Sep 15, 2019

Sundaze 1937

Hello, as the summer has finished so has my summer of Namlook, 13 posts with 5 albums totaling 65 albums which is a decent share of his total output but far from half what Pete has produced He was no slouch, no sir making music was a serious full-time business in the end it could be said he worked himself to death, and it has to be said such a fate rarely falls to an artist, but then again being driven is usually a positive thing and his phenomenal out put was made for the internet age, bottlenecks as limited editions which was frequently the case no longer limited exposure of his music, and by now i expect more people have heard of him and his music since his death then before, it was my intention to contribute to that..

If most artists in contemporary electronica are like islands unto themselves, turning out tracks in relative anonymity, Pete "Namlook" Kuhlmann was a whole continent. A dizzyingly prolific composer who steadily built up an entire industry around his Frankfurt-based Fax label, Namlook's name was inextricably linked with the post-rave resurgence of ambient music, and many of his solo and collaborative recordings with the likes of Mixmaster Morris, Tetsu Inoue, Klaus Schulze, Bill Laswell, Richie Hawtin, Geir Jenssen, Dr. Atmo, Burhan Ocal, Atom Heart, Jonah Sharp, Charles Uzzell-Edwards, and David Moufang, among many others, number among the most lauded and influential in new ambient. "...  ......N-Joy

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Pete Namlook (born 25 November 1960 as Peter Kuhlmann [phon koolman] in Frankfurt, Germany, died on 8 November 2012) was an ambient and electronic-music producer and composer., the extremely prolific Pete Namlook (1960-2012) was one of the high priests of new-school ambient, ie. ambient techno, trance, lounge and other related dance-music spinoffs. In its 20 year history his record label Fax Records released some of the definitive albums in these sub-genres and Namlook stands alongside a handful of other names such as The Orb, Biosphere and Mixmaster Morris as one of the originators of ambient's resurgence and reinvention via dance music in the late 80's and early 90's.

Intriguingly, he often favoured the sounds of analogue synthesisers over digital and - alongside fellow German e-musician Oliver Lieb - was reputed to have one of the most extensive collections of classic analogue equipment in Europe. And although he downplayed the linage, like many of his new-school peers his music has some of its roots in old-school electronica as varied as Brian Eno, psy rockers Pink Floyd, and Krautrock icons like Klaus Schulze and Tangerine Dream.

But Namlook was no imitator. He deepened and refined the sound of his predecessors with an injection of fresh ideas from the dance world, coupled with fine musicianship honed from many years of playing rock and jazz. In a 2007 interview with e-music magazine Slices he actually made a point of distancing his music from the conceptual influence of Eno particularly:

"You have to differentiate quite clearly between ambient in a techno sense, and on the other hand Brian Eno, a purely conceptual thing. I only knew of a collaboration between Brian Eno and Cluster [the German band], and him with Roxy Music. I only bought his ambient stuff later. Ambient as Eno defines more or less musical wallpaper. It stays in the background and serves the environment rather than saying something about itself. In my definition of ambient, which has nothing in common with Eno's definition, it's about a journey, intense emotions that need to be transported - environmental music, jazz, ethno - depending on what project I'm working on".

The genesis of Fax Records

Although he had long dreamed of making a career from ambient electronica, in Fax Records' early days he was mainly pursuing a dance floor-oriented direction and releasing 12-inch vinyl singles to a warm reception from sectors of Europe's club scene.

But Namlook soon became dismayed at other artists' appropriation of the Frankfurt "hard trance" sound (developed through his genre-defining 4 Voice project). Thankfully his ambient B-sides to these singles - in hindsight a brilliant strategy - were also creating plenty of interest. Within a few years of the label's inception he had set about focusing Fax almost entirely on ambient and downtempo styles.

Up to his death in 2012 Namlook released an enormous number of solo and collaborative albums of widely varying quality both under his own name and various other project monikers. Collectors should be aware that many CD's were very limited pressings and some will be difficult to find, even more so now that Namlook has gone and the label is no more. Certain key titles were re-issued on CD and download from time to time, however, and much of the Fax catalogue is now spread widely online.

The Silence series

Silence (1992) is the one that started it all, Fax's first album release and one which caught the ear of both seasoned electronic boffins and dance fans looking for a chilled-out tonic after a night among the thumping beats of clubland. Both this album and Silence II (1993) are collaborations with close associate Dr Atmo and despite being at times almost new age in their choice of themes (a voice whispers sweet cosmic nothings like "we are all part of the universe") the music is outstanding. These beguiling, shimmering, reverberant landscapes are sometimes beatless and sometimes gently beaty with subdued live pads and cymbals. The 20 minute "Garden Of Dreams" is a particular mesmerising blend of slow Mid-Eastern rhythms with sighing and crying electronic chords.

Continuing the series is the the Persian-tinged Silence III (1998) which features Namlook on his own. Titles like "Mirage" "Into The Desert" and “A Ship On A Sea Of Sand” are just perfect; his sense of place is quite stunning and he understands the visual qualities of ambient sound exceptionally well. His creative range across entire series is impressive: from stately progressions of warm, organic-sounding orchestral synthscapes to atonal, purely atmospheric pieces of pure texture. When it comes to sound design Namlook’s attention to detail is faultless, which makes hearing his music on good hi-fi equipment especially rewarding. Silence III is followed by two more superb albums in the series.

The surreal, innovative first volume of Dreamfish (1993) with collaborator Mixmaster Morris is another genre-defining release, still cited today as a favourite by fans of early post-rave ambient. The environmental sound effects are deployed in a quirky way amongst the textured, gently rhythmic landscapes and the music brims with surprises and quiet invention. The jazzy bass notes on "Fishology", for example, move along at a good clip yet are so subtle that the track's calming qualities are never disturbed. The first three volumes of the Air series are also high-water marks for Namlook. Like the Silence series they show some rich ethnic and neo-classical leanings, and they remain particularly effective examples of how he uses live acoustic instruments in an electronic setting. The delicate, tinkling cymbals and soft tom-tom beats on "Je suis seule et triste ici" from Air I (1993), for instance, are utterly refreshing because Namlook is able to maintain a deep electronic ambient feel while still expanding electronica's instrumental vocabulary.

Air II (1994) is deeply psychedelic. An eleven-part "trip" subtitled "Traveling Without Moving", it takes it's thematic cue from Frank Herbert's cult sci-fi novel and movie Dune. Herbert's story posited a strange universe dependant on a life-extending, mind-altering spice drug. On Air II Namlook subtly draws on the story's themes to create a beautiful, creepy, intoxicating universe of his own. Again he utilizes acoustic instruments: didgeridoo, sighing woodwinds, flamenco guitar, Mid-Eastern flutes, and swooping vocal textures that rise and fall to striking effect. They're all integrated seamlessly, proving that despite the club music influences he thrived by exploring outside the rigid structures of electronic beats and sequencing.

Other collaborations

Although as an artist Namlook's focus was far broader than just club-influenced sounds, when he did get into more squelchy or bleepy techy-trance territory the results could be just as stimulating. On the brilliant two-part title track from The Fires Of Ork (1993) that thumping 4/4 kick drum is there alright, but somehow Namlook and cohort Gier Jenssen (aka Biosphere) have managed to mute it just enough to create a truly "ambient" dance music: thunderous yet shadowy and eerie, built around a voice sample of Rutger Hauer from Blade Runner. Also beats-based is the the superb first volume of From Within (1994), one of the pinnacles of ambient techno that marries Namlook's warm keys and spiralling synth sounds with the sparse bleeps and beats of Canadian techno guru Richie Hawtin. Again, the rhythms don't drive you into the ground but rather lull you into a gentle if uneasy trance, particularly on "Million Miles To Earth" and "Sad Alliance". The third in this series, From Within III (1997) is also outstanding

Namlook after the mid 90's

While many aficionados would agree that the early to mid 1990's produced most of Fax's - and Namlook's - most enduring releases, it would be unfair to dismiss some of Namlook's work since then. Highlights from 1995-2001 include the final volumes in what is probably Namlook's greatest series, the magnificent Silence IV (2000) and Silence V (2001). The luminous piano notes and warm orchestral synths of "The Night Before I Left" from Silence IV might just be the most emotional piece of music Namlook has ever made, an elegy that's at once incredibly sad and jaw-droppingly pretty. From the same album is the extraordinary "Bedouin Love", a dark, swirling epic with thunderous Moroccan drums, a strange spoken Arabic monologue and chilling yet beautiful synthesiser chords. In the same sonic universe as the Silence albums is From Within 3 from 1997, again made with Richie Hawtin but this time quite different from earlier volumes due to its softer, warmer sound. There's feather-soft lead guitar lines, lush strings, jazzy improvising and warm analogue melodies, all held together by subtle, intelligent drum programming. It's a fantastic example of accessible, soulful electronica.

In the 2000's and beyond Namlook continued with a busy release schedule of solo albums and collaborations but rarely with the same impact his music made in the previous decade. Not that there's lack of variety; for hardcore Fax fans there's plenty to explore. Experimental releases like New Organic Life (2002) are scarily unfamiliar, experimental, arguably unlistenable at times. Some outstanding individual melodic tracks appear on otherwise less-then-great albums such as Resonate (2006) and Namlook Le Mar (2009). However, some of his other collaborative albums made after the mid 90's - not listed on this page - are highly recommended including recordings with Tetsu Inoue, Klaus Schulze and Wolfram Spyra.

Death and legacy

Aged just 51, Namlook died unexpectedly in his sleep of a heart attack on 8 November 2012. Maintaining his intense work rate right up to the night he passed away, some wondered whether Namlook simply drove himself into the ground, literally living and dying for his art. Yet his sister told UK music journalist Mark Prendergast that "he went to bed happy" that day. Who are we to judge? Namlook left behind an extraordinary and enormous recorded legacy, as well as a generation of underground electronic producers and composers inspired by both his talents and his uncompromising independence. Fax Records is no more, though for the moment a good deal of his discography remains available. Hopefully a sensible licensing deal with the Kuhlmann estate will enable another publisher take on the best of his catalogue and keep it available in the coming decades. He deserves no less.

The tribute: Die Welt ist Klang

A superb Namlook tribute album appeared in 2013, almost as essential as any of the work released by the man himself. Die Welt ist Klang ("The World Is Sound") was put together in 2012-13 via a crowdfunding campaign by Dave Wade-Stein from EAR/Rational Music, the longtime North American distributor for Fax and related labels. The album is presented thus: four volumes of mostly new or unreleased music by former Fax artists, and four volumes of new material by mostly unknown musician-fans.

It's only fitting that one of the most prolific recording artists in the history of music - in all recorded music, not just a genre - should be honoured with a sprawling 8-volume tribute. It would take pages to review so much music in detail; suffice to say the standard of contributions overall is very high. Interestingly, most of the former Fax artists here don't seek to recapture peak moments from their past works. They just do what they do - from beatless ambient to bleepy dance grooves, from lounge to techno, from gentle dissonance to sweet, tender melodies. As for the the 40 or so musician-fan contributions, they were chosen from a large pool of submissions by a blind vote. Although there are some easy-to-spot pastiches among them, here too there is much freshness and surprise.

Die Welt ist Klang is a massive treasure chest of (mostly) new ambient and electronica. Some of it is the sound of now and some of it wistfully looks back. All of it acknowledges the contributions and example of one remarkable man.

Namlook" is "Koolman", a phonetic rendering of his real name, spelled backwards.

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After a successful debut on FAX, Spyra does his first collaboration with Namlook. With "Futurescope" we don't seem to hear much from Spyra but everything Namlook, from his guitar to more experimental synth tweaking. It's on the title track we hear Spyra's now familiar post-rock melodies along with more over-the-top guitar from Pete, leaving us with the chords from Art of Noise's "Moments in Love" to carry us into "Deu Sex Machina", which is a much more fantastic and uplifting piece from the duo. Finally, you have "Ancient Industry" which is to say the least, classic FAX, drifting and foreboding sci-fi ambient which makes this album indispensable.

.Pete Namlook • Wolfram Spyra - Virtual Vices I ( 257mb)

01 Futurescope 15:18
02 Virtual Vices 10:44
03 Deu Sex Machina 12:54
04 Ancient Industry 16:22

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This albums takes you on a journey through krautrock of the past right through to the digital age of today by way of old and new instruments with old and new techniques in production, composition and sound. The result is the perfect combination of techno-jazz with deep chill out remeniscent of Namlook's world before FAX including some inspired guitar melody work on 'We Don't Mind the Rain'. Virtual Vices IV is truly the peak of this series so far with Wolfram and Pete merging seamlessly to create this album.

Pete Namlook • Wolfram Spyra - Virtual Vices IV ( flac   347mb)

01 Femto 11:50
02 Sat Mute 11:26
03 We Don't Mind the Rain 11:04
04 Sons and Daughters 11:22
05 Philomela Nocturne 17:10

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If you're familiar with both artists (and I guess that means listening to dozens of Namlook albums) you will be able to perceive both at the same time all the time. This is something very positive about the record because they go along very well too... you can hear Namlook having fun with different instruments (a he fishes a moment from one of his great albums "Jambient" in the 4th track with the guitar), even remembering his jazz moments in the track "Wandsworth Wine Tasting" with the bass and all... and at the same time Wolfram is there doing his signature blending of faster and slower genres.
Still, I think it could be much better. Some of the sounds are... "raw", for the lack of a better word, and the tracks kinda feel juxtaposed, making the moods swing and confusing me a bit. As most of this project was recorded around the same time, I do think they could have spared some time to think about the track order. Overall, not a bad album by any means, it does have it's flaws but if you like groovy and energetic ambient (!) I do recommend not only this one album but the others from this project as well.

Pete Namlook • Wolfram Spyra - Virtual Vices VI (flac 348mb)

01 Clapham Ratrun 9:15
02 M-Maybe 5:55
03 Canterbirth 7:38
04 Greenwich Meantime 7:28
05 Snow White 10:54
06 Wandsworth Wine Tasting 5:33
07 Ain't No Sunshine on the Tube 7:40

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Four Seasons is a collection from Pete Namlook's individual CDs dedicated to the seasons. The seasons have had major roles in shaping modern music since the 1700s with Antonio Vivaldi's major symphony "The Four Seasons." Piotr Iliach Tchaikovsky also composed a symphony of the same name. Frankie Valli started a pop group called the Four Seasons. Wendy Carlos created Sonic Seasonings, an electronic epic complete with samples and atmospheres. In fact, all of the referenced works have loads of atmosphere. Vivaldi and Tchaikovsky created acoustic atmospheres. Namlook builds his atmospheres from deep drones; they are electronic atmospheres. "Summer" is arid atmospheric minimalism. Namlook approaches this opus from the lazy side. The music is neither bright nor dark; the rhythms and pace are slow. It is, for all intents and purposes, beatless. This is "lemonade" ambience -- it is best out on the deck with a chilled aperitif. "Autumn" is a mysterious soundscape with some desert ambience overtones and textures. It is a transitional piece with rhythmic ambience and atmospheric minimalism. The music implies darker skies, cold winds, and rustling leaves. "Winter" is, as expected, a very cold and very gray soundscape. Namlook combines deep minimalism with some very light sequences and steady atmospheres. The winter solstice is a time to regroup, so this soundscape continuously folds in on itself and regroups. "Spring" is the final transition, as a rebirth occurs. Namlook's atmospheres are warm and inviting as natural samples surround a low drone. This joyful soundscape rejuvenates the listener and strengthens the soul. This is a great set. The only remotely close comparison is the aforementioned Sonic Seasonings. There are also similarities to the desert ambience of TUU, Ma Ja Le, Temps Perdu?, and Biff Johnson. This set is totally essential.

Pete Namlook - The 4 Seasons (flac 312mb)

01 Spring 18:30
02 Summer 18:30
03 Autumn 18:30
04 Winter 18:30

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Russian duo New Composers collaborated with the late ambient pioneer several times in a period of just under a decade. Russian Spring, originally released in 2005, was their final album together. Inspired by the dawning of spring after the harsh Russian winter, the album is a typical example of Namlook's approach to ambient music, featuring gentle instrumentation, loops, speech samples and field recordings—"a timeless ambient soundpainting of the Russian Spring," according to Namlook's label Fax, which originally released it.

With Pete it was easy to work with people all over the world! We were lucky to get acquainted with him and his family and to visit his wonderful city and work in the Studio - A museum of electronic instruments! What a wonderful person, very little in this world ... A great loss. New Composers

 Pete Namlook • New Composers - Russian Spring (flac 337mb)

01 Russian Spring Part I 3:23
02 Russian Spring Part II 1:45
03 Russian Spring Part III 4:25
04 Russian Spring Part IV 2:06
05 Russian Spring Part V 3:03
06 Russian Spring Part VI 8:46
07 Russian Spring Part VII 3:45
08 Russian Spring Part VIII 2:59
09 Russian Spring Part IX 6:16
10 Russian Spring Part X 8:25
11 Russian Spring Part XI 6:22
12 Russian Spring Part XII 5:23
13 Russian Spring Part XIII 2:28

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Sep 13, 2019

RhoDeo 1936 Grooves


Today's Artists are all swallowed by the mist of time, yet they were all...fresh. ...... N Joy

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 Over and above their standing as one of the best and most innovative groups from hip-hop's golden age, Mantronix provided rap music with its first man-machine, Kurtis Mantronik. A turntable master who incorporated synthesizers and samplers into the rhythmatic mix instead of succumbing to the popular use of samples simply as pop hooks, Mantronik exploited technology with a quintessentially old-school attitude which had little use for instruction manuals and accepted use. After the hip-hop world began to catch up with Mantronik's developments, he moved from hardcore rap to skirt the leading edge of club music, from electro to ragga, techno, and house. And though he never found a rapper worthy of his immense production talents, Mantronik inspired dozens of DJs and beatmeisters around the world during the next decade -- in hip-hop, mainstream dance music, and the new electronica -- even while his records were practically impossible to find (many snapped up, no doubt, by those same aspiring DJs).

Mantronik was born Kurtis Khaleel in Jamaica, though his family soon moved to Canada and ended up in New York by the late '70s. Mantronik soon began DJing around the city and was working behind the decks at Manhattan's Downtown Records when he met MC Tee (born Touré Embden). After the duo had assembled a demo tape, they gave it to William Socolov, president of Sleeping Bag Records. He signed Mantronix soon after hearing it, and released their debut single, "Fresh Is the Word." The track lit up New York's streets and clubs during 1985, and brought the full-length Mantronix: The Album early the following year. Two new singles, "Ladies" and "Basslines," became big street hits as well and even crossed over to join the first wave of hip-hop chartmakers in Britain.

By that time, Mantronik had also begun working on A&R at Sleeping Bag, where he signed EPMD, produced KRS-One's first credit ("Success Is the Word" by 12:41), and helmed other intense tracks by Tricky Tee, Just-Ice, and T la Rock. The second Mantronix LP, Music Madness, continued to keep the duo fresh in the clubs. The increasing popularity of hip-hop gave Mantronix a chance at a major-label contract, and by 1987 the duo had signed with Capitol. In Full Effect emerged the following year, and portrayed Mantronik jettisoning many his more hardcore inclinations in favor of a fusion of dance and R&B, an early precursor to hip-house. The production excursion "Do You Like...Mantronik?" proved that Mantronik's ear for clever beats remained, however. And Mantronix's success in England prompted several of the first sampladelic hits, like "Pump Up the Volume" by M/A/R/R/S and "Theme from S'Express" by S'Express.

Soon after In Full Effect, MC Tee left to join the Air Force. Mantronik replaced him with Bryce Luvah (the cousin of LL Cool J) and DJ Dee (Mantronik's own cousin). With 1990's This Should Move Ya, Mantronik made the move from hip-hop into more straight-ahead house. With vocalist Wondress in tow, a pair of Mantronix singles stormed the British Top 20, including the Top Five "Got to Have Your Love." He still used the rappers, but continued to work in dance with 1991's The Incredible Sound Machine. As a group entity, Mantronix disappeared at that point. Mantronik began producing other acts -- mostly female vocalists or freestyle acts -- and later exited music altogether. He returned in the mid-'90s as a breakbeat elder statesman, recording as Kurtis Mantronik and providing remixes for EPMD, Future Sound of London, and Doctor Octagon. A Mantronix respective and several album reissues began filtering out in 1999, and Mantronik began recording a new group album later that year.

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Curtis "Mantronik" Khaleel was often quoted as saying that his mission was to "take rap a step beyond the streets," and the innovative producer/mixmaster accomplished that goal on Mantronix's debut album, Mantronix: The Album. This excellent 1985 LP was way ahead of its time; while the rapping of Mantronix's partner MC Tee is pure mid-'80s New York hip-hop, the production is anything but conventional. On gems like "Needle to the Groove," "Bassline," and the hit "Fresh Is the Word," you can hear the parallels between Tee's rhyming and the East Coast b-boy rhymes that Run-D.M.C., LL Cool J, and the Fat Boys were providing in 1985. But the album's high-tech, futuristic production sets it apart from other New York hip-hop of the mid-'80s, and even though one of the LP's tracks is titled "Hardcore Hip-Hop," Mantronix had a hard time appealing to hip-hop's hardcore. Mantronix: The Album actually fared better in dance music, electro-funk, and club circles than it did among hardcore b-boys. But this is definitely a hip-hop record, and it is also Mantronix's most essential release.

If by any means you never heard this chef d'oeuvre, do not miss the chance to hear this quintessential album made by one of the masters of the old school Hip Hop Kurtis Mantronik and his companion MC Tee. Perfect for the break dance lovers, the tracks brings the roots of Hip Hop melted with electro-funk influences. "Needle To The Groove" is a shining example and perhaps the most important tune of this Long Play, even though "Bassline" is another massive hit of that time, specially edited by The Latin Rascals. The Mega-Mix, specially edited by The Diamond Two of Chet Nunez & Charlie Dee is also highly recommended.

 Mantronix - The Album 1  (flac   390mb)

This Side
01 Bassline 5:24
02 Needle To The Groove 3:41
03 Mega-Mix 5:49
That Side
04 Hardcore Hip-Hop 6:11
05 Ladies 6:54
06 Get Stupid "Fresh" Part I 3:48
07 Fresh Is The Word 3:48
08 Bassline (Club Version)
09 Needle To The Groove (12" Version)
10 Fresh Is The Word (12" Version)
11 Ladies (UK Remix)


 Mantronix - The Album 2  (flac   266mb)

01 Bassline (Radio Version)
02 Bassline (Instrumental)
03 Needle To The Groove (Alternate Version)
04 Jamming On The Groove
05 Needle To The Groove (Live Version)
06 Ladies (Live Version)
07 Ladies (A Capella)
08 Get Stupid "Fresh" Part 1 (A Capella)
09 Fresh Is The Word (Radio Version)
10 Fresh Is The Beat
11 Fresh Is The Word (A Capella)

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Many Mantronix fans will tell you that the group provided its best and most essential work when it was signed to the small Sleeping Bag label and MC Tee was still on board. Listening to Music Madness, it's hard to argue with that. This 1986 LP, which was Mantronix's second album and its last album before leaving Sleeping Bag for Capitol, is proof of how fresh-sounding and creative Mantronix was in the beginning. The futuristic outlook that defines "Scream," the single "Who Is It," and other tracks sets Music Madness apart from other hip-hop albums that came from New York in 1986; Tee's rapping is very much in the 1980s b-boy tradition, but the club-minded producing and mixing of Curtis "Mantronik" Khaleel is unlike anything you would have heard on a Run-D.M.C. or L.L. Cool J album back then. And that fact wasn't lost on hip-hop's hardcore, which felt that Music Madness wasn't street enough. Mantronik was fond of saying that his goal was to "take rap a step beyond the streets," and this album tended to attract dance music and electro-funk lovers and club hounds more than hardcore hip-hoppers. The Album remains Mantronix's best album, but this excellent LP runs a close second.

Mantronix - Music Madness  (flac   244mb)

01 Who Is It 6:05
02 We Control The Dice 3:53
03 Listen To The Bass Of Get Stupid Fresh Part II 4:22
04 Big Band B-Boy 4:40
05 Music Madness 5:23
06 Electronic Energy Of.. 5:29
07 Scream 5:23
08 Mega Mix 5:02

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And here starts the slow decline of the former electro titans. Kurtis Mantronik seems to have adapted to the sound of his 1988 but his original sound was so unique and part of what made them such a great group. The production is still the saving grace of this album, even though MC Tee has some charisma here and there, like Gangster Boogie. Simple Simon is the other great track here, which just sounds epic in its own way, kind of reminding me of their great first two albums. But that's all this accomplishes, makes you think why you're listening this album when the previous ones are so much better. No surprise then
it was the final album featuring rapper MC Tee. This album skirted the lower regions of the pop charts and had a less abrasive, smoother sound, although the patented dance/hip-hop/urban contemporary fusion hadn't been affected. But overall, it wasn't quite as risky or spirited as their Sleeping Bag records, despite Mantronik's continuing production excellence.

Mantronix - In Full Effect (flac   191mb)

01 Join Me Please... (Home Boys - Make Some Noise) 4:22
02 Love Letter (Dear Tracy) 4:27
03 Gangster Boogie (Walk Like Sex... Talk Like Sex) 3:59
04 In Full Effect (In Full Effect) 3:54
05 Get Stupid (Part III) 3:47
06 Simple Simon (You Gotta Regard) 4:03
07 Sing A Song (Break It Down) 4:08
08 Do You Like... Mantronik (?) 3:23
09 Mega-Mix ('88) 4:50

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Mantronix switched labels in the late '80s, moving from the independent Sleeping Bag to the major label Capitol. This was their second Capitol album, and it worked out fine. Although the lineup had now changed, with Bryce Luvah and D.J.D. on board rather than M.C. Tee, the group had another strong single in "Got To Have Your Love," and Capitol was providing Curtis "Mantronik" Kahleel with a bigger push and sharper production and sound. But the underground spirit that permeated Mantronix's Sleeping Bag albums was missing, as was the quirky air that marked their past singles.

Mantronix - This Should Move Ya (flac   245mb)

01 This Should Move Ya 2:55
02 Got to Have Your Love 6:15
03 Sex-N-Drugs and Rock-N-Roll 3:34
04 Tonight Is Right 4:07
05 (I'm Just) Adjusting My Mic 3:25
06 Stone Cold Roach 3:18
07 I Get Lifted 3:32
08 Don't You Want More 3:48
09 I Like the Way (You Do It!) 4:00
10 Get Stupid Part IV (Get On Up '90) 3:08
11 (I'm Just) Adjusting My Mic ('90) [bonus track] 2:50
12 Kinf of the Beast Lesson #1 [bonus track] 1:43

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Sep 10, 2019

RhoDeo 1936 Magic 2

Hello, It’s one the great enduring mysteries of solar physics — why is the sun’s lower corona hundreds of times hotter than the Sun’s photosphere? For many decades, scientists on Earth have sought an answer to the puzzle, though doing so exclusively within the confines of the standard model of the Sun.

Recently, a team of scientists reported observational evidence that the mysterious rise in temperature could be driven by so-called “magnetic plasma pulses.” Of course, like all scientific data, both what scientists are looking for and how they interpret what they see is determined by their theoretical premises. In this episode, we asked Dr. Scott for a comprehensive overview of the Electric Sun model’s explanation for the mystery of coronal heating.

Solving the Mystery of Coronal Heating (19min)

Most people just accept that our universe is ruled by gravity; an assumption that is wrong. Evidence instead shows that the force responsible for all of the objects and events we observe throughout the universe is the electric force that enables current flow and therefore magnetic fields to exist. If we consider that the electric force is fundamentally one thousand, billion, billion, billion, billion times more powerful than gravity and that the universe consists of 99.99% plasma; charged matter through which electric currents flow, then you have good reason to open your mind and watch what this video has to say.


Today, the 2nd part of the first Disc-world tale The Colour of Magic..... N-Joy

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Sir Terence David John Pratchett OBE (28 April 1948 – 12 March 2015) was an English author of fantasy novels, especially comical works. He is best known for his Discworld series of 41 novels.

Pratchett's first novel, The Carpet People, was published in 1971. The first Discworld novel, The Colour of Magic, was published in 1983, after which Pratchett wrote an average of two books a year. His 2011 Discworld novel Snuff became the third-fastest-selling hardback adult-readership novel since records began in the UK, selling 55,000 copies in the first three days. The final Discworld novel, The Shepherd's Crown, was published in August 2015, five months after his death.

Pratchett, with more than 85 million books sold worldwide in 37 languages, was the UK's best-selling author of the 1990s. He was appointed Officer of the Order of the British Empire (OBE) in 1998 and was knighted for services to literature in the 2009 New Year Honours. In 2001 he won the annual Carnegie Medal for The Amazing Maurice and his Educated Rodents, the first Discworld book marketed for children. He received the World Fantasy Award for Life Achievement in 2010.

In December 2007, Pratchett announced that he had been diagnosed with early-onset Alzheimer's disease. He later made a substantial public donation to the Alzheimer's Research Trust (now Alzheimer's Research UK), filmed a television programme chronicling his experiences with the condition for the BBC, and became a patron for Alzheimer's Research UK. Pratchett died on 12 March 2015, aged 66.

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Discworld is a comic fantasy book series written by the English author Terry Pratchett, set on the Discworld, a flat planet balanced on the backs of four elephants which in turn stand on the back of a giant turtle. The books frequently parody or take inspiration from J. R. R. Tolkien, Robert E. Howard, H. P. Lovecraft, Charles Dickens and William Shakespeare, as well as mythology, folklore and fairy tales, often using them for satirical parallels with cultural, political and scientific issues.

Forty-one Discworld novels have been published. The original British editions of the first 26 novels, up to Thief of Time (2001), had cover art by Josh Kirby. The American editions, published by Harper Collins, used their own cover art. Since Kirby's death in 2001, the covers have been designed by Paul Kidby. Companion publications include eleven short stories (some only loosely related to the Discworld), four popular science books, and a number of supplementary books and reference guides. The series has been adapted for graphic novels, theatre, computer and board games, and television.

Newly released Discworld books regularly topped The Sunday Times best-sellers list, making Pratchett the UK's best-selling author in the 1990s. Discworld novels have also won awards such as the Prometheus Award and the Carnegie Medal. In the BBC's Big Read, four Discworld novels were in the top 100, and a total of fourteen in the top 200. More than 80 million Discworld books have been sold in 37 languages


The Discworld novels contain common themes and motifs that run through the series. Fantasy clichés are parodied in many of the novels, as are various subgenres of fantasy, such as fairy tales (notably Witches Abroad), witch and vampire stories (Carpe Jugulum) and so on. Analogies of real-world issues, such as religion (Small Gods), fundamentalism and inner city tension (Thud), business and politics (Making Money), racial prejudice and exploitation (Snuff) are recurring themes, as are aspects of culture and entertainment, such as opera (Maskerade), rock music (Soul Music), cinema (Moving Pictures), and football (Unseen Academicals). Parodies of non-Discworld fiction also occur frequently, including Shakespeare, Beatrix Potter, and several movies. Major historical events, especially battles, are sometimes used as the basis for both trivial and key events in Discworld stories (Jingo, Pyramids), as are trends in science, technology, pop culture and modern art (Moving Pictures, Men at Arms, Thud). There are also humanist themes in many of the Discworld novels, and a focus on critical thinking skills in the Witches and Tiffany Aching series.



The story takes place on the Discworld, a planet-sized flat disc carried through space on the backs of four gargantuan elephants – Berilia, Tubul, Great T'Phon and Jerakeen – who themselves stand on the shell of Great A'Tuin, a gigantic sea turtle. The surface of the disc contains oceans and continents, and with them, civilizations, cities, forests and mountains.

Synopsis The Colour of Magic

The story begins in Ankh-Morpork, the biggest city on the Discworld. The main character is an incompetent and cynical wizard named Rincewind, who is hired as a guide to the rich but naive Twoflower, an insurance clerk from the Agatean Empire who has come to visit Ankh-Morpork. Initially attempting to flee with his advance payment, Rincewind is captured by the Patrician of Ankh-Morpork, who forces him to protect Twoflower, lest the tourist's death provoke the Agatean Emperor into invading Ankh-Morpork. After Twoflower is kidnapped by a gang of thieves and taken to the Broken Drum Pub, Rincewind stages a rescue alongside the Luggage, an indestructible, enchanted and sentient chest belonging to Twoflower. Before this, Twoflower convinces the Drum's barman to take out a fire insurance policy; the barman subsequently attempts to burn down the Drum to claim the money, but ends up causing a fire that destroys the whole of Ankh-Morpork. Rincewind and Twoflower escape in the chaos.

Rincewind and Twoflower travel towards the city of Quirm, unaware that their adventures on this journey are actually the subject of a boardgame played by the Gods of the Discworld. The pair are separated when they are attacked by a mountain troll summoned by Offler the Crocodile God. The ignorant Twoflower ends up being led to the Temple of Bel-Shamharoth, a being said to be the opposite of both good and evil, while Rincewind ends up imprisoned in a dryad-inhabited tree in the woods, where he watches the events in Bel Shamharoth's temple through a magical portal. The pair are reunited when Rincewind escapes into the temple through the portal, and they encounter Hrun the Barbarian, a parody of heroes in the Swords and Sorcery genre. The trio are attacked and nearly killed by Bel-Shamharoth, but escape when Rincewind accidentally blinds the creature with Twoflower's magical picture box. Hrun agrees to travel with and protect Twoflower and Rincewind in exchange for heroic pictures of him from the picture box.

The trio visit the Wyrmberg, an upside-down mountain which is home to dragon-riders who summon their dragons by imagining them, and are separated when the riders attack them. Rincewind escapes capture but is forced by Kring, Hrun's sentient magical sword, to attempt to rescue his friends. Twoflower is imprisoned within the Wyrmberg, and because of his fascination with dragons, is able to summon one greater than those of the Wyrmberg riders, who he names Ninereeds, allowing him to escape captivity and save Rincewind from being killed in a duel with one of the three heirs of the Wyrmburg. Twoflower, Rincewind and Ninereeds snatch Hrun, but as they attempt to escape into the skies, Twoflower passes out from the lack of oxygen, causing Ninereeds to disappear. Hrun is saved by Liessa, but Rincewind and Twoflower find themselves falling to their deaths. In desperation, Rincewind manages to use the Wyrmberg's power to temporarily summon a passenger jet from the real world, before he and Twoflower fall into the ocean.

The two of them are taken to the edge of the Discworld by the ocean currents and nearly carried over, but they are caught by the Circumfence, a huge net built by the nation of Krull to catch sea life and flotsam washed in from the rest of the Discworld. They are rescued by Tethis the sea troll, a being composed of water who had fallen off the edge of his own world and onto the Discworld, where he was subsequently enslaved by the Krullians. Rincewind and Twoflower are then taken by the Krullians to their capital, where they learn that the Krullians intend to discover the sex of Great A'Tuin by launching a space capsule over the edge of the Disc, and plan to sacrifice Rincewind and Twoflower to get the god Fate to smile on the voyage, Fate insisting on their sacrifice after they caused him to lose the earlier game. Rincewind and Twoflower attempt to escape, but end up stealing the capsule, which is launched with Twoflower inside, the tourist wishing to see the other worlds of the universe. Rincewind is unable to get into the capsule in time, and falls off the Disc alongside it, the Luggage following them soon after.

The story segues into the beginning of The Light Fantastic; the two books can therefore be seen as one two-volume novel.

Terry Pratchett - The Colour of Magic part 2 ( 69min mp3     38mb).

01-14 The Colour of Magic 2  70min

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Terry Pratchett - The Colour of Magic part 1 ( 69min mp3     38mb).

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