NASH THE SLASH & FM
Lost In Space (Reel To Reel Obscurities) - (2001)

In the Seventies/Eighties, Nash the Slash played with Cameron Hawkins and Martin Deller in a band called "FM". This 78 minute CD features a selection of reel-to-reel obscurities: lost tapes and unreleased gems by this trio, who specialized in a fusion brand of progrock. This collection begins with an extended version of Black Noise that possesses a savage passage of multi-layered violins amid the profusion of keyboards and analog apparatus and the searing mandolin solos. Vocals are supplied by both Nash and Hawkins. Phasers on Stun displays a more delicate sensibility with fluid mandolin cascading through a nest of nimble fingered keyboards that grows into an incredible wall of sound. Glockenspiel enhances One O'clock Tomorrow, another soft (almost elfin) piece. Mandolin enters to attribute a distinct Canterbury sound to the music. Vocals thread their way between the instrumental passages, with a growling bass undercurrent. The Who's classic Baba O'Riley has long been a fiery mainstay in Nash's solo live concerts; here you hear its original, sparser inception with FM. Sans percussion, this version features livelier keyboard tracks than the familiar loop that allows most listener's to instantly recognize the song. The next four tracks are from the mid-Eighties demos from FM's reformation in preparation for their Contest album. They are stripped-down takes, displaying the melodies in simpler performances. Friends and Neighbors shows its techno-pop roots, while the band's cover version of the Animal's It's My Life is decidedly darker than expected. Finishing up the CD is a stunning live version (from 1977) of King Crimson's Starless that demonstrates just as much power as the original. Nash's mandolin achieves unbelievably ecstatic heights duplicating Fripp's masterful guitar peaks. The collection also includes five hidden bonus tracks.

http://www.mediafire.com/?3a598y1iw87p2cb

FM
City Of Fear - (1980)

The last album FM released before going into hiatus, City of Fear showed the band moving more toward a pop sound while still retaining a firm grip on their progressive rock tendencies; though you could certainly point toward either Rush or Yes as comparison points for the sound of this album, it would probably be more accurate to look at the forward-thinking Peter Gabriel albums from around the same period. The production is very crisp, songs are fairly tightly written, and there's a fairly dark and menacing edge to the sound here — keyboards and other electric/electronic instruments add a fairly dissonant edge to the otherwise traditional songwriting, which adds a very fitting claustrophobic feel for an album so titled.

http://www.mediafire.com/?ynkmmyogiqn

FM
Black Noise - (1977)

Mixing cold, mechanical instrumentation with the sizzle of keyboards, FM played an irregular style of progressive music that sounded isolated and pleasantly hollow. Even the warmth of Cameron Hawkins voice can't take away the harshness in the sound, which is why this album portrays mood so effectively. "Phasors on Stun" sounds like it's sung from the blackness of space, with piercing laser blasts shooting through the body of the song. "Hours" is a stellar array of synth, drums, and "effects" that musically casts an image of time travel, while "Slaughter in Robot Village" uses glockenspiel, electric violins, and mandolin to illustrate a battle between gigantic metal beasts. Nash the Slash uses his voice and his violins to conjure up a science fiction motif that is convincing through all eight songs. FM's music relies on loose structure and small surges of numerous instruments to create a large sound. Black Noise is a prime example of how well instruments can be used to convey, shape and utilize imagery.

http://www.mediafire.com/?ddwznjewj0h