Dec 31, 2012

RhoDeo 1253 Byron 14


Hello, Earth still spinning for it's Earthlings, let us be grateful ! For the Mayans an New Age has begun and they were right pinpointing the start of our previous age. Those who started it 3100 BC would be bewildered now here, but there would be recognizable structures for them in our society, as they once started to organize themselves thus. This might be a clue to what is to come, people organizing themselves in very different ways. In fact this is already underway with the giant global penetration of mobile phones, the internet..giving rise to self empowerment. Materialism is waning, as more and more exists virtually and is important just as much if not more. Obviously the old structures desperately try to control communications but that is a battle they will loose, as our New Age has started.

Meanwhile you can listen to the continuing saga of The Byron Chronicles season 3 ...NJoy

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From The Byron Chronicles Introduction

“Imagine if the world as you know it… was nothing more than an illusion. What if creatures like elves, dragons, vampires, zombies and werewolves walk amongst you every day… But you never see them.”

“This is the world I walk in.
 I am called Byron
 And these are my chronicles…“

The Byron Chronicles is a dark urban fantasy written and produced by Darker Projects, an audio drama company with an extensive website.  The site is well laid out and all of their shows can be heard free of charge direct from the website or  as podcasts, while your on  the go. The Darker Projects website hosts many shows, but I have chosen to focus on The Byron Chronicles for this review.

The Byron chronicles center around a being simply called Byron, who is something “other than human”. Byron lives in the shadows of our modern world, where vampires, werewolves and other creatures of fantasy are very real, but kept hidden from human eyes. The separation of  the supernatural world from the human world is an important element through out the entire series. We quickly find out that when the two worlds mix violence  seems to ensue, usually leading to bad things for humans and supernaturals alike. In fact, the only person who seems to think humans and supernatural beings can get along is Byron himself, who tends to act as a mediator between the two.

Joining Byron on these adventures is Miss Chris Sparrow, who once led a “normal life” as a Barrista at a local Portland Oregon coffee shop before being turned into a half vampire in a freak accident. Chris turned to Byron reluctantly at first, but the pair quickly became fast friends as Chris came to rely on Byron for guidance while supernatural world revealed itself to her. Byron in turn, seemed to rely on Chris in helping him better understand humans as a whole. There were several plot lines in the first season, including Byron saving the life of Lazarus the First Zombie, and preventing a worldwide zombie outbreak in the process. Then Byron had to hunt down a vampire lord named Branlaven, who was selling a super drug called “rush” on the streets of Portland. It was the drug Rush which caused Chris to become a half vampire, and it was here that Chris Sparrow made her first appearance in the series. Next, Byron was taken hostage by two different secret societies; each one trying to save the world from “monsters” like Byron.

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1-305 The Eternal Graveyard
"It's quite simple really... I want you to replace me."

2-306 The Infected
Trapped on an apocalyptic world, Byron comes under attack by the Infected.


The Byron Chronicles 3 (5,6) ( 66mb)

01 The Byron Chronicles 305 The Eternal Graveyard (27:24)
02 The Byron Chronicles 306 The Infected (20:41)

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previously

Byron's Tale ( 63mb)
The Byron Chronicles 1 (2,3) ( 67mb)
The Byron Chronicles 1 (4,5) ( 45mb)
The Byron Chronicles 1 (6,7) ( 42mb)
The Byron Chronicles 1 (8,9) ( 90mb)
The Byron Chronicles 2 (1,2) ( 90mb)
The Byron Chronicles 2 (3,4a) ( 90mb)
The Byron Chronicles 2 (3,4a) ( 66mb)
The Byron Chronicles 2 (5,6) ( 44mb)
The Byron Chronicles 2 (7,8) ( 49mb)
The Byron Chronicles 2 (9,10) ( 49mb)
The Byron Chronicles 3 (1,2) ( 76mb)
The Byron Chronicles 3 (3,4) ( 58mb)


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Dec 30, 2012

Sundaze 1253


Hello, the last Sundaze of 2012 coming up, and without blowing my own trumpet it's been great, I guess Sundaze is close to my heart, not to shortchange the other days, but it always gives me satisfaction being able to chill in this hectic society. Two weeks ago that was hard after that awful shooting of young kids, I couldn't post what was planned, a previous day Beats follow up of Alter Ego, well it's here now. All three albums here were recorded within 2 years under three different monikers.... N'Joy

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It all started with one of these Chicago Trax compilations on DM/Streetsounds. As a reaction to his thirsting for more of these crazed beats from overseas and with a view to his tight budget, the greatest hits of these expensive imported 12” singles were soon released in the form of a compendium. This opened Pandora’s box, for very young Roman Flügel, too. The dazzle of the unrefined and feverish dance music, furnished with just a few drum machines and inexpensive synthesizers, turned the whole world upside down for the cultivated music pupil from Darmstadt.

It didn’t take long before the well-trained ear tried out more than just classical melodies. Little by little, he collected a vast array of equipment, bringing forth his first sound experiments and enough courage to give a demo tape to indie fan Jörn Elling Wuttke. The latter was a well-known face in Darmstadt’s music scene and often enthused about new electronic music. In him he had found the right partner and Wuttke could hardly believe his spellbound ears. DJs and Delirium record sellers Ata and Heiko MSO from Frankfurt felt the same. At first they thought someone was making fun of them. It sounded too authentic and unique. The music Flügel and Wuttke had presented to their label Ongaku and Klang Elektronik as Acid Jesus or, rather, Alter Ego, couldn’t possibly come from the little neighbouring town Darmstadt. In Frankfurt, that kind of sound made people think of Detroit. They released several maxi singles and an album under the pseudonym Acid Jesus, later that year they changed their name to Alter Ego. The following year they founded Sensorama, an outlet for their more ambient tracks.

Releasing arguably the first album of "listening techno" in Germany (their 1994 self-titled debut) and building on the style with subsequent releases, Roman Flügel and Jörn Elling-Wuttke are the exception that proves the rule in boom-boom dominated Deutschland. Better known and revered in England, where dance-based electronic music of a home-listening stripe has been the norm for nearly a decade, Alter Ego have also managed to influenced countrymen and labelmates such as Hardfloor and Yokota to move away from Germany's increasingly commercial trance/techno scene and into headier, more experimental climes.

The pair signed to Sven Väth's trance-dominated Harthouse label in 1993, after releasing a self-titled full-length on their own Klang Elektronik (under the name Acid Jesus) which caught Väth's attention. Flügel was a jazz drummer prior to his work with Wuttke, and the pair met in the late '80s as a result of the snowballing German trance scene. They began producing tracks in the studio Wuttke was piecing together, and had an immediate hit as Acid Jesus with their first single, "Move My Body."  By the time they'd signed with Harthouse, however, Flügel and Wuttke were no longer interested in pursuing the club side of dance-based electronic music. Turned off by the German trance and techno scenes' steady commercialization, Flügel and Wuttke sought to innovate German techno out of redundancy by diversifying.

Originally slated for release on Harthouse ambient sublabel Recycle or Die, Alter Ego got a main label release instead, and together with the subsequent Decoding the Hacker Myth, succeeded in slowing the pace of German techno and adding a cachet of new influences (U.K. ambient techno outfits such as B12 and the Black Dog, hip-hop and electro, jazz and soul). Decoding the Hacker Myth was reissued in 1996, coupled with a bonus disc of remixes by the likes of Luke Slater, Two Lone Swordsmen, and Matt "Dr. Rockit" Herbert's Wishmountain project. Flügel has also released an EP and full-length as Ro70 on David Moufang's Source label, and both Flügel and Wuttke continue to release tracks and albums under such side-project pseudonyms as Sensorama, Primitive Painter, and Eight Miles High for Ladomat, R&S, and Klang.

Worldwide performances followed at the most prominent festivals & clubs such as  Tribal Gathering Festival ( England), SONAR (Spain),  VISION Festival (Switzerland), Time Warp/Big Warp (Germany), I Love Techno (Belgium), WIRE Festival ( Japan).  In 1997 they released their last single for Harthouse »Absolute«. They then made the decision to concentrate on further productions for their own label Klang Elektronik. 1999 saw the release of Betty Ford, which became one of the most memorable and biggest club hits of that year. In the two following years they were busy doing a co-production with Sven Vaeth for his albums, »Contact« and »Fire«.

They achieved notability in 2004 with their track "Rocker", which became one of the year's defining dance anthems, especially in Europe, and getting played on rotation amongst the most popular electroclash DJs such as Felix Da Housecat and 2 Many DJs. The track peaked at #32 in the UK Singles Chart.In the 2004 Groove Magazine Readers Poll, Alter Ego won three categories, taking out the award for 'Best Single' for "Rocker", 'Best Album' for Transphormer, and also 'Best Live Act'. French group Black Strobe took out 'Best Remix' honours with their remix of "Rocker".

In 2005, Roman Flügel went onto produce the track "Gehts Noch", which was a worldwide hit, and was regularly played by many international DJs. In 2007 they released Why Not ?!, followed a year later by the remix version What's Next?!   acompanied by several 12 " releases. It's been rather quiey at the Alter Ego front since, however they did release a Lost Album in 320kbps in May this year. It looks as if Roman Flügel concentrated on a solo career of late he released his solo project as Soylent Green  “La Forca Del Destino” in 2007  and Fatty Folders in 2011 as well as many singles.


At the time of releasing their debut album as Alter Ego, Jörn Elling Wuttke and Roman Flügel have already released the remarkable Acid Jesus album, were about to come out with The Primitive Painter album and were in the process of recording and releasing the landmark "Welcome insel" record as Sensorama. And inbetween Roman found time to release his first solo album Ro 70. Five albums under five different monikers in an approximately two year time span seems like a larger bite than one could handle, but surprisingly, none of the albums I've mentioned suffer in the quality department..


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This album is all downtempo stuff, with floating and captivating melodies, absorbing and subtle snippets of acid synths, while the tempo of the beats never really reaches the heights necessary to attack dance floors. Which is not a bad thing per se. Alter Ego have a way of producing really dreamy and placating music, which doesn't follow any conventional ambient formulas (long beatless patterns, passages of drone, etc.), but rather uses structural patterns and ideas applied through a lot of faster releases, though they slow the speed down for a few notches. That said, it might then seem strange that my favorite track on the album is a 100% beatless ambient tune, the closing number, Undersea Girl. Really atmospheric, with lush pads and a really celestial, heavenly touch to it. I love it. And it reminds me of those beloved ambient pieces you could keep on repeat for two hours in a row and feel like you were listening to one symphony!



Alter Ego - Alter Ego (flac  325mb)

01 Soulfree 11:55
02 Atomic Playground 7:13
03 Sentimental Books 4:52
04 Nude Restaurant 12:57
05 Chinese Eyes 9:48
06 Tanks Ahead 9:05
07 Undersea Girl 6:50

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Alter Ego's Roman Flugel steps out on his own on David Moufang's Source label. Splitting his concerns between beatless, almost orchestral ambient and quirky experimental electro/techno, RO70 at times reveals a jazz influence similar to other experimental German artists such as Moufang and Atom Heart. Though sparser than the latter and far less organic than the former, the album is exceedingly listenable and, often, exceptional.



Roman Flugel - Ro 70 (flac  323mb)

01 Einklang 8:55
02 Gog 5:20
03 Alma 6:10
04 Room 385 4:56
05 Visible Speech 3:53
06 Magog 7:52
07 FM Rhythms 4:53
08 Ballon Above Java 6:41
09 10 To 10 5:08
10 Künstlicher Ausklang 7:51
 
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The Sensorama was a machine, invented in 1957 and patented in 1962, one of the earliest known examples of immersive, multi-sensory technology. Morton Heilig, who today would be thought of as a “multimedia” specialist, in the 1950s saw theater as an activity that could encompass all the senses in an effective manner, thus drawing the viewer into the onscreen activity. The Sensorama was able to display stereoscopic 3-D images in a wide-angle view, provide body tilting, supply stereo sound, and also had tracks for wind and aromas to be triggered during the film. Oddly enough in hindsight, Heilig was unable to obtain financial backing for his visions and patents, and the Sensorama work was halted and today remains primarily a curiosity in the expansive lore of Virtual Reality.

After hearing one of the greatest ambient/downtempo songs ever made, Echtzeit, the album as a whole was a well-paid homage to the creative vibes of Kraftwerk and Higher Intelligence Agency but it feel more toward ordinary than unique and experimental. The kind of IDM electronica album that plays well with some but won't be largely remembered. It is a little unfortunate but it doesn't exactly make it a dud given the lifesavers that are on here that only enhance the sense of space and a cold factory like a proper German musician."



Sensorama - Welcome Insel (flac 347mb)

01 Harz 7:31
02 Zone 30 4:55
03 Quarzzeit 6:22
04 Ventil 5:11
05 Kondens 9:33
06 Helgoland 9:03
07 Unbekannt Verzogen 7:03
08 Echtzeit 6:46
09 Nagelbrett (Alternativ) 6:41
10 Aspirin 6:38

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Dec 29, 2012

RhoDeo 1252 Beats


Hello, time for some more Beats and as last weeks artist has been so prolific it made sense to have another post and still leave his recent work (last decade) for you to discover...

An artist that no one dares plagiarize for fear of making an idiot out of themselves – and in the world of cheapskate bandwagon jumpers known as modern electronic music, that's really saying something. Squarepusher remains forward thinking, relevant and as predictably unpredictable as ever.... NJoy

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So what's up with this Squarepusher ?

"I originally wanted to play the electric guitar, but an early insight into the typical psychological make-up of electric guitar players put me off. The driving rationale behind me wanting to play bass was an intrigue about what underpins the general sound picture in modern music. Everybody is acquainted with the singing voice, and most could identify an electric guitar, but the bass is more mysterious. Certainly the bass register is familiar, but the sound of the bass guitar is typically hidden away at the back of a mix. I found myself drawn to this strange sonic hinterland. On the rare occasions where exposed bass-lines could be heard, I found the deep tones very appealing and had to know more!"

Jenkinson was born in Chelmsford, Essex in 1975 and was educated at King Edward VI Grammar School.In 91 the local dance music sage and DJ Hardy Finn introduced Tom to the hitherto hidden worlds of Detroit Techno,  Hardcore, Acid House and New York Garage. Tom made a drastic revision in his outlook due to evocative power of this newly found music. He went on to study Fine Art at Chelsea College of Art and Design. A self-taught drummer and highly skilled bass guitar player, his style of extremely fast, cut-up beats mixed with fusion jazz and interlaced with synth lines and samples has gained him a cult following. He is a friend of Richard D. James (Aphex Twin), and Luke Vibert. His albums have been critically acclaimed for their forward-thinking approach to electronic music. He's a bit of a recluse and interviews are done by email, yet he can be seen playing bass at the local pub now and again.

Jenkinson performs live, playing with a fretless or fretted bass guitar, a laptop, and other hardware. On 26 June 2005, Squarepusher played at London's Royal Festival Hall as part of the Jimi Hendrix tribute show "Songs of Experience". His 12-minute performance was built up of a medley of Hendrix tracks played solely on the bass guitar with the use of effects (he got RHCP's Flea exited)

Critical acclaim for Jenkinson's work peaked with 1998's Music Is Rotted One Note, for which he became a one-man fusion group -- multi-tracking himself playing drums, bass, and keyboards. The following year, he released two EPs (Budakhan Mindphone, Maximum Priest) and another full LP, Selection Sixteen. Go Plastic appeared in summer 2001, featuring the closest thing to a hit Squarepusher had ever seen with the single "My Red Hot Car." Subsequent releases such as 2003's Do You Know Squarepusher and 2004's Ultravisitor found him refining his fusion of composition, programming, and musicianship, characteristics that were also heard on 2006's Hello Everything and 2008's Just a Souvenir. After a record of solo bass (titled Solo Electric Bass, Vol. 1), he unveiled his next project, a masked foursome named Shobaleader One that released a 2010 collaboration album (Shobaleader One: D'Demonstrator) consisting of throwback electronic pop with an R&B edge and synthesized vocals, not unlike Daft Punk. In 2012, Jenkinson returned with the coldly symphonic Ufabulum, adding an apocalyptic soundtrack feel to his already dense programming.


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The one-man drum'n'bass outfit Squarepusher (aka Tom Jenkinson) treads upon more unpredictable terrain on Music Is Rotted One Note. Although the album still contains elements of his usual drum'n'bass sound, this is by and large a jazz/fusion affair. Jenkinson does a masterful job playing all the instruments live and by himself, and perfectly re-creates the funky atmosphere of such early-'70s Miles Davis classics as Get Up With It and On the Corner. Jenkinson's performances throughout the disc are both flawless and inspired -- he obviously realized that if he were to pay tribute to Miles, nothing but the best would do. Davis' spirit lives on in such tracks as "Don't Go Plastic," "Dust Switch," "137 (Rinse)," and "Theme From Vertical Hold," while "My Sound" perfectly captures the essence of Miles' calming and reflective compositions. But don't be misled; this is not a by-the-numbers rip-off of Miles Davis. Jenkinson updates these familiar sounds with '90s recording techniques and injects enough of his own style into the mix to keep it recognizable. Miles would be proud.



Squarepusher ‎- Music Is Rotted One Note (flac  295mb)

01 Chunk - S 2:20
02 Dont Go Plastic 4:20
03 Dust Switch 4:28
04 Curve 1 2:06
05 137 (Rinse) 3:45
06 Parallelogram Bin 2:24
07 Circular Flexing 4:57
08 Ill Descent 2:37
09 My Sound 6:07
10 Drunken Style 0:45
11 Theme From Vertical Hold 4:25
12 Ruin 1:56
13 Shin Triad 2:26
14 Step 1 1:46
15 Last Ap Roach 4:00

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After releasing more than two hours worth of material in less than a year, Tom Jenkinson returned in late 1999 with what looked to be another full LP, comprising 17 tracks and clocking in at 45 minutes. In fact, it's regarded as a "mini-album" and plays the part well. Similar to the 1999 Squarepusher EPs Budakhan Mindphone and Maximum Priest, Selection Sixteen alternates what sounds like outtakes from his last LP (Music Is Rotted One Note) -- that is, short organic fusion cast-offs -- with a set of hard-edged acid tracks, most of which chart the hyperkinetic drum'n'bass programming that fans expect. The album comes off surprisingly well, given both the glut of Squarepusher material in 1999, and the fact that Jenkinson is mixing'n'matching crazed drill'n'bass and more stately jazz-fusion, with little regard for album flow. The highlight here, "Square Rave," takes a little bit from both camps and ends up sounding like Aphex Twin (circa Selected Ambient Works 85-92) if he'd been working with jungle breakbeats. In addition to the 13-track album are four remixes, including one on which Jenkinson recruits his brother Andy for remixing duties.



Squarepusher - Selection Sixteen (flac  335mb)

01 The 'Eye 2:17
02 Square Rave 3:01
03 Time Borb 1:03
04 Dedicated Loop 3:47
05 Tomorrow World 4:56
06 Cool Veil 0:32
07 Schizm Track #1 5:07
08 Freeway 1:37
09 Snake Pass 3:30
10 Yo 0:28
11 Mind Rubbers 4:05
12 Tesko 0:20
13 Acid Tape Track 3:53
 4 Bonus Mixes:
14 8 Bit Mix #1 1:04
15 8 Bit Mix #2 0:55
16 Schizm Track #2 Mix 3:45
17 Ceephax Mix 6:02

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Realizing that another obsessively imitative jazz fusion workout could quickly become a blind alley, Squarepusher's Tom Jenkinson returned to the green fields of drum'n'bass for 2001's Go Plastic, and sounds quite refreshed for having taken the holiday. As one of the track titles ("Go! Spastic") attests, Jenkinson's back to heavy drill'n'bass, the practically undanceable collision of fractured breakbeats and sample-a-second riffs he made popular with his earliest work as Squarepusher. The opener and first single, "My Red Hot Car," is probably the most together production on the album, filtering drill'n'bass through the prism of the stylish British 2-step all the rage in clubland during recent years. (Even though the vocals are filtered and messed with, the risqué, scene-satirical lyrics are still audible, putting the track right in line with twisted, bizarro classics like Aphex Twin's "Come to Daddy" and "Windowlicker.") Jenkinson quickly moves from the single to "Boneville Occident" and "Go! Spastic," a pair of drill'n'bass knockouts that veer from pointed, endlessly complex breakbeats to downbeat hip-hop at the drop of a hat. He also approaches some sort of nadir for time-stretched drum'n'bass chaos on the seventh track, "Greenways Trajectory" -- the breakbeat carnage is packed together so tightly that, eventually, the entire production is reduced to a series of dog-whistle test tones.

It's clear Go Plastic is a work of programmed electronics, with little of the jazz influence or played instruments audible on 1999's Music Is Rotted One Note. Jenkinson uses a lot of classic, sampled breakbeats -- reminiscent of early jungle and hardcore -- and even reprises the original "jump wide!" vocal-sample classic, tweaked separately in both channels at the same time. Toward the end, Jenkinson trades the experimentation for a bit of mood-setting on pieces like "Tommib" and "Plaistow Flex Out," but these are only temporary detours from some serious programming chaos. Any jazzbos left over from his previous work may be in for a rude awakening to the frenetic programming and primitive acid house textures; still, fans of Squarepusher from the beginning will be overjoyed to hear him back doing what he's done best.



Squarepusher - Go Plastic (flac 327mb)

01 My Red Hot Car 4:42
02 Boneville Occident 4:50
03 Go! Spastic 6:21
04 Metteng Excuske v1.2 1:08
05 The Exploding Psychology 6:43
06 I Wish You Could Talk 4:53
07 Greenways Trajectory 7:10
08 Tommib 1:19
09 My Fucking Sound 7:05
10 Plaistow Flex Out 4:28

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elsewhere, see last week

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Dec 27, 2012

RhoDeo 1252 Goldy Rhox 88


Hello,  In the darklight today is something completely different not a band as such and it could be said, it's about a composer then but you'd be wrong, you see this composer became well known on the back of his work for a man with a vision, a vision that shaped not just my life but many young boys and girls at the time, sadly the US mostly missed out on all that excitement, but then they got Startrek even though that played out far from Earth.

A 63 mining disaster in Germany gave rise to the idea to have secretive rescuing crew that was equipped with futuristic gear enabling to spectacularly rescuing those in dire need, obviously there were some dark forces trying to sabotage them. Yet the good guys, aided by their sci-fi toys created by that supersmart brains working for daddy, always came out on top. Now then the reason for this post today is the fact that this man died peacefully in his sleep today age 83. He touched many...

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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.

Today's mystery album is not a gold album as such, but it's the music from a gold tv series. It's a 2 disc album remastered specially for the 40 year commemoration of the show. It will take you back alright.Disc two presents five tracks taken from three EPs (or mini-albums, as they are described in the booklet) all originally released in 1966. These were “Lady Penelope Themes” and “FAB”. Three of these are making their debut here, rather than soundtrack underscore, these tracks are more campy fun designed for listening on vinyl. Whatever, We Are Go !



Goldy Rhox 88   (flac 403mb)

Goldy Rhox 88  (ogg 169mb)


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Dec 26, 2012

RhoDeo 1252 Aetix


Hello,  Xmas day over, belly full, ears ringing all the more reason to get a move on. Now as we entered a new human age it makes sense for someone like me to look for synchronicity and clues. Yesterday I came across a maverick theoretical fysicist, who's obviously been shunned by the establishment not just for kicking against some of their nonsensical ' thruths', but he has the audacity to come up with his own ideas about the structure of the cosmos, it being directly linked to the sacred geometry (aliens know and use it). Now unfortunately he's not a slick presenter and is chronically lacking funds, but I was impressed with his concepts(best I ever heard thusfar in fact). Here's a link Nassim Haramein - Sacred Geometry and Unified Fields leaving old dead end dogma's behind is a sign of the growth we need. On the cultural front it's befitting that the UK starts the New Age with this # 1 He Ain't Heavy the song maybe written in the days of flower power but it's message perfectly fits the New Age bill.

Yes, it's Aetix time and one of the big names of the early days who are being milked for what it's worth by EMI on the basis of their late seventies/early eighties work, the twenty years that followed after their reunion in the early nineties has gone unnoticed by the big labels and largely the general public. Funny that and that was long before 'downloading' . Anyway some of the best early Aetix coming up.....  N'Joy

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Formed in Manchester, England, in 1975, the Buzzcocks were one of the most influential bands to emerge in the initial wave of punk rock. With their crisp melodies, driving guitars, and guitarist Pete Shelley's biting lyrics, the Buzzcocks were one of the best, most influential punk bands. the Buzzcocks were inspired by the Sex Pistols' energy, yet they didn't copy the Pistols' angry political stance. Instead, they brought that intense, brilliant energy to the three-minute pop song. Shelley's alternately funny and anguished lyrics about adolescence and love were some of the best and smartest of his era; similarly, the Buzzcocks' melodies and hooks were concise and memorable. Over the years, their powerful punk-pop has proven enormously influential, with echoes of their music being apparent in everyone from Hüsker Dü to Nirvana.

Before the Buzzcocks, the teenaged Pete Shelley had played guitar in various heavy metal bands. In 1975, he enrolled in the Bolton Institute of Technology. While he was at school, Shelley joined an electronic music society, which is where he met Howard Devoto, who had enrolled at BIT in 1972. Both Shelley and Devoto shared an affection for the Velvet Underground, while Devoto was also fascinated by the Stooges. While they were still in school, Shelley and Devoto began rehearsing with a drummer, covering everything from the Stooges to Brian Eno. The trio never performed live and soon fell apart. Shelley and Devoto remained friends and several months after their initial musical venture dissolved, the pair read the first live review of the Sex Pistols in NME and decided to see the band in London. After witnessing the band twice in February 1976, the pair decided to form their own band, with the intent of replicating the Pistols' London impact in Manchester.
Both musicians decided to change their last names -- Peter McNeish became Pete Shelley and Howard Traford became Howard Devoto -- and took their group's name from a review of Rock Follies, which ended with the quotation "get a buzz, cock." the Buzzcocks began rehearsing, picking up a local drummer and bassist Garth Smith. Shortly after their formation, Shelley and Devoto booked a local club, the Lesser Free Trade Hall, with the intent of persuading the Sex Pistols to play in Manchester. They succeeded in bringing the Pistols to Manchester, but the Buzzcocks had to pull out of their own gig when both the bassist and drummer left the group before the concert. At the Pistols show, Shelley and Devoto met Steve Diggle, who joined the Buzzcocks as their bassist, and the group found their drummer John Maher through an advertisement in Melody Maker. Within a few months, the band played its first concert, opening for the second Sex Pistols show at the Lesser Free Trade Hall in July of 1976. By the end of the year, the Buzzcocks had played a handful of gigs and helped establish Manchester as the second biggest punk rock city in England, ranking just behind London.
 In October of 1976, the Buzzcocks recorded their first demo tape, which remained unreleased. At the end of 1976, the group joined the Sex Pistols on their Anarchy Tour. After the tour was completed, Shelley borrowed a couple hundred pounds from his father and the band used the money to record their debut EP, Spiral Scratch. The record was the first do-it-yourself, independently released record of the punk era. Spiral Scratch appeared on the band's New Hormones record label in January 1977; there were initially only 1,000 copies pressed. Shortly after the release of the EP, Devoto quit the group and returned to college; later in the year, he formed Magazine. Following Devoto's departure, Pete Shelley assumed the role as lead vocalist, Steve Diggle moved to guitar, and Garth Smith became the band's bassist. By June of 1977, the Buzzcocks were attracting the attention of major record labels. By September, they had signed with United Artists Records, who gave the band complete artistic control.

The Buzzcocks certainly tested the limits of that artistic control with their debut single, "Orgasm Addict." Released in October of 1977, the single didn't become a hit because its subject matter was too explicit for BBC radio, but it generated good word of mouth. Following its release, Garth Smith was kicked out of the group and was replaced by Steve Garvey. the Buzzcocks' second single, "What Do I Get?," became their first charting single, scraping the bottom of the Top 40. In March, the band released its first album, Another Music in a Different Kitchen. In September of 1978 the Buzzcocks released their second full-length record, Love Bites.

 The rapid pace of the band's recording and performing schedules quickly had its effects on the group. Not only were the concerts and recordings wearing the band down, the members were consuming alcohol and drugs in high numbers. Early in 1979 they recorded their third album, A Different Kind of Tension, which displayed some signs of wear and tear. Following the album's release in August, they embarked on their first American tour, which wasn't successful. Nevertheless, the band was enjoying the peak of its popularity at home in Britain. Later in 1979, the singles collection Singles Going Steady was released in America.
 All of the inner and outer tensions on the band culminated in 1980, when they drastically cut back their performance schedule, but they persevered with recording, cutting the EP Parts 1, 2, 3, which was released as three separate singles over the course of the year. During 1980, United Artists was bought out by EMI, who cut back support of the Buzzcocks. The group began working on its fourth album in early 1981, but was prevented from recording by EMI. The label wanted to release Singles Going Steady in the U.K. before the band delivered its fourth album. the Buzzcocks refused. Consequently, EMI didn't give the band an advance to cover the recording costs of the fourth album. Shelley decided to break up the band instead of fight the label. the Buzzcocks broke up in 1981.
 Immediately after the split, Shelley pursued a solo career that initially produced the hit single "Homosapien" but soon went dry. Steve Diggle formed Flag of Convenience with John Maher, who quit the band shortly after its formation. Steve Garvey moved to New York, where he played with Motivation for a few years. In 1989, the group re-formed and toured the United States. The following year, Maher left the band and former Smiths drummer Mike Joyce joined the band on tour. By 1990, the reunion had become permanent; after Joyce's brief tenure with the band, the final lineup of the reunited Buzzcocks featured Shelley, Diggle, bassist Tony Barber, and drummer Phil Barker. The new version of the band released its first album, Trade Test Transmissions, in 1993. After its release, the band toured frequently. In spring of 1996, the Buzzcocks released their fifth studio album, All Set. Modern followed three years later, and a self-titled record for Merge appeared in 2003. Flat-Pack Philosophy arrived in 2006 on the Cooking Vinyl label. An anniversary set simply called 30 was released in 2008 on Cooking Vinyl.




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The title is the perfect conceit for this collection of eight relentless British forty-fives--arranged chronologically, the A sides on the A side and the B sides on the B--about love and lust among the unmarrieds. The Buzzcocks' knack for the title hook and the catchy backup chorus, along with their apparently asocial lyrics, tempts tastemakers in jaded olde England to dismiss them as mere pop, but over here their high-speed, high-register attack sounds powerful indeed. If Never Mind the Bollocks and London Calling are held up as punk masterpieces, then there's no question that Singles Going Steady belongs alongside them. In fact, the slew of astonishing seven-inches collected on Steady and their influence on future musicians - punk or otherwise -- sometimes even betters more famous efforts.

The deservedly well-known masterpiece "Ever Fallen in Love" appears along with Love Bites' "Just Lust," but the remaining tracks originally appeared only as individual A and B-sides, making this collection all the more essential. The earlier numbers showcase a band bursting with energy and wicked humor - the tongue-in-cheek "Orgasm Addict," details the adventures of a sex freak with a ridiculous fake orgasm vocal break to boot. However, the slightly more serious but no less frenetic singles are equally enthralling. "What Do I Get?" with its pained cry about lacking love, the deeply cynical "Everybody's Happy Nowadays" and Diggle's roaring "Harmony in My Head" are just three highlights on an album made of them.



Buzzcocks - Singles Going Steady (flac 533mb)

01 Orgasm Addict 2:00
02 What Do I Get? 2:52
03 I Don't Mind 2:16
04 Love You More 1:47
05 Ever Fallen In Love? 2:39
06 Promises 2:34
07 Everybody's Happy Nowadays 3:09
08 Harmony In My Head 3:06
09 What Ever Happened To? 2:12
10 Oh Shit! 1:34
11 Autonomy 3:41
12 Noise Annoys 2:49
13 Just Lust 2:58
14 Lipstick 2:36
15 Why Can't I Touch It? 6:32
16 Something's Gone Wrong Again 4:29

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While Love Bites - following the excellent Another Music In A Different Kitchen - seemed a little dour and tentative at the time, at the heart lies an urge to finally throw off their past associations and forge something totally their own. The compressed twin guitars, sparse riffs and rumbling toms here reach their apogee. Already Shelley was talking of the past, as if trying to worry at the edges of love's mysteries to explain the inexplicable (Sixteen Again, Nostalgia). Being gay also lent his romanticism a fatalism that made his pleading voice even more affecting. He rejects hedonism (Just Lust) while resolving to remain grounded in realism (Real World), yet he still has room for the absolute power of love (Love You More - not originally on the album but added here). Of course Ever Fallen In Love (With Someone You Shouldn't've)? remains their greatest achievement. The thundering motorik drums of John Maher drive Shelley's missive of faltering affection into all but the hardest of hearts.

The truth was that the band's subsequent success following their biggest hit would be their undoing. After Love Bites the label of 'pop band' began to erode any loftier ambitions (subsequent gigs in larger venues actually saw the band facing screaming girls). A listen to the krautrock-ish rumble of Late For The Train, or the mantra of E.S.P demonstrates how there was far more to the band than just three-minute love songs.




Buzzcocks - Love Bites   (  flac 500mb)

01 Real World 3:34
02 Ever Fallen In Love 2:43
03 Operators Manual 3:35
04 Nostalgia 2:56
05 Just Lust 3:02
06 Sixteen Again 3:18
07 Walking Distance 2:03
08 Love Is Lies 3:13
09 Nothing Left 4:29
10 ESP 4:47
11 Late For The Train 5:37
  Associated Singles
12 Love You More 1:50
13 Noise Annoys 2:52
14 Promises 2:36
15 Lipstick 2:40
 John Peel 17.4.1978
16 Noise Annoys 2:55
17 Walking Distance 2:08
18 Late For The Train 5:13
 John Peel 23.10.1978
19 Promises 2:31
20 Lipstick 2:41
21 Sixteen Again 3:17
 John Peel 28.5.1979
22 ESP 3:39

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The final album of the Buzzcocks' first phase of existence is the most fragmented of the three, with increasingly ambitious songs fighting for time with tracks that sound much like the group's earliest efforts. Said songs are often quite good, like the opening "Paradise" or the great romantic angst of "You Say You Don't Love Me," but one can sense the band working to avoid the trap the Ramones fell into by simply offering up yet more soundalikes. Diggle makes a definite mark on this album, as on the slow crawl then fast thrash "Sitting Round at Home," a highlight of Tension that also features his electronically distorted vocals. "Mad Mad Judy" is a slightly more straightforward blitz, but with energy to spare and a spacious feel (credit again to producer Rushent). As the album closes, the sense of slight schizophrenia resolves itself as the group embraces all-out experimentation, producing some of the Buzzcocks' all-time best songs. "Hollow Inside" shows the band's knack for disguising scalpel-sharp sentiments with seeming simplicity, and the title track's contradictory slogans/demands disturbing robot vocals and nagging beat and melody up the ante even further. "I Believe" concludes things (aside from the fake found-sound snippet "Radio Nine") on the highest possible note. Shelley's slightly bemused recitation of all the things he believes in is suddenly interrupted by the line "There is no love in this world anymore," turned and electronically distorted into an obsessive, anthemic mantra as the band charges along with him up and out. An invigorating blast of, indeed, tension and angst, it alone makes Tension worth investigating.



Buzzcocks - A Different Kind Of Tension + Parts 1, 2, 3  (  flac 438mb)

01 Paradise 2:22
02 Sitting Round At Home 2:39
03 You Say You Don't Love Me 2:53
04 You Know You Can't Help It 2:21
05 Mad Mad Judy 3:34
06 Raison D'Etre 3:32
07 I Don't Know What To Do With My Life 2:43
08 Money 2:44
09 Hollow Inside 4:46
10 A Different Kind Of Tension 4:38
11 I Believe 7:08
12 Radio Nine 0:41
6-track Promo EP Pts. 1-3
13 Are Everything 3:57
14 Strange Thing 4:08
15 What Do You Know 3:15
16 Why She's A Girl From The Chain Store 2:25
17 Airwaves Dream 3:52
18 Running Free 3:13

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Dec 25, 2012

RhoDeo 1252 Roots


Hello, time to wish you all a merry Xmas, beware of the stresses that come with it, main thing is to relax and enjoy the party, now i've prepared a small Xmas 2012 Gift for you just 4mb, something to feed your tablet with perhaps...

As mentioned previously there's been a big influx of Jamaicans in the UK these last decades and they seeded a vibrant reggae/dub culture, reason enough to post some of the results of exploring '90s U.K. Anglo dub. The Disciples work best flaunting their synthetics proudly. Their heavyweight strength and amphetmine- fuelled, steppers time militancy overturns dub cliche's... N'joy

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Disciples is Russ D. producer, musician, engineer on the uk reggae and dub scene since 1986. Originally Disciples were brothers Russ and Lol who produced music for legendary uk sound system man Jah Shaka, it was Shaka who gave them their name. They released their first album Deliverance, in 1987 on Jah Shaka King of the Zula Tribe Records, and released three more albums in subsequent years on Shaka's label. In 1991 they built their own sound system for gigging, and financed a successful 12-inch recording entitled Prowling Lion in 1993, releasing it on their newly started Boom-Shacka-Lacka Records. In 1996 they started a second label Backyard Movements Records  for roots vocal styles(Reggae, Jungle, Techno, Jazz, and World). Since 1996 the Disciples sound system was dissolved and brother Lol pulled out of the business, Russ D. continued to forward the studio and productions as well as continued dj..ing around the world with long time friend and micman Jonah Dan. Meanwhile The Disciples have worked with a number of artists over the years including Sister Rasheda, Rootsman & Dayjah, Delroy Dyer, Creation Stepper, Candyman, Wayne McArthur, Prince Allah, Prince Malachi, Mykal Rose, Color Red, Lutan Fyah, Ras Macbean, Christine Miller, Bunny Lie Lie, Danny Vibes, Tenastillin, Tony Roots, African Simba, Sis Nya Azania, Avaran, Murreyman and many more, as well as productions and remixes for the likes of Inner Sanctuary, Alpha & Omega, Jah Tubby..s, Twilight Circus, Cultural Warriors, Jah Warrior, Universal Roots, Roots Hytek, VI Connection and others, with something like 20 plus albums and over 60 singles released so far on their own and various labels.
 
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The Disciples have consistently been among the more imaginitive new wave roots outfits in the UK. ..Hail HIM in Dub.. consists, not too surprisingly, of versions to tracks from the Empress Rasheda album, with said voice drifting effectively in and out of the inteligent mixes. A worthy companion piece, with texture and thoughtful use of samples, that stands well on its own." For Those Who Understand (Boom-Shacka-Lacka) "This comes with a photograph of the Boom-Shacka-Lacka sound system on the cover to help ease the listener into the required mood, and represents raw dubplate material familiar to the sounds.



The Disciples - Hail H.I.M. In Dub (flac  303mb)

01 Dub Out Iniquity 3:48
02 Jah Man Dub 3:47
03 Africa Call Dub 3:42
04 Only Jah Worthy Dub 4:10
05 Gather Dub Children 3:46
06 Hail HIM in Dub 3:25
07 Dub Babylon System 3:52
08 Give Jah Praise Dub 4:12
09 Raised In Dub 3:49
10 Jah No Partial Dub 3:58
11 Iniquity Dub 3:57
12 Gather Jah Children In Accapella 3:47
13 Dont Ever Think It Dub 4:17

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The portentious title may not do it any favors, but this is actually a fine, no frills collection of spaced-out grooves. And while much of what passes for electronic dub these days is merely lumpen trance-dance served up by stoned Goan hippies who once listened to a Burning Spear album, The Disciples (who may very well have done the same in their spare time) have clearly absorbed the basic musical lessons. For a start they resist the temptation to produce ten minute epics, opting instead for bite-sized versions which rely more on sharp rhythmic awareness for their effect than droning, post-ambient synth solos. And while it may lack the cosmic madness of a Lee Perry or King Tubby, theres plenty to occupy the attention span of your average armchair space cadet.



The Disciples - Infinite Density Of Dub (flac  452mb)

01 Higher Dimensions 4:10
02 Astral Flame 3:48
03 False Distintions 4:21
04 Realm Of Symbols 4:30
05 Ritual Drum 4:38
06 Absolute Motion 4:36
07 Temporal Chains 4:24
08 Beneath Time 4:06
09 Celestial Dub 4:35
10 Paradoxical Dub 4:25
11 Dub Realms 3:37
12 Oscillating Curve 4:27
13 Celestial Horizons 6:34
14 Substratum Dub 4:25
15 Natural Selection 8:53

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From the title to the sleeves Coptic iconography to the music - propulsive dub reggae - it would be easy to think that the artists were Kingston ghetto youth booked with oneway tickets on the Black Star Liner to Ethiopia. In reality, both groups come from Blighty: Alpha & Omega are Christine Woodbridge and John Sprosen, from London and Plymouth, while the Disciples consist of brothers Russ and Lol Bell-Brown from the Surrey suburbs. Veterans of the UK sound system scene, here they provide 14 woofer testing remixes of each others tunes with broiling rhythms, eerie effects and spectral vocals the order of the day,  influenced by Jamaican masters King Tubby, Augustus Pablo and Yabby Yu but scarcely overwhelming.



Alpha and Omega Meets The Disciples - The Sacred Art Of Dub (flac 392mb)

01 The Disciples - Prowling Lion (Rmx Alpha & Omega) 4:25
02 Alpha & Omega - Philosophers Stone (Rmx The Disciples) 4:14
03 Alpha & Omega - Philosophers Dub (Rmx The Disciples) 4:17
04 The Disciples - Dancing On A Rainbow (Rmx Alpha & Omega) 4:48
05 The Disciples - Seven Colours Of Dub (Rmx Alpha & Omega) 4:21
06 Alpha & Omega - Elixir (Rmx The Disciples) 5:01
07 Alpha & Omega - No Peace In The City (Rmx The Disciples) 4:26
08 Alpha & Omega - Many Stories To Be Told (Rmx The Disciples) 4:22
09 Alpha & Omega - Book Of Dub (Rmx The Disciples) 4:18
10 The Disciples - Poor Man's Prayer (Rmx Alpha & Omega) 4:09
11 The Disciples - Poor Man's Dub (Rmx Alpha & Omega)4:14
12 Alpha & Omega - The Oracle (Rmx The Disciples) 4:24
13 Alpha & Omega - The Tabernacle  (Rmx The Disciples) 4:25
14 The Disciples - Roaring Lion (Rmx Alpha & Omega) 4:23

Alpha & Omega Meets The Disciples - The Sacred Art Of Dub (ogg 131mb)

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Dec 24, 2012

RhoDeo 1252 Byron 13


Hello, Earth still spinning for it's Earthlings, let us be grateful ! For the Mayans an New Age has begun and they were right pinpointing the start of our current situation. Those who started it 3100 BC would be bewildered now here but there would be recognizable structures for them in our society as they once started to organize themselves thus. This might be a clue to what is to come, people organizing themselves in very different ways. In fact this is already underway with the giant global penetration of mobile phones, the internet..giving rise to self empowerment. Materialism is waning, as more and more exists virtually and is important just as much if not more. Obviously the old structures desperately try to control communications but that is a battle they will loose, as our New Age has started.

Meanwhile you can listen to the continuing saga of The Byron Chronicles season 3 ...NJoy

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From The Byron Chronicles Introduction

“Imagine if the world as you know it… was nothing more than an illusion. What if creatures like elves, dragons, vampires, zombies and werewolves walk amongst you every day… But you never see them.”

“This is the world I walk in.
 I am called Byron
 And these are my chronicles…“

The Byron Chronicles is a dark urban fantasy written and produced by Darker Projects, an audio drama company with an extensive website.  The site is well laid out and all of their shows can be heard free of charge direct from the website or  as podcasts, while your on  the go. The Darker Projects website hosts many shows, but I have chosen to focus on The Byron Chronicles for this review.

The Byron chronicles center around a being simply called Byron, who is something “other than human”. Byron lives in the shadows of our modern world, where vampires, werewolves and other creatures of fantasy are very real, but kept hidden from human eyes. The separation of  the supernatural world from the human world is an important element through out the entire series. We quickly find out that when the two worlds mix violence  seems to ensue, usually leading to bad things for humans and supernaturals alike. In fact, the only person who seems to think humans and supernatural beings can get along is Byron himself, who tends to act as a mediator between the two.

Joining Byron on these adventures is Miss Chris Sparrow, who once led a “normal life” as a Barrista at a local Portland Oregon coffee shop before being turned into a half vampire in a freak accident. Chris turned to Byron reluctantly at first, but the pair quickly became fast friends as Chris came to rely on Byron for guidance while supernatural world revealed itself to her. Byron in turn, seemed to rely on Chris in helping him better understand humans as a whole. There were several plot lines in the first season, including Byron saving the life of Lazarus the First Zombie, and preventing a worldwide zombie outbreak in the process. Then Byron had to hunt down a vampire lord named Branlaven, who was selling a super drug called “rush” on the streets of Portland. It was the drug Rush which caused Chris to become a half vampire, and it was here that Chris Sparrow made her first appearance in the series. Next, Byron was taken hostage by two different secret societies; each one trying to save the world from “monsters” like Byron.

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1-303 The Harvest
"No... No not her!"

2-304 The Sacrifice
"I'm, I'm ...not her!"


The Byron Chronicles 3 (3,4) ( 58mb)

01 The Byron Chronicles 303 The Harvest (21:05)
02 The Byron Chronicles 304 The Sacrifice (21:17)

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previously

Byron's Tale ( 63mb)
The Byron Chronicles 1 (2,3) ( 67mb)
The Byron Chronicles 1 (4,5) ( 45mb)
The Byron Chronicles 1 (6,7) ( 42mb)
The Byron Chronicles 1 (8,9) ( 90mb)
The Byron Chronicles 2 (1,2) ( 90mb)
The Byron Chronicles 2 (3,4a) ( 90mb)
The Byron Chronicles 2 (3,4a) ( 66mb)
The Byron Chronicles 2 (5,6) ( 44mb)
The Byron Chronicles 2 (7,8) ( 49mb)
The Byron Chronicles 2 (9,10) ( 49mb)
The Byron Chronicles 3 (1,2) ( 76mb)

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Dec 23, 2012

Sundaze 1252


Hello,  another Sundaze and as it is right before Xmas it makes sense to offer you all some great alternative for the mindnumbing Xmas muzak, and acknowledging the pagan origin of Xmas with elves and dwarfs dancing and singing accompanied by Moscow's top classic ensemble, Caprice, here inspired by English poets as well....N'Joy....

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Caprice began as a studio project in 1996, recording Mirror, 12 half progressive, half neo-classical songs. This album - a story about life, death, and after-death - employed an impressive cast of 12 musicians, including bass, drums, and many classical instruments. Their music (composed by Anton Brejestovski) is quite complex, with detailed polyphonic arrangements, intricate harmonies and time signatures, yet sounding natural and not overloaded. The melodies are vivid and filled with energy and beauty.

In 1998 Caprice began performing Music of the Elves in Moscow clubs and concert halls, turning to an entirely neo-classical sound. In November 1999 they recorded three songs for the Japanese film director, Shusei Nishi, who used them to make a documentary about Caprice, The Flower of Harmony. One of the songs, Princess Mee, was chosen by the Russian Gothic Project for the first Russian Gothic Compilation, and shortly after the French label Prikosnovenie offered Caprice to release Elvenmusic. The recording took six months, and in April 2001 the CD came out. Since 2001 all Caprice albums have been released by Prikosnovenie.  In 2000 and 2002 Caprice recorded their second album, Songs of Innocence and Experience, based on William Blake’s poetry. It sounded different from Elvenmusic, and, like Blake’s famous book, portrayed two sides of human existence– the cheerful joys of innocence and the harsh knowledge of experience.

In 2000 the band staged Brejestovski’s mini opera The Architect (for three singers, chamber ensemble and electronics), with libretto by Daniil Harms, a Russian absurd poetry classic. The passionate, moving music portrays the tragedy of Maria, the wife of the Architect. In autumn 2002 Caprice began recording Elvenmusic II: The Evening of Iluvatar’s Children, based on JRR Tolkien’s The Lord of the Rings. The album’s instrumental palette was greatly enhanced compared to the previous works. Synthesizers, percussion and brass were added, forming an epic 16-song cycle, which was released in April 2003.  The next Caprice album, Sister Simplicity, which came out in June 2004, is the group’s “music for the masses”. 14 songs based on the English and American poetry of the 6th-20th century, are simpler in manner, more open and passionate. In contrast to Elvenmusic II there are very few instruments, the grand piano and strings being in the foreground.

June-November 2004 Caprice recorded two works commissioned by Santa Park, Rovaniemi, Finland: music for the film Northern Lights and a 45-minute dance show The Seasons of Lapland.  In October 2005 came the group's most important and longest-worked-at album: Tales of the Uninvited, or Elvenmusic, part 3. It is written entirely in the unique language of Laoris, one of the tongues spoken by the modern faeries in the parallel world, a language with detailed writing references, vocabulary and grammar. The last part or Caprice's Elven Trilogy, this time the album bears no relation to the Tolkien universe, but portrays the realm of faerie and its denizens’ music.

Anton Brejestovski composed a three-act ballet The Faerie Queen, a commission by Apogee Arts Foundation in 2006 . “Kywitt! Kywitt!” was a step forward: in addition to its typical acoustic palette, the band used guitars, drums and vintage synthesizers. The album's most notable tracks are Dundellion Wine, Kywitt! Kywitt!, Christmas Lullaby and Fae, Fae, Fae, Fae, Fae, Fae, Fae - a track made in collaboration with the Russian enigmatic band Dvar. In 2008 the band recorded Viola Floralis - an experimental 20-minute suite (released on the La Nuit des Fees collection by Prikosnovenie). To record it Caprice collaborated with musicians from England and Spain, who submitted the tracks over the Internet.

In 2009 Caprice released Six Secret Words - a meditative 45-minute album consisting of only six long tracks, where Inna's voice was used purely as an instrument. In 2010 the band recorded a one-hour, sixteen-track album Masquerade - their first album in the Russian language since 1996. The album is a hommage to Russian Siver Age poets, many of whom died during the Stalin rule in 1930s. The album's dominant image is the Russian absurd classic Daniil Harms, whose four poems have been used as lyrics. To record this album Caprice employed the bass guitar, drums, strings, winds, keyboards, harp and a symphonic choir.

In 2011 Anton Brejestovski composed about 50 songs, 24 of which were chosen for the new album Girdenwodan. The word Girdenwodan is the name for a new dance form, and the main idea of the new album is Dance. Part One is due for release in April 2012, and Part Two in November.

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This album was inspired by William Blake's Songs of Innocence and of Experience. In this collection of poems, Blake contrasts Songs of Innocence, in which he shows how the human spirit blossoms when allowed its own free movement with Songs of Experience, in which he shows how the human spirit withers after it has been suppressed and forced to conform to rules, and doctrines.

Creatively rewriting the works of the poet William Blake, Caprice that consists of seven people and is run by Anton Bregestovsky, again produced beautiful airy melodies and sparkling waterfalls of words, that fly elegantly across the strings of the stave. The marvel of live acoustica of the many instruments, amidst which are horns (flute and oboe) and strings (violin and cello) and the hypnotizing play of Inna Bregestovsky wonderful voice, enshroud you like a cloud from the very first minutes of listening, and do not let you go till the very end, giving life to vivid glimpses of gone epochs, when great artists and thinkers made beauty. First of all, this album impresses by its musical maturity and solid conception. There is nothing unnecessary, and, although each song is independent, together they create a composition of a work of art, when it is impossible to add or put away anything. Certainly, this is more than a deserving monument to the great poet, built in music. Soft play of the keyboards, gentle tunes of the violin, splendid vocals... The great verses of an English poet, set to exquisite music - what could be better? Enjoy the charming tunes of "Songs Of Innocence And Experience" and think about the past, when everything was different from what we have now...



Caprice - Songs Of Innocence And Experience> (flac  200mb)

01 Introduction 2:44
02 The Echoing Green 3:46
03 Laughing Song 1:38
04 Blind Man's Buff 4:06
05 Spring 3:08
06 The Fly 1:14
07 Long John Brown And Mary Bell 3:52
08 The Little Boy Lost 1:41
09 The Little Girl Found 3:22
10 Night 9:43

Caprice - Songs Of Innocence And Experience> (ogg 76mb)

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This is a different Caprice album - instead of the exquisite world of faerie, this time Anton Brejestovski's music speaks through Britain's best poets (Shelley, Byron, Wilde, Shakespeare, Wordsworth) about human passions - love and beauty, death and hatred. The concept of Simplicity is most breathtakingly revealed, and by so few instrumentalists, all of them Russia's top-notch musicians. And Inna Brejestovskaya's voice is more beautiful and passionate than ever.



Caprice - Sister Simplicity (flac  280mb)

01 Winter 4:10 (Shelley)
02 I Saw You Weep 3:11 (Byron)
03 A Red, Red Rose 2:00 (Burns)  
04 The Dole Of The King's Daughter 3:08 (Wilde)
05 The Faerie Chime 4:13 (Maelwys)
06 To My Sister 3:30 (Wordsworth)
07 Once Kings 3:39 (Anonymous, 6th century)
08 The Green Bowl 2:50 (Lowell)
09 Green Are The Rashes 2:12 (Burns)
10 Juliet's Beauty 1:57 (Shakespeare)
11 Autumn 3:35 (Shelley)
12 Twilight 3:33 (Byron)
13 Nothing Will Die 3:23 (Tennyson)
14 Summer 2:34 (Shelley)
15 The Dole Of The King's Daughter (Remix) 3:32

Caprice - Sister Simplicity (ogg 103mb)

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Prikosnovenie commissions the Russian neoclassical ensemble Caprice an album about relaxation and inner trip. The amazing composer Anton Brejestovski emerges himself deeply in the project and opened doors of hidden worlds of music. Harp, piano, chimes, cello and violins lead us deep inside ourselves. Every sound is built to make an echo in us, each musical landscape becomes a mirror. This album reminds of the beauty of Caprice 'Elvenmusic' trilogy like an imaginary movie's atmosphere.
 Six secret words : Craft: the power, Trees: the serenity of woods, Taeris: The magic Elvish harp, Womb: the matrix, Memory: the wisdom of old age and Sage : the wisdom of childhood.



Caprice - Six Secret Words (flac 181mb)

01 Craft 4:35
02 Trees 7:53
03 Taeris 6:33
04 Womb 10:58
05 Memory 6:02
06 Sage 5:25

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Surrealistic, yet beautiful, 'never heard before' music blending orchestral and folk instruments with vintage analogue synthesizers.
 3 years after their 'Elvenmusic III', Kywitt! Kywitt! escapes from the forest, crazy and surrealistic neoclassical masterpiece of these virtuosi musicians from Moscow Opera. Kywitt gives a human view (sometimes hallucinations...) at the faerie world. The result is a ‘never heard before’ music, more surrealistic, more ‘Fantasy’ and also more intense. The Genius Composer 'Anton Brejestovski' seems to play with the score and instruments like he would play with toys. He adds a lot of new musicians and instruments, like drums, electric guitar, electro, vintage analogue synthesizers blended with classical and folk instruments (Cello, violin, Oboe, clarinet, accordion, duduk, saz...).



Caprice - Kywitt! Kywitt!  (flac  324mb)

01 Dundellion Wine 3:23
02 Monday, Tuesday 2:26
03 Kywitt! Kywitt! 4:03
04 Mary Morison 2:59
05 Philomel, With Melody 3:16
06 Christmas Lullaby 5:03
07 Fae Fae Fae Fae Fae Fae Fae 3:44
08 Adew Sweet Amarillis 3:36
09 Rumpled Wille 3:16
10 The Dusk Of Kimmeria 4:27
11 More 1:38
12 Peggy O 5:37
13 Garden Of Love 6:58

Caprice - Kywitt! Kywitt! (ogg  120mb)

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Dec 22, 2012

RhoDeo 1251 Beats


Hello, it was hard to get past all the jolly end of the world fuzz the media created, all over the world people were in fear, millions of candles bought -would make more sense to buy lighters, let alone the nutcases crawling underground, clearly the Mayan calender had gone global unfortunately it wasn't accompanied with real background, just disaster sensationalism. Now as it happens I've been aware of this 'end-date' for a long time and it's a fascinating concept. I've written a blog about it which you can read here The Shift Ages ..there and back you can comment on it, please do

To the Beats matter at hand. An artist that no one dares plagiarize for fear of making an idiot out of themselves – and in the world of cheapskate bandwagon jumpers known as modern electronic music, that's really saying something. Squarepusher remains forward thinking, relevant and as predictably unpredictable as ever.... NJoy

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So what's up with this Squarepusher ?

"I originally wanted to play the electric guitar, but an early insight into the typical psychological make-up of electric guitar players put me off. The driving rationale behind me wanting to play bass was an intrigue about what underpins the general sound picture in modern music. Everybody is acquainted with the singing voice, and most could identify an electric guitar, but the bass is more mysterious. Certainly the bass register is familiar, but the sound of the bass guitar is typically hidden away at the back of a mix. I found myself drawn to this strange sonic hinterland. On the rare occasions where exposed bass-lines could be heard, I found the deep tones very appealing and had to know more!"

Jenkinson was born in Chelmsford, Essex in 1975 and was educated at King Edward VI Grammar School.In 91 the local dance music sage and DJ Hardy Finn introduced Tom to the hitherto hidden worlds of Detroit Techno,  Hardcore, Acid House and New York Garage. Tom made a drastic revision in his outlook due to evocative power of this newly found music. He went on to study Fine Art at Chelsea College of Art and Design. A self-taught drummer and highly skilled bass guitar player, his style of extremely fast, cut-up beats mixed with fusion jazz and interlaced with synth lines and samples has gained him a cult following. He is a friend of Richard D. James (Aphex Twin), and Luke Vibert. His albums have been critically acclaimed for their forward-thinking approach to electronic music. He's a bit of a recluse and interviews are done by email, yet he can be seen playing bass at the local pub now and again.

Jenkinson performs live, playing with a fretless or fretted bass guitar, a laptop, and other hardware. On 26 June 2005, Squarepusher played at London's Royal Festival Hall as part of the Jimi Hendrix tribute show "Songs of Experience". His 12-minute performance was built up of a medley of Hendrix tracks played solely on the bass guitar with the use of effects (he got RHCP's Flea exited)

The toys that make it happen and play with Squarepusher at his derelict farm

Bass guitars: Music Man / Rickenbacker 4001 / Custom built 6 string.
Guitars: Classical and Baritone classical / custom electric guitar.
Software: Reaktor using only home made algorithms.
Electronic Hardware: Eventide "Orville" + "DSP4000" using only homemade algorithms/ Yamaha sequencer / 16 track tape machine / MackieDesk / Sine wave generator / Roland SH101 / Octave "Cat" synth / AKG414 mics / Home made + AKG analogue reverb units / DAT recorder.
Percussion: Ludwig drum kit / Balinese percussion / xylophone.

Critical acclaim for Jenkinson's work peaked with 1998's Music Is Rotted One Note, for which he became a one-man fusion group -- multi-tracking himself playing drums, bass, and keyboards. The following year, he released two EPs (Budakhan Mindphone, Maximum Priest) and another full LP, Selection Sixteen. Go Plastic appeared in summer 2001, featuring the closest thing to a hit Squarepusher had ever seen with the single "My Red Hot Car." Subsequent releases such as 2003's Do You Know Squarepusher and 2004's Ultravisitor found him refining his fusion of composition, programming, and musicianship, characteristics that were also heard on 2006's Hello Everything and 2008's Just a Souvenir. After a record of solo bass (titled Solo Electric Bass, Vol. 1), he unveiled his next project, a masked foursome named Shobaleader One that released a 2010 collaboration album (Shobaleader One: D'Demonstrator) consisting of throwback electronic pop with an R&B edge and synthesized vocals, not unlike Daft Punk. In 2012, Jenkinson returned with the coldly symphonic Ufabulum, adding an apocalyptic soundtrack feel to his already dense programming.


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Warp Records was playing catch-up with all the excellent Tom Jenkinson material floating around. Just the previous year the label saw good returns on his Hard Normal Daddy LP, and now it was time to buy the rights to previous tracks released on the Brit jungle boutique label Spymania. The selection here on Burningn'n Tree is crunchy and uneven, but certainly rewarding for collectors losing faith in the hunt for original limited vinyl pressings. As a bonus, Jenkinson throws in three previously unreleased selections. The real treats are Spymania's early gems. The album opens with the 1996 track "Central Line," which seems atypically straightforward with its 4/4 drum lines -- lean and underdeveloped by jungle standards (as well as Jenkinson's), but a perfectly energizing opener. It is tracks like this and "Sarcacid" (also known as "The Duke of Harringay") where he leans on his fantastic bass playing and jazz background, rather than his dizzying programming skills that would bloom on future endeavors. The compilation here shows Squarepusher in his early days of flight, especially the tracks resurrected from his Conumber EP -- the epic 11-minute title track, plus two barely related versions of "Eviscerate," a wonderful balance of organic sounding jazz, atonal machine loops, and fluid bass playing. Jaco would be proud.



Squarepusher ‎- Burningn'n Tree (flac  507mb)

01 Central Line 3:57
02 Untitled 4:08
03 Nux Vomica 7:57
04 Eviscerate 4:33
05 Untitled 3:20
06 Male Pill Part 5 8:03
07 Sarcacid Part 1 5:56
08 Conumber 11:01
09 Untitled 1:27
10 Eviscerate Version 7:12
11 Toast For Hardy 9:23
12 Sarcacid Part 2 5:05

Squarepusher ‎- Burningn'n Tree (ogg 168mb)

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Tom Jenkinson's jazz roots come through louder and clearer on his full-length Warp debut. Although, like the preceding Port Rhombus EP, this album sounds substantially cleaner and more thought out than previous releases for Spymania and Rephlex, it also far surpasses those releases in terms of musicality and track development, not simply relying on the shock value of "tripping-over-myself" drum programming and light-speed fretless bass noodling. Jenkinson's bass accompaniment also sounds far less prog rock-influenced here, making Hard Normal Daddy his overall most listenable work to date....dedicated to the Chelmsford rave scene.



Squarepusher ‎- Hard Normal Daddy (flac  426mb)

01 Coopers World 5:09
02 Beep Street 6:37
03 Rustic Raver 5:08
04 Anirog D9 1:11
05 Chin Hippy 3:16
06 Papalon 8:10
07 E8 Boogie 8:13
08 Fat Controller 5:38
09 Vic Acid 3:07
10 Male Pill Part 13 8:38
11 Rat/P's And Q's 4:33
12 Rebus 2:47
 
Squarepusher ‎- Hard Normal Daddy (ogg 135mb )

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A compilation album of sorts, this is the US release of the Big Loada EP, plus Port Rhombus EP and two tracks from Vic Acid EP. Big Loada finds Tom Jenkinson playing the genre game a bit, skipping from new wave-ish breakbeat to ragga hardstep to the tinker-toy 303 jungle of then recent Aphex and µ-Ziq releases.



Squarepusher - Big Loada (flac 375mb)

01 Rocker 4:48
02 Tubeaction 5:40
03 Beat The Bush 5:47
04 Daktari 8:03
05 Vincent Van Dance 6:52
06 Gate 23 (Lost On Arrival) 2:31
07 Nasty Dollars 3:13
08 Satanic Circus 5:45
09 Raw (Sie Liebt Dich) 6:09
10 Transphormer 7:20

Squarepusher - Big Loada (ogg 121mb)

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elsewhere

Squarepusher - Feed Me Weird Things (96 ^ 134mb)

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