Oct 22, 2014

RhoDeo 1442 Aetix

Currently severe virusproblems can't even install malware bytes or update my Avira computer crashes a lot browsers crash-specially chrome (even in safe mode !) after several tries and some lateral thinking i managed to post this not sure how to proceed could be i 'll need a complete reinstall- i'm pretty sure i picked up this virus surfing

Hello, I've been fed up with that Pistorius saga and now he's gotten his sentence, a slap on the wrist for this hot head that shot his girlfriend with 4 bullits, disgusting. It makes me wonder if this judge has been gotten to, no one who.saw some of Pistorius tearful theatrics believed any of it, yet we are to believe the experienced judge did, maybe she's become senile. I expect the prosecutor to ask for a retrail. The creep deliberately murdered his girlfriend, he should rot in jail.....

Initially envisioned as an experimental side project by Cevin Key while he was in the new wave band Images In Vogue, today's band evolved into a full-time project with the addition of vocalist Nivek Ogre. Over the course of a dozen studio albums and many live tours, Key and Ogre have been the only constant members. Other members have included Dwayne Goettel (1986–1995), Dave "Rave" Ogilvie (long-time associate, producer, and "unofficial" fourth member until 1995). They developed into an influential band with a dedicated cult following, fusing elements of ambient, noise, new wave, electro, and rock music and making innovative use of sampling.....N'Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

Drawing from the pioneering work of artists like Throbbing Gristle, Cabaret Voltaire, and Suicide, the dark avant-industrial group Skinny Puppy formed in 1982 in Vancouver, British Columbia. Originally a duo comprised of former Images in Vogue drummer cEvin Key (born Kevin Crompton) and Nivek Ogre (aka Kevin Ogilvie), Skinny Puppy followed their debut cassette, Back and Forth, with the EP Remission, the first of many recordings with producer David "Rave" Ogilvie, in 1984.

Keyboardist Wilhelm Schroeder joined the group for 1985's full-length debut, Bites, but was replaced the next year by Dwayne Goettel, whose sampling and synth work proved significant in the development of the Skinny Puppy aesthetic from ominous dance music into a distinct fusion of industrial, goth, and electronic sounds. Subsequent releases like 1986's Mind: The Perpetual Intercourse, 1987's Cleanse, Fold and Manipulate, and 1988's VIVIsectVI further honed the trio's style, as well as introducing the outspoken lyrical agenda that remained a thematic constant throughout much of the group's work.

In 1989, Ministry's Al Jourgensen added vocals, guitars, and production work to Rabies; later, he joined Ogre in the side project Pigface. Ultimately, the members' interest in pursuing similar outside projects began to unravel Skinny Puppy: in 1987, Key and Edward Ka-Spel of the Legendary Pink Dots recorded the album Their Eyes Slowly Burning under the name Tear Garden, and in 1990, he and friend Alan Nelson worked as Hilt. A major rift began splitting the band apart, and Key and Goettel often sided against Ogre, whom they felt was more interested in pursuing solo work than in keeping the trio intact; drugs had also become a serious problem, but Skinny Puppy nonetheless signed to American Recordings in 1993 and relocated to Los Angeles to begin production work.

The sessions for the album, titled The Process, proved disastrous; for the first time in nearly a decade, David Ogilvie did not oversee production duties, and the group went through several producers, including former Swan Roli Mosimann and Martin Atkins. Flooding and earthquakes further hampered the sessions, and Key was severely injured in a film shoot. After months of recording, Key and Goettel, dissatisfied with Atkins' work, absconded with the master tapes and returned to Vancouver in mid-1994 to finish production. Ogre remained in California, and later announced he was leaving Skinny Puppy to form W.E.L.T. A few months later, on August 23, 1995, Goettel was found dead of a heroin overdose in his parents' home; in his honor, Key and Ogilvie finally completed the album, and The Process was released in 1996. A multimedia history of the band, Brap: Back and Forth, Series 3 & 4, followed a few months later, while Key returned to his new project, Download. Released in 1998, Remix Dys Temper featured Skinny Puppy reworkings by Autechre, Neotropic, and Adrian Sherwood in addition to industrial groups like KMFDM and God Lives Underwater.

By 2000, the word was out that Key and Ogre had buried the hatchet, reactivated Skinny Puppy, and recording was underway. A 1994 jam between Skinny Puppy and Throbbing Gristle/Psychic TV member Genesis P-Orridge was released under the title Puppy Gristle in 2002 on Key's subCON label. The SPV label (which had long been the distributor of the band's albums in Europe) signed the band in late 2003. Skinny Puppy's Greater Wrong of the Right hit the streets in 2004 with members of Tool, Collide, and Static-X making guest appearances. Two more studio albums, 2007's Mythmaker and 2011's Handover, followed before the release of 2012's live album Bootlegged, Broke and in Solvent Seas.

xxxxx xxxxx xxxxx xxxxx xxxxx

In the scheme of all things Skinny Puppy, Cleanse, Fold and Manipulate can be rather hard to recommend. Though it contains one of the band's finest songs, "Deep Down Trauma Hounds," Cleanse ultimately feels like a turning point, where experimentation is just beginning to gel with innovation and the band's trademark sound is forming rapidly before one's ears. But much of the album comes across like a series of interludes or ambient instrumental fragments. Still, fans of industrial music will appreciate the album's formidable beats and coarse sound samples that seem to be generated from warping the sounds of heavy machinery. Perhaps more than other any place in Skinny Puppy's discography, Ogre's vocals work like spoken-word stream-of-conscious dementia, with more emphasis on evil tones than on any relation to their music. After the Perry Mason sample-thon "Deep Down Trauma Hounds," special notice should be given to the ominous, haunted "Addiction"; the unsettling, creepy collage of "Shadow Cast," which features blood-curdling samples from Dennis Hopper in The Texas Chainsaw Massacre 2; and the overall tapestry of evil that is "Draining Faces," which suggests to a listener that they've come upon a goblin's ritual sacrifice in some foreign realm. "Anger" is the best indication that Skinny Puppy is semi-stuck in a rut between styles, as it straddles the industrial genre and the cut-and-paste sonic curveballs of later Skinny Puppy releases; its "spinning through the radio dial" effect would be put to far better use on Too Dark Park and Last Rights. Still more interesting than the majority of output from their peers and followers, Cleanse, Fold and Manipulate is best left for die-hard Skinny Puppy fans, especially those who favor the band's early, sinister, pristine dark ambience to the all-out torment that would develop gradually on the band's next five albums.

Skinny Puppy - Skinny Puppy - Cleanse Fold And Manipulate  (flac 258mb)

01 First Aid 4:29
02 Addiction 6:01
03 Shadow Cast 4:19
04 Draining Faces 5:11
05 The Mourn 2:39
06 Second Tooth 4:06
07 Tear Or Beat 4:41
08 Deep Down Trauma Hounds 4:41
09 Anger 4:53
10 Epilogue 1:10

Skinny Puppy - Skinny Puppy - Cleanse Fold And Manipulate  (ogg 100mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Even when the industrial revolution happened, few North American bands sounded as manic and dense as the mighty Skinny Puppy. Tackling unpopular political topics, blurring distorted vocals into synth lines, sampling news broadcasts and horror films -- these were the tactics that Skinny Puppy utilized on VIVIsectVI, one of their true masterpieces. It takes multiple listens to the album to even get to the songs underneath, but once the sonic wall has been punctured it is easy to hear why Ogre is so volatile. His rants, which alternate between a lazy drug moan and a harsh screech, were one of the few in the genre that actually sounded poetic amongst the noise and beats. He can completely carry a noise collage and transform it into a brooding song ("Harsh Stone White") or he can stick to a fairly normal song structure and simply scream his lungs out ("Human Disease (S.K.U.M.M.)"). And the music is absolutely confounding, constructed out of sounds and noises that somehow never seem overbearing despite the sheer amount of them. The most important lesson that Skinny Puppy teaches here is the lesson of variety. VIVIsectVI is still a challenging, multi-layered album years later because the music never stays still. The beat will just disappear, Ogre's vocals will suddenly go from a whisper to a scream, everything will disappear but a creepy sample, then the song will kick back in with a different beat and a new synth part. And that's just "Who's Laughing Now?," one of the true classic industrial songs of any era. No album by this band is easy to start with, but this is easy to keep listening to, if only to absorb everything that happens on each track. Anyone with an interest in the genre should not overlook Skinny Puppy, and this is one of their shining moments.

Skinny Puppy - VIVIsectVI  (flac 408mb)

01 Dogshit 3:55
02 VX Gas Attack 5:36
03 Harsh Stone White 4:29
04 Human Disease (S.K.U.M.M.) 6:19
05 Who's Laughing Now? 5:29
06 Testure 5:07
07 State Aid 3:55
08 Hospital Waste 4:38
09 Fritter (Stella's Home) 3:31
10 Yes He Ran 6:28
11 Punk In Park Zoo's 2:31
12 The Second Opinion 4:59
13 Funguss 4:06

Skinny Puppy - VIVIsectVI   (ogg 151mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Rabies is a solid, sordid album from Skinny Puppy, even if it isn't always the sound of the band operating at their peak. All of the trademark Skinny Puppy elements are in place: Nivek Ogre's snarling vocals, snippets of dialogue from sci-fi and horror movies, and symphonic, chugging synth sounds. At least four of the album's 11 tracks are perfect examples of Skinny Puppy's sonic attack. "Rodent" is monumentally menacing, with Ogre's vocals giving the impression that they've been growled through a megaphone that's been recorded from a microphone at least a half-mile away. Stop-start keyboards effects, phase-shifted grunts and groans, warped handclaps, and screeching sound fragments all give the impression that some mad army of musical warlocks are approaching and encroaching upon the listener. "Hexonxonx" mixes equal doses of twisted humor and Throbbing Gristle-like experimentation, working like a kind of post-Dario Argento film chillout. "Worlock" and "Tin Omen" both display genius implementation of movie dialogue samples; very few artists employ the kind of impeccable timing and craftsmanship at work on these two tracks. Though Too Dark Park would display the height of the band's cut-and-paste artistry, this blueprint or slow-birth on Rabies is compelling in its own right. The album's weaker songs aren't by any means throwaways; "Rivers," for example, is an interesting collision of Skinny Puppy and film director Stanley Kubrick, as samples from A Clockwork Orange and 2001: A Space Odyssey weave and intertwine; and "Sphan Dirge" is a kind of middle ground between industrial rage and the dark fury of John Cale's existential punk stage. Still, the Achilles heel of Rabies is the production and contributions of Ministry's Alain Jourgensen. What comes across as masterful on Ministry's The Mind Is a Terrible Thing to Taste just doesn't seem appropriate for Skinny Puppy. Jourgensen's influence causes the band to rock out in places where they'd usually be weeping, wailing, and flailing in ecstasy and torment. Rabies is required listening for Skinny Puppy fans, but it's too uneven to recommend to casual listeners, and it's not a good starting point for newcomers.

Skinny Puppy - Rabies (flac 432mb)

01 Rodent 5:49
02 Hexonxonx 5:25
03 Two Time Grime 5:39
04 Fascist Jock Itch 4:57
05 Worlock 5:30
06 Rain 1:26
07 Tin Omen 4:37
08 Rivers 4:49
09 Choralone 3:02
10 Amputate 3:15
11 Spahn Dirge (Live) 16:22

Skinny Puppy - Rabies   (ogg 142mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Oct 21, 2014

RhoDeo 1442 Roots


In the heart of the Mandingo Empire, in a small village in Southern Guinea called Albadaria, near Kissidougou, today's artist was born on February 24, 1950. His father, El Hadj Djelifodé Kanté was already an old man when Mory came into this world as one of the youngest of his father's 38 children. The Kanté family is a famous family of "griots"; the griot is a kind of poet, singer, historian and journalist wrapped into one, a purveyor of living history whose role from time immemorial has been to tell the endless stories of families and native peoples through music. Both of Mory's parents were griots, an inherited trade, and his mother's father was a powerful chief griot with a tribe of about 60 members. The child's destiny was naturally to become a "jali", that's Mandingo for "griot". In the beginning, Mory was brought up by his Malian mother, Fatouma Kamissoko, and he attended French school. At 7, his family sent him to Bamako, the capital of Mali, to live with his aunt, Maman Ba Kamissoko, another famous griot. Until about the age of 15, he followed instruction in traditional rituals, singing and the "balafon" (a wood vibraphone). Along the way he participated in numerous family celebrations, and official ceremonies which gave him a great deal of experience as a musician and a singer. .. ... N'joy

xxxxx xxxxx xxxxx xxxxx xxxxx

Mory Kanté was born in 1950 in Albadania near Kissidougou in Guinea. Being born into the Kanté family Kanté is part of a long lineage of Griots whose musical tradition dates back to the 13th Century. His mother, Fatouma Kamissoko, was of Malian origin and it was her father, Jali Mory Sanda Kamissoko, who baptized his grandson by his own name. Kanté began his early musical education with his father El Hadj Djelifode who was leader of the Griots of Kissidougou. Kanté started off learning the Balafon, the symbolic instrument of the Kanté family dating back to the reign of Sumaworo Kanté, king of the Sosso in the 13th century. Kanté was later to recount this history of the Balafon in a 25-minute long piece entitled “Exile of Sundiata” which was recorded in 1975 during the time when he was a member of the Bamako Rail Band

As a teenager Kanté went to live in Mali’s capital Bamako with his aunt Manamba Kamissoko who was a Griot and a member of the Mali International Ensemble. Whilst in Bamako Kanté was able to explore the different styles of music that were coming into the country such as Congolese rumba, American and English popular music and Cuban mambo. By this time Kanté had also become a keen guitarist and was guitarist and singer for a group called the 'Apollos', named in reference to James Brown’s renowned “Live at the Apollo” recording. Kanté was later spotted by saxophonist and conductor of the infamous Malian Rail Band of which Salif Keita was then member. Kanté joined the band as a guitarist and balafonist, but when Keita left in 1973 he took up the position of vocalist. Whilst in Bamako Kanté discovered the Kora and taught himself how to play. Following the Rail Band’s tour of West Africa Kanté was awarded the  Voix d’Or (Golden Voice) trophy in Nigeria in 1976.

After leaving the rail Band Kanté settled in Abidjan in 1978 where he was to develop his originality. At a time when many were using more modern instruments such as guitars and keyboards Kanté wanted traditional instruments and he formed an ensemble comprising of Balafon, Djembe, Kora and Bolon which performed arrangements of international hits. The growing reputation of Kanté reached a new level when he directed the Mande Ballet in 1982 which comprised of 75 traditional and modern artists on the stage of the French cultural centre in Abidjan. After moving to France in 1984 his talents on the electric Kora won him audiences far and wide. His critically acclaimed album “Ten Kola Nuts” was nominated for the French Victories De La Musique  in 1986. This led to Kanté touring Europe, North Africa, Mali, Senegal, the USA and more.
In 1987 Kanté re-recorded his song 'Yéké Yéké' which he had originally recorded in a home-made style for his 1984 album 'Mory Kanté In Paris'. This new version (which featured on his album Akwaba Beach) caused sales to rocket to more than a million singles and half a million albums, and it reached the top spot on the Pan-European charts in Billboard Magazine (USA) in 1988. In 1990 Kanté represented France in the United States alongside Khaled on a huge stage in the heart of Central Park with an audience of thousands, and later that year he had the chance to go on stage at the legendary Apollo Theatre in Harlem. On top of that his album  Touma (The Moment) achieved gold status in France.

In 1991 Kanté was commissioned to present his Symphony of Guinea (to be performed by 130 Griots) for the inaugural ceremony for the Grande Arche de la Défance in Paris. This offered him the chance to explore an idea that he had dreamed of for many years – to create in Africa an important musical city for the promotion of Mande Culture. The name he had for this was ‘Nongo Village’. As a starting point Kanté built a studio on land he had bought in the area of Conakry. Here he recorded his new album Nongo Village which was released in 1993. Following this he toured Europe and Canada and was awarded the Griot d’Or in Paris and the Prix Kilimandjaro by the Franco-African radio station in France, Africa No.1.
Whilst Kanté continued his touring across the world, including an appearance at WOMAD, his ‘Nongo Village’ project began to take shape in Conakry, and the local neighbourhood population were soon to baptize the area “Mory Kanté a”. Kanté explains that “I want to help to industrialise African music and culture through this project. It will include a major music school where traditional instruments will be taught...there will be a show business agency, three recording studios, and an audiovisual studio where artistic and cultural programs can be created.”

Fuelled by his legendary energy and commitment, Mory Kanté managed to be present on several fronts at once. At the ceremony marking World Food Day in 2001, the singer was appointed ambassador of the UN's Food and Agriculture Organisation (the FAO). He made a memorable speech on this occasion, vowing that he would "work with people from different cultures and travel to different countries to encourage the development of exchange and mutual aid. We need to mobilise the entire world," he said, "in the fight against hunger and poverty." Mory Kanté continued his commitment to the UN organisation for a number of years, performing a concert in the Finnish capital, Helsinki, on behalf of the FAO in July 2003.

Meanwhile, Kanté also embarked upon another good cause, building local housing in Conakry. The project was greatly appreciated by the inhabitants of the Guinean capital who gratefully dubbed the neighbourhood "Mory Kantea." In 2002/2003, Mory Kanté performed extensively throughout Europe, appearing at many major music festivals. He ended up playing 120 concerts in over 25 different countries. In 2003, Mory Kanté was invited to perform a special concert at the Robin Island prison in South Africa, where Nelson Mandela had been held in captivity. The singer readily accepted the invitation to pay tribute to the anti-apartheid cause which had been close to his heart for many years.

In 2004, the "electric griot" locked himself away in the studio for weeks on end, preparing a new album that took the music world completely by surprise. Going back to his roots, Kanté recorded a totally acoustic album entitled "Sabou" ("The Cause"). The album, which mixed the experience he'd gained in his international career - and the release of several Afro-pop albums - with Mandingo tradition, featured a dozen musicians and backing singers. Kanté's new album won rave reviews from the critics and enjoyed great success with the public, revealing as it did a totally different side to his work.

Mory Kanté went on to create an acoustic show based on his new album. His next tour introduced international audiences to a wide range of traditional instruments including the balafon, the bolon, the daro, the fe doun doun, the doun doumba, the flute, the n’goni, the djembé, the tama. These accompanied Kanté's famous kora and did much to promote traditional Mandingo melodies from West Africa worldwide.

In July 2006, he was invited by the American-Mexican guitarist Carlos Santana to play at the Montreux Jazz Festival along with Angélique Kidjo and Idrissa Diop. He was also asked to perform at the opening ceremony of the African games in Algeria the following year. What with the Montreal Jazz Festival in Canada, the gigantic Sziget in Hungary, and performances in the Netherlands, Mory Kante’s 2008 schedule was jam-packed. He could also be heard that year alongside Mokobe and Mohamed Lamine on African Tonik, a track cooked up for the dance floor scene.

He returned to Algeria in 2009 for the second Pan-Africain Festival and, faced with political upheavals in his homeland, he joined an artists’ collective. At the end of 2010 they recorded "Unité en Guinée/Tous ensemble" on the joint initiative of the Senegalese Didier Awadi and the Ivoirian Tiken Jah Fakoly, with participation from Guineans Takana Zion, Fode Baro, Sia Tolno, and others. The video clip was shot in Conakry in the studios of the Nongo Village complex that Mory Kante had finally managed to get up and running, a decade after the project began. His compatriot Sia Tolno recorded the album "My Life" in the studios and won the RFI Découvertes award in 2011.

In July that year, with "Yeké Yeké" and his emblematic Kora, he had the honour of closing the Nuit Africaine organised at the Stade de France close to Paris. The show featured some of the major faces of African music playing to an audience of 20,000 during a five-hour concert. His album "La Guinéenne" was released in April 2012. The disk pays tribute to the women of his country and he presented it at the legendary New Morning in June 2012 with a fanfare of brass.

xxxxx xxxxx xxxxx xxxxx xxxxx

This is one of Mory Kante's most infectious records. Kante’s album Akwaba Beach was a major European success following the release of a hit single ‘Yeke Yeke’ – a love song from Guinea which in Kante’s hands typifies the Afro-beat dance style of the times. ‘Yeke Yeke’ was the first African single to sell over one million copies. An alternative version of the song opens the Akwaba Beach album which came out on the French Barclay label in 1987.. The title track ‘Akwaba Beach’ closes the album and it really is the most outstanding song. It begins with the luscious sounds of guitar and keyboards ushering in the vocal which perfectly evokes a mood of nostalgia and longing. It doesn’t matter that Kante is singing in a language that most listeners won’t understand. Whether it’s the relentless beats of ‘Deni’ and ‘Nanfoulen’ or the slightly more subdued ‘Inch’ Allah’ and ‘Africa 2000’ everything is just right and the eight songs contain not a moment of superfluous sound.Dismissed by some for his heavy dance beat, Kante's crossover sound is a perfect way to ease your ears into the joys of African pop.

Mory Kante - Akwaba Beach  (flac  244mb)

01 Yé Ké Yé Ké 3:58
02 Deni 3:49
03 Inch' Allah 5:01
04 Tama 6:01
05 Africa 2000 4:39
06 Dia 4:49
07 Nanfoulen 5:18
08 Akwaba Beach 5:12

Mory Kante - Akwaba Beach   (ogg 95mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

The descendant of a caste of Guinean court musicians whose lineage goes back to the 14th-century Mali Empire, Kante plays a mean kora (the jangling 12-string African harp) and wails almost as intensely as Senegal's Youssou N'Dour. But he also has a pop sweet tooth that makes this one of the most lushly produced West African releases yet. ''Mankene'' is a stadium sing-along that melds Philly-Soul strings, Top-40 guitar, and rootsy vocals. ''Touma Seminde'' is even more ambitious: It reaches across the continent to South Africa and surrounds Solomon Linda's ''Mbube'' (a.k.a. ''The Lion Sleeps Tonight'') with mechanized rhythms and peppery Antillean horns. While neither Kante's keening nor the album as a whole has the soulful depth of N'Dour's Set, Touma compensates with brilliant, danceable sheen. A breakthrough release, it features an international band with guest stars Carlos Santana and Ray Phiri, but the unsung heroine is backing vocalist Djanka Diabate, who showers spice on Mory's cool. Let the purists fume; this one's for everybody else.

Mory Kante - Touma  (flac  287mb)

01 Krougnegne 4:03
02 Kissibala 4:10
03 Mankene 4:46
04 Ayeh 4:04
05 Faden 4:15
06 Touma (Wimowe) 4:20
07 Bankiero 3:37
08 Tele 4:12
09 Soumba 4:53
10 Sanfing 4:11

Mory Kante - Touma  (ogg 103mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

For many years, Mory Kanté's beefed-up African music was the soundtrack of European dancefloors. This time around, however, the Guinean has gone back to his roots for an acoustic album that showcases his talents as a singer, multi-instrumentalist, and songwriter. It's every bit the tour de force it should be, too, very powerfully rooted, bristling with good material, and with Kanté himself never sounding better, the griot voice curling around notes and lines in his distinctive wail. He's ably supported by others, most notably Adama Condé, whose solos on the deep, xylophone-like balafon are a delight to the ear. But much of the credit lies with Kanté himself, who handles many of the instruments. Whether it's the relentless rhythm of "Mama" or the delicacy of "Nafiya," he's in complete control, letting the music frame his voice and leaving plenty of space for the songs to breathe. That he's a remarkable talent is already beyond question, given his resumé. But this stands head and shoulders above his previous work, some of which has seemed anonymous. Every note of this is personal and sounds that way, performed with joy, great love, and care. He addresses Africa's problems and potential solutions on the title cut, and the power of love in "Diananko," ideas that delve beyond most Western songs but fall well within the scope of a griot and a man concerned with his Mande past and future. With this record, Kanté has rejuvenated his career.

Mory Kanté - Sabou  (flac  373mb)

01 Bembeya 4:24
02 Sanfaran 6:31
03 Sabou 5:17
04 Gbapie 5:17
05 Lefa 4:22
06 Koukou We 7:23
07 Yelema Yelemaso 5:54
08 Soli Au Wassoulou 7:31

Mory Kanté - Sabou   (ogg 147mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Oct 20, 2014

RhoDeo 1442 Blake

Hello, well the weather has been extraordinairy mild this weekend a new high was set, over riding the previous one set in that global warming autumn of 1921, yes this has been going on around us for a very long time, and don't be surprised a new ice age could start any time soon, after all signs are the sun is taking a breather... Meanwhile looks like those ISIL creeps have underestimated the Kurd fighting spirit, a beginners mistake, those Kurds have been battling the Turks for a hundred years now, ever since Ataturk betrayed them. The current Turkish president Erdoğan seems eager to make the same mistakes, i foresee a much bigger war with Turkey losing territory, and as they have been so arrogantly snubbing NATO allies at this moment, they can forget support when the Kurds decide its time to take back what is theirs to begin with...

xxxxx xxxxx xxxxx xxxxx xxxxx

Ok so the coming weeks we'll have some Blake's audio drama's

In the third century of the second calendar, the galactic Federation, once a beacon of democracy and peace, has become a corrupt tyranny. Freedom and Justice are things of the past. Roj Blake stood up for the ordinary people. When the establishment tried intimidation he laughed in their faces. When they tried to crush him he fought back. When they tried to brainwash him into obedience, he broke their conditioning. Finally they framed him and sentenced him to permanent exile on the notorious prison planet Cygnus Alpha. The Federation thinks it has seen the last of Roj Blake. The Federation will wish it had... And now Roj Blake is on the run... He has a ship, but the ship has plans of its own. He has a crew, but who are his friends and who are his enemies? Blake thought space meant freedom, but space is cold, cruel and steeped in blood. The power of the federation reaches further and deeper then Blake dared imagine... Freedom is nowhere to be found.

Can Blake and his rebel crew make a stand against the power of the Liberator? Only Avon has the answer, but whose side is he on?

xxxxx xxxxx xxxxx xxxxx xxxxx

Blake's 7 - Traitor (ogg 53mb)

Traitor 58:24

Derek Riddell as Blake, Daniela Nardini as Servalan, Colin Salmon as Avon, Craig Kelly as Travis, Carrie Dobro as Jenna, India Fisher and Michael Praed.

xxxxx xxxxx xxxxx xxxxx xxxxx


Blake's 7 - The SevenFold Crown (ogg 83mb)
Blake's 7 - The Syndeton Experiment (ogg 52mb)
Blake's 7 - Rebel (ogg 53mb)

xxxxx xxxxx xxxxx xxxxx xxxxx