Nov 30, 2020

RhoDeo 2048 Xpanse 19

 Hello, that was some fireball crash at the start of today's grand prix in Bahrein, after it was established the driver came away relatively scott free, the rest of the drivers who had been red flagged and walked around waiting for a re start, that would take 80 min, because part of the barrier that split Grosjean's car was in serious need of replacing itself, all mangled steel, the drivers got see in slow mo from different angles on huge screens and together with millions of viewers around the globe how miraculously a man stepped out of the fire assisted by two safety marshalls, away from the inferno and what was left of his car-not much. As for the race Hamilton won again, Verstappen managed the fastest lap but couldn't get close enough to worry Lewis and the rest were way back, closest was Perez who drove a fine race until has car gave the ghost 3 laps before the end, very costly for his team, the loss of 15 points meant that Mclaren now has a 17point lead in the battle for third in the constructors championship (lot's of money at stake). Next week another race in Bahrein, different circuit but likely same outcome, and who knows Grosjean back behind the wheel....


Here today, naturally my mission of trying to breakthough the wall of nonsense build by the supposed smartest men on the planet is continuing as chinks start to appear, their arrogant stupidity set us back decades if not more, electro-magnetics is clean energy and would have delivered us not only flying cars, but flying saucers aswell and who knows a pathway into other dimensions..Meanwhile i got a request to continue the Expanse, and as this is one of the greatest SF series of our days and within it Abaddon's Gate one of it's highlights no reason to stop there then, so i won't...N Joy..

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Astronomers with the Sloan Digital Sky Surveys’ Apache Point Observatory Galactic Evolution Experiment (APOGEE) report a “fossil galaxy” buried within the Milky Way.

The primitive galaxy could have collided with the Milky Way about ten billion years ago, in the earliest stages of development. Called Heracles, it is thought to account for about one third of the Milky Way’s spherical halo. A few years ago, the SDSS found that a torus of stars surrounds the Milky Way at a distance of 120,000 light-years. The Milky Way’s stellar population was previously estimated to be about 200 billion stars contained in the spiral arms and nucleus. The additional population of stars in the ring puts that number at around one trillion stars!

As mentioned, the ring of stars is said to be the remains of a collision between the Milky Way and a dwarf galaxy billions of years ago. How a “collision” between two structures that are almost nothing but empty space leaves coherent formations behind is a mystery. What drives the birth of “young” blue stars, along with a swarm of globular clusters similar to those in other galactic rings, is also mysterious. Consensus viewpoints assume that galaxies are gravity-based structures, obeying old ideas of mechanics and momentum. Galaxies are not “whirlpools of stars” that depend on gravity. Galaxies are electrically active agglomerations in which each star is the locus of charge flow. Electricity flowing through dusty plasma is responsible for the births of stars and galaxies. Such flows of electricity are commonly called Birkeland currents, after their discoverer, Kristian Birkeland.

Electricity moves out of a galaxy’s polar axis and then returns to the central plasmoid through its spiral arms. Even in elliptical and other galactic shapes, barred-spirals are seen embedded inside their disks. There are circuits across galactic disks, receiving power from Birkeland currents connecting them with the rest of the Universe. Presumably, strands of magnetically confined electric filaments are transmitting power from one end of space to the other. Instead of gravity, as intergalactic Birkeland currents move through galaxies they generate toroidal particle beams, which energize rings of stars at the disk edges. Birkeland currents form helices as they twist around one another. Cross sections through the helices in laboratory experiments reveal familiar barred-spiral shapes. Since galaxies are most likely electrical in nature, electromagnetic forces act on them with such power that kinetic forces, like collisions, can be ignored when modeling their shapes and behaviors.

In the image at the top of the page, NGC1291 reveals an extreme example of a galaxy’s core with its ring. Galactic haloes, seen in the light of electrical theories, can mean an entirely new way of seeing evolution in the Universe. Stellar haloes are actually examples of a dense plasma focus penumbra. Images from experiments using a “plasma gun” offer a direct analogue to “pinch zones” surrounding an electric discharge from the center of the Milky Way.

Stephen Smith


Scientists recently reported that the Voyager 2 spacecraft is now the second man-made object to cross the boundary into interstellar space. And as with Voyager 1, the theoretical predictions based on standard solar physics do not match discovery. Of course, the predictions of the Electric Universe theory about the interstellar environment and behavior of the solar wind differ dramatically from convention. We asked retired professor of Electrical Engineering Dr. Donald E. Scott to offer an overview of the Voyager 2 findings to date.

a direct youtube link incase google still refuses to to post their own youtube content because i'm still on XP, bit autistic having trouble with change specially of the enforced kind

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The Expanse is a series of science fiction novels (and related novellas and short stories) by James S. A. Corey, the joint pen name of authors Daniel Abraham and Ty Franck. The first novel, Leviathan Wakes, was nominated for the Hugo Award for Best Novel in 2012. The series as a whole was nominated for the Best Series Hugo Award in 2017.

As of 2019, The Expanse is made up of eight novels and eight shorter works - three short stories and five novellas. At least nine novels were planned, as well as two more novellas. The series was adapted for television by the Syfy Network, also under the title of The Expanse, then they dropped the ball despite the succes of the series, i suspect the whole thing got too serious (expensive) so once again Syfy network proved they can't handle success. Anyway fans were outraged and got Amazon Prime to pick it up for a fourth and fifth series and considering the mountain of money Jeff Bezos sits on i suspect several more as long as the fans keep cheering.

The Expanse is set in a future in which humanity has colonized much of the Solar System, but does not have interstellar travel. In the asteroid belt and beyond, tensions are rising between Earth's United Nations, Mars, and the outer planets.

The series initially takes place in the Solar System, using many real locations such as Ceres and Eros in the asteroid belt, several moons of Jupiter, with Ganymede and Europa the most developed, and small science bases as far out as Phoebe around Saturn and Titania around Uranus, as well as well-established domed settlements on Mars and the Moon.

As the series progresses, humanity gains access to thousands of new worlds by use of the ring, an artificially sustained Einstein-Rosen bridge or wormhole, created by a long dead alien race. The ring in our solar system is two AU from the orbit of Uranus, and passing through it leads to a hub of starless space approximately one million kilometers across, with more than 1,300 other rings, each with a star system on the other side. In the center of the hub, which is also referred to as the "slow zone", an alien space station controls the gates and can also set instantaneous speed limits on objects inside of the hub as a means of defense.

The story is told through multiple main point-of-view characters. There are two POV characters in the first book and four in books 2 through 5. In the sixth and seventh books, the number of POV characters increases, with several characters having only one or two chapters. Tiamat's Wrath returns to a more limited number with five. Every book also begins and ends with a prologue and epilogue told from a unique character's perspective.

#     Title             Pages     Audio     
1     Leviathan Wakes     592     20h 56m
2     Caliban's War         595     21h     
3     Abaddon's Gate     539     19h 42m
4     Cibola Burn         583     20h 7m
5     Nemesis Games     544     16h 44m
6     Babylon's Ashes     608     19h 58m
7     Persepolis Rising     560     20h 34m
8     Tiamat's Wrath         544     19h 8m
9     Unnamed final novel



James Holden and his crew on the salvaged Martian warship Rocinante played a role in two major events in human history: saving the Earth from the first direct proof of alien technology discovered in our solar system, and saving as many people as they could when a new form of the technology appeared on Jupiter’s moon Ganymede. As part of the first incident, the alien technology crashed on Venus, where it churned for months doing something unknown while the solar system watched. When complete, the semi-intelligent collection of chemicals flew away from Venus and built what could best be described as a Stargate, called "The Ring", beyond the orbit of Uranus.
Major character arcs

James Holden and his crew have been successful in their ship-for-hire business, cashing in on their celebrity and Rocinante’s power when needed. As the solar system prepares to mount its first large-scale exploration of the ring, Holden’s interaction with the alien consciousness in the form of an old friend named Miller convinces him that he wants to be as far away from the ring as possible. Greater forces have other plans, however, and the crew finds themselves at the ring with fleets of Earth, Mars, and Outer Planets Alliance (OPA) ships.

Clarissa Mao, younger sister of Juliette "Julie" Andromeda Mao and daughter of Jules-Pierre Mao, who was president of the multi-planet corporation "Mao-Kwikowski Mercantile" also known as "Mao-Kwik". Jules-Pierre was part of various conspiring organisations, all of whom wanted to use the protomolecule for profit. He was brought down by James Holden in the events that occurred during and after the near-destruction of the Ganymede colony, a major food supplier for the outer planets of the belt. The "Mao-Kwik" corporation was also destroyed by Jules-Pierre's actions and left the Mao family only a fraction of their former wealth. Clarissa wants revenge for the disgrace brought onto her family and the downfall of her father, for which she blames James Holden. She wants to discredit him publicly to redeem her father and plans to kill Holden afterwards. She has spent her entire fortune to change her identity and put the wheels of her plan in motion. Now pretending to be an electrochemical technician named "Melba Koh", she sets out to get her revenge in a well-planned scheme. She places a saboteur on the Rocinante, then hijacks the ship's communications system to send a faked 'Jim Holden broadcast' in which an animated image of Holden claims the alien-protomolecule-ring for the OPA and responsibility for the sabotage and near-destruction of the UNN Earth vessel Seung Un. The scheme to get Holden discredited and then killed fails, because Holden decides to avoid all hostilities with the other flotillas and chooses to enter the ring instead. Even after capture, Clarissa remains dangerous.

Carlos “Bull” de Baca is a former warfighter and friend to Fred Johnson. He’s given the job of third in command of the 'Behemoth', formerly known as the Generation Ship Nauvoo, which the OPA salvaged and repurposed as a warship. Not only is Bull absolutely loyal to Fred, he also is the most likely of the command crew to secure the mission's success, which is why Fred asks Bull to “make it work”. When Clarissa triggers her faked broadcast of James Holden, in which he claims responsibility for the sabotage of the Seung Un and to being ordered to do so by the OPA, Bull understands all the implications. He also understands that all of the human governments need to stand united in facing the alien ring and the possible threat coming from it. In order to avoid another open shooting war/battle among Mars, Earth, and the OPA at all costs, he convinces the Behemoth's captain that being the first to take hostile action against the Rocinante will stop the Behemoth from being seen as Holden's backup, and distance the OPA from Holden's statement about 'claiming the ring' for them. After the Behemoth fires a Torpedo at the Rocinante, the other flotillas join by also targeting Holden's ship - forcing him to travel into the ring as an attempt to escape.

Annushka “Anna“ Volovodov is a Methodist pastor from Europa who joined the expedition as part of a UN delegation of religious figures and artists selected to witness the start of a new epoch of human history. Her ship joins others following Rocinante into the gate, and she tries to pull fragile strings of common interest together against the gales of politics, self-interest, and madness driving others in the expedition.

Miller’s consciousness continues on in disembodied form, now part of the vast protomolecule matrix and used for his investigative capabilities. Talking to and trying to work with James Holden, he has limited insight into the actions taken by the gate, and knows there is a vast tapestry of opportunity and danger associated with it and those who built it, because someone destroyed them.

Abaddon's Gate won the 2014 Locus Award for Best Science Fiction Novel.

Abaddon's Gate was adapted into episodes 7 to 13 of the third season of the television series The Expanse in 2018, with its title taken for the final episode of that season. It was the last book in the series to be adapted before the show's move from Syfy to Amazon Prime.

<a href="">James Corey - The Expanse Abaddon's Gate 08-14 </a> ( 157min  72mb)

James Corey The Expanse Abaddon's Gate 08-14 157min

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<a href="">James Corey - The Expanse Caliban's War 01-07 </a> ( 139min  63mb)
<a href="">James Corey - The Expanse Caliban's War 08-15 </a> ( 173min  78mb)
<a href="">James Corey - The Expanse Caliban's War 16-22 </a> ( 169min  64mb)
<a href="">James Corey - The Expanse Caliban's War 23-29 </a> ( 165min  64mb)
<a href="">James Corey - The Expanse Caliban's War 30-36 </a> ( 167min  67mb)
<a href="">James Corey - The Expanse Caliban's War 37-43 </a> ( 149min  67mb)
<a href="">James Corey - The Expanse Caliban's War 44-50 </a> ( 150min  60mb)
<a href="">James Corey - The Expanse Caliban's War 51-57 </a> ( 104min  48mb)
<a href="">James Corey - The Expanse Abaddon's Gate 01-07 </a> ( 143min  66mb)

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Nov 29, 2020

Sundaze 2048


Today's Artist is a musician from Toronto, Ontario, Canada who has released numerous records both as a solo artist and as part of various side projects, including Nadja, ARC, Caudal and Mnemosyne. He has also written several books of poetry. He has toured around world, and has made appearances at the Unsound Festival, MUTEK, and South by Southwest. He is married to Nadja bandmate, Leah Buckareff. ..... N'Joy

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An accomplished writer and musician, Aidan Baker has his artistic fingers in many pies. After graduating from Montreal's McGill University with a degree in Literature and Religious Studies, Baker released a four-song acoustic cassette as "Aodhan" (the Gaelic spelling of his name). He also teamed up with two fellow Toronto musicians to create ARC, an ambient guitar-driven trio which garnered much praise for its innovation and integrity. The group released three albums, including Two in 2001. Having been published in major literary magazines nationally and internationally, Baker released his debut album Element in 2000. In 2001, he released his follow-up, Letters, a concept album based loosely around letters from both Jack the Ripper and the Marquis de Sade.
Aidan Baker is a classically-trained multi-instrumentalist using the electric guitar as his primary instrument. Using prepared and alternate methods of playing the guitar, along with various electronic effects, Baker creates music which generally falls within the ambient/experimental genre but draws on influences from rock, electronic, classical, and jazz. A highly prolific artist, Baker has released numerous recorded works, both solo and with various group projects, on such independent labels as Gizeh Records, Pleasence Records, Important Records, Alien8 Recordings, and his own imprint, Broken Spine Productions. Baker is also the author of several books of poetry. A regular live performer, Baker has toured extensively around the world, including appearances at such international festivals as FIMAV, SXSW, Incubate, Unsound, and Mutek, among others. Originally from Toronto, Canada, Baker currently resides in Berlin, Germany.

Mnemosyne was a trio formed in Toronto, Canada in 2002 featuring Aidan Baker on guitar, Richard Baker (ARC) on drums, and Rodin Columb on bass. The group created atmospheric post-rock and released one full-length album, The Air Grows Small Fingers, on Piehead Records.

ARC was a trio made up of Aidan Baker, Richard Baker, & Christopher Kukiel formed in Toronto, Canada in 2000. The group’s sound is centred on the melodic loops, textures, & samples provided by heavily-effected guitar & other melodic instruments. This is overlaid with tribal-esque rhythms provided by various percussive instruments, creating a roiling tapestry of both rhythmic & ambient sound, music simultaneously primeval & avant-garde.

Nadja is a duo of Aidan Baker & Leah Buckareff alternately based in Toronto & Berlin. The duo makes music that encompasses experimental/drone, ambient, industrail, & doom metal. Originally formed by Baker in 2003 as a solo project, Buckareff joined in 2005 to bring the project out of the studio & into a live setting. They have since released numerous albums on such labels as Essence Music, Hydrahead Records, & their own label, Broken Spine Productions.

B/B/S/, formed in 2012 in Berlin, Germany, is a trio of Aidan Baker (CA - Nadja, Whisper Room, ARC) on guitar, Andrea Belfi (IT - David Grubbs, Hobocombo, Il Sogno del Marinaio) on drums/electronics, and Erik Skodvin (NO - Svarte Greiner, Deaf Center) on guitar. The group makes improvisational music, combining abstract melodies and experimental drone textures. Their debut album Brick Mask was released in 2013 and their second full-length album Palace was released in 2016, both on Miasmah Records.

Hypnodrone Ensemble is Aidan Baker & Eric Quach (aka Thisquietarmy) joined by three drummers, Felipe Salazar (Caudal, Muerte En Pereira), Jérémie Mortier (Alice in the Cities, Lady Shot from a Tree), and Dave Dunnett (Man Meets Bear), to create propulsive, poly-rhythmic space rock. Hypnodrone Ensemble released their live debut in 2014 on Consouling Sounds & a studio-recorded follow up in 2015 on Calostro Recordings.

Whisper Room is a trio of Aidan Baker (guitar), Jakob Thiesen (drums/effects), & Neil Wiernik (bass/effects). The three members of Whisper Room moved in similar musical circles in Toronto & Montreal for many years, sporadically playing together &/or sharing stages, but did not actively come together as a group until late 2006. As an improvisational unit combining their disparate musical backgrounds, the trio creates music which explores the conjunction of electronic rhythms & textures with the pulsations & psychedelics of shoegaze & krautrock music. They released their debut full-length album, Birch White on Elevation Recordings and their follow-up The Cruelest Month on Consouling Sounds in 2014

Adoran is a duo consisting of Aidan Baker on drums & Dorian Williamson on bass. The project makes music combining elements of post-rock, drone, industrial, and sludge. Their self-titled debut album was released in 2012 and their second album Children of Mars is the autumn of 2015, both by Consouling Sounds.

Caudal was a trio featuring Aidan Baker on guitar, Gareth Sweeney on bass, & Felipe Salazar on drums. Baker’s multi-layered, heavily affected guitar overlays Sweeney & Salazar’s driving, propulsive rhythm section creating music equally influenced by krautrock, post-punk, and spacerock. Their debut album Forever In Another World was released in 2013 Oaken Palace Records. Their second full-length album Ascension was released by Consouling Sounds in 2014.

Infinite Light Ltd was a collaborative project between Aidan Baker, Nathan Amundson (Rivulets), and Mat Sweet (Boduf Songs). The trio released one album combining folk, ambient, and shoegaze sounds on the German label Denovali Records in 2011.

Scythling was a collaborative project between Aidan Baker and Josh Rothenburger of Bloody Panda exploring sounds conflating dark-ambient and doom metal. The group released one album, Smokefall, with various guest contributors on Aurora Borealis records in 2012.

WERL is a duo of Aidan Baker on guitar with Swedish drummer Tomas Järmyr creating improvisational music which explores noise, metal, drone, & freejazz. Their debut release came out in 2016 on Consouling Sounds and their follow-up is forthcoming September 2017 on Wolves&Vibrancy/Dio Drone Records.

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Here's an album by Arc which is Aidan Baker (Nadja) with on drums and percussion - Richard Baker and on electronic percussion - Christopher Kukiel. Thanks heavens for the balance in life. And that is entirely what you'll get listening to this lovely thing called Glassine 1 on A Silent Place Records. It's packaged in a lovely cardboard foldy thing and the music is new age jungle noises while experimental tinklings glide haplessly from swinging vines (like Tarzan but without the man cry). The few times I've been massaged this sort of stuff has been played in the background. It's possibly new age at times but I think it's interesting enough to distance itself away from the hour long nature albums with whales and squirrels barking at each other. It does create a pleasant feeling though and those who enjoy the lighter side of Mr Baker will verily like this beast o' pleasure. Recorded live by - Jamie Todd, Eric Sylken at the Ambient Ping in Toronto, 03/07/2006.

<a href="">ARC - Glassine 1 </a> ( flac 344mb)

01 Glisten 12:25
02 Glace 16:22
03 Glascular 14:56
04 Glower 16:07

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 A new landscape is painted out of darkness by progressive strokes of the dawn. The finished piece is neither night nor day, but the transformation itself. Aidan Baker's (Nadja) "Book Of Nods" crests experimental peaks in similarly paced sonic transmigrations. His lustrous chimera blooms open in shifting onion layers built out of slow-moaning guitar, flute, organ and drums. The resonant frequencies of quietly crashing nodes vibrate the ozone with a sub-textural beating of multi-pianic feathers. Baker's prior metallic inclinations lend in heaviness, adding a certain stylistic thud to Terry Riley-like territories, and colouring portions almost as if they were middle passages in some sprawling prog excursion. A soft eruption of synchronous sweet airs.

<a href="">  Aidan Baker - Book of Nods</a> ( flac 234mb)

01 Love 7:59
02 Survival 19:10
03 Obsession 10:56
04 Good & Evil 15:20

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Canadian musicians Aidan Baker and Jim DeJong (aka The Infant Cycle) have used the "gentleman's kit" of modern experimenters for creating the compositions of this disk: guitar, bass, tapes, samples, feedback generator, playouts and thumb piano. Four album tracks correspond with four seasons, four states of the soul... Summer - repetitive loops become overgrown with the juicy flesh of atonal sound and transform into sampled rhythms flown over by a soft guitar tune. Autumn - the rhythm is reduced to a hardly evident monotonous shroud, the atmosphere becomes more melodic and melancholic and in the end turns into a heart-piercing guitar solo. Winter - time for sleep and detachment: icy ringing, the slow breath of bass impulses, the rustling of electronics and sluggish drones painting vast snowy soundscapes. And finally spring - the drone ambient nature unfolds large as life, majestic sonic waves sweep accompanied by a swarm of tiny sounds awoken to life again... The first two tracks were recorded in 2001 (and released on CD-R by the Italian label Blade Records in 2002 in a very limited edition), two others were recorded in 2005 and thus completed the natural cycle of this album.

<a href="">Aidan Baker & The Infant Cycle - Rural Sprawl-</a> ( flac 295mb)

01 Summer 15:25
02 Temperature Drop 21:24
03 You Left Your Breath On My Window 14:37
04 Rights Of Spring 12:36

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Toronto based Aidan Baker and Montreal based Tim Hecker pair up to deliver an abstract and experimental ambient piece on a Canadian Alien8 Recordings. This project could easily be tagged as "Chamber Music for White Noise, Semi-Acoustic Instruments & Distorted Electronic Guitars and Pianos". The presence of Aidan Baker is unmistakable, not only by contrast, but also in character. Tim Hecker's work sums his best in order for a third language to develop. Electronic "Chamber Music" that has both a dark and bright counterpart, blended in a language that is common for the 2 musicians. The balance in performance & music-composition, is very inspired and maybe even respectful of their respective means of expression and need for freedom, but never losing sense of the "whole picture". Short- timed for today's standards less than 35 minutes, although the very long list of sections, they actually add up only to 7 individual songs, tastefully connected, as if parts of a symphony. That is one of TH's great achievements, the use of distorted ensemble music DE-CONSTRUCTED first, in able to Re-construct it later into a new personal "aestetique". (his new work "Virgins" relies mainly on that). Aidan Baker carries the weight of providing the "bright" counterparts (small feat) with his un-common ability to skip as always the predictable road, in favor of unexplored ones, without being extreme.(his solo work is by far more "universal" than Hecker's). Balanced, ORIGINAL, daring and beautiful without intention, in short, sublime! In hope of more collaborations between this creative pair of composers and performers. The overdriven guitars combined with hiss, crackle and static, vibrate feverishly across the frequency spectrum, occasionally revealing a hidden pattern, a loose structure, and a graceful melody. The paced slow-core riffs, rolling at a speed of a sleeping giant, are fed back into themselves and split through a harmonic meat grinder. All this is again mashed up, tweaked out, and faded in through a torrent of bit-crushed digitally violated audio waves that give your speakers (and ears) a massive workout. Fantasma Parastasie is a relaxing fatigue - it cradles you gently by screaming its head off. Thus, together, Backer and Hecker, define an oxymoron of ambient noise or shoegazer metal. This should be a special treat for those with a taste for Belong, Ben Frost, Fennesz, Jasper TX, and Lawrence English. Where as Baker has a bucket of upcoming albums, too many to fit in a paragraph,

<a href="">   Aidan Baker & Tim Hecker - Fantasma Parastasie -</a> ( flac 205mb)

 1 Phantom on a Pedestal I 0:15
2 Phantom on a Pedestal II 0:44
3 Phantom on a Pedestal III 0:29
4 Phantom on a Pedestal IV 1:20
5 Phantom on a Pedestal V 0:20
6 Phantom on a Pedestal VI 0:32
7 Phantom on a Pedestal VII 0:44
8 Phantom on a Pedestal VIII 0:29
9 Phantom on a Pedestal IX 0:26
10 Phantom on a Pedestal X 0:26
11 Hymns to the Idea of Night I 0:23
12 Hymns to the Idea of Night II 0:29
13 Hymns to the Idea of Night III 0:41
14 Hymns to the Idea of Night IV 0:29
15 Hymns to the Idea of Night V 0:46
16 Hymns to the Idea of Night VI 0:40
17 Hymns to the Idea of Night VII 0:28
18 Hymns to the Idea of Night VIII 0:25
19 Hymns to the Idea of Night IX 0:11
20 Hymns to the Idea of Night X 0:14
21 Hymns to the Idea of Night XI 0:28
22 Auditory Spirits I 0:27
23 Auditory Spirits II 0:14
24 Auditory Spirits III 0:16
25 Auditory Spirits IV 0:16
26 Auditory Spirits V 0:17
27 Auditory Spirits VI 0:26
28 Auditory Spirits VII 0:28
29 Auditory Spirits VIII 0:16
30 Auditory Spirits IX 0:32
31 Auditory Spirits X 0:12
32 Auditory Spirits XI 0:14
33 Skeleton Dance I 0:18
34 Skeleton Dance II 0:14
35 Skeleton Dance III 0:23
36 Skeleton Dance IV 0:16
37 Skeleton Dance V 0:20
38 Skeleton Dance VI 0:17
39 Skeleton Dance VII 0:13
40 Skeleton Dance VIII 0:11
41 Skeleton Dance IX 0:13
42 Skeleton Dance X 0:13
43 Skeleton Dance XI 0:17
44 Gallery of the Invisible Woman I 0:08
45 Gallery of the Invisible Woman II 0:11
46 Gallery of the Invisible Woman III 0:20
47 Gallery of the Invisible Woman IV 0:10
48 Gallery of the Invisible Woman V 0:17
49 Gallery of the Invisible Woman VI 0:21
50 Gallery of the Invisible Woman VII 0:31
51 Gallery of the Invisible Woman VIII 0:41
52 Gallery of the Invisible Woman IX 0:33
53 Gallery of the Invisible Woman X 0:56
54 Gallery of the Invisible Woman XI 3:04
55 Dream of the Nightmare I 0:25
56 Dream of the Nightmare II 0:15
57 Dream of the Nightmare III 0:17
58 Dream of the Nightmare IV 0:41
59 Dream of the Nightmare V 0:44
60 Dream of the Nightmare VI 0:09
61 Dream of the Nightmare VII 0:28
62 Dream of the Nightmare VIII 0:16
63 Dream of the Nightmare IX 0:15
64 Dream of the Nightmare X 0:31
65 Dream of the Nightmare XI 0:13
66 Fantasma-Parastasie 4:50
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Nov 27, 2020

RhoDeo 2047 Grooves


Today's Artists has been creating all of his life. Perhaps his greatest creation is himself as a multi-disciplined artist. The self-taught musician rose to prominence as the bass player in post punk legends, Magazine. His establishment as a solo artist came after a three-year stint with Nick Cave and the Bad Seeds and heralded the release of his seminal first solo album, 'Moss Side Story'.Having released nine studio albums, including the 1992 Mercury Music Prize nominated 'Soul Murder', Adamson has continued to tour globally with his talents being in as much demand by new generations of artists, as he was after his first solo release. .........N Joy

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Adamson was born in Moss Side, Manchester, England to a white mother and a black father. He read comic books from an early age. At school he immersed himself in art, music and film and produced his first song - "Brain Pain" - at the age of 10. His diverse musical tastes range from Alice Cooper to Motown to David Bowie.

After leaving school, Adamson drifted into graphic design whilst attending Stockport Art Colleg but quit shortly after, preferring to venture into the exploding punk rock scene of the late 1970s. He joined ex-Buzzcocks singer Howard Devoto's band Magazine to play the bass guitar, with whom he scored one chart single, "Shot by Both Sides"; in late 1977, he also joined the Buzzcocks, as a temporary replacement for Garth Smith. He played on all of Magazine's albums and contributed to Devoto's solo album and his next band, Luxuria. He also contributed to the studio-based band Visage, playing on the ensemble's first two albums, Visage and The Anvil.

After Magazine broke up, Adamson worked with another ex-Buzzcock, Pete Shelley, before joining Nick Cave and the Bad Seeds, featuring on four of their albums: From Her to Eternity, The Firstborn Is Dead, Kicking Against the Pricks and Your Funeral, My Trial. After his stint with the band and a European tour with Iggy Pop in 1987, he went solo, releasing an EP, The Man with the Golden Arm in 1988, and his first solo album, Moss Side Story, the following year, the "soundtrack" to a non-existent film noir. The album incorporated newscasts and sampled sound effects and featured guest musicians Marcia Schofield (of The Fall), Diamanda Galas, and former colleagues from the Bad Seeds.[4] Adamson's second solo album was the soundtrack to a real film this time – Carl Colpaert's Delusion, and he would go on to provide soundtracks for several other films.

Adamson's third album, Soul Murder, was shortlisted for the Mercury Music Prize in 1992. His solo work has mostly been influenced by John Barry, Elmer Bernstein and Ennio Morricone, whilst his later works include jazz, electronica, soul, funk, and dub-styles. In 1996, Adamson contributed to the AIDS-Benefit Album, Offbeat: A Red Hot Soundtrip, produced by the Red Hot Organization. His own album that year, Oedipus Schmoedipus, reached #51 in the UK Albums Chart. It would later be included in the 1001 Albums You Must Hear Before You Die list, along with Moss Side Story.In 2002, Adamson left his long-term label, Mute Records, and started his own production home, Central Control International. In 2006, he released Stranger on the Sofa, first for his Central Control International imprint, to critical acclaim. Back to the Cat, his second album for the label, was released in March 2008.

In 2007 it was announced that Magazine would re-form for concerts in 2008. Adamson took part in the same band line-up that recorded Secondhand Daylight, with the exception of the late John McGeoch, who was replaced by Apollo 440 member Noko. However, Adamson has since withdrawn from the reunion and new recordings. On 27 August 2010, Adamson released "Rag and Bone", as a digital download and as a 12-inch vinyl record. He then released a studio album, I Will Set You Free, on 30 January 2012. Adamson rejoined the Bad Seeds for the release of their 2013 album, Push the Sky Away, playing bass guitar on two songs. He also toured with the band on drums and keyboards, to fill in for an ailing Thomas Wydler. His 2016 album Know Where To Run was accompanied by a book with photos that Adamson shot in the US while on tour with Nick Cave. 2018 saw the release of Memento Mori, an album celebrating his 40th anniversary as a professional musician, which was followed by a concert at the Union Chapel in London. A recording of this concert was released on vinyl and CD.

Adamson's "Refugee Song" was included in Derek Jarman's The Last of England. Adamson also contributed soundtrack material to Gas Food Lodging, David Lynch's Lost Highway and Oliver Stone's Natural Born Killers. Back to the Cat's opening track, "The Beaten Side of Town", was featured in the video game Alan Wake. He also contributed substantial material to the Delusion soundtrack, which has also been released.

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After some releases with more of a beat-heavy pop feel, Adamson moves back -- sort of -- into the land of noirish soundtrack. Unlike Moss Side Story, it's not really a soundtrack with repeated themes and motifs. A lot of pieces establish soundtrack-like moods, but the flow never builds up momentum of its own. As individual soundscapes, though, the tracks (largely instrumental) are reasonably impressive, whether it's burlesque-type fare, a takeoff on Miles Davis, or lounge jazz. If noir is what you want, "It's Business as Usual" is especially creepy, with its neurotic answering machine messages nearly buried under waves of disquieting sounds; achieving a similar effect; in an entirely different manner, is "Vermillion Kisses," a fairytale narrative with a morbid ending. Nick Cave adds a guest vocal to (and co-writes) "The Sweetest Embrace"; Pulp's Jarvis Cocker can be heard (and co-writes) another cut. Adamson's skill in layering and devising unusual sound textures still qualifies him as one of experimental rock's more imaginative composers and producers. But on the more rock-oriented pieces, he's using too many of those damn beat boxes for his own good.

<a href=""> Barry Adamson - Oedipus Schmoedipus </a>  (flac   336mb)

01 Set the Controls for the Heart of the Pelvis (voc.Jarvis Cocker) 5:39
02 Something Wicked This Way Comes 4:33
03 The Vibes Ain't Nothin' But the Vibes 4:48
04 It's Business as Usual 4:29
05 Miles 5:30
06 Dirty Barry 7:30
07 In a Moment of Clarity 4:14
08 Achieved in the Valley of Dolls (Voc.Billy McKenzie) 4:27
09 Vermillion Kisses 3:02
10 The Big Bamboozle 3:37
11 State of Contraction 1:38
12 The Sweetest Embrace (voc.Nick Cave) 4:49
13 Set the Controls Again 1:34

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Barry Adamson is playing quite the "jazz devil" on As Above, So Below. The album sees the dark noir guru taking a detour from the more experimental electronica of Oedipus Schmoedipus into a cool, brutal concept album of aggressive, ominous rock-jazz. It seems that a great deal of Nick Cave's cinematic themes have rubbed off on Adamson from his days as a Bad Seed. Where Cave deals mostly with vampiric goth ballads, Adamson creates his art under a moody, effective jazz noir cloud. Many of the songs shuffle about with a determined sense of cool, as Adamson utilizes deep crooning vocals; he often sounds remarkably like a more sane Nick Cave, especially on "Come Hell or High Water." Perhaps Adamson's work on David Lynch's Lost Highway soundtrack inspired the tales of dead detectives and shady women detailed on As Above, So Below. One can easily imagine these songs coming from a younger, rocking, and more sinister Angelo Badalamenti, a frequent Lynch collaborator. The album's high points include "Can't Get Loose," "Still I Rise," and "The Monkey Speaks His Mind." "Can't Get Loose" sees Adamson cooly cooing over keyboards reminiscent of New Order, with a fun, suave xylophone sound and a sample of "Can't Get Used to Losing You" by legendary songwriters Doc Pomus and Mort Shuman. The song operates under a pleasant, humorous atmosphere, while still displaying ample doses of Adamson's warped, dark vibes. "Still I Rise" is monumentally cool. Adamson sounds quite angry and defensive, sing-screaming "still I rise" repeatedly, alternating that mantra with verses of autobiographical, stream-of-consciousness lyrics. The final cry is as punishing and entertaining as it is crass. Barry Adamson has yet to release an album that isn't entirely compelling. As Above, So Below is a strong, winning mix of style, emotion, and rock-jazz noir power. It's a bold, satisfying vision from an artist who shows no fear in expressing the seedier sides of life.

As Above, So Below is on the whole as written in the liner notes, 'as though Frank Sinatra had a walk-on part in Dante's Inferno,' iconography liberally borrowed from Vegas Lounge and religion with bold interchangeability. The soul's gambling debts, an omnipotent bookie at the ledger. The overall sound is a strange amalgam of jazz and electronica with a side of scummy lounge and a dark, dirty sense of humour. The first song samples the classic "Can't Get Used to Losing You" and amid lush organ and that smooth old Andy Williams arrangement, Adamson sings 'I can't get loose to using you, but that's what I'm-a gonna do, havin' fun in Heaven while you're crucified.' It's a sly bit of appropriation and subversion, but full and juicy in and of itself with buzzing guitars, swooning strings and unusually layered vocals.

<a href=" ">  Barry Adamson - As Above So Below </a> (flac   316mb)

01 Can't Get Loose 5:26
02 What It Means 3:59
03 Déjà Voodoo 4:24
04 Come Hell or High Water 5:29
05 Jazz Devil 5:06
06 Still I Rise 2:17
07 Girl 4:46
08 The Monkey Speaks His Mind 5:31
09 Goddess of Love 3:09
10 Jesus Wept 7:19

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The original piece of music, entitled "The Hymn of the 7th Illusion", is a collaboration between film composer Barry Adamson and experimental electronic duo Pan Sonic. It's as minimal as they come: Adamson contributes some droning, vaguely avant-classical choir arrangements and Pan Sonic offer some low-end rumble. The two sounds spend the first eight minutes alternating, as if abstractly conversing on very important topics. Things begin to heat up (or at least do something) as the two elements are layered one on top of the other, but the composition remains stuck in place and sounds very much like two disparate and unrelated elements that do little to strengthen each other.
The remix, by Germany's Hafler Trio, is a bit more interesting. Titled "The Illusion of the 7th Hymn", it weaves wobbly and strong drones together before leveling them to start anew. At times it sounds eerily like the soundtrack to "the monolith" from Stanely Kubrick's 2001: A Space Odyssey, but the intermittent digital crackles and processing bring the listener forcefully up to the present tense. If you are interested in abstract and experimental electronic music, the Hafler Trio deliver a solid remix. If not, they will do little to convince you that this whole "serious digital music" thing is worth your time.

<a href=""> Barry Adamson + Pan Sonic - Motorlab #3</a> (flac   152mb)

01 The Hymn of the 7th Illusion 12:23
02 "'" 0:25
03 The Illusion of the 7th Hymn (Hafler Trio Remix) 23:03

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With As Above, So Below, Barry Adamson took a detour from the soundscape work that comprised much of his early solo catalog. It was more conventional sounding than anything he had written prior, and with production help from Flood, the album's seedy undertones and gritty seduction were given center stage. With The King of Nothing Hill, he continues where As Above left off -- seamlessly blending funk, jazz, rock, disco, and '60s French pop while swapping street tales with the listener. It's apparent on tracks like the funk-fueled "Cinematic Soul," the trippy "Twisted Smile," and the intense "When Darkness Calls" that Adamson can evoke a variety of feelings in any one of a number of musical styles. He's as convincing when vividly painting a crime scene as when he becomes "Satisfaction Jackson" in an attempt to seduce his prey. He occasionally dips into his soundtrack roots on tracks like the murky "Le Matin des Noire" and "The Second Stain," but when he does, he maintains the continuity of the album. This variety is what makes The King of Nothing Hill so enjoyable -- it revels in being both fun and furious. Whether he's talking about love or the streets, there's usually a clever hint of irony present. Adamson is blatant when he needs to be, but gets his point across most effectively when using metaphors. The King of Nothing Hill is his first album of all-new material since 1998's As Above, So Below. Although he released a best-of in 1999, Adamson's fans grew eager as rumors of a new album began to surface. With its sonically rich textures and ultra-smooth vibe, The King of Nothing Hill was well worth the wait.

<a href=""> Barry Adamson - The King Of Nothing Hill </a>  (flac   499b)

01 Cinematic Soul 5:27
02 Whispering Streets 5:00
03 Black Amour 5:05
04 When Darkness Calls 5:54
05 The Second Stain 4:43
06 Twisted Smile 5:52
07 Le Matin Des Noire 10:26
08 That Fool Was Me 5:35
09 The Crime Scene 6:26
10 Cold Comfort 8:25
11 Black Amour (Trojan Extended Pleasure Remix) 5:23
12 First Light 4:36

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