bongos and bouncing bass trace the Corporation's path back to Nigeria as Shako David Byrne struts his tail feather through "The Heart is a Lonely Hunter." Horns punctuate the melody, keys wash and echo throughout, and Byrne's flat intonation modernizes Afro-Beat, making one of the more progressive collaborations of the album.
The album closes with punches and caresses that ultimately bring Game in for a rocksteady landing. Gunjan sways in and out of "Doors of Perception", a guiro driven raga racer, as Sista Pat delivers throaty incantations over "Wires and Watchtowers'" pumping drums and echoing horns. Gunjan returns one last time on "The Supreme Illusion" to deliver quawwali-like pipes to dutty dancehall beatdowns and skull-snapping breaks. The final descent is gentle, as "The Time We Lost Our Way" cools out with muted trumpets and acoustic guitars. The Bacharach-Morricone vibe gives the composition a cinematic quality that leads naturally into the soft closer, "A Gentle Dissolve."
Thievery Corporation succeeds on The Cosmic Game by using collaborations to build on an established repertoire of instrumental music. Vocals have held an increasing presence in the group's work, but the Corporation uses each voice as an instrument, namely Gunjan, to push for newer sounds. The submergence of superior talents, like the oft-mentioned Gunjan, into the Corporation's palette is unfortunate for the guests, considering their ability to stand as centerpieces. However, for Thievery's purposes, the results are a fine distillation of their record interests. The overall quality of the work does not amount to the group's finest work, but considering the juggling act required to coordinate such talent, the Corporation sets forth on the best foot once again.

Review taken from: http://www.popmatters.com/music/reviews/t/thieverycorporation-cosmic.shtml
Download link: http://rapidshare.com/files/157889053/Thievery_Corporation_-_The_Cosmic_Game.rar.html

Variation of Spines, 2008

Alfredo Esparza - Variation of Spines, 2008

Thievery Corporation - The Richest Man In Babylon (2002)

Date Released: October 1, 2002

Origin: United States

Genre: Trip-Hop, Chillout, Acid Jazz, Downtempo

Label: ESL Music, Inc / Eighteenth Street

Site: http://thieverycorporation.com
Tracklist:
1. Heaven’s Gonna Burn Your Eyes
2. Facing East
3. The Outernationalist
4. Omid (Hope)
5. All That we Perceive
6. Un Simple Histoire (A Simple Story)
7. Meu Destino (My Destiny)
8. Exilio (Exile)
9. From Creation
10. The Richest Man In Babylon
11. Liberation Front
12. The State Of The Union
13. Until The Morning
14. Resolution
__________________________________________________
I love the missus for many reasons. There’s the sex. And there’s a certain laconic brilliance that shines like a Maglite in a moviehouse sometimes.
We were driving back from the beach. She’d just gotten her license reinstated. She’d been behind the wheel for an hour or two, and hadn’t quite gotten back into it yet. She needed a nap. I took over and put on the new Thievery Corporation album; just loud enough to know something was on. I didn’t want to keep her awake, and I didn’t feel much like paying attention. Before she nodded off, she said:
“This is what the cool people listen to.”
We’re going straight to hell, kids. If there’s hell below, we’re all gonna go. We’re going to boil in a bubbling cauldron of the oil from the pores of Sebadoh fans. And some of us will be so good at ironic, detached assimilation that we’ll affect an enjoyment of hell. We might never figure out whether we’re in heaven or hell. Which, if one believes the existentialists, is a pretty solid working definition of hell.
Our legacy? We’ll force a lot of Fugazi and Blackalicious on our kids, which will no doubt bore them to conniptions. They’ll be more interested in Neptunes and Green Day, having no more reason to reject them than we have to give the condescending stinkeye to Tommy James. (Our young’uns won’t give a shit about The Apples In Stereo, either.) And then there’ll be a more interesting, less easily defined legacy, passed on through discs like The Richest Man In Babylon. Provided this once great nation doesn’t rot through completely, this record will take over for Herb Alpert and “The Girl From Ipanema.”
It’s hipster Muzak, in other words. All ESL records are essentially “beautiful music” with a dash of urban flava, and can be enjoyed as such. Some can be probed for menacing subtext. Not Thievery Corporation. Break out your Physician’ s Desk Reference and Blue States can be melancholy, Thunderball can be paranoid, etc. This DC crew brings the straight tapioca.
The Corp goes slightly “exotic” now and again. There’re smoky leads from weary sounding women. And there’s a tabla.
The Richest Man In Babylon is strictly background fare. If you run a coffeeshop, you’re cooking with gas. If you’ve got a paper to write or tables to wait, it can pad out your skull. But I can’t imagine desiring to experience it through headphones. Even if I were a cool person. I imagine I’d be busy hitting on other cool people.
Shit, it’s less dull than Tortoise.

Review taken from: http://www.dustedmagazine.com/reviews/405
Download link: http://rapidshare.com/files/157467910/Thievery_Corporation_-_The_Richest_Man_In_Babylon.rar.html

Variation of Moneda Corriente III, 2008

Alfredo Esparza - Variation of Moneda Corriente III, 2008

Thievery Corporation - The Mirror Conspiracy (2000)

Date Released: August 22, 2000
Origin: United States
Genre: Trip-Hop, Chillout, Acid Jazz, Downtempo
Label: ESL Music, Inc.

Site: http://www.thieverycorporation.com
Tracklist:
1. Treasures
2. Le Monde
3. Indra
4. Lebanese Blonde
5. Focus On sight
6. Air Batucada
7. So Com Voce
8. Samba Tranquille
9. Shadows Of Ourselves
10. The hong Kong Triad
11. Illumination
12. The Mirror Conspiracy
13. Tomorrow
__________________________________________________
Thievery Corporation's 1996 debut, Sounds From the Thievery Hi-Fi, was a must-have for martini-drinking lounge lizards everywhere. Plundering a bazaar of cosmopolitan sounds, it established this swank, mod-suit-wearing D.C.-based duo as the Thomas Crowns of sampling. Four years on, DJs Rob Garza and Eric Hilton continue their global pillaging with the hypnotic Mirror Conspiracy -- think James Bond chilling with Lee Perry and Antonio Carlos Jobim in a spliffed-out twilight zone. Only this time out, sampling takes a back seat: The duo relies on live instrumentation, taking in Jamaican reggae's reverb and echo, Far Eastern psychedelia and sitars, and bossa-nova horns and exotica. Where Sounds was dub-heavy, Mirror Conspiracy is infatuated with vintage Brazilian rhythms; on "Samba Tranquille," rousing Latin percussion rumbles over slow beats and spacey electronic riffs. Thievery's maturing flirtation with sultry female vocalists Bebel Gilberto (stepdaughter of that original girl from Ipanema) and Lou Lou (a sexy France Gall-like French chanteuse) could well propel this pair out of the club underworld. On the surefire lounge classic "Lebanese Blond," Pam Bricker's stoned-sexy vocals suck you in faster than the narcotic highs she lovingly details. Mirror Conspiracy is the perfect soundtrack for those who aspire to the elegantly roguish, Vespa-riding, Italian-soft-porn-loving international set.

Review taken from: http://www.rollingstone.com/artists/thieverycorporation/albums/album/206415/review/5945855/the_mirror_conspiracy
Download link: http://rapidshare.com/files/157443874/Thievery_Corporation_-_The_Mirror_Conspiracy.rar.html

Variation of Diaspora LXXXI, 2008

Alfredo Esparza - Variation of Diaspora LXXXI, 2008

Thievery Corporation - Sounds from the Thievery Hi-Fi [Extra Tracks] (2006)

Date Released: January 24, 2006
Origin: United States
Genre: Trip-Hop, Chillout, Acid Jazz, Downtempo
Label: Eighteenth Street

Site: http://thieverycorporation.com
Tracklist:
1. A Warning (Dub)
2. 2001 Spliff Odyssey
3. Shaolin Satellite
4. Transcendence
5. Universal Highness
6. Incident At Gate 7
7. Scene at the Open Air Market
8. The Glass Bead Game
9. Encounters in Bahia
10. The Foundation
11. Interlude
12. The Oscillator
13. Assault On Babylon
14. .38.45 (A Thievery Number)
15. One
16. Sun, Moon, and Stars
17. Sleeper Car
__________________________________________________
Rare groove duo Thievery Corporation may fall under the general classification of electronica, but their album Sounds from the Thievery Hi-Fi, like much of their music, is such a confluence of subgenres that techno fans might not find what they're looking for in it. This record is electronic in that nearly everything heard on it has been tweaked in the studio, but almost all of the actual synth sounds on Sounds from the Thievery Hi-Fi lay in the background. Each song is carried by recordings of actual instruments, either live or sampled, mixed to create the arc of the specific track. Add a smattering of vocal samples, and the result is the love child of Massive Attack and Mondo Grosso, a trip-hoppy, acid jazz mutant that will make you want to dance, have sex, or lounge by the pool (if you're not left walking in confused circles, trying to figure out which one). That seems to be the CD's only real weakness: the seams that bind the various influences involved in the music can be a bit ragged, leading to some songs that come off as awkward rather than eclectic. The amalgamations throughout most of the disc are quite effective, however. The track "Scene at the Open Air Market," for instance, sounds like the melody is played on a xylophone, before switching to perhaps an accordion, eventually coming to sound like a mixture of lounge music, rhumba, and Eastern European folk -- but sexy. The samples of a man yelling reggae-style shout-outs during "2001 Spliff Odyssey," however, are mostly just distracting from the ultra-smooth groove, and can feel like interruptions. In the end, assuming that almost everyone who picks up Sounds from the Thievery Hi-Fi is a fan of trip-hop, acid jazz, club/dance, or electronica, then it is essentially a record for everybody. Its only real fault is that, occasionally, it edges toward being a record for nobody. [This version of Sounds from the Thievery Hi-Fi includes the bonus tracks "Sun, Moon, and Stars" and "Sleeper Car."]

Review taken from:

http://www.alibris.com/musicsearch?qsort=&page=1&matches=9&browse=1&qwork=400815406&mtype=M&full=1
Download link: http://rapidshare.com/files/158187161/Thievery_Corporation_-_Sounds_From_The_Thievery_Hi-Fi.rar.html

Variation of Walking elephant, 2007

Alfredo Esparza - Variation of Walking Elephant, 2007

Various Artists - 3D Concepts | Miles Tilmann/Loess/Low Profile Society (2004)

Date Released: November 29, 2004
Origin: Verious Countries
Genre: IDM, Ambient, Drone,
Label: Toytronic
Site: http://www.toytronic.com
Tracklist Disc 1:

1. Middle Fields – Miles Tilmann
2. The Big Swim – Miles Tilmann
3. Through The T - Miles Tilmann
4. Particle 3 - Miles Tilmann
5. Smallest Flam - Miles Tilmann
6. Mid Point - Miles Tilmann
7. Retinue – Loess
8. Sofar – Loess
9. Viscer – Loess
10. Alt.Tone.Two – Loess
11. Sixt – Loess

Tracklist Disc 2:
1. In - Low Profile Society
2. Example 2 - Low Profile Society
3. Example 3 - Low Profile Society
4. Example 4 - Low Profile Society
5. Example 5 - Low Profile Society
6. Example 6 - Low Profile Society
7. Example 7 - Low Profile Society
8. Example 8 - Low Profile Society
9. Out - Low Profile Society
10. Example 10 - Low Profile Society
11. Example 11 - Low Profile Society
12. Example 12 - Low Profile Society
13. Example 13 - Low Profile Society
__________________________________________________
Double cd compiling the very limited Miles Tilmann, Loess, and Low Profile Society marble vinyl EPs with 4 bonus new and unheard tracks from Low Profile Society. Loess deliver 5 tracks employing ambient principles for a foundation, with rhythmic elements softly extending themselves to enrich proceedings with a beautifully smoothed-over rendition of futuristic sounds. The opening “retinve” strengthens itself with a reliance on only the simplest of principles, a muted industrial percussive line loops itself for background while soothingly stretched synths and whispered basslines surround the rendition for an almost haze-driven listening experience. “alt.tone.two”, meanwhile, suddenly discovers a world of bass, more sparkling night-time ambience sets the scene while a dub-driven revolution of stabs and a skanking pace remind of Denmark’s excellent Dub-Tractor. Chicago’s Miles Tillman, meanwhile, starts proceedings with “Middle Fields” - a gorgeously layered construction of beatless textures, a dense display of warmth that brings to mind work by Brian Eno, Shuttle 358 and even the more ambient stretches of Casino vs Japan. “The Big Swim” follows in glorious form, a gentle pitter-patter in 4/4 form overlayed with more life-affirming edits of multi-coloured ambience, creating a sort of soothing tap of the feet that the likes of Christian Kleine are so good at extending with apparent ease. Low Profile Society, meanwhile, get a full disc to themselves, expanding on ambient themes to blissed-out shores previously visited by Arovane at his most spacious. 24 tracks across 112 minutes of music over two CDs.

Review taken from: http://www.boomkat.com/item.cfm?id=16016

Download link Disc 1: http://rapidshare.com/files/153476479/Various_Artists_-_3D_Concepts__Disc_1_.rar.html
Download Link Disc 2: http://rapidshare.com/files/153569809/Various_Artists_-_3D_Concepts__Disc_2_.rar.html

Variation of Medusa's Head, 2008

Alfredo Esparza - Variation of Medusa's Head, 2008

The North Sea - Archaic Spines (2007)

Date Released: November 20, 2007
Origin: United States
Genre: Folk, Fusion, Experimental
Label: A Silent Place / IODA
Site: http://www.thenorthseamusic.com
Tracklist:

1. Splendor
2. Oh Velveteen
3. Silent Order Of The Shrouded Tombs
4. We Salute The Sandblasted Turrets
5. The Feather’d King, The Bluejay Queen
__________________________________________________
Brad Rose, the man behind the Digitalis and Foxglove labels returns with another solo album, on another beautifully presented ha limited edition imprint. Archaic Spines is an album that utilises only a bouzouki and a hint of vocals, spreading five celestial ragas over forty minutes of improvisation. Unlike the open tuned raga variations we've come to expect from the Takoma lineage, these pieces tend to be strummed with droning open strings as you'd find in classical sitar music. For all the nods toward Eastern harmonic patterns and improvisational structures Rose remains plugged into American folk music and psychedelia - with typically imaginative, fanciful song titles like 'Silent Order Of The Shrouded Tombs' and 'The Feather'd King, The Bluejay Queen' being suggestive of the trance-inducing mediaeval mysticism Rose is aiming for with his extended string workouts.

Review taken from: http://www.boomkat.com/item.cfm?id=69433
Download link: http://rapidshare.com/files/154684669/The_North_Sea_-_Archaic_Spines.rar.html

Variation of Inferno, 2008

Alfredo Esparza - Variation of Inferno, 2008

The North Sea - Exquisite Idols (2007)

Date Released: May 7, 2007

Origin: United States

Genre: Folk, Fusion, Experimental. Leftfield

Label: Type Records / Morr Music GBR

Site: http://www.thenorthseamusic.com
Tracklist:

1. Eternal Birds
2. Guiwenneth Of The Green Grass
3. We Conquered The Golden Age
4. Take It From Me Brother Moses
5. Cover Me With Knives
6. Children Of The Ashes
7. And The Solstice Disappeared
8. Feather-cloaked Silver Priestess
__________________________________________________
We'd certainly forgive you for thinking this whole 'Free Folk' business had reached saturation point, and frankly was starting to sound a bit 2005. Well, here's something to rejuvenate your interests - and ours for that matter. The North Sea is the recording moniker of Digitalis Industries supremo Brad Rose, who over the last few years has been bringing together some of the most consistently compelling artists in the field of avant-garde psychedelics, artists such as Hush Arbors, Tom & Christina Carter, Gown and James Blackshaw. It would be perfectly reasonable then to deduce that Rose must know a thing or two about this particular strain of underground music, and "Exquisite Idols" (Rose's first solo album proper) demonstrates this amply. This isn't the first time Rose has appeared on Type, many of you will remember his monumentally far-out collaboration with fellow folk-drone travellers Rameses III (on last year's "Night Of The Ankou"), but Exquisite Idols is an entirely different proposition which centres around experimental approaches to traditional song structures. The work of Keith Wood (aka the aforementioned Hush Arbors) would actually provide a close reference point for this album. Rose and Wood share a similar approach to skewing the traditional and re-spinning it as something eerily otherworldy. Take the 15th century styling of 'We Conquered The Golden Age' for example: it absorbs the archaic drone of Tara Burke's Fursaxa recordings and incorporates it into upbeat, half-murmured outsider-ish song craft. 'Take It From Me Brother Moses' condenses this idea even further -with two short minutes of banjo-led, goodtime Americana all recorded with a hazy, homespun quirkiness. "Exquisite Idols" is not entirely divorced from Type's customarily experimental mindset: 'Eternal Birds' is filled with creaking, elongated chords, clattering percussion and lo-fi field recordings, while 'Cover Me With Knives' sets gamelan-like percussion against swirling noise loops. Not only does "Exquisite Idols" weigh in as another fine addition to Type's increasingly broad catalogue, it's a reminder of what made this new wave of folk music sound 'free' in the first place. Magic.

Review taken from: http://www.boomkat.com/item.cfm?id=31904
Download link: http://rapidshare.com/files/154709212/The_North_Sea_-_Exquisite_Idols.rar.html

Variation of Flooded Field, 2008

Alfredo Esparza - Variation of Flooded Field, 2008

Lights Out Asia - Eyes Like Brontide (2008)

Date Released: August, 2008
Origin: United States
Genre: Shoegaze, Downtempo, Post-Rock, Ambient
Label: n5MD
Site: http://www.lightsoutasia.com
Tracklist:

1. A Day Towards Other Days
2. Radars Over The Ghosts Of Chernobyl
3. X-33
4. Psiu! Puxa!
5. The Wrong Message Could End You
6. MIR
7. Garmonia
8. If I Die, I Wish You A Horrible Death
9. Six Points Of Fire
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n5MD trio Lights Out Asia are old hands when it comes to marrying post-IDM electronic ambience and ethereal, shoegaze-inspired songwriting. Their 2003 album Garmonia has come to be very highly regarded within the field, and five years on the dreamy textures of Eyes Like Brontide find the band on fine form. Combining brief, two-minute dream-pop miniatures with full-blown ten minute epics, the album's narrative keeps you locked in, delivering highlights such as the reverb drenched 'Radars Over The Ghosts Of Chernobyl' and the impeccable, otherworldly falsetto of 'If I Die, I Hope You Die A Horrible Death'. Intent on going out with a bang, 'Six Points Of Fire' builds up over the course of eleven minutes, combining digital soundscaping with soaring guitar before eventually arriving at a combustive crescendo, rammed with high density noise and metallic overtones.

Review taken from: http://www.boomkat.com/item.cfm?id=136066&highlight=136078

Download link: http://rapidshare.com/files/154415517/Lights_Out_Asia_-_Eyes_Like_Brontide.rar.html

Variation of Memorable II, 2008

Alfredo Esparza - Variation of Memorable II, 2008