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███ █ ▐ T H A B O S S I S P R O U D T O P R E S E N T █ ██ █
█ █ ▐ ********************************************************** ▌██████
█ █ █ artist: The Sabres of Paradise vs LFOsize: 17,7 MB ▌ ██ █
█▄█ █ █ album: label: Warp █████ █
▀▀█ █ █ genre: Electronic str.date: 01/07/2003 ▄▄▄█
███▄▄▄█ time: 12:52 min rip.date: 01/07/2003 ▌█ ███
█ █▀▀ █ bitrate: 192 kbit ripper: Team BOSS ███ ███
█ █ ▌ source: Vinyl ▌ ███
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██ █ █ █ █▀▀█
█ █ █ Sabres of Paradise █ ████
█ █ █ █ ████
█ █ █ Andrew Weatherall's Sabres of Paradise were one of the █ ████
█ █ █ U.K.'s most celebrated experimental techno groups. A █ ████
█ █ █ combined effort of Weatherall and collaborators Jagz Kooner █ ████
█ █ █ and Gary Burns, the group released a flood of singles and █ ████
█ █ █ EPs, many of which were collected on compilations released █ ████
█ █ █ by Warp and Weatherall's other main focus: the Sabrettes █ ████
█ █ █ label, with releases from Plod and Slab, among others. Born █ ████
█ █ █ in Windsor, Berkshire, Weatherall considers himself a DJ █ ████
█ █ █ first, and his exhausting schedule of deckwork has been █ ████
█ █ █ arguably as influential as his records, inspiring scores of █ ████
█ █ █ other DJs and anticipating trends in trance-techno, █ ████
█ █ █ inelegant dance, and even trip-hop. Still, tracks such as █ ████
█ █ █ "Smokebelch," "Theme," "Wilmot," and the expansive Haunted █ ████
█ █ █ Dancehall did much in helping to push the post-techno █ ████
█ █ █ envelope beyond the often staid conventions of the dance █ ████
█ █ █ floor. Weatherall also gained visibility through remix and █ ████
█ █ █ production work, working with Primal Scream and Scottish █ ████
█ █ █ ambient-pop group One Dove, and reworking tracks for James, █ ████
█ █ █ the Orb, Bjork, Therapy?, Happy Mondays, Future Sound of █ ████
█ █ █ London, Bomb the Bass, Skylab, and Moody Boyz. His mixing █ ████
█ █ █ skills can be sampled firsthand via the three-CD collection █ ████
█ █ █ Cut the Crap, released by Six by 6 Records. █ ████
█ █ █ █ ████
█ █ █ After dissolving his Sabres of Paradise project and label, █ ████
█ █ █ Weatherall set up the tripartite Emissions label group and █ ████
█ █ █ launched his latest, perhaps most prodigious musical █ ████
█ █ █ venture, Two Lone Swordsmen. A collaboration with Emissions █ ████
█ █ █ engineer Keith Tenniswood, 2LS was formed in early 1996. The █ ████
█ █ █ group speaks the same language of warped, downtempo grooves █ ████
█ █ █ as much previous Sabres work (particularly "Smokebelch" and █ ████
█ █ █ "Wilmott"), but opts instead for a syntax of minimal █ ████
█ █ █ electronics and taut, brittle electro-funk for structure and █ ████
█ █ █ guidance. The group's first full-length release, 1996's The █ ████
█ █ █ Fifth Mission, was a whopping double-CD/triple-LP, both █ ████
█ █ █ preceded and followed by additional EPs of new material █ ████
█ █ █ ("Tenth Mission" and "Third Mission"). A few months later, █ ████
█ █ █ the group issued two additional LP-length releases (both █ ████
█ █ █ remix albums under the title Swimming Not Skimming, although █ ████
█ █ █ the CD and LP versions sported different tracks), and by the █ ████
█ █ █ end of 1996 had racked up no less than a half-dozen remixes █ ████
█ █ █ (including Slab, Alter Ego, Sneaker Pimps, and David █ ████
█ █ █ Holmes). The heavy release schedule continued through the █ ████
█ █ █ rest of the decade, with an assortment of LPs and mini-LPs █ ████
█ █ █ recorded via a new deal with Warp. █ ████
█ █ █ █ ████
█ █ █ LFO █ ████
█ █ █ █ ████
█ █ █ Hailing from Leeds, LFO (Low Frequency Oscillation) comprise █ ████
█ █ █ of two members, Mark Bell and Gez Varley. While both are █ ████
█ █ █ still in their early twenties they have enjoyed their first █ ████
█ █ █ flush of success with their debut single 'LFO' which reached █ ████
█ █ █ number 12 in the national Top 40 in 1990 and the equal █ ████
█ █ █ success of their first album 'Frequencies' which reached 41 █ ████
█ █ █ in the charts in 1991. Since then, much of their time has █ ████
█ █ █ been divided between releasing a further three singles on █ ████
█ █ █ Warp - 'We Are Back', released in June 1991 which reached █ ████
█ █ █ number 42 in the charts, 'What Is House' - released in █ ████
█ █ █ January 1992 which reached number 61 and 'Tied Up' released █ ████
█ █ █ in November 1994 which reached number 1 in the indie charts █ ████
█ █ █ - doing live stuff and spending time on new material in the █ ████
█ █ █ studio. Their long awaited second album "Advance" released a █ ████
█ █ █ whole 5 years later in January 1996 reached number 44 in the █ ████
█ █ █ national charts. █ ████
█ █ █ █ ████
█ █ █ Recorded almost entirely with their own equipment in Mark's █ ████
█ █ █ bedroom, the band write and produce all their own material. █ ████
█ █ █ █ ████
█ █ █ Mark and Gez first met in 1984 during a breakdancing battle █ ████
█ █ █ at the Merrion Centre in Leeds, which eventually led to a █ ████
█ █ █ close friendship and the formulation of the band. having █ ████
█ █ █ gathered some money together, they bought some drum machines █ ████
█ █ █ and keyboards and began to experiment, recording tracks and █ ████
█ █ █ playing them at the Warehouse club in Leeds. After hearing █ ████
█ █ █ one of their demo tapes at a club in Wakefield, Warp decided █ ████
█ █ █ to sign them and release their debut single 'LFO' in July █ ████
█ █ █ 1990. Inspired by the break dancing scene in the early 80's, █ ████
█ █ █ they cite electro, hip-hop, new beat and acts such as █ ████
█ █ █ Kraftwerk and Depeche Mode as important influences on their █ ████
█ █ █ musical output. █ ████
█ █ █ █ ████
█ █ █ Originators of the big bass sound, LFO constantly strive for █ ████
█ █ █ mysterious new sounds in their effort to be truly original. █ ████
█ █ █ Attentive to every detail they claim their ideas come from █ ████
█ █ █ everywhere, such as films where they might loop something █ ████
█ █ █ and jam over it... they inspire each other. █ ████
█ █ █ █ ████
█ █ █ Their music shows amazing diversity, and proves the band's █ ████
█ █ █ remarkable talent for discovering previously uncharted █ ████
█ █ █ territory. While their harder side is robotic and dance █ ████
█ █ █ industrial, there is still haunting, emotive quality █ ████
█ █ █ throughout, that element of mystery that is the band's █ ████
█ █ █ trademark. █ ████
█ █ █ █ ████
█ █ █ (Mark and Gez have since parted company - Mark remaining as █ ████
█ █ █ LFO and Gez recording solely as G Man. Mark has been working █ ████
█ █ █ with various artists including Bjork as well as recording █ ████
█ █ █ his own material. Gez has had a number of G Man releases █ ████
█ █ █ mainly on the Swim~ label.) █ ████
█ █ █ █ ████
█ █ █ Nightmares On Wax █ ████
█ █ █ █ ████
█ █ █ It wasn't really a change in direction. That's because there █ ████
█ █ █ wasn't anything to change in the first place. For Nightmares █ ████
█ █ █ On Wax, soul was always a latent force. It was just that it █ ████
█ █ █ was buried within a bleeping MIDI interface. But there comes █ ████
█ █ █ a time when raw energies like this can no longer be █ ████
█ █ █ smothered by technological trickery. They reach eruption █ ████
█ █ █ point. Eventually after a four year hiatus, NOW's soul █ ████
█ █ █ blasted through their synthetic sediment. █ ████
█ █ █ █ ████
█ █ █ On their second album Smoker's Delight released in 1995, █ ████
█ █ █ Leeds-based Waxer George Evelyn (aka EASE - 'Experimental █ ████
█ █ █ Sample Expert') makes no apologies about his soul █ ████
█ █ █ background. Weaned by his father and sister on soul staples █ ████
█ █ █ from the likes of Quincy Jones and Curtis Mayfield, he later █ ████
█ █ █ became mesmerised by the first wave of hip hop tracks like █ ████
█ █ █ Rappers Delight and Buffalo Gals. This infatuation with hip █ ████
█ █ █ hop enticed him to join a local breakdance crew where he █ ████
█ █ █ forged an alliance with fellow b-boy Kevin Harper. At that █ ████
█ █ █ point NOW was born and they released the single Dextrous in █ ████
█ █ █ 1990. But what caused a stir was their invasion of the █ ████
█ █ █ charts with their No.38 hit Aftermath. The track signalled █ ████
█ █ █ the presence of 'Northern Bleep' - a homebrewed, North-East █ ████
█ █ █ digital-break sound masterminded by The Forgemasters, LFO █ ████
█ █ █ and Unique 3, to name some. Yet underlining those successive █ ████
█ █ █ bleep blares were solid hip hop beats. George emphasises █ ████
█ █ █ this point about their 1991 album A Word Of Science: The █ ████
█ █ █ First And Final Chapter. "The album had to be something that █ ████
█ █ █ identified with the b-boys. We wanted to do tracks that had █ ████
█ █ █ hip hop beats but experimented with ideas". █ ████
█ █ █ █ ████
█ █ █ After that there was nothing. NOW just disappeared. No █ ████
█ █ █ 12",no album. But that didn't mean they were reclining in █ ████
█ █ █ the doldrums. In between co-running The Headz Club in Leeds, █ ████
█ █ █ George was amassing samples. This sound library was recorded █ ████
█ █ █ onto two sets of tapes: the Poverty tapes, (named after his █ ████
█ █ █ own label) which contained finished tracks and EASE tapes █ ████
█ █ █ that featured prototype ideas. George remarks, "I just built █ ████
█ █ █ the tracks around these ideas that I've had for the last █ ████
█ █ █ four years. The only thing that changed was bringing in live █ ████
█ █ █ musicians and editing." █ ████
█ █ █ █ ████
█ █ █ What culminated from NOW's personal 'Ultimate Breaks and █ ████
█ █ █ Beats' series was the slo'mo, soulistic long player Smoker's █ ████
█ █ █ Delight. Each track nonchalantly sojourns down crisp Philly █ ████
█ █ █ Soul production, pulsating ho-down medleys, heavy Barry █ ████
█ █ █ White pant tones, and nerve shivering chord shimmers found █ ████
█ █ █ in all the classic soul. This development annihilates the █ ████
█ █ █ fallacy that NOW are first and foremost a techno group. █ ████
█ █ █ █ ████
█ █ █ George argues, "although a lot of people labelled NOW as an █ ████
█ █ █ early techno group or bleep group, we never did. As far as A █ ████
█ █ █ Word Of Science went, there were so many different elements █ ████
█ █ █ of music in there. It's an evolution from that album to this █ ████
█ █ █ album. Everything was always about being funky. That's why █ ████
█ █ █ the idea for Smoker's Delight is nothing new. I just wanted █ ████
█ █ █ to do something with hip hop. When KLF bought out their █ ████
█ █ █ Chill Out album at the end of the eighties, I thought to █ ████
█ █ █ myself, that I'd like to do a hip hop chill out album." █ ████
█ █ █ █ ████
█ █ █ One aspect which has definitely changed is NOW's use of live █ ████
█ █ █ musicians. Although no longer working with Kevin, George is █ ████
█ █ █ now joined by a guitarist, bassist, keyboardist, singer and █ ████
█ █ █ rapper. It is all part of his plan for NOW to operate like a █ ████
█ █ █ band rather than a studio act. Yet in spite of this, the █ ████
█ █ █ drum machine still remains. █ ████
█ █ █ █ ████
█ █ █ George elaborates, "Doing the live side proves there is more █ ████
█ █ █ to the music. People have something more tangible to relate █ ████
█ █ █ the music to and it gives us the chance to connect with the █ ████
█ █ █ audience. Also I've always had this idea of creating a big █ ████
█ █ █ band - which is what we call our sound. The main priority █ ████
█ █ █ for NOW is to prove that we can perform music. But we're not █ ████
█ █ █ ignoring the fact that we come from a studio, technical █ ████
█ █ █ background. We just want to mix the old with the new. That's █ ████
█ █ █ why, at the moment, I don't have a live drummer. The sound █ ████
█ █ █ of the beats is what makes Nightmares." █ ████
█ █ █ █ ████
█ █ █ Producing the genuine article is the prime motivation behind █ ████
█ █ █ Nightmares' music. That's why is can't be classed as trip █ ████
█ █ █ hop, dope beats, or be included with any of those fakers █ ████
█ █ █ regurgitating and abusing classics. It's all about staying █ ████
█ █ █ true, but taking the sounds of soul innovators to the new █ ████
█ █ █ sound plateaux. George has a realistic outlook about the way █ ████
█ █ █ his music is developing. █ ████
█ █ █ █ ████
█ █ █ "Today's music is inspired by whatever has gone on before. █ ████
█ █ █ That's what fascinates me. Soul music is the earliest form █ ████
█ █ █ of hip hop. That's why I want to create it. It might seem █ ████
█ █ █ like recreating what was done in the past, but what I want █ ████
█ █ █ to do is merge soul and hip hop together. That's why I'll █ ████
█ █ █ bring in the live aspect of what happened back then into █ ████
█ █ █ current hip hop trends. That's the angle I'm arriving at." █ ████
█ █ █ █ ████
█ █ █ This is the reasoning behind Keep On, NOW's collaboration █ ████
█ █ █ with rap royalty De La Soul and the album Carboot Soul, █ ████
█ █ █ which commemorates the time George would hunt for dusty 12"s █ ████
█ █ █ and albums in car boot sales. It's another indication that █ ████
█ █ █ NOW's true sound was there from the beginning. All they've █ ████
█ █ █ done is come full circle - 360. █ ████
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█▐███ ......................... █ █
██ █ ████ █
▀█ █ [Track Information] ██▄▄▄
██ █ ▀▀█
█ ▌█ 01. the sabres of paradise - duke of earlsfield 06:24 ▀▀▀▀█
█ ▌█ (lfo mix) ███ █
█ ▌█ 02. the sabres of paradise - bubble and slide 06:28 ▀▀▀▀█
█ ▌█ (now wax mix) ███ █
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██ █ █ █▀▀█
█ █ Hello there, obviously you are reading this because BOSS has █ ████
█▀██ caught your attention in one way or another, most likely from █▄▄▄▄█
█ ██ this great release. In fact, we have many great releases coming █▄▄▄██
█ █ out all the time you just have to look for them. Our team started █▄▄▄██
██ █ to release internationally in 2000 and is now releasing █ ▀ █
█ █▐ worldwide. In our group news we always inform you with what we ▀▀▀███
█ ███ are looking for. Currently, we are looking for a few key ██▀▀██
█ █ positions that must be filled soon, so read carefully and see if ▀▀ ██
██ ██ you can help us out: 1)An automatic pre-bot 2)BNC's (eu/us) ▀█▀▀▀█
█ █ 3)Non-Commercial Shells (10mb+/1gig+) 4)New vinyl suppliers ██ █
██ █ █ 5)Radio show suppliers. Finally, you can catch us on EFNET at ██ █
████ #BOSSMP3 and thanks for supplying us with our needs from our ██ ███
██ █ █ previous group news. Greetz, The BOSS Crew. ██ ███
████ ██ ███
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Files
Path
Size
[BMW]-[Electronic-1995]-(17.7 MB in 2 files of 192kbps Joint stereo)-[