Ian Kenyon

Rhys Fulber had already proven his skills in ambient dance with Delerium. On Conjure One, he develops his own ideas further, applying a wonderful grasp of sounds from the Mediterranean and Middle East. Fulber traveled the world to put together this breathtaking work, which was recorded in Amsterdam, Vancouver, London, and Los Angeles. Given his busy production schedule, it's no surprise that this took three years to finish. The result is satisfying to say the least, as Conjure One is nothing short of sweeping ambient dance-pop. Like Sarah McLachlan's contribution to Delerium's "Silence," the guest vocalists here enhance Fulber's already powerful songwriting. Most magnificent are Sinéad O'Connor ("Tears From the Moon"), Poe ("Center of the Sun"), and Marie Claire D'Ubaldo ("Manic Star"). With other collaborations from Billy Steinberg and the Vancouver Symphony Orchestra, this ethereal solo debut (if you can call it a solo effort) is another big step forward for Fulber, as well as culturally diverse pop. A limited-edition version comes with a second disc of remixes.

Art Of Noise - At The End Of A Century (2015) {2CD+DVD9 PAL - Salvo SALVOSVX029}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 822 Mb | MP3 @320 -> 342 Mb
DVD9 -> 7.37 Gb | All Regions | PAL 16:9 | Dolby AC3, 2 ch | ~ 228 min | ISO Image
Full Artwork @ 300 dpi (png) -> 164 Mb | 5% repair rar
© 2015 Salvo / ZTT / Union Square | SALVOSVX029 | Element Series - 37
Electronic / Leftfield / Abstract / Modern Classical / Experimental

This collection compiles music and films by Art of Noise from the period 1995 to 2000, and is mostly comprised of previously unreleased material, including the album 'balance - music for the eye' and the Producer's Cut of 'The Seduction of Claude Debussy' on CD, and two unreleased complete concerts on the DVD, filmed in London at Coexistence studio and Shepherds Bush Empire in 2000.

Roger Waters - Dark Side Of The Moon World Tour, Live at Estadio Nacional, Santiago de Chile, March 14th, 2007. Pre FM Master!

After creating a marvelous electronic debut, Glenn Gregory, Ian Marsh, and Martyn Ware decided to tamper with their winning formula a bit on Heaven 17's 1983 follow-up to Penthouse and Pavement. The result, which added piano, strings, and Earth, Wind, & Fire's horn section to the band's cool synthesizer pulse, was even better, and The Luxury Gap became one of the seminal albums of the British new wave. The best-known track remains "Let Me Go," a club hit that features Gregory's moody, dramatic lead above a percolating vocal and synth arrangement. But even better is the mechanized Motown of "Temptation," a deservedly huge British smash that got a shot of genuine soul from R&B singer Carol Kenyon.