Apr 30, 2012

RhoDeo 1218 Spaced


Hello, hope you'll had a good weekend. As the soccer seasons in Europe come to a conclusion it's remarkable that most haven't been able to crown a champion yet, and at the other end numerous clubs still fight for survival with just a few games to play. It goes to show that things have evened out. That said the two competitions with the highest debts, UK and Spain find two clubs with the biggest 'credit' lonely at the top..mondaynight the two UK ones from Manchester will meet to decide who's got the biggest... millions will watch and dread the outcome hahaha

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A Brit Com focused on two twenty-something friends at crossroads in their lives. Tim (Simon Pegg) is a cynical aspiring comic book artist and geek who is dumped by his girlfriend in the first episode. Daisy (Jessica Stevenson) is a bubbly aspiring journalist who doesn't have anything to say nor the work ethic to say it. They pretend to be a couple in order to rent an inexpensive flat. The show focuses on their zany adventures as they struggle to get their lives on track. Tim's military-obsessed friend Mike, Daisy's ditzy glamour friend Twist, Mad Artist Brian in the flat below and dipsomaniac landlady Marsha complete the main cast. The show was written by its stars, Simon Pegg and Jessica Stevenson, and directed by Edgar Wright.

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After getting dumped by her boyfriend Richard, Daisy decides to cheer herself up by getting a dog. Having suffered a fear of dogs since childhood, Tim is not pleased by this. As Daisy bonds with an interesting little dog she calls Colin, Tim and Mike go paintballing, and encounter Tim's arch-nemesis, Duane Benzie, the man who stole Tim's girlfriend.....


Spaced 104 ( avi 191mb)

04 Battles 24:10

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earlier

Spaced 101 ( avi 191mb)

Spaced 102 ( avi 191mb)

Spaced 103 ( avi 201mb)

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Apr 29, 2012

Sundaze 1218


Hello, sadly the guys that formed the dark ambient duo , Coil, are no longer with us. Interestingly over the years they amassed a considerable cult following and today, Coil remains one of the most influential and best known industrial music groups

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Coil was formed in 1982 following Balance and Christopherson's departure from Psychic TV. Balance and Christopherson began working with John Gosling on the project Zos Kia, which resulted in four live performances and the 1984 cassette tape Transparent. Following Gosling's departure Balance and Christopherson teamed up with Boyd Rice, and under the alias Sickness of Snakes released the split album Nightmare Culture with the experimental group Current 93. While working on their first official release, 1984's 12" How to Destroy Angels, the group settled on the name Coil. According to the sleeve notes, the single track LP is "ritual music for the accumulation of male sexual energy" and was produced under a variety of technological, spiritual, and meteorological conditions which the band felt to be magickally significant.

Since its initial release How to Destroy Angels has been remixed by Nurse with Wound's Steven Stapleton and released on a full length CD. Following the underground hit How to Destroy Angels, Coil left L.A.Y.L.A.H. Antirecords for Some Bizzare and produced Scatology, released in 1984 as their first full length studio album. The album was largely based on the sound of industrial music as well as the Post-punk movement. The single Panic/Tainted Love became the first AIDS benefit music release.  The "Tainted Love" music video, directed by Peter Christopherson, is on permanent display at The Museum of Modern Art in New York.

Horse Rotorvator followed in 1986 as the next full length release. The album is characterized by slower tempos, and represented a new direction for the group, aswellas a darker theme than previous releases. After the release left Some Bizarre Records, due to the record company's debt of GB£10,000 to the group.Gold Is the Metal with the Broadest Shoulders followed as a full length release, marking the beginning of the label Threshold House. Love's Secret Domain ( LSD) followed in 1991, it represents a progression in their style and became a template for what would be representative of newer waves of post-industrial music, blended with their own style of acid house.

Coil separated their works into many side projects, publishing music under different names and a variety of styles. The pre-Coil aliases, Zos Kia and Sickness of Snakes, formed the foundation of a style that would evolve to characterize their initial wave of releases. Coil's wave of side projects represent a sort of primordial soup from which the group evolved a different style of sound. While Nasa Arab—credited to the group's project "The Eskaton"—was Coil's farewell to the acid house genre, the following projects, ELpH, Black Light District, and Time Machines, were all based heavily on experimentation with drone, an ingredient which would define Coil's following work. These releases also kicked off the start of Coil's new label Eskaton.

After the wave of experimental side projects, Coil's sound was completely redefined. Before releasing new material, the group released the compilations Unnatural History II, Windowpane & The Snow and Unnatural History III. In March 1998, Coil began to release a series of four singles which were timed to coincide with the equinox and solstices of that year. The singles are characterized by slow, drone-like instrumental rhythms, and electronic or orchestral instrumentation.

Astral Disaster was created with the assistance from new band member Thighpaulsandra and released in January 1999 via Sun Dial member Gary Ramon's label Prescription.[15] Although the album was initially limited to just 99 copies, it would later be re-released in substantially different form. Musick To Play In The Dark Vol. 1 followed in September 1999 and a few months later Coil performed their first concert in 16 years. Queens Of The Circulating Library followed in April 2000, with production credit given to Thighpaulsandra.

Coil's live incarnation has a distinct legacy of its own. The first live shows took place in 1983, but after only four performances, sixteen years would pass before they would play live again. Coil's performances were surrealistic visually and audibly. Balance, Christopherson, Thighpaulsandra and Ossian Brown were known to dress in fluffy suits; an idea inspired by Sun Ra. The suits would later be used as album covers for the release Live One; Live Two and Live Three .
Many Coil performances were released, including the widely available releases of Live Four, Live Three, Live Two, Live One and ...And The Ambulance Died In His Arms, as well as several very limited editions such as Selvaggina, Go Back Into The Woods and Megalithomania!.

Coil incorporated many exotic and rare instruments into their recordings and performances. The group expressed particular interest in modular synthesizers, including the Moog synthesizer.they are among the few artists who have been granted permission to use the one-of-a-kind experimental ANS photoelectronic synthesizer. Other instruments the group incorporated into their music included the theremin and electronic shakuhachi.

John Balance died on 13 November 2004 after having fallen from a second floor landing in his home. Peter Christopherson announced Balance's death on the Threshold House website and provided details surrounding the tragedy. Balance's memorial service was held near Bristol on November 23 and was attended by approximately 100 people.  Following Jhonn Balance's  death Peter Christopherson announced via their official record label website Threshold House that Coil as an entity had ceased to exist. The already-planned live album ...And The Ambulance Died In His Arms was released in April 2005, the name having been chosen by Balance before his death.

The final studio album, The Ape of Naples, saw release on 2 December 2005. In August 2006 the rare CD-R releases The Remote Viewer and Black Antlers were "sympathetically remastered" and expanded into two disc versions, which included new and recently remixed material. A comprehensive 16-DVD boxset, titled Colour Sound Oblivion was released in July 2010. A "Patron Edition" was pre-orderable in November 2009 and was sold out in three hours. Christopherson had also discussed the possibility of releasing Coil's entire back catalogue on a single Blu-ray disc. Unexpectedly, and six years after his Coil partner, Peter Christopherson died in his sleep on November 24, 2010 at the age of 55.

Coil's distribution and marketing techniques sometimes included releasing a limited number of albums making them collectors' items among devotees. Including things such as "art objects", blood stains and sigil-like autographs in the packaging of their albums, Coil claimed that this made their work more personal for true fans, turning their records into something akin to occult artifacts. This practice was markedly increased in the later half of Coil's career. However, Balance expressed interest in having regular Coil albums in every shop that wanted them. Some critics have accused Coil and its record company of price gouging. In 2003, Coil began re-releasing many rare works, mostly remixed.

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Moon's Milk (In Four Phases) is release by Coil that compiles four of their singles onto a double CD. The two disc album compiles the CD versions of Spring Equinox, Summer Solstice, Autumn Equinox and Winter Solstice (originally recorded throughout 1998, and released seasonally from March 1998 to January 1999). The album also has a live version of "Amethyst Deceivers" hidden at the end of the first disc, following several minutes of silence after "A Warning From The Sun (For Fritz)".  The release features artwork by Steven Stapleton.

At the time of release, a mail order edition was offered , comprising the standard 2CD set with the Moons Milk (In Four Phases) Bonus Disc, a CDr of extra material presented in sleeves that John Balance had individually hand-painted.


Coil - Moon's Milk (I,II.III) (flac 356mb)

First Phase: Spring Equinox
101 Moon's Milk Or Under An Unquiet Skull (Part One) 8:29
102 Moon's Milk Or Under An Unquiet Skull (Part Two) 8:09
Second Phase: Summer Solstice
203 Bee Stings 4:55
204 Glowworms/Waveforms 5:54
205 Summer Substructures 8:07
206 A Warning From The Sun (For Fritz) 16:33
Third Phase: Autumn Equinox
307  Regel 1:15
308 Rosa Decidua 4:53
309 Switches 4:43
310 The Auto-Asphyxiating Hierophant 5:55
311 Amethyst Deceivers 6:42

Coil - Moon's Milk (I,II.III) (ogg 157mb)

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The conclusion to the 1998 season series (actually released in January 1999) certainly lives up to the title billing, in that things do sound awfully cold and gloomy this time around. Opening track "A White Rainbow" does it brilliantly, though Balance's upfront, softly echoed vocal backed by viola from William Breeze and buried background chants result in an unstable, fascinating blend. Enough randomly crazed distortion comes in at the end to send everything just enough over the top. The holiday season is invoked with the final track, the traditional "Christmas Is Drawing Near," with Rose McDowell and Robert Lee making a return appearance in the series with an excellent, enveloping performance. The two tracks in between, "North" and "Magnetic North," mix a little more instrumental warmth in here and there, but still come across as attractively alien and distant, rising and falling drones and random melodies floating with Balance's electronically roughened delivery.

Coil - Moon's Milk (IV, Bonus disc) (flac 312mb)

Fourth Phase: Winter Solstice
412 A White Rainbow 8:52
413 North 3:46
414 Magnetic North 8:50
415 Christmas Is Now Drawing Near 3:26
Moon's Milk Bonus Disc
516 Copal 16:54
517 The Coppice Meat 10:49
518 U pel (Insense Offering) 12:40

Coil - Moon's Milk (IV, Bonus disc) (ogg

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Available only on dates of Coil's Even an Evil Fatigue tour in 2004, Black Antlers consists of early studio and live versions of songs that were being worked on for the next official studio album. Due to John Balance's accidental death, most of the tracks on Black Antlers would become final yet unpolished versions.  "The Gimp (Sometimes)," a ballad never quite comes together over its 11 minutes, failing to mesh the dark, ambient instrumentation with Balance's beautiful and haunting vocals. The second track, however, "Sex with Sun Ra (Part One: Saturnalia)" is a classic late-period Coil track. Balance intones a fictional tale of a conversation between himself and the free jazz legend over a pulsating backing track punctuated by bell tones and sparse industrial percussion. "Wraiths and Strays (From Montreal)" is the highlight of the album, a twisting, slithering, pulsating beast of a track that interleaves Thighpaulsandra's keyboards with Balance's cut-up vocals to hallucinatory effect. As the tempo of the piece increases, the percussion becomes more frenetic and varied, the background squiggles become more aggressive, and the song sounds like it is chasing the listener down a dark alley. While there are some excellent songs on this album, on the whole, Black Antlers doesn't make an appropriate introduction for the uninitiated. For the faithful though, this is a near-great effort from the sorely missed group of alchemists who called themselves Coil.


Coil - Black Antlers (flac 400mb)

01 The Gimp (Sometimes) 11:26
02 Sex With Sun Ra (Part One - Saturnalia) 9:22
03 The Wraiths And Strays Of Paris 8:44
04 All The Pretty Little Horses 4:45
05 Teenage Lightning (10th Birthday Version) 9:15
06 Black Antler's (Where's Your Child?) 7:10
07 Sex With Sun Ra (Part Two - Sigillaricia) 5:11
bonus
08 Departed 6:28
09 Things We Never Had 11:33

Coil - Black Antlers (ogg 181mb)

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elsewhere

Coil - Love's Secret Domain (90 * 98mb)

Coil - Musick To Play In The Dark Vol. 1  ( 143mb)
Coil - The Remote Viewer   ( 163mb)
Coil - The Ape Of Naples ( * 146mb)

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Apr 28, 2012

RhoDeo 1217 Beats


Hello, last year i got my hands on Arkives: 1993-2010, an overwhelming anthology of Richie Hawtin's Plastikman productions. Hawtin’s status as one of the most innovative and iconic producers of electronic music had long been firmly established. It’s both a bold exclamation point and a (rather pricey) gift for his followers, who probably won’t mind all the duplicate material when so much non-album content has been wrangled and paired with a book that requires hours to be devoured in full.

As announced last week some more from the Plastkman Archives.Brace yourselves for two discs compiling Plastikman remixes of other artists,  and two discs filled with new remixes of Plastikman tracks (by the likes of Vince Clarke, Severed Heads, Moby, Carl Craig, and Green Velvet). It has become a rather extensive post sizewise, I had to up 2.3 gig in total, I believe that is a single posting record. Hope you like it...

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While original Detroit technocrats like Juan Atkins and Derrick May were changing the face of electronic music in the mid-'80s, Richie Hawtin was growing up across the river in Windsor, Ontario. A British native born in Banbury 1970, he moved to Canada with his family at the age of nine. Introduced to '70s electronic/minimalist pioneers Kraftwerk and Tangerine Dream by his father (who was a robotics engineer for General Motors), Hawtin began DJing at the age of 17 -- as DJ Richie Rich -- and soon landed gigs at Detroit hot-spots like the Shelter and the famed Music Institute, home to all-night club sessions by May and Kevin Saunderson.

Hawtin and +8's co-founder, John Acquaviva, began working together in 1989, originally to make a Derrick May megamix for use on the radio; they later emerged from Acquaviva's studio with several original recordings. The duo issued one single, "Elements of Tone" as the first release on +8 Records (credited to States of Mind), and sat back while many in the techno world puzzled over who was responsible. The label's later releases -- by Kenny Larkin, Jochem Paap (aka Speedy J) and Mark Gage (aka Vapourspace) in addition to various Hawtin/Acquaviva projects -- made the label famous for laboratory-precise techno based on slowly evolving and shifting acid lines. The aggressive sound matched the work of the label/artist collective Underground Resistance as the best techno to come out of Detroit in the early '90s.

His style formed by a fusion of the barest acid house and straitjacket-tight Detroit techno, Richie Hawtin became one of the most influential artists in the world of techno during the 1990s, even while sticking to out-of-date synth dinosaurs like the Roland TB-303 and TR-808. Hawtin combined lean percussion and equally spare acid lines into haunting techno anthems that kicked with more than enough power for the dancefloor while diverting headphone listeners as well. While even his early recordings were quite minimalistic, he streamlined the sound increasingly over the course of his recording career; from the early '90s to the end of the decade, Hawtin's material moved from the verge of the techno mainstream into a yawning abyss of dubbed-out echo-chamber isolationism, often jettisoning any semblance of a bass line or steady beat. Hawtin released material on his own +8 Records under several aliases -- some in tandem with co-founder John Acquaviva -- and made the label one of the best styled in Detroit techno of the 1990s. He earned his pedigrees from worldwide fans of techno for his best-known releases, as Plastikman (for NovaMute) and F.U.S.E. (for Warp/TVT).

The Plastikman project debuted in 1993 with two releases for +8: the seminal "Spastik" single and an album, Sheet One. Hawtin's first wide release, however, came with the alter-ego F.U.S.E. (short for Further Underground Subsonic Experiments). A more varied and melodic project than Plastikman (but not by much), F.U.S.E. released the album Dimension Intrusion for the British Warp Records in late 1993. As part of the label's Artificial Intelligence series, Dimension Intrusion was also licensed to Wax Trax!/TVT for release in America. (Hawtin joined such ambient-techno heroes as the Aphex Twin, Black Dog, Autechre and B12, all receiving their wide-issue debuts.) Later, NovaMute signed an agreement with +8 and another Hawtin-founded label, Probe; Sheet One was reissued in 1994, followed by the second Plastikman LP, Musik. Much more restrained than Sheet One, the album fit in well with the growing ambient-techno movement. All told, Hawtin was responsible for the release of three albums and a good-sized EP in the span of just one year.

That impressive schedule was shattered in 1995, when Hawtin was entangled in a silly U.S.labor law that denied him access with his tools.Refused entrance for more than a year, he lost his inspirational grounding with the Detroit scene and found it difficult to continue recording for his third Plastikman album, Klinik. While he waited for re-entry, Hawtin spent time setting up the sub-label Definitive, and continued to DJ around the world. Though he recorded scattered singles for +8 and related imprints, his only full-length release that year was a killer entry in the Mixmag Live! series, taken from a DJ set recorded at the Building in Windsor. By the time he was able to return to America, he had changed his musical direction and eventually abandoned the Klinik album.

In early 1998, he released his third Plastikman LP, Consumed, which proved to be just as brutally shadowed as the Concept 1 material. The continued experimentalist direction showed Hawtin coming full circle, back to his position on the leading edge of intelligent techno. 99;s ,  Decks, EFX & 909, defacto the first in what has become his DE9 series, is the next step for Richie Hawtin after his Mixmag live album and the increasing minimalism of Consumed .Hawtin displays not only his talents as a mixer but also as a producer, using turntables, an effects processor, and a Roland pedal, plus a TR-909 drum machine for added beats.  In May 2000, Hawtin performed at the first Detroit Electronic Festival alongside Derrick May, Juan Atkins and other techno masterminds. More than 200,000 people attended from all over the world.

He spent part of 2002 and 2003 living in New York City, and has since moved to Berlin, Germany.. Hawtin collaborated with choreographer Enzo Cosimi to create a composition called "9.20" for the 2006 Winter Olympics opening ceremony. In 2007, Slices DVD magazine launched a series of biographies called "Pioneers of Electronic Music", with the first issue being a roughly 60 minute documentary dedicated to the life of Richie Hawtin. The film follows his career from his early days crossing the border to Detroit to his current life in Berlin, interviewing many colleagues and family members.

Hawtin has recorded music under the aliases Plastikman, F.U.S.E, Concept 1, Circuit Breaker, The Hard Brothers, Hard Trax, Jack Master, and UP!. He also recorded and performed, in combination with other artists, under group names such as 0733, Cybersonik, Final Exposure, Spawn and States Of Mind.

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Plastikman - Rekonstruktions I   (flac 411mb)

01 La Funk Mob – Motorbass Get Funked Up (Elektrophunk Remix) 6:48
02 Attica Blues – Blueprint (Slakked Plastik Remix) 8:51
03 Bomb The Bass – One To One Religion (Space Funk Remix) 8:13
04 Mickey Hart And Zakir Hussain – Umayeyo (Slakked Plastik Remix) 6:35
05 Blood Sucker – Markiv (Plastikman's Rejected Mix) 6:21
06 Talvin Singh – Vikram The Vampire (South Of Detroid Mix) 9:48
07 Depeche Mode – Painkiller (Plastikman Mix) 8:40
08 Robotman – Hypnofreek (Plastikman Unreleased Remix) 6:18
09 Kalisto – JAK Rabbit (Plastikman's Acid House Remix) 9:23

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Plastikman - Rekonstruktions II   ( flac 416mb)

01 New Order - Blue Monday (Plastikman Remix) 8:02
02 Winx - Don't Laugh (Richie Hawtin Remix) 12:15
03 X-Press 2 - Rock 2 House (Plastikman's Acid House Remix) 10:23
04 Heartthrob - Baby Kate (Plastikman Remix) 8:00
05 Hardfloor - Into The Nature (Plastikman Remix) 10:26
06 Robotman - Do Da Doo (Plastikman's Acid House Remix) 11:59
07 System 7 - Alpha Wave (Plastikman's Acid House Remix Edit) 13:11

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With the Replikant remixes I wanted to invite a number of artists to take the DNA of the Plastikman sound (loops, samples, melodies, etc) and re-interpret it in their own unique and individual style. Each of the remixers were picked fore a specific reason or connection to the Plastikman project. Some were artists I was listening to pre-Plastikman (some even before I ever thought about making music), while others are individuals who were inspired by Plastikman and the twists and turns that the Plastikman sound has taken over the years. I trust that by sharing my thoughts on a selection of these artists, it offers another level of insight into the many facets of the Plastikman story.


Plastikman - Replikants I  ( flac 421mb)

01 Ask Yourself (Cliff Martinez Remix) 6:13
02 Disconnect (Alva Noto Remodel) 6:24
03 Sheets 'N' Blankets (Crazy Sheet Soul Center Variation) 9:22
04 Are Friends Electrik? (Convertible Remix) 6:29
05 I Don't Know (Carter Tutti Remix) 6:54
06 Pakard (Flood's See You On The Other Side Remix) 9:09
07 Akoustik (F.K. Remix) 9:03
08 Mind In Rewind (Carl Craig Prog 47 Remix) 11:05
09 I Don't Know (Kazuya Nagaya Remix) 13:46
 
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Plastikman - Replikants II ( flac 430mb)

01 Plasticity (Dubfire Remix) 9:46
02 Krakpot (Moby Remix) 8:35
03 Mind In Rewind (Steve Bicknell Lost Remix) 5:51
04 Gak (Gaiser's Oozing Through Windsor Tunnel Remix) 7:12
05 Mind Encode (Severed Heads Remix) 3:53
06 Ping Pong (Ambivalent's Consumed By Pong's Remix) 6:59
07 Oedipus Komplex (Heartthrob Rework) 7:00
08 Helikopter (Green Velvet Remix) 7:26
09 Ask Yourself (MK Remix Hawtin Edit) 4:36
10 Elektrostatik (Vince Clarke Remix) 4:41
11 Mind In Rewind (Berg Nixon Remix) 5:18
12 Prototype (Peter Namlook Re-Interpretation) 3:10

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elsewhere (Rhotation 34,46,50)

Plastikman - Consumed ( 98 ^ 153mb)

Richie Hawtin - Decks, EFX & 909  ( 99 ^151mb)

Sven Väth & Richie Hawtin - The Sound Of The Third Season (02 ^153mb)

FUSE - Dimension Intrusion  ( 93 ^ 166mb)

Plastikman - Musik  (94 ^164mb)

Richie Hawtin - DE9 | Transitions ( 05 ^162mb)

Plastikman - Recycled Plastik (93/94 ^ 99)

Plastikman - Sheet One  (93 ^ 145mb)

Apr 26, 2012

RhoDeo 1217 Goldy Rhox 69


Hello, today the 69th post of GoldyRhox, classic pop rock. In the darklight a UK artist that initially had a hard time selling his first album, in the end it became so successful that it has overshadowed his whole career.  An English multi-instrumentalist musician and composer, working a style that blends progressive rock, folk, ethnic or world music, classical music, electronic music, New Age, and more recently, dance. His music is often elaborate and complex in nature. He is best known for his hit album Tubular Bells, and for his 1983 hit single "Moonlight Shadow". He is also well known for his hit rendition of the Christmas piece, "In Dulci Jubilo".

Note ! Meantime i have re-upped 20 dropped putlocker links you might have come across- a dreadful host, check todays comments for a complete and direct listing.

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Most of the albums i 'll post made many millions for the music industry and a lot of what i intend to post still gets repackaged and remastered decades later, squeezing the last drop of profit out of bands that for the most part have ceased to exist long ago, although sometimes they get lured out of the mothballs to do a big bucks gig or tour. 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 accommodate somewhat and produce some cryptic info on the artist and or album.

Todays mystery album was released on October 21, 1975. As with his previous two releases, this is another two-movement work. The artist sought out the ancient Celtic influence on English music and composed for traditional instruments such as uilleann pipes on the original LP version. A set of Northumbrian smallpipes were also recorded, and credited to "Herbie", but this recording was not used on the album. It involved musicians noted for their work in folk music including Clodagh Simonds and Paddy Moloney. The artist combined this with heavy African influences, mainly by the use of the drummers of Jabula. This makes this album one of the first successful world music albums in Europe. Another plus is Oldfield's use of a choir, giving the album a soft, humanistic feel when contrasted against the keyboards or synthesizer. The album was recorded at the artist's home, The Beacon, and was the only album to be recorded there. A quadrophonic remix version of it was released on Boxed a year later. Excerpts from it were featured in the 1979 NASA film, The Space Movie. The remixed album here was reissued by Mercury Records in June 2010 with additional content.


Goldy Rhox 69   (flac 292mb)

Goldy Rhox 69  ( ogg 126mb)


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Apr 25, 2012

RhoDeo 1217 Aetix


Hello, Aetix again, coming up a somewhat more esoteric take on the eighties , Cocteau Twins were picked up by 4AD quickly, their sound, specially Elizabeth Frasers voice must have rung some big chimes in Ivo Watts (4AD) head. The band finally did end in tears as the meanwhile parenting couple finally split in 1997...Well  they left us with plenty to muse about..considering last weeks considerable interest, here's some of their Aetix albums

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Robin Guthrie and Will Heggie (bass guitar), both from Grangemouth, Scotland, formed the band in 1979. At a local disco, they met Elizabeth Fraser, who would eventually provide vocals. The band's influences at the time included Joy Division, The Birthday Party, Sex Pistols, Kate Bush, and Siouxsie and the Banshees. The band was named after the song "The Cocteau Twins" by fellow Scotsmen 'Johnny and the Self-Abusers' (Simple Minds). Their debut recording, Garlands (released by 4AD Records in 1982), was an instant success, as was the subsequent Lullabies EP.

Will Heggie left the group after the tour that followed the 1983 release of the band's second EP, Peppermint Pig. He subsequently joined Lowlife. The band's sound on its first three recordings relied on the combination of Heggie's rhythmic basslines, Guthrie's minimalist guitar, and Fraser's voice; the Cocteau Twins' next full-length LP, Head over Heels, relied solely on the latter two. This led to the growth of the band's characteristic sound: Fraser's voice, by turns ethereal and earthy, combined with Guthrie's effects-heavy guitars. Like its very dissimilar predecessor, Head over Heels was well-received by the public and press.

In 1983, the band participated in 4AD's This Mortal Coil project (this spawned "Song to the Siren" performed by Guthrie and Fraser), and during their work for that, they got to know Simon Raymonde, who joined the group later that year as bass player. With Raymonde, the band released a series of critically acclaimed albums and EPs that explored their new style.  Naming Treasure (1984), Tiny Dynamine and Echoes in a Shallow Bay (1985), and Love's Easy Tears (1986). Raymonde, who was called in to work on the second album by This Mortal Coil, did not participate in the recording of the fourth Cocteau Twins LP, Victorialand (1986), a predominantly acoustic record which featured only Guthrie and Fraser. Raymonde returned to the group for The Moon and the Melodies (1986), a collaboration with ambient composer Harold Budd, which was not released under the Cocteau Twins name.

While remaining a 4AD band internationally, the Cocteau Twins finally signed a major-label contract with Capitol Records in 1988 for distribution in the US, and released their fifth proper LP, Blue Bell Knoll, in October of that year. The style the group had begun exploring with Head over Heels reached its peak on Heaven or Las Vegas, released in late 1990. The most commercially successful of their many recordings, the album rose to the higher reaches of the UK charts immediately after its release. However, despite the success of the record and the subsequent concert tours, not everything was well with the band. They parted ways with 4AD following Heaven or Las Vegas partly because of conflicts with the label's founder Ivo Watts-Russell, and were close to breaking up over internal problems due in large part to Guthrie's addiction to drugs and alcohol.

From 1990 noted Japanese guitarist Mitsuo Tate joined the band, as did English guitarist Ben Blakeman.

The band's seventh LP, Four-Calendar Café, was released in late 1993. It was a departure from the heavily-processed, complex and layered sounds of Blue Bell Knoll and Heaven or Las Vegas, featuring clearer and more minimalistic arrangements. This, along with the record's unusually comprehensible lyrics, led to mixed reviews for the album: The band themselves explained that it was a response to the turmoil that had engulfed them in the intervening years, with Guthrie entering rehab and quitting alcohol and drugs, and Fraser undergoing psychotherapy. The two had been in a long-term relationship, and by this time had a young daughter, Lucy-Belle, born in 1989.

Milk and Kisses (1996).saw the return of more heavily layered guitars, and Fraser began once again to obscure her lyrics, though not entirely. The band, augmented by an extra guitarist and a drummer, toured extensively to support the album and in live performances seemed to have found a cohesive freshness and power that had been lacking during their previous outing in 1993/94. A new song, "Touch Upon Touch", which debuted during the live shows and was recorded later in 1996, became the last Cocteau Twins song ever released.

In 1997, while recording what was to have been their ninth LP, the trio disbanded over irreconcilable differences in part related to the break-up of Guthrie and Fraser. While a number of songs were partially recorded and possibly completed, the band has stated that they will likely never be finished or released in any form. In 1999, Bella Union, the record label founded by Guthrie and Raymonde, released a double-CD Cocteau Twins compilation entitled BBC Sessions. The collection is a complete record of the band's appearances on UK radio programs from 1983 to 1996, with rare and unreleased material included.

Since March 2007, the band has started podcasts of exclusive material. On 6 October 2008 the Cocteau Twins accepted the Q Awards Inspiration Award. This was the first time they have publicly been seen together since the group broke up over 10 years earlier

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Treasure (1984) is the third album by the Cocteau Twins. With this album, the band settled on what would, from then on, be their primary lineup: vocalist Elizabeth Fraser, guitarist Robin Guthrie and bassist Simon Raymonde. The song "Ivo" is named after the album's record label 4AD founder Ivo Watts-Russell. This new line-up also coincided with the development of the ethereal sound associated with the Cocteau Twins' music. The opening two numbers of Treasure are simply flawless, starting with "Ivo," where gently strummed guitar and low bass support Fraser's singing; then suddenly added, astonishing chimes and steady percussion build up to a jaw-dropping Guthrie guitar solo. Topping that would be hard for anyone, but in "Lorelei," the Twins do it, with an introductory, breathtaking guitar surge leading into one of Fraser's best vocals, compelling in both its heavenly and earthly tones and rolls. Not a word may be understandable, but it isn't necessary, while the music, driven on by a pounding rhythm, is as perfect a justification of digital delay pedals and the like as can be found. As Treasure continues, the accomplished variety is what stands out the most, whether it be the gentle, futuristic-medieval pluckings, understated moody washes and Fraser whispers or the upbeat guitar lines. The concluding number ends the record on the peak with which it began. A mysterious mix of mock choir sounds, ambient echoes and noises, and Fraser's careful singing before finally exploding into one last heavenly wash of powerful sound. Treasure lives up to its title and then some as a thorough and complete triumph.


Cocteau Twins - Treasure ( flac 245mb)

01 Ivo 3:53
02 Lorelei 3:42
03 Beatrix 3:11
04 Persephone 4:24
05 Pandora (For Cindy) 5:31
06 Amelia 3:29
07 Aloysius 3:26
08 Cicely 3:27
09 Otterley 3:59
10 Donimo 6:11

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This was the first LP by the Twins to receive major-label distribution in the USA, as it was originally licensed by Capitol Records from 4AD for North American release. Much to longtime fans' surprise, the Twins in fact were much more content with Capitol than 4AD, hinting at their eventual full departure from that label. While Blue Bell Knoll has some striking moments that are pure Cocteaus at their best -- the opening title track is especially lovely with a keyboard loop leading into Fraser's ever-wonderful vocals, a light rhythm, and a great final Guthrie solo -- it's still the band's least noteworthy release since Garlands. The feeling throughout is of a group interested in dressing up older approaches that have served them well, but aren't as distinct; the quite-lush arrangements by Guthrie are fine but the songs are a touch more pedestrian. Blue Bell Knoll has enough initial steam, however, to ensure that there are reasons to listen, happily. "Athol-Brose" has the inspirational feel that the Twins can easily create. "Carolyn's Fingers," the clear album standout, is perhaps the strongest individual Cocteau song since "Aikea-Guinea," with Fraser singing against herself over a rough, hip-hop-inspired rhythm while Guthrie peels off a fantastic main guitar melody and Raymonde contributes some supple bass work. But the heartgripping intensity that defines the Twins at their best is lacking somewhat nevertheless it was also appraised as "everything that atmospheric music should be and usually isn't.


Cocteau Twins - Blue Bell Knoll (flac 234mb)

01 Blue Bell Knoll 3:25
02 Athol-Brose 2:59
03 Carolyn's Fingers 3:08
04 For Phoebe Still A Baby 3:16
05 The Itchy Glowbo Blow 3:20
06 Cico Buff 3:50
07 Suckling The Mender 3:35
08 Spooning Good Singing Gum 3:52
09 A Kissed Out Red Floatboat 4:10
10 Ella Megalast Burls Forever 3:38

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In terms of chart positions, Heaven Or Las Vegas is the most successful Cocteau Twins album, reaching number seven in the UK. The album is noteworthy for the musical evolution the band was showing at the time. The lyrics of vocalist Elizabeth Fraser are more intelligible; many of them concern her newborn daughter Lucy Belle. Guitarist Robin Guthrie was experiencing problems with drug addiction, and as a result of his decreased time in the studio, bassist Simon Raymonde's playing is more in the forefront. From the start, Heaven... is simply fantastic: on "Cherry-Coloured Funk," Guthrie's inimitable guitar work chimes leading a low-key but forceful rhythm, while Raymonde's grand bass work fleshes it out. Fraser simply captivates; her vocals are the clearest, most direct they've ever been, purring with energy and life. Many songs have longer openings and closings; rather than crashing fully into a song and then quickly ending, instead the trio carefully builds up and eases back. These songs are still quite focused, though, almost sounding like they were recorded live instead of being assembled in the studio. But the Twins don't completely turn their back on Knoll's sound; "Iceblink Luck," has the same lush feeling and a newfound energy -- the instrumental break is almost a rave-up! -- and everything pulses to a fine conclusion. There are many moments of sheer Cocteaus beauty and power, 4AD label president Ivo Watts-Russell proclaimed that this LP was one of the best releases ever on his label. No surprise then the album is also included in the 2008 edition of 1001 Albums You Must Hear Before You Die.


Cocteau Twins - Heaven Or Las Vegas (flac 269mb)

01 Cherry-Coloured Funk 3:13
02 Pitch The Baby 3:17
03 Iceblink Luck 3:18
04 Fifty-Fifty Clown 3:15
05 Heaven Or Las Vegas 4:57
06 I Wear Your Ring 3:40
07 Fotzepolitic 3:30
08 Wolf In The Breast 3:32
09 Road, River And Rail 3:21
10 Frou-Frou Foxes In Midsummer Fires 5:37

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elsewhere recently re-upped

Cocteau Twins - Garlands (257mb)

Cocteau Twins - Head Over Heels ( 254mb)

Cocteau Twins - BBC Sessions (378mb)

Cocteau Twins - BBC Sessions 2 (316mb)

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Apr 24, 2012

RhoDeo 1217 Roots


Hello,  we're still on that island with a huge place in the global music catalogue, Jamaica. A production hothouse and they say the Weed makes you slow and lazy-go figure. Without the ganja driven reggae music Jamaica would have remained a Caribbean backwater and dare i say would never have given us Bolt, the fastest man in the world.

Can't get enough of that dub music ?   In the mid-late seventies it wasn't just Bob Marley and The Wailers carrying the torch for reggae music in the west, there were other greats like Max Romeo and  volcal harmony acts like Culture, specially the soulful, gorgeously pure harmonies and tight, catchy songwriting of the Mighty Diamonds made their own splash...

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Max Romeo (born Maxwell Livingston Smith, 22 November 1947, left home at the age of 14 and worked on a sugar plantation outside Clarendon, cleaning out irrigation ditches, before winning a local talent competition when he was 18; prompting a move to the capital, Kingston, in order to achieve a successful musical career. In 1965 he joined up with Kenneth Knight and Lloyd Shakespeare in The Emotions. In 1966, the group had their first hit, with the Lack-produced, "(Buy You) A Rainbow". The Emotions went on to have several hit singles and by 1968, the singer, by this point known as Max Romeo, felt confident enough to launch a solo career.

Later on in 1968, Romeo wrote new lyrics for the rhythm track of Derrick Morgan's "Hold You Jack" and handed them over to Bunny Lee, leading the producer to Romeo to sing the lyrics he had written. The result, "Wet Dream" (1969), was an instant hit in Jamaica, although in the UK it was met with a BBC Radio (cringe) ban. Predictably, the ban only made it more popular and the single entered the UK Singles Chart, peaking at number 10 and ultimately spending almost six months in the chart, before featuring on his LP, A Dream (1969), which included several follow-up singles in a similar vein. A UK tour also met with Romeo being banned from performing at several venues, although many allowed him to play.

Early in the seventies saw Romeo release a series of politically charged singles, most advocating the democratic socialist People's National Party (PNP), which chose his song, "Let The Power Fall On I", as their campaign theme for the 1972 Jamaican general election. Romeo joined the PNP Musical Bandwagon, travelling around Jamaica, playing on the back of a truck. He worked with producer Lee "Scratch" Perry, producing the classic singles "Three Blind Mice", "I Chase the Devil". and  "Sipple Out Deh", and a remixed version of which entitled "War Ina Babylon", was another popular track in the UK, the first fruits of his deal with Island Records, and was followed by the classic album of the same name, after which the pair fell out.

Romeo moved to New York City in 1978, where he co-wrote (with Hair producer Michael Butler) the musical, Reggae, which he also starred in. In 1981 Keith Richards co-produced and played on Romeo's album, Holding Out My Love to You. The rest of his output during the decade went practically unnoticed, with Romeo finding work at a New York electronics store. He returned to Jamaica in 1990, and began touring and recording more regularly. He visited the UK again in 1992, recording the albums Far I Captain of My Ship and Our Rights with Jah Shaka. In 1995 he recorded Cross of the Gun with Tappa Zukie, and he joined up with UK rhythm section/production team Mafia & Fluxy in 1999 for the album Selassie I Forever. This last decade saw the release of several compilations.

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Though Max Romeo got his start singing smutty novelty tunes (his first big Jamaican hit was titled "Wet Dream"), he later turned to serious political and religious themes, and while he always had some trouble gaining the respect he deserved as a singer, the recordings he made in the mid-'70s at the Harry J Studio, at Randy's, and especially at Lee Perry's Black Ark are some of the most powerful of that period, when much timeless music was being made in those studios. This marvelous collection brings together some of the best singles of the period, most of them in tandem with their dub versions. Romeo's sweet tenor voice and effortless delivery belie the lyrical content of these songs, which is invariably dread, dread, dread. The pleasant melody and gently loping rhythm on the classic "Warning, Warning" will lull you into blissful complacency until the lyrics wake you up with a jolt: "And now you rich people, listen to me/Weep and wail over the miseries/That are coming/Coming upon you." The backing musicians are mostly variations on the Upsetters' lineup, and much of the production bears the unmistakable Lee Perry imprint (though all of it is credited to Romeo on the reissue). This is an essential from reggae's classic period.


Max Romeo - Open the Iron Gate 1973 - 1977 (flac 256mb)

01 Every Man Ought To Know 3:18
02 Revelation Time / Hammer And Sickle 5:06
03 No Peace 3:43
04 Tacko 2:49
05 Blood Of The Prophet Parts 1 & 2 6:24
06 Warning Warning / Version 7:42
07 A Quarter Pound Of I'cense 2:43
08 Three Blind Mice 2:54
09 Open The Iron Gate Parts 1 & 2 5:14
10 Valley Of Jehosaphat / Version 5:02
11 Fire Fe The Vatican 3:33
12 Melt Away (12" Version) 6:05

Max Romeo - Open the Iron Gate (ogg 108mb)

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Vocal trio the Mighty Diamonds were one of the most internationally popular reggae groups to emerge from the '70s roots era. More accessible than many other roots outfits, the Diamonds boasted soulful, gorgeously pure harmonies and tight, catchy songwriting, much of it from within the group itself. They were devout Rastafarians, but balanced their spiritual and political messages with sweet romantic material, which gave them a more universal appeal than militant groups like Culture or Black Uhuru. Regardless of whether they were singing love songs or protest anthems, the Mighty Diamonds brought a startling emotional commitment to their best material, and their debut album, Right Time, still stands as one of roots reggae's all-time classics.

The Mighty Diamonds were formed in 1969 in the Kingston ghetto of Trenchtown, also home to Bob Marley. From day one onward, their lineup consisted of founder and harmony singer Pat "Lloyd" Ferguson (aka Judge Diamond, the Judge), lead singer Donald Shaw (aka Tabby Diamond, the Prophet), and harmony singer Fitzroy Simpson (aka Bunny Diamond, the Jester). Their sweet sound and polished choreography were distinctly inspired by the Motown groups of the '60s. During the early '70s, they recorded for several producers, including Stranger Cole and Rupie Edwards, without much success. Finally, in 1973, they caught on at Byron Lee's Dynamic Sounds studio and notched their first hit with "Shame and Pride."

From there, the group moved on to Joseph "JoJo" Hoo Kim's Channel One imprint in 1975. They scored two quick hits with "Country Living" and "Hey Girl," and then had their biggest success yet with "Right Time." Signed to a major-label deal with Virgin, the Mighty Diamonds issued their first album, also titled Right Time, in 1976. It was an instant classic, tackling a multitude of social and spiritual issues with powerful yet graceful music, and spawned further hits in "I Need a Roof," "Have Mercy," and "Africa." Now stars in the U.K. as well as Jamaica, the group traveled to New Orleans to record their follow-up LP, Ice on Fire. Produced by Allen Toussaint, the album was an uneasy marriage of reggae and American R&B, and was received poorly by the group's roots-minded fans.

Retreating from crossover territory, the Mighty Diamonds returned to Channel One and cut several strong roots albums over the next few years: 1978's Stand Up for Your Judgement, 1979's Tell Me What's Wrong, and the most acclaimed of the bunch, 1979's Deeper Roots. In the early '80s, the group started working with producer Gussie Clarke, reworking old Studio One rhythm tracks into new songs on their 1981 album Changes. One of those new songs, "Pass the Kouchie" (or sometimes "Kutchie"), was a major hit in Jamaica, and in 1982 it was covered by the Musical Youth for the U.S. and U.K. smash "Pass the Dutchie" (substituting a type of cooking pot for the original's marijuana slang).

In the mid-'80s, the Diamonds began to incorporate the digital sounds of ragga into their music, on albums like 1985's Struggling and the Clarke-produced efforts The Real Enemy (1987) and Get Ready (1988). Additionally, several collections of the group's unreleased work for Channel One appeared during the decade. Their recording pace slowed a bit in the '90s, though they still came up with fine new albums like 1993's smooth, soul-oriented Paint It Red and 1994's harder-hitting Speak the Truth. The group also continued its extensive international touring schedule up into the new millennium, and kept up a steady string of appearances at the annual Reggae Sunsplash Festival.

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As Jamaica geared up for national elections that would bring the politically right-wing, free-market JLP to power after eight years of left-wing rule, 1979 was a pivotal year in the country's political history. The economy had been shattered by the oil crisis, and reduced to further tatters by the IMF. Violence erupted, and well over 800 Jamaicans were murdered before polling day finally decided the nation's fate in early 1980. It was in the midst of this turmoil that the Mighty Diamonds recorded Deeper Roots, an album that zapped the Zeitgeist of its time. The contemporary carnage is reflected in the haunting "One Brother Short," with its rumors of war and the disappearance of brethren into the grave. Poverty is omnipresent, even casting dark shadows over the band's walk down memory lane on "Two by Two," while oppression is eternal. "I can't stand no more," Donald "Tabby" Shaw laments on "4000 Years," a sentiment echoed on "Blackman," where he decries "Brothers and sisters we can take it no longer, so much pain, so much pain and misery." Yet Deeper Roots is not lost to despair, for the trio has a "Master Plan" for freedom and a lock on hope. Prayer plays an important part, as "Be Aware" eloquently explains, as does the need for unity, a theme the Diamonds return to again and again. "Reality" further elaborates on other changes needed, as well as providing a primer on righteous living. All of which culminates in "Dreadlocks Time," the trio's celebration of victory over the baldheads. The Diamonds' powerful and thoughtful lyrics continue to resonate, their melodies unforgettable and their harmonies flawless. But what made the album an instant classic was the Diamonds' overwhelming optimism, even while acknowledging the horrors around them. Twinned with Jo Jo Hookim's expert production and the Soul Syndicate's bright but edgy backings, this album is a stunner. One of the best sets from the roots age, with the CD reissue further enhanced by the inclusion of the set's dub companion, Deeper Dub.


Mighty Diamonds - Deeper Roots and Dub (flac 423mb)

01 Reality 3:15
02 Blackman 3:48
03 Dreadlocks Time 3:16
04 Diamonds And Pearls 3:01
05 One Brother Short 3:45
06 Bodyguard 3:31
07 4000 Years 3:30
08 Master Plan 4:01
09 Two By Two 3:35
10 Be Aware 2:49
11 Reality Dub 3:17
12 Blackman Dub 3:42
13 Dreadlocks Time Dub 3:09
14 Diamonds And Pearls Dub 3:01
15 One Brother Short Dub 3:06
16 Bodyguard Dub 3:30
17 4000 Years Dub 3:33
18 Master Plan Dub 4:01
19 Two By Two Dub 3:04
20 Be Aware Dub 2:55

Mighty Diamonds - Deeper Roots & Dub (ogg 160mb)

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Joseph Hill had been trying his hand at a solo career for some time before forming Culture. .He recorded several solo numbers during his stay at Coxone studios in 71, including "Behold the Land" and "Take Me Girl," but nothing came of them. Hill floated through several bands prior to forming Culture in 1976. His cousin Albert Walker came to him with the idea of forming a vocal group, and the two quickly recruited another cousin, Roy "Kenneth" Dayes, to sing harmony vocals along with Walker. Initially calling themselves the African Disciples, the trio hooked up with producer Joe Gibbs in Kingston, and soon changed their name to Culture.

Overseen by Gibbs and engineer Errol Thompson, aka the Mighty Two, they debuted with the single "This Time" on Gibbs' Belmont label. Not long after, they broke through with several hit singles, including "See Them a Come" and "Two Sevens Clash." The latter was a Rastafarian vision of the rapidly approaching apocalypse, which fueled public paranoia in an already violent election year; it also provided the title track of the group's debut album, which was released in 1977 to tremendous acclaim. Two Sevens Clash was a spiritual manifesto against racial injustice and poverty. It won a huge following not only in Jamaica, but also the U.K.

After their success with Gibbs, the group went on to make a string of albums for producer Sonia Pottinger. Culture began working with some of the premier musicians of the day including Robbie Shakespeare, Sly Dunbar, Ansel Collins, Cedric Brooks and the ever-present percussionist Sticky. Virgin Records picked up the albums, and that added distribution enabled Culture to gain an even larger following outside of Jamaica. In 1982 the three singers went their own ways. Joseph Hill carried on using the Culture name, and recorded the ‘Lion Rock’ album, which was released in the United States by Heartbeat Records. In 1986 the original line-up reformed to record two highly regarded albums – ‘Culture in Culture’ and ‘Culture at Work’. They resumed touring as well, and kicked off another prolific and productive period with albums like 1988's Nuff Crisis (which featured the powerful protest "Crack in New York"), 1989's Good Things, 1991's dancehall-flavored Three Sides to My Story, and 1992's Wings of a Dove.

In 1993, Kenneth Dayes left the group to pursue a solo career, wanting to continue their earlier experimentation with dancehall. Culture was then touring with an independent backing band called Dub Mystic, and that group's lead singer, Malomo, became the third vocalist in the trio. He appeared on two studio albums, 1996's One Stone and 1997's Trust Me. Malomo was replaced in 1999 by Telford Nelson, who made his debut on 2000's Payday. Hill released another effective solo album, Humble African, in 2001, and Culture returned in 2003 with the acclaimed World Peace. On August 19, 2006, during a show in Berlin, Germany, Hill collapsed on-stage and passed away.
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Culture has always been a bit unique, dominated by the mystical and strangely charismatic lead singer and songwriter Joseph Hill, Culture has always dealt in simple and yet absurdly catchy melodies, astringent harmonies and lyrics of the very dreadest character -- very few love songs, very few party songs, just lots and lots of dire warnings issued to Babylon and its fellow travellers. Although the band is most commonly praised for its work with producer Joe Gibbs (most notably the stone classic Two Sevens Clash album), many the tracks Culture recorded under the supervision of Sonia Pottinger are every bit as good, and Cumbolo includes ten of the best of those. Just about every song here counts as a highlight, the backup is provided by a shifting contingent of Jamaica's studio aristocracy that includes Sly & Robbie, Ansel Collins, and "Deadly" Headley Bennett, among other luminaries.


Culture - Cumbolo (flac 280mb)

01 They Never Love In This Time 4:23
02 Innocent Blood 5:37
03 Cumbolo 3:52
04 Poor Jah People 5:40
05 Natty Never Get Weary 3:52
06 Natty Dread Nah Run 3:51
07 Down In Jamaica 4:04
08 This Train 4:48
09 Pay Day 4:15
10 Mind Who You Beg For Help 5:03

Culture - Cumbolo (ogg 114mb)

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elsewhere

Max Romeo & The Upsetters – War Ina Babylon (flac 200mb)

Culture - Two Sevens Clash ( 77 ^ 142mb)


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Apr 23, 2012

RhoDeo 1217 Spaced 3


Hello, hope you'll had a good weekend. Fascinating Bahreini F1 Grand Prix this afternoon,  Vettel once more showing what a great driver he is, leaving Hamilton in his wake from the start and keeping Raikonen at bay with relative inferior tyres, he may not be the most exiting driver but he's relentless and clinical as a racedriver should be in my opinion. Anyway I noticed 19 dead Zharelinks earlier so i reuploaded these, check my first postings (week 8-12) in 2006 some nice goodies there.

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A Brit Com focused on two twenty-something friends at crossroads in their lives. Tim (Simon Pegg) is a cynical aspiring comic book artist and geek who is dumped by his girlfriend in the first episode. Daisy (Jessica Stevenson) is a bubbly aspiring journalist who doesn't have anything to say nor the work ethic to say it. They pretend to be a couple in order to rent an inexpensive flat. The show focuses on their zany adventures as they struggle to get their lives on track. Tim's military-obsessed friend Mike, Daisy's ditzy glamour friend Twist, Mad Artist Brian in the flat below and dipsomaniac landlady Marsha complete the main cast. The show was written by its stars, Simon Pegg and Jessica Stevenson, and directed by Edgar Wright.

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After accepting some cheap speed from some violently friendly Scottish blokes, Tim has spent all night fighting zombies (or, more accurately, hallucinating while playing Resident Evil 2) and Mike has somehow managed to get to Sheffield on the Tube. Daisy has a job interview at a classy women's magazine ("Flaps") and Brian has an invitation to a new art show by Vulva (David Walliams), his former partner and non-gender-specific-ex-chaste-heterosexual-lover. This causes much angst and feelings of inferiority all around.

Spaced 103 ( avi 201mb)

03 Art 25:33

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earlier

Spaced 102 ( avi 191mb)

Spaced 101 ( avi 191mb)

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Apr 22, 2012

Sundaze 1217


Hello, well Google changed the editing of blogspot, can't say it's better in fact i can't upload pics now with my regular browser, Opera. I'm forced to use Chrome-go figure- and size shrunk aswell, not to mention editing old posts. Haven't seen any benefits thusfar.

Ready for some more fuzzy heart logic ? .Matthew Cooper (Eluvium) spent many a night holed up in his house transforming the vibrations in his heart and brain into sweeping walls of elegant noise. With a depth ranging from fragile to glacial, he takes dense layers of guitars and pianos and builds them into an awe-inspiring fortress around himself.

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Eluvium is the moniker of ambient recording artist Matthew Cooper, who currently resides in Portland, Oregon. Cooper, who was born in Tennessee and raised in Louisville, Kentucky before relocating to the Northwest, is known for blending various genres of experimental music including shoegaze, electronic, minimalism and piano. His albums often feature artwork and photographs by Jeannie Paske.

His ambient washes and symphonic guitar pieces would feel equally at home on a Brian Eno record or a Fennesz recording. His debut release, Lambent Material, was released on the Temporary Residence imprint in 2003. Cooper recorded five full-lengths for the label over the next three years (An Accidental Memory in the Case of Death, Talk Amongst the Trees, Travels in Constants, and Copia) before taking a short break and returning with Similes and The Motion Makes Me Last EP in 2010.

In April 2008 it was announced that Cooper would release a "solo album" under the name Matthew Robert Cooper. Writing on the Temporary Residence message boards Cooper explained the change "this is not far from something "eluvium" would release—but since i began writing them—i felt that they were somehow disconnected from eluvium—perhaps a different personality took shape—thus, the use of a different name. Miniatures was slated for a Summer 2008 limited vinyl release.

Cooper has also teamed up with Charles Buckingham, with whom he has worked on the ambient video project titled Window Exchange, to produce the "unedited improvised basement minidisc recordings" of 'Concert Silence'. In the Fall of 2007, Concert Silence made 09.22.07 [2-3pm], a 51-minute, six part instrumental piece. Cooper has scored fellow Portlander Matt McCormick's feature film debut "Some Days Are Better Than Others".

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Travels in Constants Vol. 20 is Matthew Cooper's contribution to the mail order only Travels in Constants series from label Temporary Residence Limited. Other artists in the series include By Water, Bonnevill, Tarentel, Drona Parva, Papa M, Sonna, Bonnie 'Prince' Billy, Paul Newman, Low, Cerberus Shoal, Rumah Sakit, Mogwai, Appendix Out, Songs:Ohia, Sybarite, At Right Angles, Kilowatthours, Colophon, The Drift and Explosions in the Sky.

The entry for evening is reproduced in the album's sparse liner notes:

To see stars shining out clear, denotes present distress, but brighter fortune is behind your trouble.


Eluvium - Travels In Constants Vol. 20 (flac 144mb)

1 Behind Your Trouble 33:19

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In the last episode, we found Matthew Cooper (aka Eluvium) lost among an ethereal sea of epic feedback guitar washes in Talk Amongst the Trees; he seemed to be going full steam ahead and delivering one of the best ambient albums of 2005. With this four-track EP, When I Live by the Garden and the Sea, Eluvium revisits elements that made his first three records so potent and original. With the EP's opener, "I Will Not Forget That I Have Forgotten," the piano suites of his second album, An Accidental Memory in the Case of Death, come crashing back and hit the distorted guitars of Talk Amongst the Trees head on in an epic, emotional, six-minute composition. This wave of sound gently crashes and we're left with the Tom Hanks sample in the beginning of "As I Drift Off," setting a very disturbing tone for layers of guitar noise and melodic swells that wouldn't be out of place on his debut album. And even though he exorcises these musical demons once and for all, it's still as fresh and engaging as anything put forth in the post-rock world, circa 2006. When I Live by the Garden and the Sea is the end of one chapter in Cooper's breathtaking career, and hopefully the start of another one equally as engaging, intense, and emotive.


Eluvium - When I Live By The Garden And The Sea (EP) (flac 101mb)

1 I Will Not Forget That I Have Forgotten 5:20
2 As I Drift Off 3:47
3 All The Sails 5:45
4 When I Live By The Garden And The Sea 7:32

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Eluvium musically moves off in a dramatic new direction on Copia, his fourth album. Having already eschewed guitars, Cooper now leaves behind the heavily electronic feel of his previous set, Talk Amongst the Trees, plumping instead for an orchestral sound and majestic air that permeate this entire set. "Amreik" opens the album like the dawn, a gloriously symphonic piece lit by brass, which delicately colors the brightening sky until the sun bursts over the horizon. The next two tracks, although separate pieces, seem like continuations of the first, both filled with introspective atmospheres and stately qualities. All three are mesmerizing in effect, as moods shimmer and gently shift, and the symphonic music sweeps across the grooves and washes over the listener. The haunting piano piece "Prelude for Time Feelers" finally breaks the spell, along with its brighter companion "Radio Ballet," a classical piece that indeed conjures up barre exercises. This pair is broken up by "Requiem on Frankfort Ave.," a subtle and sublime work that itself is an exercise in coalescing atmospheres. After the brief experimental "(Intermission)," the gliding strings enter in force for "After Nature," with attention now shifting back to the piano for the opening of "Reciting the Airships," a moody, almost yearning piece filled with swelling strings and synth. On "Ostinato" they billow out in cathedral-like cadences, only to disappear into the pouring rain of "Hymn #1." The album ends with the regal "Repose in Blue," with a blaze of fireworks announcing the ascension of a new ruler or perhaps another glorious dawn, thus bringing the set full circle. A magnificent set, awash in textures, atmospheres, moods, and emotion.


Eluvium – Copia (flac 217mb)

01 Amreik 3:18
02 Indoor Swimming At The Space Station 10:29
03 Seeing You Off The Edges 5:03
04 Prelude For Time Feelers 5:48
05 Requiem On Frankfort Ave. 2:41
06 Radio Ballet 3:12
07 (Intermission) 0:50
08 After Nature 1:51
09 Reciting The Airships 4:35
10 Ostinato 6:08
11 Hymn #1 1:31
12 Repose In Blue 9:18

Eluvium – Copia (ogg 116mb)

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Packaged in a custom wallet with insert and hand-mounted color cover. Edition of 200 numbered copies. An "homage to static and white noise" reads the description, and it truly fits the EP well. It is a neat concept, that is executed surprisingly well, as there is quite a bit more here than static.

 It's actually difficult to peg what "Static Nocturne" really is. At fifty minutes, the EP is composed of only one song, the title track. Needless to say, "Static Nocturne" is huge, and at times, rather oppressive. Yet the song isn't overwhelming, not in the least, but rather incredibly relaxing. After all, Eluvium has always had a soft spot for ambiance, and this track is without a doubt his most ambient. It's rather slow, which helps bolster the atmosphere and feeling of the song. And slow is not to be taken as meandering, but instead, a purposeful pace at which the song moves towards its goal. That is because everything that "Static Nocturne" is, plays right into the atmosphere, which is far and away its greatest asset. At times, "Static Nocturne" can be gorgeous, uplifting, and absolutely stunning. For being so incredibly minimalistic, Eluvium really does an outstanding job at creating such a dense, yet airy feeling. The product is one of the most soothing recordings in years, as the static that inundates the song sounds as if it comes from the ocean rather than a television. Beautiful and calm, but quite simplistic, as there really isn't much to "Static Nocturne."


Eluvium – Static Nocturne (flac 310mb)

1 Static Nocturne 50:08

Eluvium – Static Nocturne (ogg 111mb)

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Apr 21, 2012

RhoDeo 1216 Beats


Hello, last year i got my hands on Arkives: 1993-2010, an overwhelming anthology of Richie Hawtin's Plastikman productions. In addition to a six-piece vinyl set featuring a dozen remixes, there was a 249-track digital download, as well as this heavy object, which holds 15 CDs, one DVD, and an elaborate 100-page hardcover book. On the CDs: the six Plastikman full-lengths (all remarkable or classic), two discs compiling Plastikman remixes of other artists (from La Funk Mob to Heartthrob), two discs filled with new remixes of Plastikman tracks (by the likes of Vince Clarke, Severed Heads, Moby, Carl Craig, and Green Velvet), a 69-minute Arkive mix, and four discs collecting additional previously released and unreleased content. When Arkives was released, Hawtin’s status as one of the most innovative and iconic producers of electronic music had long been firmly established. It’s both a bold exclamation point and a (rather pricey) gift for his followers, who probably won’t mind all the duplicate material when so much non-album content has been wrangled and paired with a book that requires hours to be devoured in full.

Well today and next week some of those goodies will be posted here. As you can deduce from the links posted at the bottom i'm a bit of a fan of Hawtin's work. How time flies.. all are over 3.5 years old, and live.

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While original Detroit technocrats like Juan Atkins and Derrick May were changing the face of electronic music in the mid-'80s, Richie Hawtin was growing up across the river in Windsor, Ontario. A British native born in Banbury 1970, he moved to Canada with his family at the age of nine. Introduced to '70s electronic/minimalist pioneers Kraftwerk and Tangerine Dream by his father (who was a robotics engineer for General Motors), Hawtin began DJing at the age of 17 -- as DJ Richie Rich -- and soon landed gigs at Detroit hot-spots like the Shelter and the famed Music Institute, home to all-night club sessions by May and Kevin Saunderson.

Hawtin and +8's co-founder, John Acquaviva, began working together in 1989, originally to make a Derrick May megamix for use on the radio; they later emerged from Acquaviva's studio with several original recordings. The duo issued one single, "Elements of Tone" as the first release on +8 Records (credited to States of Mind), and sat back while many in the techno world puzzled over who was responsible. The label's later releases -- by Kenny Larkin, Jochem Paap (aka Speedy J) and Mark Gage (aka Vapourspace) in addition to various Hawtin/Acquaviva projects -- made the label famous for laboratory-precise techno based on slowly evolving and shifting acid lines. The aggressive sound matched the work of the label/artist collective Underground Resistance as the best techno to come out of Detroit in the early '90s.

His style formed by a fusion of the barest acid house and straitjacket-tight Detroit techno, Richie Hawtin became one of the most influential artists in the world of techno during the 1990s, even while sticking to out-of-date synth dinosaurs like the Roland TB-303 and TR-808. Hawtin combined lean percussion and equally spare acid lines into haunting techno anthems that kicked with more than enough power for the dancefloor while diverting headphone listeners as well. While even his early recordings were quite minimalistic, he streamlined the sound increasingly over the course of his recording career; from the early '90s to the end of the decade, Hawtin's material moved from the verge of the techno mainstream into a yawning abyss of dubbed-out echo-chamber isolationism, often jettisoning any semblance of a bass line or steady beat. Hawtin released material on his own +8 Records under several aliases -- some in tandem with co-founder John Acquaviva -- and made the label one of the best styled in Detroit techno of the 1990s. He earned his pedigrees from worldwide fans of techno for his best-known releases, as Plastikman (for NovaMute) and F.U.S.E. (for Warp/TVT).

The Plastikman project debuted in 1993 with two releases for +8: the seminal "Spastik" single and an album, Sheet One. Hawtin's first wide release, however, came with the alter-ego F.U.S.E. (short for Further Underground Subsonic Experiments). A more varied and melodic project than Plastikman (but not by much), F.U.S.E. released the album Dimension Intrusion for the British Warp Records in late 1993. As part of the label's Artificial Intelligence series, Dimension Intrusion was also licensed to Wax Trax!/TVT for release in America. (Hawtin joined such ambient-techno heroes as the Aphex Twin, Black Dog, Autechre and B12, all receiving their wide-issue debuts.) Later, NovaMute signed an agreement with +8 and another Hawtin-founded label, Probe; Sheet One was reissued in 1994, followed by the second Plastikman LP, Musik. Much more restrained than Sheet One, the album fit in well with the growing ambient-techno movement. All told, Hawtin was responsible for the release of three albums and a good-sized EP in the span of just one year.

That impressive schedule was shattered in 1995, when Hawtin was entangled in a silly U.S.labor law that denied him access with his tools.Refused entrance for more than a year, he lost his inspirational grounding with the Detroit scene and found it difficult to continue recording for his third Plastikman album, Klinik. While he waited for re-entry, Hawtin spent time setting up the sub-label Definitive, and continued to DJ around the world. Though he recorded scattered singles for +8 and related imprints, his only full-length release that year was a killer entry in the Mixmag Live! series, taken from a DJ set recorded at the Building in Windsor. By the time he was able to return to America, he had changed his musical direction and eventually abandoned the Klinik album.

In early 1998, he released his third Plastikman LP, Consumed, which proved to be just as brutally shadowed as the Concept 1 material. The continued experimentalist direction showed Hawtin coming full circle, back to his position on the leading edge of intelligent techno. 99;s ,  Decks, EFX & 909, defacto the first in what has become his DE9 series, is the next step for Richie Hawtin after his Mixmag live album and the increasing minimalism of Consumed .Hawtin displays not only his talents as a mixer but also as a producer, using turntables, an effects processor, and a Roland pedal, plus a TR-909 drum machine for added beats.  In May 2000, Hawtin performed at the first Detroit Electronic Festival alongside Derrick May, Juan Atkins and other techno masterminds. More than 200,000 people attended from all over the world.

He spent part of 2002 and 2003 living in New York City, and has since moved to Berlin, Germany.. Hawtin collaborated with choreographer Enzo Cosimi to create a composition called "9.20" for the 2006 Winter Olympics opening ceremony. In 2007, Slices DVD magazine launched a series of biographies called "Pioneers of Electronic Music", with the first issue being a roughly 60 minute documentary dedicated to the life of Richie Hawtin. The film follows his career from his early days crossing the border to Detroit to his current life in Berlin, interviewing many colleagues and family members.

Hawtin has recorded music under the aliases Plastikman, F.U.S.E, Concept 1, Circuit Breaker, The Hard Brothers, Hard Trax, Jack Master, and UP!. He also recorded and performed, in combination with other artists, under group names such as 0733, Cybersonik, Final Exposure, Spawn and States Of Mind.

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Artifacts (bc) rose, phoenix-like, from the ashes of the unfinished third Plastikman LP, Klinik, to become an intellectual bridge between Richie Hawtin's Musik and Consumed albums. None of this information should matter to the casual listener -- it simply serves to place the disc in historical context. Said casual listener is more likely to be put off by Artifakts (bc)'s minimalist trance techno sound -- the tracks are long and linear, the recording level is relatively low and the mood is subtle, even by Hawtin's standards.


Plastikman - Artifacts (BC)   (flac 338mb)

01 Korridor 5:48
02 Psyk 8:30
03 Pakard 12:13
04 Hypokondriak 10:34
05 Konstant 7:49
06 Rekall 10:46
07 Skizofrenik 4:59
08 Are Friends Elektrik? 12:58
09 Lodgikal Nonsense 2:18

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Closer music indeed. This Plastikman album brings you so close to Richie Hawtin's mind that the listen can be discomforting. Hawtin takes his mastery of minimalism and use of space a couple steps further, rarely putting dance rhythms to use. Paranoia and claustrophobia persistently fester throughout the course of these 75 grueling minutes, with little in the way of release. Adding as much suspense as the filmic, synthetic orchestrations present in a handful of the tracks are the producer's own vocals, which are disguised in a manner similar to an extortionist or stalker who wants to hide his identity over a phone line. There is, however, no doubt that this particular voice belongs to Hawtin, who examines himself in the wake of what sounds like an extremely torturous relationship: "I don't know what's left to gain/All the guilts and now the blame/I don't want to stop this game/I'm starting to enjoy the pain."  Closer will likely become the one that a small number of devotees declare to be the supreme Plastikman album, while most of the crowd dismisses it outright for being impenetrable, deadened, too glum. Regardless of where the average listener falls, Closer is quite an accomplishment, even if it's the least inviting in Hawtin's discography. Given the right frame of mind, Closer has the potential to be the most powerful Plastikman album -- an alternatingly cathartic and mind-wrenching place to lose yourself in.


Plastikman - Closer  ( flac 311mb)

01 Ask Yourself 8:45
02 Mind Encode 5:43
03 Lost 3:47
04 Disconnect 5:41
05 Slow Poke (Twilight Zone Mix) 8:24
06 Headcase 9:16
07 Ping Pong 9:27
08 Mind In Rewind 10:19
09 I No 3:39
10 I Don't Know 11:06

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A compilation of the 3 Nostalgik 12 inchers


Plastikman - Nostalgik  ( flac 220mb)

01 Snark 8:34
02 Aquatik 10:43
03 Plinkplonk 7:13
04 Kink 6:41
05 Plonker 5:12
06 Panikattack (Second Attack Remix) 8:05


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elsewhere (Rhotation 34,46,50)

Plastikman - Consumed ( 98 ^ 153mb)

Richie Hawtin - Decks, EFX & 909  ( 99 ^151mb)

Sven Väth & Richie Hawtin - The Sound Of The Third Season (02 ^153mb)

FUSE - Dimension Intrusion  ( 93 ^ 166mb)

Plastikman - Musik  (94 ^164mb)

Richie Hawtin - DE9 | Transitions ( 05 ^162mb)

Plastikman - Recycled Plastik (93/94 ^ 99)

Plastikman - Sheet One  (93 ^ 145mb)