Feb 28, 2011

Rhodeo 1109 RAW

Hello, for the coming 3 months not an audio book series but 12 lectures/talks held by one of the greatest American writers/thinkers of the last century, i hope you take some time to listen to what he has to say to us all.

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Robert Anton Wilson (born Robert Edward Wilson, January 18, 1932 – January 11, 2007) was an American author and polymath who became at various times a novelist, philosopher, psychologist, essayist, editor, playwright, futurist, civil libertarian and self-described agnostic mystic. Recognized as an episkopos, pope, and saint of Discordianism, Wilson helped publicize the group through his writings, interviews, and strolls.

Wilson claimed in Cosmic Trigger: Volume 1 "not to believe anything", since "belief is the death of intelligence". He described this approach as "Maybe Logic.". Wilson saw his work as an "attempt to break down conditioned associations, to look at the world in a new way, with many models recognized as models or maps, and no one model elevated to the truth". His goal being "to try to get people into a state of generalized agnosticism, not agnosticism about God alone but agnosticism about everything".

Wilson suffered from polio as a child, the effects remained with Wilson throughout his life, usually manifesting as minor muscle spasms causing him to use a cane occasionally until 2000, when he experienced a major bout with post-polio syndrome that would continue until his death. He attended Catholic grammar school, subsequently Brooklyn Technical High School to remove himself from the Catholic influence. While working as an ambulance driver Wilson attended New York University, studying engineering and mathematics.

He worked as an engineering aide, a salesman, a copywriter, and as associate editor of Playboy magazine from 1965 to 1971. In 1979 he received a Ph.D. in psychology from Paideia University in California, later he reworked his dissertation, and it found publication in 1983 as Prometheus Rising. Wilson married freelance writer and poet Arlen Riley in 1958; they had four children. Their youngest daughter Luna—beaten to death in an apparent robbery in the store where she worked in 1976 at the age of 15—became the first person to have her brain preserved by the Bay Area Cryonics Society. Arlen Riley Wilson died in 1999 following a series of strokes.

Among Wilson's 35 books, and many other works, perhaps his best-known volumes remain the cult classic series. The Illuminatus! Trilogy (1975), co-authored with Robert Shea. Advertised as "a fairy tale for paranoids," the three books--The Eye in the Pyramid, The Golden Apple, and Leviathan, soon offered as a single volume—philosophically and humorously examined, among many other themes, occult and magical symbolism and history, the counterculture of the 1960s, secret societies, data concerning author H.P. Lovecraft and author and occultist Aleister Crowley, and American paranoia about conspiracies.

Wilson wrote two more popular fiction series. The first, a trilogy later published as a single volume, was Schrödinger's Cat. The second, The Historical Illuminatus Chronicles, appeared as three books. In between publishing the two trilogies Wilson released a stand-alone novel, Masks of the Illuminati (1981) A play by Wilson, Wilhelm Reich in Hell (published as a book in 1987 and first performed at the Edmund Burke Theatre in Dublin.

In the nonfiction and partly autobiographical Cosmic Trigger I: The Final Secret of the Illuminati (1977) and its two sequels, as well as in many other works, Wilson examined Freemasons, Discordianism, Sufism, the Illuminati, Futurology, Zen Buddhism, Dennis and Terence McKenna, Jack Parsons, the occult practices of Aleister Crowley and G.I. Gurdjieff, Yoga, and many other esoteric or counterculture philosophies, personalities, and occurrences.

Wilson's 1986 book, The New Inquisition, argues that whatever reality consists of it actually would seem much weirder than we commonly imagine. Wilson also supported the work and utopian theories of Buckminster Fuller and examined the theories of Charles Fort. Although Wilson often lampooned and criticized some New Age beliefs, bookstores specializing in New Age material often sell his books. Wilson, a well-known author in occult and Neo-Pagan circles, used Aleister Crowley as a main character in his 1981 novel Masks of the Illuminati, included some elements of H. P. Lovecraft's work in his novels, and at times claimed to have perceived encounters with magical "entities" .

Wilson also criticized scientific types with overly rigid belief systems, equating them with religious fundamentalists in their fanaticism. In a 1988 interview, when asked about his newly-published book The New Inquisition: Irrational Rationalism and the Citadel of Science, Wilson commented: "I coined the term irrational rationalism because those people claim to be rationalists, but they're governed by such a heavy body of taboos. They're so fearful, and so hostile, and so narrow, and frightened, and uptight and dogmatic... I wrote this book because I got tired satirizing fundamentalist Christianity... I decided to satirize fundamentalist materialism for a change, because the two are equally comical... The materialist fundamentalists are funnier than the Christian fundamentalists, because they think they're rational! ...They're never skeptical about anything except the things they have a prejudice against

Robert Anton Wilson and his wife Arlen Riley Wilson founded the Institute for the Study of the Human Future in 1975. In 1976 Robert Anton Wilson founded the Starflight Network, a society to propagate the philosophy of Dr. Timothy Leary. From 1982 until his death, Wilson had a business relationship with the Association for Consciousness Exploration, which hosted his first on-stage dialogue with his long-time friend Timothy Leary.entitled The Inner Frontier. Wilson dedicated his book The New Inquisition to A.C.E.'s co-directors, Jeff Rosenbaum and Joseph Rothenberg.

Wilson also joined the Church of the SubGenius, who referred to him as Pope Bob. He contributed to their literature, including the book Three-Fisted Tales of "Bob", and shared a stage with their founder, Rev. Ivan Stang, on several occasions. Wilson also founded the Guns and Dope Party and its corresponding Burning Man theme camp. A decades-long researcher into drugs and a strong opponent of what he called "the war on some drugs", Wilson participated as a Special Guest in the week-long 1999 Annual Cannabis Cup in Amsterdam, and used and often promoted the use of medical marijuana. Wilson co-founded and became the primary instructor of the Maybe Logic Academy, named for his agnostic approach to all knowledge.

On January 6 2007, Wilson wrote on his blog that according to several medical authorities, he would likely only have between two days and two months left to live.He closed this message with "I look forward without dogmatic optimism but without dread. I love you all and I deeply implore you to keep the lasagna flying. Please pardon my levity, I don't see how to take death seriously. It seems absurd." He died peacefully five days later, on January 11 at 4:50 a.m. Pacific time.

RAW Explains Everything !

The Life and Times of Robert Anton Wilson part 1 (49min. 40mb)


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Feb 27, 2011

Sundaze 1109 Cosmic Space

Hello, i was somewhat in dubio if this album fits the Sundaze label, there's some fridaynights groove bleeding thru specially on disc 1 but i have to be broadminded here, besides i wouldn't know where else to post this labour of love by 2 artists that have given us so much Sundaze as Future Sound Of London or the moniker in use here, Amorphous Andronygous. It's obvious thesse guys have been into psychedelics for a long time now and some of what they picked up along the way is shared here. Don't be put of by the fact you hardly reckognize a name, I just knew 24 of the 44 which goes to show there's always more to learn.

Jung described the "psyche" as containing both conscious and unconscious mind, so you would think that a lot of the tracks on a "psychedelic" collection like this would really stir things up, shake you by the bootstraps and bring weird creatures and landscapes bubbling up from the primitive unconscious....Hmm well let me know if it tickles..

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Well it's not often you come across a rockstar praising other peoples albums on camera so i thought i'd grab the 2 min clip for your infotainment.




Since the late 90s, Amorphous Androgynmous AKA The Future Sound Of London AKA Garry Cobain and Brian Dougans have been weaving together two-hour broadcasts of their favourite records that could be loosely classed as 'Cosmic Space Music'. After ten years of messing with our heads via the wireless, they now pick their choicest mind-melting moments on what promises to be a fine series of double cds. It's a collection that perfectly runs the gauntlet from kitsch to uber cool.

The boys are, of course, expert at weaving this stuff into a pleasing journey through the backroads of your mind with, yes, the odd wrong turn. For every Nick Nicely ersatz psych moment there's the messed up funk of Miles' Rated X; and the cod Jamaican nonsense of something like Donovan's twee Riki Tiki Tavi is easily negated by the wah-wah moonstomp of Can's Flow Motion. The pleasure is in the bumps, twists and turns. In thee end the mix of old and new material is great, especially when the ancient and modern coalesce in such a way as to muddle any era identification.

Despite the occasional transitional discrepancy, this is definitely a consciousness expanding mix. Amorphous have done their homework, and it is downright fascinating to listen to what they’ve dug up here. The length and scope of the album is a bit much, and it may be difficult for some to stomach a 2 hour and 40 minute album, but every track deserves its spot. Let them blow your mind.



The Amorphous Androgynous - A Monstrous Psychedelic Bubble Vol 1 - Cosmic Space Music 1 (495mb)

1-01 Donovan - Barabajagal (Love Is Hot) 3:18
1-02 Chiitra Neogy - The Perfumed Garden - The Encouragement Of The Lusty Wife 0:14
1-03 Heaven & Earth - Feel The Spirit 4:26
1-04 Osibisa - Black Ant 3:15
1-05 Pop Levi - Blue Honey 3:27
1-06 Yellow Moon Band - Entangled 2:20
1-07 Earlies - Breaking Point 4:25
1-08 Betty Davis - If I'm Lucky (I May Get Picked Up) 4:34
1-09 Mountain Machine - Mountain Machine 3:24
1-10 Henry Roland - After All 3:33
1-11 Paul Giovanni - Maypole From 'The Wicked Man' 2:18
1-12 Ian Neal - Kingdom Of The Birds 4:58
1-13 Amorphous Androgynous - Light Beyond Sound 0:51
1-14 Bob Downes - Tunnels Electronic 1:02
1-15 Can - Flow Motion 3:55
1-16 Cosmic Wizards' Club Band - Musashi 1:32
1-17 Espers - Mansfield And Cyclops 5:45
1-18 Cranium Pie - There It Is Part 2 0:42
1-19 Miles Davis - Rated X 5:10
1-20 Psychonauts - Circles 3:26
1-21 Pentangle - Light Flight 2:55
1-22 Friends Of Dean Martinez - Wichita Lineman 4:52
1-23 Amorphous Androgynous - The Lovers 4:41
1-24 Amorphous Androgynous - Opus Of The Black Sun 3:46


The Amorphous Androgynous - A Monstrous Psychedelic Bubble Vol 1 - Cosmic Space Music 2 (464mb)

2-01 Tommy Graham - Sahajiya 3:40
2-02 Cranium Pie - Awakening Of The Birds 1:17
2-03 Cranium Pie - Drying In The Sun 2:05
2-04 Nick Nicely - 49 Cigars 2:49
2-05 Chiitra Neogy - The Perfumed Garden - The Encouragement Of The Lusty Wife 0:50
2-06 Donovan - Riki Tiki Tavi 3:08
2-07 Devendra Banhart - Lazy Butterfly 4:04
2-08 Mahavishnu Orchestra - You Know, You Know 5:01
2-09 Hariprasad Chaurasia - Manzh Khamaz Teental 2:07
2-10 Tim Buckley - I Never Asked To Be Your Mountain 5:34
2-11Emperor Machine - Roller Daddy 5:13
2-12 Mahagon - Divka S Jablky 3:03
2-13 Lord Sitar - I Am The Walrus 4:01
2-14 Wizards Of Ooze - Helga 2:02
2-15 Tommy James And The Shondells - Cellophane Symphony 7:38
2-16 Hawkwind - Silver Machine 4:12
2-17 Magic Carpet - The Phoenix 3:38
2-18 David Axelrod - The Mental Traveler 3:43
2-19 Werkraum - Queen Mab 3:33
2-20 Shweta Javeri - Heart Of Darkness 12:00

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Feb 26, 2011

RhoDeo 1108 Beats

Hello, well i got a new provider, the telephone works, internet does, though speeds are far from promised yet, but the 50 tv channels are yet to come thru, there's always something... Anyway you might have heard the news that LCD soundsystem is no more, considering their latest album not really a surprise, as they say "the thrill is gone", us ironic dance-music fans will have to fall back on something else, meanwhile todays to order compilation does a good job. Some promo hardcopy's made it into the world aswell..go figure, oh well they sure were a party ensemble. Second offering today is an odd one out but not really. Kraftwerk were committed to acquiring the latest technology when it became available in the 1970s and 80s, Moore's Law means that those machines could eventually be roughly approximated for very little cost. It's at times striking to realize how closely these 8-bit artists with their Gameboys and Commodore 64s can come to Kraftwerk's sound when so inclined. For you to find out...

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Post-punk post-funk punk-funk, new wave that also sounds like no wave, tunes that make dancers confused as to whether they should pogo or do the pelvic thrust, music that incorporates all other musics. LCD Soundsystem debuted with Losing My Edge, a single that became one of the most talked-about indie releases of 2002. , the track was also one of the first released on the DFA label. Several magazines and newspapers would eventually declare James Murphy, the man behind both LCD Soundsystem and DFA, to be one of the coolest people on the planet.

Whilst in the studio working on the official second album, James Murphy has been kind enough in the meantime to compile a remix album that's good enough. Introns, a collection of b-sides, remixes, and other rarities, is a fresh spin on the breakout success of their 2005 self-titled release. With some of the biggest names in electronic music onboard, well-known tracks like the siren-heavy "Daft Punk Is Playing At My House (Soulwax Shibuya Mix)" get high-energy updates for the dance crowd while others, such as "Tribulations (Tiga's Out of the Trance Closet Mix)", are washed with a darker mood, and "Your City's A Sucker" and "Slowdive (xfm session)" represent the more dissonant, experimental side of the project. All flawlessly executed, the range of styles are also a testament to James Murphy's ingeniously laconic vocals.



LCD Soundsystem - Introns (142mb)

01 Yr City's A Sucker 5:28
02 Daft Punk Is Playing At My House (Soulwax Shibuya Mix) 6:33
03 Disco Infiltrator (FK's Infiltrated Vocal) 7:46
04 Disco Infiltrator (FK's Infiltrated Dub) 7:18
05 Slowdrive (Xfm Session) 4:10
06 Tribulations (Lindstrom Mix) 7:56
07 On Repeat (Xfm Session) 6:48
08 Thrills (Xfm Session) 3:32
09 Too Much Love (Rub 'N' Tug Mix) 8:30

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This Kraftwerk covers compilation was somewhat unique in the fact that Kraftwerk's Ralf Hütter selected the final track line-up, Later Hutter said he enjoyed it and even offered some editing suggestions. In a subsequent interview,when asked about the 8-Bit Operators release, Ralf Hütter responded, "It is mind stimulating, the minimum/maximum coming from sound levels and thoughts and ideas. Like Autobahn and Trans-Europe Express are very basic and elementary ideas, but they offer a pattern or concept for improvisation.

Covering classic Kraftwerk tracks using 8-bit era videogame systems is perhaps the best way to pay tribute to the spare, seminal band that spawned much of the electronic music we listen to today, and that's exactly what 8-Bit Operators seeks to do.The compilation disc repurposes 15 tracks from the legendary German outfit who found the soul of music in the pared-down blips and feedback of hardware and machinery. The 8-Bit Operators collection features some of the top 8-bit artists from North America, South America and Europe, a selection of the best musical innovators, and several of the inventors themselves. The result is an exercise in low-fi but heartfelt interpretation.
Kicking off with Bacalao's hard-kicking, hauntingly funky reinterpretation of "The Robots [Die Roboter]," complete with boss battle trills and thick slabs of vocoder. It's one of the best tracks on the compilation and the perfect way to start the party. "It's More Fun to Compute" is another stand-out gem, with mangled, decayed vocals and an underworld bass groove. Bit Shifter's "Antenna," another dancey, upbeat groove, also succeeds, mostly due to the in-song contrast of poppy vocals and hard-edged scumline bass.gwEm and Counter Reset dishes out the final track, a live rendition of "The Man-Machine [Die Mensch-Maschine], an excellent, almost Bomfunk MC's ripfest, providing a fitting endpoint to a kick-ass tribute.



VA - 8-Bit Operators - The Music Of Kraftwerk (149mb )

01 Bacalao - The Robots (Die Roboter) 3:30
02 Glomag - Pocket Calculator 3:54
03 Covox - Computer Love 3:41
04 Role Model - Showroom Dummies 4:00
05 Nullsleep - The Model 3:57
06 David E. Sugar - Radioactivity 4:13
07 Oliver Wittchow - Kristallo 4:23
08 8 Bit Weapon - Spacelab 4:54
09 firestARTer - Computer World (Computerwelt) 4:26
10 Neotericz - Electric Cafe 4:04
11 Receptors - Trans-Europe Express 4:02
12 Herbert Weixelbaum - Tanzmusik 3:58
13 Bubblyfish - It's More Fun To Compute 3:52
14 Bit Shifter - Antenna 3:48
15 gwEm And Counter Reset - The Man-Machine (Die Mensch-Maschine) 4:06

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Feb 24, 2011

RhoDeo 1108 Goldy Rhox 15

Hello, no Aetix yesterday as my connection was down, it's still shaky, troubles should be over next week, meanwhile RhoDeo Roots Toumani is fully present and i hope i'll get by the rest of the week.

Todays Goldy Rhox mystery album was released 40 years ago ( April 1971) and has sold over 7 million units worldwide, making it the bands best selling album. In 2003, the album was ranked number 337 on Rolling Stone magazine's list of the 500 greatest albums of all time. In the Q & Mojo Classic Special Edition Pink Floyd & The Story of Prog Rock, the album came #7 in its list of "40 Cosmic Rock Albums"
The first side of the album contains several character sketches, including two of people of questionable repute and two autobiographical tracks . The second side, "My God," contains three tracks that address religion in an introspective, and sometimes irreverent, manner. However, despite the names given to the album's two sides and their related subject matter, Anderson has consistently maintained that it's not a "concept album".




Goldy Rhox 15 110mb


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Feb 22, 2011

RhoDeo 1108 Roots

Hello, well i'm having some odd connection troubles tonight, off /on off / on, hope i can post later hmm. Meanwhile that crazy colonel lives up to his reputation whilst us outsiders don't get that this has become tribal warfare, with one side holding all the guns, they cant lay those down because the other side has decades of grudges that need to be settled. I hope not, but this could become a huge bloodbath, which will show how incapable the UN is, meanwhile NATO is playing hide and seek in Afghanistan.Prioritease... Last week it was Ali Farka Toure, this week it's his fellow music star from Mali Toumani Diabaté , they made a couple of albums together but Toumani carved out his own place in music history, that said i don't think there are many musicians alive that come from a 1000 year long line of artists. A bit of Sundaze on a Tuesday

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Mali's Toumani Diabaté has played his kora--the 21-string harp/lute--with Taj Mahal, Peter Gabriel, Spain's flamenco-fusion band Ketama, the 52-piece, Japanese/Malian Symmetric Orchestra, and countless jazz musicians who have sought him out in Bamako where he lives. The select fraternity of West African kora players embrace Toumani as a prodigy--the prince of the kora- Diabaté comes from a long family tradition of kora players including his father Sidiki Diabaté, who recorded the first ever kora album in 1970. His family's oral tradition tells of 71 generations of musicians preceding him in a patrilineal line. His cousin Sona Maya Jobarteh is a premiere female diaspora kora player.

He developed a style of playing that, while being strongly rooted in the Malian tradition, is also open to a wide range of other influences, such as jazz and flamenco. He has subsequently sought out other musicians from around the world who are willing to experiment with him, even performing a concert in Amsterdam with a classical harpist. His 1989 debut, Kaira, made history as the first-ever solo kora album to be released. Stark, haunting, and full of breathtaking improvisational flourishes, it made him a star in his homeland and an in-demand performer internationally. In the same year, Songhai, a highly acclaimed collaboration between Diabaté, the Spanish flamenco group Ketama, and British jazz-folk bassist Danny Thompson, also released their acclaimed debut. Over the next six years, Diabaté performed at festivals and concerts all over the globe, doing much to broaden the appeal of the music of Mali, in general, and the kora, in particular.

In 1995, a second Songhai album was released, as well as Djelika, on which he led a group of musicians featuring Kélétigui Diabaté (a veteran master of the xylophone-like balafon and no relation to Toumani) and ngoni (a miniature guitar-like stringed instrument) player Basekou Kouyate. He concentrated on performing in Mali over the next few years, before releasing New Ancient Strings, his 1999 collaboration with fellow new-generation kora master Ballaké Sissoko. In the same year, the very highly acclaimed Kulanjan was released. This featured Diabaté, Sissoko, and other fellow Malians, including singer Kassé-Mady Diabaté in a "West Africa meets the blues" collaboration with U.S. guitarist Taj Mahal. To promote the album, these musicians toured internationally at the end of 1999.

September 2005, he released In the Heart of the Moon, for which he collaborated with the late Ali Farka Touré. The album went on to win the 2006 Grammy Award for Best Traditional World Music Album. On July 25, 2006 he released Boulevard de l'Indépendance, recorded with his Orchestra. This Symmetric Orchestra led by Toumani Diabaté is composed of musicians (mostly griots) from the across the old Mande Empire of west Africa, who play a mix of traditional instruments including the kora, djembe, balafon and bolombatto, as well as modern ones like the guitar and electronic keyboard.

Diabaté appeared in 2006 at the WOMAD Festival UK, Roskilde Festival in Denmark, and at the Sziget Festival in Budapest, Hungary. In 2007 he performed at the Glastonbury Festival and toured the U.S.A.. In 2008, he was at WOM-ADelaide (in South Australia). In early 2008, Diabaté released his new album of solo Kora music, The Mande Variations, to widespread critical acclaim. Many reviewers praised the album for its detailed recording of the Kora and careful mastering, in addition to the improvisational skills and wide range of apparent influences displayed on the album.

Diabaté was chosen by Matt Groening to perform at the All Tomorrow's Parties festival in May 2010 in Minehead. Diabaté also performed at Hay Festival in June. In July he performed at the Larmer Tree Festival to huge acclaim.

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In Toumani's 1995 recording, Djelika (named after his daughter), presents the young kora giant in a mostly-Malian context accompanied by a great elder of the wooden balaphone, Keletigui Diabate, a young lion of the banjo-like ngoni, Basekou Kouyate, and bassist Danny Thompson, a veteran of the Songhai session who adds tasteful underpinnings.The title cut is a jazzy piece that slyly quotes the soundtrack "The Good, the Bad, and the Ugly." Keletogui sits out on "Cheick Oumar Bah," a traditional song in honor of one of Mali's spiritual leaders. It is thoughtful and dignified. "Kandjoura," on the other hand, is just fun, fast, and whimsical. It sounds like it's based on an Afro-pop song. The three musicians, each a virtuoso on his instrument, do a wonderful job providing sonic variety to keep the ear intrigued. Djelika is true African art music and should be sought out not only by fans of "world music," but also by aficionados of jazz and Western classical music.



Toumani Diabaté - Djelika (95 120mb)

1 Djelika 7:13
2 Mankoman Djan 5:22
3 Cheikh Oumar Bah 5:53
4 Marielle 7:02
5 Kandjoura 8:07
6 Aminata Santoro 6:43
7 Tony Vander 5:31
8 Sankoun Djabi 6:00

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A solo kora recital (his second, a follow-up to his 1988 debut recording Kaira) for Bamako's Toumani Diabaté seems like a snap, easily produced, and simply rendered. But the thought process prior to and during each piece speaks more on the background, orientation and experience that inspires him. Not all strictly a Mali or African dialect, he employs a variety of sources that directs this diverse program, which is far from simplistic or superficial. For instance, the beauteous ten and a half minute opener "Si Naani" uses an Egyptian tuning, is harp and Zen-like, cascading, expresses four Fula lineages, and goes from a love song to a griot tale. "Ali Farka Toure" for the deceased world music master is a fast, no-frills improvisation with no wasted space as the musician who it is played for fully expressed in his music. "Kaounding Cissoko" for Baaba Maal's late kora accompanist is playful, minimalist, layered, sounds overdubbed even though it is not, and is the most intricate piece on the CD. As much as the relaxed fluidity and natural ability of Diabaté is clear, please do not assume this music is laid-back, lacks spark, verve or energy.



Toumani Diabaté - The Mandé Variations ( 140mb)


Si Naani 10:29
Elyne Road 8:50
Ismael Drame 6:20
Kaounding Cissoko 6:47
Ali Farka Toure 5:45
Djourou Kara Nany 6:53
El Nabiyouna 6:03
Cantelowes 6:57

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Feb 21, 2011

RhoDeo 1108 Earthsearch

Oops, forgot to post it last night

Hello, well as i mentioned yesterday that todays phone playback AAC a format pushed thru by Apple who rejected the opensource (free) Ogg format and decided to develop their own heavily patented format, they just love a closed shop policy, wonder where that cancer came from Steve ? Fear ! Any way AAC sucked big time and has only recently caught up with MP3, meanwhile the itunes shop has forced other tech companies to buy in to (literally) the AAC format, hopefully Android will give us OGG playback because at 320 it's quality is still way ahead of that of AAC or MP3 ! People are smarter than companies. and computers as our story tells us, however that doesn't mean we always make the best choices..alas. As for me i will continue with OGG .

The Setting

Some years before the story opens, the huge Earth starship Challenger, on a mission to find Earth-like planets for colonization, encountered a meteoroid shower that killed all of the adult crew and seriously damaged the ship. The only human survivors were four babies - two boys, Telson and Darv, and two girls, Sharna and Astra.The four have been raised from childhood by androids and tutored by two disembodied voices called Angel One and Angel Two.

Well for those that like it neetly packaged in one go here are part 1 and 2 of the Earth Search Saga, 10 hours of exitement.



Earth Search 1 (01 - 10) (113mb)

Earth Search 2 (10 - 20) (113mb)


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Feb 20, 2011

Sundaze 1108

Hello, i wondered what to post because i didn't want to distract you all from all that great Cabaret Voltaire music i posted these last days. But then, this is how it goes, everything in our existance is fleeting, holding on just leads to mental disease. Have to mention here my first big disappointment with my new phone, those silly Koreans put in 4! different videoformats, but just 2 for music aac appleshit and the ancient mp3 format. I had hoped that, as so many mp3 players do that don't mention but still play the ogg format,it would play ogg.. alas no such luck..duh Well to be honest i do have some 40 gig of mp3's but having to encode good music in an inferior format hmm, i did grab the latest Radiohead in mp3 20 earlier although i already scored it in flac last night--check the link in comments--such trifling problems hmm, back to Sundaze and there's 2 sides of the tripping kind here today space-gaze-guitar and the XTC floaters who actually put some serious thought into what they were doing..just read the liner notes..

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All of the music on this album was actually written by three people under different aliases: Kim Casone, Don Falcone and Paul Neyrinck.

We trace our deepest reactions to the ambient sound around us through non-invasive imaging. Highlighting the blood, so it can be seen in the brain at the moment of listening, we can study the patterns that emerge over time. Patterns formed during a single listening experience (e.g., a song) can be considered a "map" to understanding our aural sensors. By placing various maps side by side, we discover similar maps, similar reactions. This repetition may suggest a plural intelligence within each of us, or the revelation of past lives, or astrological potentials, or simply a like moment in time of which we are an integral part.

In this spirit exists Spice Barons, Patternclear, Satellite IV, etc., combining natural and electronic sounds so that they make a perfect sense. All that we are emanates from the same seed. But how the flower is picked and assimilated remains random. In listening to the ambience that surrounds us, there is always the potential for individualized impressions which are constantly redefining the ambience. This occurs when an aural composition moves further and further from the maps formed by its initial listeners (i.e., its godly or human creators). For better or worse, our ambience will float away from us, toward the plural you - in enough directions to keep it eternally unidentified. (Don Falcone)



VA - Unidentified Floating Ambience  (94 351mb)

1 Hydrosphere - Moon Baubles 6:27
2 Spice Barons - Crescent Headed Star 13:51
3 Spice Barons - Cogito Ergo Aum 9:20
4 Astralfish - Stardust 10:56
5 Spice Barons - Spice Of God 7:35
6 Patternclear - Tundra 8:14
7 Hydrosphere - Nebula 7:09
8 Patternclear - Liquid Solid 9:05

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Formed in Bristol, England in 1993, the elusive avant-noise project Flying Saucer Attack primarily comprised the duo of singers/guitarists David Pearce and Rachel Brook, who formed FSA as an outlet for their interest in home-recording experimentation. There must be something about the landscape around Bristol, England, that incites its denizens to travel ever deeper inward in order to find inspiration for their art. Not at all dissimilar to the contemporaneous trip-hop scene that flourishes at its doorstep, Flying Saucer Attack creates a trance-like, decidedly cerebral sound — albeit without the vaguest insinuation of danceability. There's an eerie, elusive bliss in the collaborations between home-recording wizards Rachel Brook and David Pearce — kind of like an elongation of that sensorily unbound moment when wakefulness is about to give way to sleep.

The duo's self-titled debut is an amorphous compendium of loopy (literally) sonic explorations, dense and feedback-studded one moment, rapturously pastoral the next. Unfortunately, there's not nearly enough of the latter element (other than a transfiguring number called "Popol Vuh 1," which bears a passing spiritual resemblance to the prog-rock band of the same name) to merit more than a cursory listen. After 1994's Distance, a collection of atmospheric singles and unreleased material, FSA emerged in 1995 with Further, a remarkably evocative work which transported the group's hypnotic guitar wash into a uniquely pastoral setting. Chorus, another singles compilation, followed later in the year, and with it came a declaration of the end of the group's initial phase, setting the stage for Flying Saucer Attack's continued evolution as one of the decade's most innovative and ambitious groups. 1997's New Lands was the first fruit of this new FSA, now a Pearce solo project exploring the possibilities of sampling; Brook, meanwhile, focused on her side group Movietone, a similarly blissed-out excursion into sound. FSA followed up New Lands three years later with Mirror

No guitarist working within the psychedelic spectrum during the 1990's pushed tuneful feedback to its limits as heavily as Dave Pearce, to the point where it sounded as if he was channeling the ever-present background static coursing from the most infinite points of the universe. Sure, there were moments (primarily on their second full-length release "Further") where Pearce straps on an acoustic guitar to pluck and strum wistful, meditative passages to complement that vastness, but his use of the most heavily warped setting of distortion and digital echo captured a sound that was immediately identifiable as "Flying Saucer Attack". On several tracks on "Chorus", his second collection of singles, that sound is extended and refined even further than on previous full-length releases ("FSA", and "Further") and singles collection ("Distance"). An inner sleeve note cautions that Chorus "marks the end of FSA phase one...



Flying Saucer Attack - Chorus (95 255mb)

01 Feedback Song 5:40
02 Light In The Evening 4:02
03 Popul Vuh III 3:15
04 Always 4:29
05 Feedback Song Demo 2:53
06 Second Hour 3:33
07 Beach Red Lullaby 3:58
08 There But Not There 5:34
09 February 8th 4:15
10 There Dub 2:47

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Feb 19, 2011

RhoDeo 1107 Beats

Hello, a rare RhoDeo Beats post today, and rare is the operative word here as the music today lacked decent distribution, specially on their hometurf. The UK labels and music press alike shunned Cabaret Voltaire, dare i say most undeservdly so. I would go as far as to say that it was sheer incompetence and groupthink that let a proven force like Cabaret Voltaire fall thru the cracks. Ultimately it meant the end for CV , the Conversation a final attempt, but the UK remained mute. Luckily in the US and in Belgium there was at least interest enough to release and distribute their final 3 albums, even though there was a very limited marketing push. That goes to myself aswell, even though being in the socalled scene, i just relativly recently became aware of these albums when i came across them at a sale of a recordshop that went out of business. I picked up a few dozen titels, among them all that was left in their Cab Voltaire section. It took me another couple of months to get around to listening to them, and i have to say i was amazed. Even almost 2 decades later the music was fresh enough to enjoy and frankly i don't understand why they were so badly shunned there wasn't that much better around at that time. I can only assume CV were seen as a threat to all the new acts that were sprouting and needed the loving attention of the music press high on xtc, who needs dark overtones. Well these days we know better...3 albums, 4 hours and 41 min , and i promise you won't be bored.

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Re-emerging with a much more original sound after their 1990 house album, Kirk and Mallinder for the most part rely on abstract electro-inspired ambient-techno with extended voice-over samples for Plasticity. It certainly wasn't the first time CV had remade themselves without losing elements of their past work (even re-sampling a passage originally recorded over ten years earlier on "Soul Vine [70 Billion People]"), and Plasticity was an excellent reworking of the house blueprint into the growing fringe of techno not necessarily produced for the dancefloor. The tribal flourishes of "Deep Time" and the obvious signal track "Inside the Electronic Revolution" showcase the duo as continuing visionaries.



Cabaret Voltaire - Plasticity ( 91 Flac 360mb)

01. Low Cool (6:32)
02. Soul Vine (70 Billion People) (7:52)
03. Resonator (5:56)
04. Inside the Electronic Revolution (5:32)
05. From Another Source (6:52)
06. Deep Time (7:45)
07. Back to Brazilia (6:11)
08. Neuron Factory (5:00)
09. Delmas 19 (6:08)
10. Cooled Out (2:26)
11. Invisible Generation (6:00)
12. Soulenoid (Scream at the Right Time) (8:45)

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International Language tones down the few Chicago house elements which had creeped into Plasticity, replacing them with sublime acid-electro, tribal elements on several tracks, and the same emphasis on samples which occasionally distorts the value of the underlying music.



Cabaret Voltaire - International Language (93 347mb )

01. Everything Is True (10:50)
02. Radical Chic (6:50)
03. Taxi Mutant (10:06)
04. Let It Come Down (9:27)
05. Afterglow (8:00)
06. The Root (9:17)
07. Millenium (6:22)
08. Belly Of The Beast (Back In Babylon) (8:15)
09. Other World (5:37)

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Seminal album by Richard H Kirk (as Cabaret Voltaire) after he and Stephen Mallinder had largely ceased to exist as a partnership. Recorded at the very peak of Kirk's powers in 1994, this is a simply jaw dropping Ambi-Tech, funked-out, late night drive with the Master's recurrent themes, sounds and production values... This 2-CD set is a further exercise from where the group left off with 'International Language' and 'Plasticity'. The overall sound is trance-inducing extended drones overlaid with manipulated sounds and voices, more than the previous 2 releases while still retaining the techno sheen. The 50 minute plus 'Project 80' track on disc 2 is sheer brilliance...



Cabaret Voltaire - The Conversation 1 (94 Flac  343mb)

101 Exterminating Angel (Intro) 5:47
102 Brutal But Clean 11:05
103 The Message (An Original Hollywood Theme) 8:16
104 Let's Start 8:11
105 Night Rider 9:54
106 I Think 8:56
107 The Heat 7:52
108 Harmonic Parallel 10:20

Cabaret Voltaire - The Conversation 2 (94 Flac 278mb)

209 Project80 53:05
210 Exterminating Angel (Outro) 8:01


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Feb 17, 2011

RhoDeo 1107 Goldy Rhox 14

Hello, well i finally got my new mobile an LG T300 now i got to find the time to master it..hmm i'm not into sms much nor facebook or twitter to me this is a phone integrated with a music player and the rest well when i find the time or need for it. Well for my somewhat younger visitors i'm sure their parents have some (strong) memories from todays Goldy Rhox..

Now i'm not as naive to post this kinda music for all to see and have deleted, these will be a black box posts, i'm sorry for those on limited bandwidth but for most of you a gamble will get you a quality rip don't like it, deleting is just 2 clicks...That said i will try to accomodate somewhat and produce some cryptic info on the artist and or album.


Todays mystery album was released 34 years ago it went on to sell 40 million copies worldwide. The band was America's answer to ABBA..in a way.. although the involved couples were already splitting here after their previous album had seen some serious succes. Listening to the album the relational stress isn't really there, rumours probably intensified them. Little did they know that 15 years later a relative upstart would thwart NWO's timeschedule by beating that devious man for the presedency and all on a campaign track that reminded the audience that "yesterday's gone and don't you stop thinking about the future it will be here sooner then you think" lalala oh well there was one track and hit that said " get lost" in a polite way..i wonder if divorce rates soared in the aftermath of that huge hit.

Goldy Rhox 14 91mb

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Feb 16, 2011

RhoDeo 1107 Aetix

Hello, hmm todays artists kinda lived up to their name in the sense that it was derived from a dada club. Now most likely you haven't got a clue what Dada entails..sounds kinda sweet doesnt it, well..it ain't . The beginnings of Dada correspond to the outbreak of World War I, the Dada movement primarily involved visual arts, literature—poetry, art manifestoes, art theory—theatre, and graphic design, and concentrated its anti-war politics through a rejection of the prevailing standards in art through anti-art cultural works. Its purpose was to ridicule what its participants considered to be the meaninglessness of the modern world. In addition to being anti-war, dada was also anti-bourgeois and anarchist in nature. Dada is the groundwork to abstract art and sound poetry, a starting point for performance art, a prelude to postmodernism, an influence on pop art, a celebration of antiart. Dada activities included public gatherings, demonstrations, and publication of art/literary journals; passionate coverage of art, politics, and culture were topics often discussed in a variety of media.... Anyway todays band has gone thru some morphing and selden stayed long under contract with a record label, admittedly at times they even found it hard to get a deal in the UK, when that country was under the spell of a possibly even bigger Dada act, The KLF, fortunately in Belgium and The US they remained appreciated, and thanks to that coming RhoDeo Beats there's more Cabaret Voltaire to be had.

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Though they're one of the most important groups in the history of industrial and electronic music, Cabaret Voltaire are sometimes forgotten in the style's timeline -- the fact is that CV rarely stayed in one place for long, instead moving quickly from free-form experimentalism through arty white-boy funk and on to house music in the late '80s and electronica the following decade and switching labels too, which left them with little steady support.

"Initially a three piece, Richard H. Kirk, Stephen Mallinder and Chris Watson began by playing around with recorded sounds manipulated by basic reel-to-reel recorders in Sheffield in 1973. "Way ahead of their time, these ideas culminated in 1975, when the three staged their first performance of these sound experiments and assumed the name Cabaret Voltaire, taken from the name of the club started in Zurich by the principals of the Dada art movement during the First World War. As part of the confrontational energy of punk, the early titles of the records didn't mince words - 'Baader Meinhof' and 'Do the Mussolini (Headkick)' were indicators that were bound to lead to a certain notoriety. To the press they appeared to be immersed in a world of paranoia fed by conspiracy theories, political control and the use of drugs to both free and inhibit the individual.

"The band began working with Rough Trade in 1978, producing the now seminal triumvirate of albums, 'Mix Up' (1979), 'Voice of America' (1980) and their most prophetic album 'Red Mecca' (1981), an album released to an excellent response from the music press. All these recordings were assembled in the seclusion of the band's own studio in Sheffield called Western Works. "Chris Watson left the group in October 1981 midway during the recoding of 2x45 and on the eve of an international tour to pursue a career in television sound recording. This departure left Kirk and Mallinder free to commit to a long-term struggle with the 'pop music' industry under the protection of Stevo's Some Bizarre label, via a Virgin Records distribution deal. By December 1982 they were in the midst of recording the 'Crackdown' album in Trident Studios, London with the producer Flood.

Cabaret Voltaire were always strongly rooted in the Dada-ist tradition and nowhere was this more evident than in their rare but much anticipated live performances, with their innovative use of film and video documented in the three live albums, 'Live at the YMCA' (1979), 'Live at the Lyceum' (1981) and 'Hai' live in Japan (1982), and the 90 minute video 'Doublevision Presents...'

Cabaret Voltaire moved to EMI/Parlophone in 1986 for The Code. Two years later, the band traveled to Chicago to record Groovy, Laidback & Nasty with Marshall Jefferson, one of the mavericks in the new house sound blowing up in the British charts. After another break of several years, the new-electronica label Instinct released a trio of CV albums Plasticity (92), International Language (93) and The Conversation (94). The results were quite startling and Cabaret Voltaire finally regained the attention they deserved. However, at the height of the trance/ambient wave, Kirk pulled the plug and erratic as always Cabaret Voltaire was no more.

While Mallinder went off to Australia to study, Kirk continues on with solo projects (Richard Kirk, Sandoz, 2 dozen aliases) Kirk has suggested he is still considering resurrecting the Cabaret name, but this time he plans to "Get some young people involved". In 2001, Watson appeared in the documentary film Made in Sheffield, where he discussed the early years of Cabaret Voltaire. Since that time, Kirk has resurrected the Cabaret Voltaire name and has released new albums with New Zealand band Kora called Kora! Kora! Kora! and Sheffield band The Tivoli called National Service Rewind. The new material was recorded at Western Works studios.

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It would actually be more accurate to call this album 'Two Mantras,' given that it consists of two sidelong pieces, "Eastern Mantra" and "Western Mantra," which gives the still-then-a-trio a chance to expand its avant-electronic-grunge into trancier realms. Mallinder's abstract ranting is in full effect from the start of "Western," talking about bodies in the streets and the like, and from there things move into a rough realm of strange art, Voltaire-style. The combination of Kirk's guitar and Mallinder's bass work here is practically that of Krautrock/motorik, Mallinder playing a steady, quietly varying series of notes while Kirk throws in a variety of crumbling squalls. His work is sometimes vaguely Arabic in flavor, which combined with the length of the song, the hollow drum machine punch driving everything along, and Watson's piercing keyboards is not merely interesting but helps to demonstrate, in a subtle way, some of the future influences on artists like Muslimgauze. The alien feeling at the core of Cabaret Voltaire remains, though, strong and strange as always. "Eastern Mantra" has the basic trio, plus guests on percussion and found-sound tapes, doing something far more outre. A heavily-treated vocal loop underlaid by a subtle keyboard drone starts the song, interspersed with samples of Arabic and Israeli pop music and various bell sounds -- the roots for Muslimgauze in particular really show here! Kirk's crisp playing floats in some time later, stepping in and out of the mix but never predominating, while Mallinder's bass is barely detectable. The occasional bursts of low, clattering pounding, with cymbals if not with drums in the background, combined with the continuing series of song samples, Arabic wind instruments and snippets recorded in a Jerusalem market, heightens the enveloping, striking feel of the piece and release as a whole.



Cabaret Voltaire - Three Mantras (80 Flac 228mb)

01 Western Mantra 20:39
02 Eastern Mantra 20:11

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This release comprises two recording sessions, one from October '81 (just before co-founder Chris Watson's departure) and the other from February '82. There's a definite difference of feel between each record, an example of just how fast the group was moving. Of the first three tracks on the first record, 'Yashar' is the standout track and to this day it remains one of the group's signature tunes. There's a strong Middle Eastern influence the winds its way through the track both in melody and percussion elements. Electronics and samples are downplayed somewhat in favour of pulsing hypnotic elements. 'Breathe Deep' has a faster dancier feel . The tracks on the second record, without Watson, are slightly more streamlined musically, Long-time collaborator Alan Fish takes care of percussion. On 'T.E.S. War Of Nerves', eerie spoken samples about methods of torture open up the track only to give in to the dark paranoia in Mal’s lyrics, his vocals are menacing and unsettling. The two last tracks, ‘Wait & Shuffle’ and ‘Get Out Of My Face’ have a dark, slightly more ambient and melodic feel, showing the Cabs shedding their earlier electro-terrorist noise . Clearly, the band were closing one chapter in their musical development and opening another. Their subsequent end with Rough Trade, which had signed them originally, and new arrangement with Some Bizzare also marked a change for the group.



Cabaret Voltaire - 2x45 (82 Flac 277mb)

1 Breathe Deep 5:19
2 Yashar 5:13
3 Protection 7:42
4 War Of Nerves (T.E.S.) 5:11
5 Wait And Shuffle 8:09
6 Get Out Of My Face 13:11

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1987's Code, co-produced by On-U Sound mastermind Adrian Sherwood, finds Cabaret Voltaire at their loosest and most accessible. Though its subject matter remains dark and paranoid, in sound Code is the closest thing CV ever made to a party record. Aided perhaps by Sherwood's rhythmic expertise, it achieved a genuine mechanistic funkiness.Which didn't necessarily endear it,to fans of the Cabs' harsher, more challenging material. To describe Code as lightweight is a big mistake because there's much to enjoy here. "Sex, Money, Freaks" answers the eternal question, "Trouble (Won't Stop)" dips one toe into the blues, with harmonica making a surprising appearance and Bill Nelson providing atmospheric guitar. Code's most memorable song, though, is "Here to Go," a hook-laden and bass-heavy track that offers the paradoxical advice, "Sharpen up, relax/ Lighten up, get serious/ Stick with it, sit back/ Live with it, commit yourself."



Cabaret Voltaire - Code (87 Flac 245mb)

01 Don't Argue (Feat.Bill Nelson) 4:27
02 Sex, Money, Freaks (Feat.Mark Brydon, Sim Lister) 4:59
03 Thank You America 5:21
04 Here To Go 5:10
05 Trouble (Won't Stop) (Feat.Bill Nelson) 5:07
06 White Car (Feat.Bill Nelson) 2:44
07 No One Here (Feat.Mark Brydon, Sim Lister) 5:00
08 Life Slips By 3:24
09 Code 4:08

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Feb 15, 2011

RhoDeo 1107 Roots

Hello, i hope you got to enjoy a Valentine today . Meanwhile I just read that global data storage is calculated at 295 exabytes divided by 7 billion people that works out as 42 gig.per capita, not that much (considering i'm good for roughly 6 terabyte) anyway as of March 2010 global Internet traffic is estimated at 21 exabytes per month. Which would mean all our data are pumped through the internet once a year, again not that shocking i would think. Our total storage capacity is the same as an adult human’s DNA... nature is still streets ahead of us. Here's some more perspective, the 6.4*10^18 instructions per second that human kind can carry out on its general-purpose computers in 2007 are in the same ballpark area as the maximum number of nerve impulses executed by one human brain per second. Then again we are just at the dawn of the digital age that started in 2002 when digital overtook analogue.
What about the music today, well he's been here before the desert blues king, Ali Farka Toure he died 5 years ago but his music lives on and thanks to our digital age millions can enjoy his skills, compared to the hundreds he shared with at the beginning of his career. It don't matter to the artist as long as he's respected...

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Ali Farka Toure was born in 1939 on the banks of the Niger River in northwestern Malian region of Tombouctou. He was the tenth son of his mother but the only one to survive past infancy. His nickname, “Farka”, chosen by his parents, means “donkey” - an animal admired for its tenacity and stubbornness.

As the first African bluesman to achieve widespread popularity on his home continent, Touré was often known as “the African John Lee Hooker”. Musically, the many superpositions of guitars and rhythms in his music were similar to John Lee Hooker’s hypnotic blues style. He usually sang in one of several African languages. His international breakthrough album, Ali Farka Touré (88), established his reputation in the world music community. His 6th World Circuit album 1994’s Talking Timbuktu, a collaboration with Ry Cooder, sold well in western markets and got him his first Grammy Award. After a hiatus from releases in America and Europe Touré reappeared in 1999 with the release of Niafunké.

In 2004 Touré became mayor of Niafunké and spent his own money grading the roads, putting in sewer canals and fuelling a generator that provided the impoverished town with electricity.In September 2005, he released the album In the Heart of the Moon, a collaboration with Toumani Diabaté, for which he received a second Grammy award. On 7 March 2006 the Ministry of Culture of Mali announced Touré 's death at age 66 in Bamako from bone cancer, against which he had been battling for some time. His last album, Savane, was posthumously released in July 2006. It was received with wide acclaim by professionals and fans alike and has been nominated for a Grammy Award in the category “Best Contemporary World Music Album”

It is unfortunate that the early recordings by this brilliant Malian guitarist/singer/songwriter have been somewhat overshadowed by his better-known collaborations with Western artists. This is not to say that Ali Farka Toure's more recent efforts aren't excellent, but rather that albums like The Source are so exceptional as to outshine even the best of his other work. The Source focuses on Toure's lucid, bluesy, guitar work and beautiful vocals (he sings in French and West African dialects) informed by work chants and Islamic melodies.



Ali Farka Toure - The Source (92 284mb)

01 Goye Kur 6:23
02 Inchana Massina 5:12
03 Roucky 8:16
04 Dofana 7:31
05 Karaw 6:27
06 Hawa Dolo 5:46
07 Cinquante Six 5:31
08 I Go Ka 4:04
09 Yenna 5:53
10 Mahini Me 5:25

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Niafunké reflects the name of the village in Mali where it was recorded. On the liner notes Touré discusses his motivation for creating the album and how the music might relate to its audience. Touré states, "This record is more real, more authentic. It was recorded in the place where the music belongs - deep Mali. We were in the middle of the landscape which inspired the music and that in turn inspired myself and the musicians. My music is about where I come from and our way of life and it is full of important messages for Africans. In the West perhaps this music is just entertainment and I don't expect people to understand. But I hope some might take the time to listen and learn."



Ali Farka Toure - Niafunke (99 298mb)

01 Ali's Here 3:17
02 Allah Uya 4:31
03 Mali Dje 5:41
04 Saulkare 2:51
05 Hilly Yoro 3:39
06 Tulumba 5:22
07 Instrumental 4:13
08 ASCO 5:49
09 Jangali Famata 3:23
10 Howkouna 5:59
11 Cousins 4:19
12 Pieter Botha 3:20

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Feb 14, 2011

RhoDeo 1107 Earthsearch 20

Hello, will Valentine's day live up to it's reputation , or is it just a choclate tricker treat, occasionaly enlightened by a nice bunch of dead flowers, likely flown over from Africa....save the planet don't buy anymore flowers that aren't grown locally. Or send a nice digital card, btw secret admirors can send me one at Firstborn@mail.nu one of my unused mailaddresses (wink). Nuf said about love...our Challenger crew have reached the end of the line, not sure if they heard of Buddah because it becomes clear that reaching a goal isn't as fulfilling as the paths taken...

The Setting

Some years before the story opens, the huge Earth starship Challenger, on a mission to find Earth-like planets for colonization, encountered a meteoroid shower that killed all of the adult crew and seriously damaged the ship. The only human survivors were four babies - two boys, Telson and Darv, and two girls, Sharna and Astra.The four have been raised from childhood by androids and tutored by two disembodied voices called Angel One and Angel Two.

At the end of Earthsearch, the crew of the starship Challenger settled on the Paradise planet, having never seen their original home planet that they called Earth. They left the Challenger's control computers, Angel One and Angel Two, in charge of the ship to continue the search for Earth. Four years later, the crew have settled into their life on Paradise, despite many hardships they are suffering. Then suddenly, one of their children is killed by a 'monster' that appeared from the sea.

It transpires that this 'monster' is actually an android from the Challenger, which has returned. When the sea level begins to rise, the crew are suspicious of the Angels. They notice a large amount of radiation coming from the southern horizon, and they fly to Antarctica in their shuttlecraft. There they find hundreds of towers embedded in the ice. The Angels are using terraforming equipment from the Challenger to melt the ice and thus raise the sea level in an attempt to get the crew to rejoin them on the ship.The crew are adamant that they will not leave Paradise. The flood gets worse and worse, and will clearly soon submerge all the land. They load breeding pairs of animals into the shuttle cargo bay, and when the water level gets high enough, the shuttle floats. The crew are surviving, barely, and have beaten the Angels for the time being.However, their situation deteriorates to the point where they have no more water to drink, so they eventually surrender to the Angels. First, however, they demand that the flood is reversed, so they can release the animals. Then they fly their shuttle up to the Challenger.The crew are gassed by an android, and they become unconscious, to wake up again with a big surprise awaiting them.. When they come round, they discover that they have been in suspended animation for sixteen years. But the children, who were very young when they came on board, have been awake the whole time, and are now about twenty years old. Telson and Sharna's son, Bran, is now the commander.
The Challenger crew have land on an artificial sun called "Solaria D", controlled by a computer who appears to be friendly. From the artificial to the real deal, that is, what's left of it exponentially increases Challengers troubles even the The 'Guardian Angels' cannot change its course and the crew are also powerless. Fortunately things are not as black holed as it seemed ...there's a switch to it..go figure. Android Surgeon General Kraken, designed by the Challenger's giant computer, has suffered severe logic failure, those angels sure don't make em anymore...
Nevertheless looks like they found what they've been looking for when they are heading towards Novita Six, the solar system to which they think Earth has been transported. A big disappointment awaits them, their dreams of our once lush blue planet Earth are shattered...



EarthSearch II -20 Earthvoice (11mb)


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Feb 13, 2011

Sundaze 1107 Inside Out

Hello, my odyssey to get a new phone is still not over..duh. bought one today unpacked it - it was pink, ouch and worse it didn't have the promised jack input--those customised connection earphones are useless for me- one of my ears refuses to accept those buggers, and believe it or not, shops here dont sell bluetooth stereosets (idiots). Anyway i hope to buy a phone with a cinchjack soon, otherwise ill have to forgo on it all and buy a simple phone to make calls, maybe should do that anyway, because what i've read this week in reviews makes me wonder what kind of shambles phone production is these days. How come on tv and movies those things always work---except the occasional dramatic reception loss...duh again.

So, today another inside out this time on DMT, apparently easier to homecook then Meth but alas not that available at the moment. It's an amazing molecule not just because of the effect on our brains but because its present in ...everything that lives ! ..go figure. You might think that sciences are alll over it then, but you'd be wrong there..research is largely prohibited. Bizar or maybe it's just too frightning to the powers that be. Us humans can't handle the truth about the nature of reality ..and thus the insignificance of money and the powers that be..tsss

There's 2 documentairys you could watch thru Youtube or download directly here, there's 5 PDF's to be had on Ayahuasca and more, finally there's some trippy Sundaze music aswell with the Didgeridoo at it's center. The amazing Didgeri Dudes drone away in a cave whilst the Aboriginees prefer the land on top.. Should have posted that album in the Sunshine Australia cycle it's awesome, alas it was easy to pass likely because of its unassuming cover (mea culpa). In all i would think you'll have plenty to enjoy and ponder about..

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Better known as DMT, dimethyltryptamine is the subject of Austin filmmaker Mitch Schultz's über-trippy examination of a drug found in nearly every living organism and considered the world's most powerful psychedelic. Combining stunningly psychedelic animation with thoughtful interviews, However, the concepts explored go well beyond psychedelics, and really addresses a new model of consciousness.

The film focuses on the research of Dr. Rick Strassman, a University of New Mexico psychiatry professor who dubbed DMT the "god molecule" or "spirit molecule." Over a five-year period in the 1990s, Strassman administered multiple doses of DMT to 60 human volunteers and interviewed them about their experiences while under the drug's influence. In some ways, the results were unsurprising. Many of the test subjects experienced the intense, bizarre visions and strange phenomena that are common during psychedelic drug use. But other results were startling. The DMT users spoke of entering windows into their own souls, questioning the nature of their own humanity and reaching deep levels of alternative consciousness they barely could describe. "To say the least," said one of them, "it was profound."

The Spirit Molecule also explores society's attitude toward psychedelic drug use, contrasting the strict anti-drug policy in the U.S. – which bans not only psychedelic drugs, but also most scientific research into their effects – with the far more tolerant attitudes in other parts of the world.

The documentary has a simple, straightforward structure. Comedian Joe Rogan introduces the film's basic concepts, which are fleshed out with dozens of talking-head interviews with Strassman, his study volunteers and others who have taken DMT, experts in medicine, neuroscience and social science, and even a theologian or two. (The Spirit Molecule may set a new record for the number of Ph.D.s interviewed in a single film.) The interviewees ask a lot of questions that even the best scientific and spiritual minds cannot answer: Are psychedelic drug trips merely hallucinations resulting from brain chemistry gone haywire, or do the drugs actually allow our brains to access parallel realities? What is the true nature of our souls?


recently made availble at YouTube in one part




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A more mystical approach bringing in ancient egypt and their obsession with the afterlife combined with our recent acknowledgement of what has been in our brains at least since we learned to enjoy mushrooms and that my friends was a very very long time ago..posted this 2 years ago over at Transgloballs

watch on YouTube in 5 parts, DMT - The Spirit Molecule Documentary




or get it here.

DMT The Spirit Molecule Doc. (Avi Xvid 48min, 144mb)

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Rick Strassman - DMT, The Spirit Molecule (PDF 367 pages, 2mb)

The Spirit Molecule examines what we know about psychedelic drugs in general, and DMT in particular. It then traces the DMT research project from its earliest intimations through the maze of committees and review boards to its actual performance. The research subjects were healthy volunteers. The studies were not intended to be therapeutic, although all of us believed in the potentially beneficial properties of psychedelic drugs. The project generated a wealth of biological and psychological data, much of which I have already published in the scientific literature. (posted this 2 years ago over at Transgloballs)

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Under the Earth Tones is the second album of experimental didgeridoo music by Jamie Cunningham and Brian Pertl, a.k.a. the Didgeri Dudes. The didgeridoo is an ancient Australian Aboriginal wind instrument that is capable of producing a wide variety of sounds utilizing combinations of pursed tones, harmonic manipulation, vocalizations, and circular breathing techniques. Using a sonic palette of traditional and modern didgeridoos made from wood, bamboo, plastic pipe, and cactus, the Didgeri Dudes and special guest Stuart Dempster paint ambient textures on the canvas of an abandoned two-million gallon underground water cistern at Fort Worden, near Port Townsend, Washington. This huge circular subterranean chamber boasts an extremely long reverberation of well over a minute requiring the musicians therein to play the acoustic space as an instrument. The recording was made during a marathon fourteen-hour session in the dank darkness of the cistern, illuminated only by the light that filtered through the small roof-top entrance. The effect of being totally immersed in pure sound for an extended period left the performers emotionally charged and euphoric at day's end. To recreate the dynamic and meditative ambiance of this incredible space, we recommend a quiet listening environment and high-quality speakers or headphones. No overdubbing, electronic effects, nor artificial reverberation was used in this stereo mix from the live four-channel digital recording. (from the liner notes)



Didgeri Dudes - Under the Earth Tones (97 156mb)

1. Magma {9:32}
2. Land of Snows {14:52}
3. Cosmic Frogs {7:56}
4. Orion Nebula {19:56}
5. Shudder {9:31}
6. Final Peace {8:19}

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Just as the mythology of the Australian people and their continent was personified through the complex Aboriginal creation stories called The Dreamtime, the land also gave rise to a rich musical culture unlike any other. Australia: Sounds of the Earth captures the primordial hums and rhythms that have emerged from and moved across this continent in the four directions, like the winds themselves since The Dreamtime began. This recording features the didgeridoo, an Aboriginal wind instrument of remarkable flexibility and power, in traditional and innovative formats. Virtuoso solos by Aboriginal artist, David Hudson, are complemented by performances of up to four didgeridoo players accompanied by drums and electronics.
Tracing the development of an indigenous music firmly rooted in patterns of existence dictated by the rhythms of the land, Australia: Sounds of the Earth embraces Australia's musical past and present. The riveting performance of cellist Sarah Hopkins, acknowledges the debt 20th century composers owe to the influence of Aboriginal music. By utilizing a combination of bowing techniques and overtone singing, the Australian cellist emulates sounds of the didgeridoo. Producer, Steve Roach, blends the recordings from the outback with their haunting modern echoes by creating evocative soundscapes, and the illusion of a journey through time and space to the origins of these primal sounds. Excellent album, very trippy.



Steve Roach, David Hudson & Sarah Hopkins - Australia. Sound of the Earth (148mb)

01. Steve Roach - Red Dust and Sweat 10:45
02. David Hudson - Call to Kuranda 3:15
03. David Hudson - The Ancient Voice 3:10
04. Steve Roach & Sarah Hopkins - Atmosphere for Dreaming 7:52
05. Steve Roach & Sarah Hopkins - Darktime / The Initation 7:12
06. Sarah Hopkins - Origin 4:48
07. David Hudson - Spirits 3:19
08. David Hudson - The Hunter 3:02
09. Sarah Hopkins - Awakening Earth 14:10
10. David Hudson & Steve Roach - Land Sound / The Dreaming Place 5:14


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Some info on the psychedelic nature of nature

Ayuhuasca (PDF collection) (29mb)


Ayahuasca - Vine Of The Soul
Ayahuasca - Scientific Investigation
Ayahuasca Visions, by Shaman Pablo Amaringo
Plants of the Gods - Their Sacred Healing and Hallucinogenic Powers


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Feb 10, 2011

RhoDeo 1106 Goldy Rhox 13

Hello, well today's album contains a landmarktrack for me, as straight from the start it's ambivalent lyrics intrigued me, interestingly based on a poem a bandmember wrote when he was 12 too hmm, anyway coupled with an intriguiing synthesiser finish this track will never bore me, it's úberclassic rock. Is it happenstance that this is Goldy Rhox 13..well maybe.

Now i'm not as naive to post this kinda music for all to see and have deleted, these will be a black box posts, i'm sorry for those on limited bandwidth but for most of you a gamble will get you a quality rip don't like it, deleting is just 2 clicks...That said i will try to accomodate somewhat and produce some cryptic info on the artist and or album.


This band were, from the outset, a prototype of the 'rock supergroup' with the members coming from The Nice , King Crimson and Atomic Rooster. This, their debut album was simply self entitled and was released in 1970. It was mostly a collection of solo pieces, highlighting the virtuosity of each member of the band. It was the ballad "Lucky Man", which was based on a poem written at the age of 12 by a bandmember , that brought the band to prominence and a decade of successes.


Goldy Rhox 13 98mb


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Feb 9, 2011

RhoDeo 1106 Aetix

Hello, as mentioned last week i needed a new ext. HD well i bought one and now i'm filling the 2 T which goes tediously slow i might add, anyway the same night i had bought the HD my mobile went beserk started making pics and going thru whatever was on it. Obviously i shut it down, next night i started it up again as i was expecting a call, which came thru but when i wanted to make a call ..nada..shut it again.. supernada couldn't even enter my pincode anymore, exit my Samsung SGH-C260. So today I went out to buy a new prepaid mobile, thought i found a nice one, don't really need that much gizmo, the Sony Ericsson Spiro, luckily they didnt have a decent colour at hand i could pick ánother up friday. Well i won't because at home i read some disturbing reviews which really turned me off. At another shop i came across the Alcatel OT-802 and LG T300 one with a touchscreen the other with a keyboard both with functions i likely wont use that much, however i've had a ringtone standing by for years now and expect to have that installed soon. As my last mp3 player went dodo 2 years ago a new one is welcome, be it in the shape of a phone. Anyway advice is welcome but be quick i will buy something by the end of the week.

Today's Aetix is about one of those acts that harnessed the energy of punk, truly recognized the possibilities it opened up, and took music in exciting directions. The Pop Group used punk's back-to-basics ethos as a springboard for experimentation with funk, dub, and jazz, blending dance rhythms and rock in ways that continue to inspire artists. They also politicized rock with an intensity and urgency that put rebel poseurs like The Clash to shame. I decided to add a rare sampler were they figure aswell some other great bands that made up their musical peerage at the time..

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Emerging in the late-'70s post-punk era, this militant gang of leftist radical politicos from Bristol, England, specialized in a funk-driven cacophony of sound that was abrasive, strident, and ultimately very exciting. Railing against Margaret Thatcher's Tory government, the state of pop music, racism, sexism, etc., the Pop Group were not the easiest band of the early post-punk era to listen to, but those who made the effort were in for an interesting melange of primitive rhythms and avant-garde guitar racket.

Formed by Mark Stewart (lyrics, vocals), John Waddington (guitar), Gareth Sager (guitar), Simon Underwood (bass) and Bruce Smith (drums, percussion), they issued their debut single, "She is Beyond Good and Evil" on Radar Records in March 1979.Their debut album Y, was produced by Dennis Bovell to critical acclaim but low sales figures. Although it did not chart, the album's success was sufficient to convince Rough Trade to sign the band, but not before more line-up changes, with Dan Catsis replacing Underwood on bass.

Led by the squalling "vocals" of Mark Stewart (which were little more than chanted political slogans), the Pop Group were unabashedly and stridently radical to the point of being hectoring. But, unlike others of their ilk, the music was so challenging, joyfully noisy, and downright weird that it was easy to cut them a little slack.

The band's career with Rough Trade commenced with what is possibly their best-known single "We Are All Prostitutes", which featuring a guest appearance by free improviser Tristan Honsinger on cello. This was followed by the release of their second album, For How Much Longer Do We Tolerate Mass Murder? in 1980, which included a contribution from US proto-rappers The Last Poets. Shortly afterwards The Pop Group released a split single, "Where There's a Will...", with The Slits, a band with whom they now shared a drummer and managers (Christine Robertson and Dick O'Dell), as well as a growing interest in exploring musical genres such as dub and funk rhythms.

The band split in 1981, after legal wranglings and internal disagreements. Members of the group went on to form bands including Pigbag, Maximum Joy, Head and Rip Rig + Panic, the latter notable for the involvement of Neneh Cherry. Stewart collaborated with the On-U Sound posse, issuing records firstly as Mark Stewart and Maffia, then as a solo artist.

It was reported on 24 May 2010 that the Pop Group would be reuniting. Stewart announced the first two dates of a reunion tour. Three members of the original line up are part of the reunion with two gigs in London and two in Italy confirmed. The band issued a statement explaining the reunion, saying "There was a lot left undone,....we were so young and volatile....Let's face it, things are probably even more fucked now than they were in the early 80's.....and we are even more fucked off!" The Pop Group played live in Paris (for the very first time) on September 6th 2010, at La Machine Du Moulin Rouge venue, as part of "L'Etrange Festival" Film Festival, and as a kick off to their five dates tour through Europe. They are confirmed to play London on New Years Eve with Sonic Youth and Shellac. In a 2010 interview, Stewart said that the reformed Pop Group was recording a new album, to be titled The Alternate.

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Teaming up with legendary reggae producer Dennis Bovell the band recorded their debut album 'Y' which fused thick dubwise basslines with punky angular guitar work and dancefloor ready rhythms. This sound would slowly permeate the mainsteam and although 'Y' wasn't the commercial success it may have deserved to be it still got the band signed up to the legendary Rough Trade label who took them into bigger and brighter places. After playing "Y" you wonder how the group ever hoped to top it, they never did, but their second album was great as well but just not as good as "Y", few albums are, after all it's one of the most original and inspiring records ever made.The Pop Group's legacy is in the masses of young post punk artists polluting our air waves.



The Pop Group - Y (79 ^ 262mb)

01 She is beyond good and evil 3:23
02 Thief Of Fire 4:33
03 Snowgirl 3:21
04 Blood Money 2:54
05 Savage Sea 2:58
06 We Are Time 6:27
07 Words Disobey Me 3:23
08 Don't Call Me Pain 5:35
09 The Boys From Brazil 4:13
10 Don't Sell Your Dreams 6:35

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More funk-ridden than its predecessor (meaning more fluent and less fractured).How Much Longer is relatively calm in the first half but gets damn ugly/wonderful in the middle, these guys had a knack for throwing sound/noises/harmonies so that everything came crashing towards the listener.



The Pop Group - For How Much Longer Do We Tolerate Mass Murder (184mb)

01 Forces Of Oppression 2:33
02 Feed The Hungry 4:15
03 One Out Of Many 1:52
04 Blind Faith 4:03
05 How Much Longer 4:57
06 Justice 3:06
07 There Are No Spectators 4:13
08 Communicate 4:40
09 Rob A Bank 2:18

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Some of the tracks here have been blatantly overseen by the compilers of the 3 Disco No Disco compilations thusfar, ok those New Yorkers are prone to looking inward convinced as they are that they are the world. Big city of dreams (that's nightmares too btw) This compilation courtesy of Soul Jazz records has it's moments though i wonder where the souljazz comes in , to me just the knife slits water 12 ' mix by certain ratio alone is well worth the admission...



VA - In The Beginning There Was Rhythm  (flac 373mb)

01 A Certain Ratio - Shack Up 3:16
02 23 Skidoo - Coup 4:10
03 Gang Of Four - To Hell With Poverty 4:57
04 Human League, The - Being Boiled 3:50
05 The Slits - In The Beginning There Was Rhythm 5:35
06 This Heat - 24 Track Loop 5:57
07 Throbbing Gristle - 20 Jazz Funk Greats 2:44
08 The Pop Group - She Is Beyond Good And Evil 3:22
09 Cabaret Voltaire - Sluggin For Jesus 5:02
10 23 Skidoo - Vegas El Bandito 2:56
11 A Certain Ratio - Knife Slits Water 9:40

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Feb 8, 2011

RhoDeo 1106 Roots

Hello, today something completely different from Africa, Sounds of the Jungle, Plain & Bush, no humans involved apart from recording engineers. From a time before Animal Planet, National Geographic or Discovery, exposure to the natural world was limited, therefore making field recordings of wild animals something of interest. Listening to this album equates to spending a night in the jungle..you dont see animals but you hear plenty.. frightening...you get some "campire noise" aswell. I post here the liner notes which at times get rather carried away about the animal music almost funny..

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Current research among naturalists tends to break down any remaining class-distinction between animals and man; the more we know about the other creatures on our common planet, the sillier it seems to judge homo sapiens either as superior to all others, as the ancients dreamed, or as the lowest conceivable form of beast, as some of us might suspect today. It turns out that nearly everything we thought unique to our species - city-building, war-making, tool-using, the ability to employ logic - can be already found in some other animal's daily behavior. Even a cursory listening to this record will dispel the notion that we are the sole possessors of the concept of language: I am sure that at least some of these animals' speech is as articulate as ours - all we lack is an effective interpreter, a Rosetta stone that would let us in on their secrets.
But for me, as a composer and musician, the most fascinating aspect of these animal sounds is their musicality, their phrasing. There is never any unclarity or tentativeness in their statement, and that is enviable from any artist's standpoint. Children have this directness, but when we grow up we cloud our speech, befog our meaning, lose our animal voice. Half the struggle of any good singer, actor, instrumentalist, or composer is to find that voice again, to recreate with great care what seemingly comes naturally to the hippo or the leopard. Some of us almost succeed in this, and that is why we respond so strongly to a Bille Holiday, to a Mozart, to a Varese.
It should be unnecessary to say what follows, but I think I must. Listening to this recording in the relative safety and confinement of one's living room could lead all too easily to the waggish parlor-game of finding amusing parallels between, say, the cry of the hyena and the opening of Varese's Integrales, the trumpeting of the elephant and a fanfare in a Mahler symphony, the chattering of the vervet monkey and that of the strings in a Beethoven scherzo. There exist, already, recordings in which bird and animal "noises" have been electronically reprocessed to make little tunes; I need hardly mention the craze, a few years ago, for jungle sounds accompanied by filtered-in sentimental music. All this shows a lack of respect for the animals themselves, for the dangerous and blazing beauty they possess and we have so often lost in our circumscribed lives. The African recording engineers have done so well to give us the voices of their wildlife as they are, where they are, in the forest, bush, hillside, and savannah of an enormous continent few of us have visited, and we are privileged for the gift. Listen carefully, and even some of the language-barrier between man and beast disappears; I find, for example, the passionate love-call of the "unbeautiful" rhinoceros as moving as anything in human music. (William Bolcom)



Animals of Africa, Sounds of the Jungle, Plain & Bush (73 71mb)


01. Leopard {1:08} on the hunt, snarling and grunting in annoyance at the chattering of the vervet monkey in the trees above. (This and the following track recorded at Aberdare National Park, Kenya.)

02. Vervet Monkey{3:05} warning its fellows of the leopard passing beneath.

03. Hyrax {2:42} small as a rabbit, but very noisy for its size; lives in nooks and crannies throughout the rockeir parts of eastern Africa. (Ngulia Hills, Tsavo-West National Park, Kenya.)

04. Rhinoceros {2:24} rarely heard except in its irate snorts and pounding hooves - so vivid to those who have been pursued by these animals. Here is its mating call and the female's far-off answer. (Amboseli National Park, Kenya/Tanzania.)

05. Zebra {1:49} a herd on the move in Serengeti.

06. Wildebeeste {2:09} also recorded in Serengeti, near Ngoro-Ngoro, which is famous for huge herds of this animal. The wildebeeste often migrate over the plains alongside the zebra herds.

06. Lion {2:51} at the edge of the forest, in the early evening. The lioness (who does most of the hunting for her family) has just made a kill. Her mate roars his approval from a distance and gradually makes his way to the feast. The lion is the first to eat; once satisfied, he retires to allow the lioness and the cubs to have their share. The sound of the cubs squabbling is probably unique to this recording. (This and the following four tracks recorded at Meru National Park, Kenya.)

07. Hyena {2:07} the first scavenger of the African bush to move in on the leavings once the lion family has had its fill. Its "cry" and "laugh" are both heard here.

08. Wild Dog {2:11}an extremely vicious species, known for cruelty to its own kind. Here they scare the hyena away from the lion family's leavings.

09. Silver-Backed Jackal {1:21} this timid little fellow appeared only when the more vicious animals had left; most of the food was gone, and we hear his comments.

10. Elephant {2:55} deeper in the forest a lone bull elephant tries to join a browsing herd. After a confrontation with the bull elephant in charge, he screams in agony and annoyance after being beaten back.

11. Hippopotamus {2:59} grunting and wallowing contentedly on the River Nile. (Murchison Falls National Park, Uganda.)

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