Feb 22, 2017

RhoDeo 1708 Aetix

Hello, last week PSG thrashed Barcelona in a magnificent display, a champions league week later another thrilling night, full of mistakes, drama and controversy and, ultimately, a remarkable feat of escapology for Manchester City. Monaco, barring their late collapse, had been hugely impressive and it would be reckless to think they are incapable of producing another dramatic twist in the second leg. For now a 5-3 victory for Guardiola's men. And when of the greatest matches of soccer of late..

Today's artists issued a blitz of records that were ruthless in both their unrelenting sociopolitical screeds and their amelodic crash of noise. The horrors of war, the arbitrary nature of legal justice, sexism, media imagery, organized religion, the flaws of the punk movement itself -- all were subjected to harsh critique. Like few other rock bands before or since, Crass took rock-as-agent-of-social-and-political-change seriously, and not just in their music. In addition to putting out their own fiercely independent records (though the majors were certainly not knocking at their door), they also formed an anarchist commune that worked with other artists and labels, and on the behalf of various political causes. Here are the brittlest and most hard-line radical of the first wave of British punk bands.........N'Joy

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Crass were an English art collective and punk rock band formed in 1977 which promoted anarchism as a political ideology, a way of life and a resistance movement. Crass popularised the anarcho-punk movement of the punk subculture, advocating direct action, animal rights, feminism and environmentalism. The band used and advocated a DIY punk ethic approach to its sound collages, leaflets, albums and films. Crass spray-painted stencilled graffiti messages in the London Underground system and on advertising billboards, coordinated squats and organised political action. The band expressed its ideals by dressing in black, military-surplus-style clothing and using a stage backdrop amalgamating icons of perceived authority such as the Christian cross, the swastika, the Union Jack and the ouroboros. The band was critical of punk subculture and youth culture in general. Crass promoted an anarchism which became more common in the punk-music scene. They are considered art punk in their use of tape collages, graphics, spoken word releases, poetry and improvisation.

continued from last week...

The band's fourth LP, 1982's double set Christ - The Album, took almost a year to record, produce and mix (during which the Falklands War broke out and ended). This caused Crass to question their approach to making records. As a group whose primary purpose was political commentary, they felt overtaken and redundant by world events. Subsequent releases (including the singles "How Does It Feel? (to Be the Mother of a Thousand Dead)" and "Sheep Farming in the Falklands" and the album Yes Sir, I Will) saw the band's sound go back to basics and were issued as "tactical responses" to political situations. They anonymously produced 20,000 copies of a flexi-disc with a live recording of "Sheep Farming...", copies of which were randomly inserted into the sleeves of other records by sympathetic workers at the Rough Trade Records distribution warehouse to spread their views to those who might not otherwise hear them.

From their early days of spraying stencilled anti-war, anarchist, feminist and anti-consumerist graffiti messages in the London Underground and on billboards, Crass was involved in politically motivated direct action and musical activities. In 1983 and 1984, Crass were part of the Stop the City actions co-ordinated by London Greenpeace[ which foreshadowed the anti-globalisation rallies of the early 21st century. Support for these activities was provided in the lyrics and sleeve notes of the band's last single, "You're Already Dead", expressing doubts about their commitment to non-violence. It was also a reflection of disagreements within the group, as explained by Rimbaud; "Half the band supported the pacifist line and half supported direct and if necessary violent action. It was a confusing time for us, and I think a lot of our records show that, inadvertently". This led to introspection within the band, with some members becoming embittered and losing sight of their essentially positive stance. Reflecting this debate, the next release under the Crass name was Acts of Love: classical-music settings of 50 poems by Penny Rimbaud, described as "songs to my other self" and intended to celebrate "the profound sense of unity, peace and love that exists within that other self".

Another Crass hoax was known as the "Thatchergate tapes", a recording of an apparently accidentally overheard telephone conversation (due to crossed lines). The tape was constructed by Crass from edited recordings of Margaret Thatcher and Ronald Reagan. Crass had become a thorn in the side of Margaret Thatcher's government after the Falklands War. Questions about the band in Parliament and an attempted prosecution by Conservative Party MP Timothy Eggar under the UK's Obscene Publications Act for their single, "How Does It Feel...", made them question their purpose:

    "We found ourselves in a strange and frightening arena. We had wanted to make our views public, had wanted to share them with like minded people, but now those views were being analysed by those dark shadows who inhabited the corridors of power (…) We had gained a form of political power, found a voice, were being treated with a slightly awed respect, but was that really what we wanted? Was that what we had set out to achieve all those years ago?"

The band had also incurred heavy legal expenses for the Penis Envy prosecution; this, combined with exhaustion and the pressures of living and operating together, finally took its toll. On 7 July 1984 the band played a benefit gig at Aberdare, Wales, for striking miners, and on the return trip guitarist N. A. Palmer announced that he intended to leave the group. This confirmed Crass's previous intention to quit in 1984, and the band split up.

For Rimbaud the initial inspiration for founding Crass was the death of his friend Phil 'Wally Hope' Russell, as detailed in his book The Last of the Hippies: An Hysterical Romance. Russell had been placed in a psychiatric hospital after helping to set up the first Stonehenge free festival in 1974, and died shortly afterwards. Rimbaud believed that Russell was murdered by the State for political reasons. Band members have also cited influences ranging from existentialism and Zen to situationism, the poetry of Baudelaire, British working class 'kitchen sink' literature and films such as Kes and the films of Anthony McCall (McCall's Four Projected Movements was shown as part of an early Crass performance). Crass have said that their musical influences were seldom drawn from rock, but more from classical music (particularly Benjamin Britten, on whose work, Rimbaud states, some of Crass' riffs are based), free jazz, European atonality and avant-garde composers such as John Cage and Karlheinz Stockhausen.

Crass influenced the anarchist movement in the UK, the US and beyond. The growth of anarcho-punk spurred interest in anarchist ideas. The band have also claimed credit for revitalising the peace movement and the UK Campaign for Nuclear Disarmament during the late 1970s early 1980s. Others contend that they overestimated their influence, their radicalising effect on militants notwithstanding. Crass' philosophical and aesthetic influences on 1980s punk bands were far-reaching, although few mimicked their later free-form style (heard on Yes Sir, I Will and their final recording, Ten Notes on a Summer's Day). Their painted and collage black-and-white record sleeves (by Gee Vaucher) may have influenced later artists such as Banksy (with whom Vaucher collaborated) and the subvertising movement. Anti-folk artist Jeffrey Lewis's 2007 album, 12 Crass Songs, features acoustic covers of Crass material.

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Released with unplanned irony as the Falklands War raged -- an event that would provide grist for the band's eventual masterwork, Yes Sir I Will -- Christ, another two-album half-studio/half-live set like Stations of the Crass, once again aims to take no prisoners. Ratcheting up the continued "leave no stone unturned" lyrical approach that characterized the group from the start, Crass again sounds like the group's about to explode in eight million directions. Ignorant takes over the lead vocal role again, his rough ramalama bitterly leading the charge against the loathed Thatcher government and the society that allowed it to come into power. Libertine, here appearing as Peeve Libido, adds backing vocals while De Vivre takes the lead on "Birth Control" and "Sentiment." Free's guitar work roars along with the usual vim, as does the Pete Wright aka Sybil Right/Rimbaud rhythm section, while continual spiking of the musical punch via production or sonic collages, or even almost power pop catchiness at points, prevents things from being one note. "Reality Whitewash" even has a swelling string and brass combination to propel it along. Mock and real found-sound bites, from official statements to slams at Crass itself, pepper the studio side as bridges between songs or concurrently running elements of the tunes themselves. While hints had always been present in earlier songs, Crass collectively starts wearing their hearts on their sleeves even more than before; "I Know There Is Love" is another all-encompassing rejection of societal roles in favor of a real, untainted feeling, at once impolite and passionate. The live material, recorded at a June 1981 show, is interspersed with a variety of material from other sources, including more found-sound/media snippets and, in an interesting nod to the past, two cuts from the group's very first time in a studio.

Crass - Christ - The Album   (flac  286mb)

01 Have A Nice Day 2:44
02 Mother Love 2:52
03 Ninteen Eighty Bore 4:09
04 I Know There Is Love 2:47
05 Beg Your Pardon 3:07
06 Birth Control 'N' Rock 'N' Roll 2:59
07 Reality Whitewash 3:28
08 It's The Greatest Working Class Rip-Off 3:21
09 Deadhead 2:16
10 You Can Be Who? 3:01
11 Buy Now Pay As You Go 2:22
12 Rival Tribal Revel Rebel, Pt. 2 3:09
13 Bumhooler 3:19
14 Sentiment (White Feathers) 3:56
15 Major General Despair 4:34

Crass - Christ - The Album   (ogg  118mb)


Crass - Well Forked, But Not Dead   (flac  276mb)

01 Banned From The Roxy + The Sound Of One Hand 4:30
02 Punk Is Dead 1:58
03 Nagasaki Nightmare 4:31
04 Darling + Bata Motel Blues 2:15
05 Berkertex Bribe + Fold It In Half 2:40
06 Big Hands + Heart-throb Of The Mortuary 2:14
07 Bumhooler 2:21
08 Big A Little A 4:26
09 First Woman 1:05
10 Arlington 73 1:25
11 Bomb Plus Bomb Tape 4:04
12 Contaminational Power 1:48
13 I Ain't Thick 1:49
14 G's Song 0:29
15 Securicor 1:41
16 I Can't Stand It 1:48
17 Shaved Women + A Part Of Life 3:21
18 Do They Owe Us A Living 1:22
19 So What + Salt 'n' Pepper 3:37

Crass - Well Forked, But Not Dead   (ogg  108mb)

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 Wound up to an even more vicious fury of rage and sorrow due to the Falklands War, Crass completely exploded on the awesome Yes Sir I Will, its bitter title taken from an encounter between a gruesomely wounded veteran of that conflict and Prince Charles. The most concise sonic assaults against the war and the role of Margaret Thatcher's government -- "Sheep Farming in the Falklands" and "Gotcha!" -- aren't included among the seven untitled tracks here, instead appearing as separate singles. What is here, though -- essentially one long piece divided up into six shorter pieces and a lengthy second side/second half -- is, as a collective artistic expression, one of the strongest indictments of a society and its government ever. As always, Crass mixes things up in the recording studio, from beautiful string/piano pieces (the "what did you know?/what did you care?" passage, with flat-out lovely vocals from Ignorant) to amped-up roars of rant and rage. Ignorant, Libertine, and De Vivre trade off lead throughout, creating an ever-evolving piece that more than most sounds like the expression of a full society needing to simply say the truth at long last. Musically, the fierce power of the band doesn't let up (Rimbaud's drumming sounds better than ever, punchy and full, as does Wright's bass, while Free and rhythm guitarist N.A. Palmer keep up the electric aggression). The war isn't the only subject under discussion: everything from the Thatcher government's complicity in allowing U.S. cruise missiles to be based in Britain to the exploitation/packaging of musical traditions in the guise of "world music" gets a look in. Even Crass rip-off pseudo-anarchy groups go under the knife. But as the group says early on in the recording, "Everything we write is a love song," and extreme as it all seems, there's no doubt Crass wanted to help humanity up from where it was at.

Crass - Yes Sir I Will (flac 293mb)

01 Step Outside & Rocky Eyes 0:43
02 Anarchy's Just Another Word 4:42
03 Speed Or Greed ? 2:36
04 The Five Knuckle Shuffle 1:01
05 A Rock 'n' Roll Swindler 2:09
06 Burying Hatchet 12:28
07 Taking Sides 20:07

Crass - Yes Sir I Will   (ogg  95mb)

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The last Crass album, completed and released shortly after the group's long-planned breakup and end of live performance in 1984, is more of an EP than anything else, totaling only twenty minutes long. Perhaps inspired in part by the side project Acts of Love album, Crass here takes a sometimes gently grooving tone, while lyrically the more blunt accusations of the past are turned into careful self-examination. The general atmosphere, heightened by the overall design, is almost elegiac in its own way, a reflection back upon a mission that (as the group discussed in the liner notes to the Best Before compilation) turned the band into something it didn't want to be at the end. The ten untitled pieces on the original first side of the album, mastered as one long first cut on CD, feature the Ignorant/Libertine/De Vivre trio continually trading off lines and reflections throughout while the musical wing of the group seems to be improvising gently as it goes. Free isn't raging with his guitar as much as creating atmospheres heightened by Rimbaud's work on piano and synths. His own drumming, along with Wright's bass, keeps things moving forward with sometimes martial precision, other times with an easy swing to it. Both Libertine and De Vivre do some of their sweetest singing yet, while Ignorant takes a distinctly ruminative tone. The second overall cut continues where the first one ended, moody keyboards introducing a partially haunting and meditative, partially choppy and atonal musical piece. It's an instrumental, giving the musicians an unexpected showcase, especially considering their work here bears little resemblance to what Crass' music was generally thought to be. With art showcasing steam or fog outside a building rather than the protest art familiar from other efforts, 10 Notes shows Crass in the end avoiding being painted into a punk rock corner.

Crass - Ten Notes on a Summer's Day (flac 205mb)

01 Ten Notes On A Summer's Day - Vocal Version 10:28
02 Ten Notes On A Summer's Day - Instrumental Version 10:09
03 Acts of Love No.37 - remix version (Southern Studios 1984) 2:01
04 Hit Parade - Pills & Ills (Southern Studios 1984) 5:20
05 A-Soma - Rocky Eyes (South London December 1994) 1:53
06 Outro including Acts Of Love No.39 (Southern Studios 2002) 2:37

Crass - Ten Notes on a Summer's Day   (ogg  74mb)

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Feb 21, 2017

RhoDeo 1708 Roots

Hello, on a side note ,in the region todays artist is from it has been recently established that people were living there (peacefully) 30,000 years ago and they left plenty of graffiti, in those days it was a lush region. So these Clovis people from 14,000 years ago certainly weren't the first to settle in the America's, another crack in the mentally stuck world of archeology.

The music of Brazil encompasses various regional music styles influenced by African, European and Amerindian forms. After 500 years of history, Brazilian music developed some unique and original styles such as samba, bossa nova, MPB, sertanejo, pagode, tropicalia, choro, maracatu, embolada (coco de repente), mangue bit, funk carioca (in Brazil simply known as Funk), frevo, forró, axé, brega, lambada, and Brazilian versions of foreign musical genres, such as Brazilian rock and rap.

Today's artist is a rarety as someone who functions nominally as a folklorist or music historian who becomes a celebrated performer, but one significant exception to this rule is the great Luiz Gonzaga. Colorfully attired (his most famous fashion accessory being his tasseled hat), and naked without his accordion, Gonzaga was a living, breathing representative of northeast Brazils' culture and music. Imagine if noted American musicologist Alan Lomax was as celebrated for his performing as he was for his cataloging and collecting and you get the picture. Gonzaga was indeed an archivist, but rather than spending his time in recording and cataloguing his findings for use in libraries, he became an oral historian, traveling throughout Brazil performing the indigenous music (and variations thereof) of his northeastern birthplace.   N'Joy

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Born in the tiny farming town of Caicara in 1912, Gonzaga had little formal education as the hard life of farming put him in the fields at the age of seven. As a child Gonzaga was captivated by the stories of the Brazilian bandit/accordion player Lampiao (who died at the age of 36 in 1934). In Brazilian folklore, especially amongst those living in the northeast, Lampiao is sort of Robin Hood figure, an outlaw who served the poor and dispossessed, robbing from the rich and (mostly) giving to the poor farmers. While famous as a bandit, he was as well known for his considerable skill on the accordion his all-night dances/jam sessions. Seduced by Lampiao's romantic legacy (Gonzaga's ever-present hat was styled after one worn by Lampiao), Gonzaga took up the accordion about the same time he went into the fields. Soon, his father was accompanying him to area dances and parties where the young, Luiz was hailed as a child prodigy.

Military service interrupted Gonzaga's musical career, although while in the army he learned to play coronet. After his discharge he left the farm for the bright lights of Rio scuffling for jobs while making the bulk of his money playing in brothels. A chance meeting with the legendary Ary Barroso got Gonzaga a spot on Barroso's radio program and brought him to the attention of RCA records. In 1946, Gonzaga recorded "Baiao" a dance song with rhythms borrowed from an older form of Brazilian called the baiano, a dance that resembles the African-American ring shout. So popular was "Baiao" that Gonzaga had not only recorded a hit single but, in fusing the past with the present, created a whole new style of Brazilian music.

Gonzaga's popularity remained high during the 1950s, slipping during the '60s as the influence of rock and roll attracted the attention of younger audiences. It was the young stars of tropicalia (Caetano Veloso and Gilberto Gil among others) who championed Gonzaga's work in the early '70s, recorded his songs, and brought his music to the attention of Brazil's younger music fans. His career revived, Gonzaga, now approaching 70, toured steadily frequently appearing with the younger northeastern Brazilian artists who celebrated his dedication and genius. Gonzaga died in 1989 at the age of 77.

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Luiz Gonzaga and Humberto Teixeira - Nova História Da MPB (flac 124mb)

01 Quatro Ases E Um Coringa - 1946 - Baiao
02 Luiz Gonzaga - 1950 - Vira E Mexe
03 Luiz Gonzaga & Regional De Benedito Lacerda - 1950 - Qui Nem Jilo
04 Gilberto Gil - 1969 - Dezessete Legua E Meia
05 Luiz Gonzaga - 1953 - Vozes Da Seca
06 Luiz Gonzaga - 1962 - Paraiba
07 Luiz Gonzaga - 1952 - Asa Branca
08 Gal Costa - 1971 - Assum Preto

(ogg   mb)

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Luiz Gonzaga - Eu E Meu Pai (flac  236mb)

01 Orelia
02 O Mangará
03 Súplica Cearense
04 A Vida Do Viajante
05 Acordo As Quatro
06 Respeita Januário
07 Romance Matuto
08 Sorriso Cativante
09 Manoelito Cidadão
10 Sou Do Banco
11 O Caçador
12 Rio Brígida
13 Alvorada Nordestina
14 Adeus A Januário

Luiz Gonzaga - Eu E Meu Pai (ogg  98mb)

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Letra de Música Sanfona, sombrero e gibão It is the portrait of this sertão From sun to sun For all corners and places I am chasing this destiny of mine I am singer That makes the pain of your pearls A lesson of love that learned Who saw the life Spill love No Will leave From being a singer} If only the verse Of the ones I live singing Make happy The heart of someone For this little That I'm adding My heart will be happy too.

Luiz Gonzaga - Eterno Cantador   (flac  221mb)

01 Prece Por Exu Novo (with Luiz Gonzaga Jr.) 5:13
02 Dança Do Capilé 2:38
03 Maria Cangaceira(with Entradas e Bandeiras) 2:47
04 Tristezas Do Jeca (with Entradas e Bandeiras)3:04
05 Alma Do Sertão (with Entradas e Bandeiras) 2:57
06 Farinhada (with Elba Ramalho) 3:04
07 Eterno Cantador 2:11
08 Frutos Da Terra 2:41
09 Razão Do Meu Querer 2:58
10 A Volta Da Asa Branca (with Entradas e Bandeiras) 2:41
11 Acácia Amarela 3:02

Luiz Gonzaga - Eterno Cantador    (ogg   89mb)

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Gonzagão Sempre brings together some of his classics, some, because Gonzaga is one of those artists who have many classics and could not even put together a double album. This is worth the historical record of original songs that have around 50 years. And here we find that half-rudimentary sound of accordion, zabuma and triangle and lyrics that have crossed generations and continue to thrill for the load of love they present. This is the case of the classic white wing, not only of Gonzaga, but a classic of Brazilian music. The life of the traveler brings a duet between Gonzagão and Gonzaguinha, another great expression of Brazilian music.

Luiz Gonzaga was one of the main responsible for the spread of northeastern Brazilian music and his image became inseparable from his homeland. Gonzagão, besides being the "King of the Bailão", was also one of the main responsible for the development and propagation of "Forró" and "Quadrilha". Thinking about its importance for national music and remembering the 10 years of his death, completing this year, the CD "Gonzaga Always" is a compilation with the best songs of the "King of the Dance", including his most famous song , "Asa Branca", and also a more special participation of Gonzaguinha in the track "The Life of the Traveler". It is worth checking out this super-pitch and enjoy the sound of the eternal Gonzagao!

Luiz Gonzaga - Gonzagão Sempre (flac 162mb)

01 Asa Branca
02 Respeita Januario
03 Sabia
04 Baião
05 O Xote das Meninas
06 Juazeiro
07 Paraiba
08 Assum Preto
09 Qui Nem Jiló
10 A Vida Do Viajante
11 Vem Morena
12 ABC do Sertão
13 Riacho do Navio
14 Cintura Fina

(ogg   mb)

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Another selection to honor the king of the baião, Luiz Gonzaga, a musical genius.  "The Best of Luiz Gonzaga" brings sixteen of his numerous hits. Pearls, be those of exaltation to the things of the northeast, or the humorous compositions with double meaning. To hear from start to finish!

Luiz Gonzaga - O melhor de Luiz Gonzaga (flac  187mb)

01 Asa Branca 1949
02 Baião 1949
03 Cintura Fina 1950
04 Qui Nem Jiló 1950
05 Paraíba 1950
06 A Volta Da Asa Branca 1950
07 Pau De Arara 1951
08 O Xote Das Meninas 1953
09 Riacho Do Navio 1953
10 Luar Do Sertão (with Milton Nascimento) 1981
11 Ovo De Codorna 1971
12 Forró No Escuro 1957
13 Danado De Bom 1984
14 Forró N° 1 with Gal Costa 1984
15 Tá Bom Demais 1985
16 Forró De Cabo A Rabo 1986

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Feb 20, 2017

RhoDeo 1708 Vibrations 9

Hello, todays post comes with 3 interesting PDF's, enlighten yourselves..

What is lucid dreaming? Here's a Simple Explanation ...

In Eastern thought, cultivating the dreamer's ability to be aware that he or she is dreaming is central to both the Tibetan Buddhist practice of dream Yoga, and the ancient Indian Hindu practice of Yoga nidra. The cultivation of such awareness was common practice among early Buddhists.

Dream lucidity is the awareness that you are dreaming. This awareness can range from a faint recognition of the fact to a momentous broadening of perspective. Lucid dreams usually occur while a person is in the middle of a normal dream and suddenly realizes that they are dreaming. This is called a dream-initiated lucid dream. A wake-initiated lucid dream occurs when you go from a normal waking state directly into a dream state, with no apparent lapse in consciousness. In either case, the dreams tend to be more bizarre and emotional than regular dreams. Most importantly, you will have at least some ability to control your "dream self" and the surrounding dream.

Keep a dream journal. Keep it close by your bed at night, and write down your dream immediately after waking, or the emotions and sensations you experience right when you wake up. This will train you to remember more of your dreams, which is important for lucid dreaming. Plus, there's not much point in controlling your dreams if you forget the experience before the morning.

Alternatively, keep a recording device by your bed.
You might remember more of your dream if you stay still for a few minutes concentrating on the memory before you start writing.

Repeat "I will be aware that I'm dreaming" each time you fall asleep. Each night as you fall asleep, repeat to yourself "I will know I'm dreaming" or a similar phrase until you drift out of consciousness. This technique is known as Mnemonic Induction to Lucid Dreaming, or MILD. Mnemonic induction just means "using memory aids," or in this case using a rote phrase to turn the awareness of your dreaming into an automatic habit.

Some people like to combine this step with a reality check by staring at their hands for a few minutes before they go to sleep.

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Brainwave Mind Voyages arose from a thirst for experiential wisdom and a hunger for sharing mind-expanding tools with other like-minded people such as yourself. Shower the seeds of self-empowerment with some modern audio technology, and voila! ....N'Joy


Your brain operates much like a resonance chamber or a tuning fork. When you hold two similarly tuned tuning forks together and strike one of the them, the other will also vibrate at the same frequency. The vibrational rate or vibratory frequency determines the tone. Our brain produces waves of currents that flow throughout its neural pathways. The type of brainwave is defined by the frequency at which it is pulsing, and this particular rate of pulsation determines our respective state of mind at any given moment in time.

There are four common types of brainwave patterns, but due to the complexity of our brains there are often several patterns interacting at one time. It is the predominance of one particular brainwave frequency that determines our state of mind. For example, if you are in a beta state, there may be trace levels of alpha and theta but they would minimal compared to the dominating amount of beta present. All of these brainwave states have been scientifically studied and categorized by the subjective states that each range will produce. Below is a simple chart containing the four common types of brainwave frequencies along with their characteristic features and associated mental states. The frequencies are measures in hertz (Hz) which is roughly translated as beats per second or cycles per second.

BETA waves 13 to 30 Hz the fastest waves, most commonly found during our waking state, associated with outward awareness, engaged mind, arousal, actively perceiving and evaluating forms of data through the senses; also present with fear, anger, worry, hunger, and surprise.

ALPHA waves 7 to 13 Hz associated with non-drowsy but relaxed, tranquil state of consciousness, less engagement and arousal, pleasant inward awareness, body/mind integration, present during meditation and states of relaxation

THETA waves 3 to 7 Hz associated with increased recall, creativity, imagery and visualization , free-flowing thought, future planning, inspiration, drowsiness, present during dreaming and REM states

DELTA waves .1 to 3 Hz associated with deep dreamless sleep, deep trance state pituitary release of growth hormone, self-healing, present during deep levels of non-REM sleep.

Your brain is always producing electromagnetic brainwaves that have a measurable frequency and magnitude. The characteristics of your brainwaves at any given moment determines your mood and state of mind. The frequency range and magnitude identify whether you are aroused, alert, asleep or anywhere in between these states.

We are always expanding our knowledge of how our brainwaves can be harnessed to create peak states of consciousness. For example, the best moments of creativity, those Eureka! flashes, occur mostly when theta waves are predominant. The hypnogogic state verging between waking and sleeping is characterized by theta brainwave activity. This explains why we have such great ideas before falling asleep. It is noted in history books that this "border-zone" time period has been utilized by many scientists and other great thinkers who have had flashes of insight while experiencing this holistic state of mind.

Einstein came up with the theory of relativity in this state, and likewise, one of the Watson and Crick pair conceptualized the double helix of DNA in this highly visualistic mind state successfully cracking the illusive architecture of DNA. Time spent in this "border-zone" can be time very well spent. All this information about brainwaves is a preamble to the matter of entraining your brainwaves to specific frequencies.

You can now use the process of brainwave entrainment to tune your brainwaves to any brainwave range. You can experience theta, alpha, delta or even combinations of ranges using multi-layered frequencies that blend several brainwave ranges into one synergistic brainwave pattern like the Awakened Mind Brainwave Pattern. The breakthrough occurs when we use this principle of entrainment to synchronize our brainwaves to specific chosen frequencies. We can do this easily by using binaural beat audio technology and monophonic entrainment tones, as you will soon learn, but first some more background information.


Our brains have a left and a right hemisphere. The left hemisphere is linear, logical, practical, and time orientated. The right hemisphere seems to be much more non-linear, abstract, creative, holistic, and non-logical. We tend to use one hemisphere at a time, or better said, we will favor particular hemispheres depending on what we are doing. An accountant probably uses less of his right hemisphere than an artist would during the course of his workday. If you are doing math you would be using more of your left side. If you are painting a picture, you would have more right hemispheric activity.

Obviously, it is not that simplistic because both hemispheres are constantly interacting and both can be in use at the same time. These hemispheres are connected by the corpus callosum. It serves as a conduit or a bridge between both sides. This bridge can literally be exercised and strengthened until it is physically larger and more capable of transmitting data, thoughts and feedback between hemispheres. The famous clairvoyant healer Edgar Cayce was found to have an unusually large corpus callosum, but could it be that everyone else simply has not developed this hemispheric bridge?

By merging both hemispheres and allowing them to work together we can increase our mental fitness and enhance our cognitive functioning in general. It is basically like having a faster computer processor capable of working at faster speeds. Increased integration creates better performance. By using brainwave entrainment technologies, you can increase your hemispheric synchronization. By simply listening to any BMV CD, your brain naturally synchronizes to balance hemispheric activity and adjusts brainwave activity to match the embedded brainwave carrier frequencies. This audio-induced hemispheric coherence produces an optimal state of holistic whole-brain synergy.

For a more in-depth explanation of the powerful audio neuro-technologies, you can click HERE to read the BMV Technology Page.

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This BMV series contains four tracks that are specifically engineered to be played at night to induce lucid dreams while you are sleeping by harnassing the R.E.M. cycle. The hypnotic soundscape combined with brainwave entrainment creates an ideal tool for turbo-boosting your lucid dreaming progress.

Lucid dreaming is the ability to realize you are dreaming while you are dreaming ! Once you realize that you are within a dream, you are free to explore the dreaming realm and you are free to experience anything your heart desires. You can literally Live out your wildest fantasies with full control and experience it to the fullest with your heightened dreaming senses. You can see, hear, feel, touch, even more intensely than in your waking world, yet it is a dream so you can fly, unlimited by physical constraints of space and time. You become free to experience anything your heart desires.
After plunging you into a hypnotic state of deep trance, you will experience forceful awareness brainwave boosts  (beta & alpha spikes as well as 40 Hz spikes). After becoming more conscious with these high-awareness spikes, you will be much more likely to have lucid dreams. This journey takes you deep into a viable, nonphysical or non-ordinary reality. The hypnotic audioscapes that backdrop your guided journey provide an ideal environment for trance induction.

This series is a perceptual tool that needs to be Experienced to be Believed. If you are successful at fully transferring your awareness you can explore the Non-Physical Realm for as long as you desire. The more you use this program, the easier it becomes to consciously enter these altered states of consciousness.

Brainwave Mind Voyages (Series X) - The Lucid Dream Cycle (flac  387mb)

01 LCD 1 19:28
02 LCD 2 19:28
03 LCD 3 19:28
04 LCD 4 19:25
bonus PDF's
A Field Guide to Lucid Dreaming - Dylan Tuccillo
The Art of Dreaming - Carlos Castaneda
Dreams Interpreting Your Dreams and How to Dream Your Desires - Victoria Price

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Brainwave Mind Voyages (Series I) (flac  248mb)
Brainwave Mind Voyages (Series II) (flac  342mb)
Brainwave Mind Voyages (Series III) (flac  258mb)
Brainwave Mind Voyages (Series IV) (flac  263mb)
Brainwave Mind Voyages (Series V) (flac  265mb)
Brainwave Mind Voyages (Series VI) (flac  383mb)
Brainwave Mind Voyages (Series VII) (flac  343mb)
Brainwave Mind Voyages (Series VIII) (flac  405mb)

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