This is a blogg* to share my eXcess; that which reached, touched, entertained or angered me, in general all that draws my interest and thereby transmutes my Xsistance.
Eclectic music, metaphysics, (pre)history, conspiracies against humanity, the environment.
Hello, so this week some Anon managed to copy paste requests for the 10 pages i posted on the Funkadelic family, well Anon ...it will take 10 weeks of re-ups, in contrast to the 8 minutes it took you to place those 'serious' requests .
Here at Rho-xs visitor numbers have been stable but i did notice a big rise in re-up requests which points to my visitors spending more time at Rho-Xs (glad to be at service). Alas over the years i've lost access to a number of disks, specially the loss of my Aetix and Roots collection hinders my capability to re-up. Obviously the torrent world offers a solution, but this scene is dynamic and suffers the same fate as my posts , the hosts delete the file when demand has dropped, in the torrent world this even worse. Unfortunately this means whilst bigger names get revived the more obscure tend to completely disappear, a fate that is suffered by roots artists as an example Salif Keita a relative big name is nowhere to be found in flac these days (just one album) when a few years ago there were many titles to be had. Same goes for many a reggae artist and even in Aetix the choice of what is on offer is diminishing day by day. I'm doing my best to fulfill requests but it's difficult and in the future i will request you my visitor to give back the odd title that you downloaded via Rho-xs and repost it here.
10 correct requests for this week , 10 double and 1 too early, no confused=people requesting at the wrong place, whatever another batch of 33 re-ups (12.2 gig)
These days i'm making an effort to re-up, it will satisfy a smaller number of people which means its likely the update will expire relatively quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section at the page where the expired link resides, or it will be discarded by me. ....requests are satisfied on a first come first go basis. ...updates will be posted here remember to request from the page where the link died! To keep re-ups interesting to my regular visitors i will only re-up files that are at least 12 months old (the older the better as far as i am concerned), and please check the previous update request if it's less then a year old i won't re-up either.
Looka here , requests fulfilled up to June 29th... N'Joy
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3x Beats Back in Flac (Spooky - Gargantuan , VA - Dub House Disco The Third, VA - Trance 2 )
1x Roots NOW in Flac (Horace Andy - In The Light + In The Light Dub)
4x Sundaze Back in Flac (UNKLE - The Time Has Come + Berry Meditation EP, UNKLE - Psyence Fiction, UNKLE - War Stories, UNKLE - War Stories Instrumental)
4x Grooves Back in Flac (Little Axe - Stone Cold Ohio, Little Axe - Bought For a $ Sold For Dime, Little Axe - If You Want Loyalty Buy A Dog, Little Axe - Wanted)
3x Grooves Back in Flac (Funkadelic - Maggot Brain, Funkadelic - One Nation Under A Groove, Funkadelic - Electric Spanking Of War )
4x Aetix Back in Flac (The Gun Club - Live Buffalo NY 1982 (Miami Bns Dsc), The Gun Club - Mother Juno, The Gun Club - Pastoral Hide & Seek , Jeffrey Lee Pierce - Wildweed )
4x Grooves Back In Flac (VA - The Rebirth Of Cool, VA - The Rebirth Of Cool 2, VA - The Rebirth Of Cool 3, VA - The Rebirth Of Cool 4 )
2x Sundaze NOW In Flac (Bola - Soup, VA - High Priests Of Electronic Dub)
4x Beats Back in Flac (Rod Modell & Kevin Hanton - Illuminati Audio Science, Rod Modell - Incense & Black Light, DeepChord Presents Echospace - Liumin, DeepChord Presents Echospace - Liumin Reduced)
4x Sundaze Back in Flac (Frank Bretschneider - Rand, Frank Bretschneider - Curve, Bretschneider & Deupree - Balance, Frank Bretschneider - Looping I - VI)
As announced please return if you have it
you can do this by uploading at https://bayfiles.com/ no need to fill in anything there, just copy the result as a comment at Rho-Xs
Hello, the internet has caused cracks to appear in the image those cowed archaeologists had upheld the century before and Graham Hancock but the boot in in his eloquent way in America Before - The Key to Earth’s Lost Civilization the audiobook i will post the coming weeks read by the man himself. But wait there's more Robert A. Monroe takes you on a guided trip the coming months to developing, exploring and applying expanded states of awareness. I'd say a great way to spend the freetime corona delivers. And in the meantime i will keep trying to convince you that current astrophysics is producing nothing but pretty computer graphics and fantastical nonsense on par with Disney sci-fi and needless to say starving the Electric Universe people of funds to be able to blow all that nonsense, that has been produced this last century by established astrophysics, out of the water. These people don't care about truth only their next paycheck , lets face it most established sciences are dead or codified like the medieval Catholic Church. The only 'moving' sciences are computer and bio-genetic but then these are young sciences. This stranglehold of the past ignorance must be broken.The Electric Universe Theory is an excellent candidate to break the deadlock.
Hancock's thesis is based on the previously widely criticized Younger Dryas impact hypothesis, which proposes that the Younger Dryas climate event was caused by one or more large comets striking the Earth around 10,800 BC. Hancock argues that this caused widespread destruction, with a short-term return to Ice Age conditions followed by massive flooding that altered the continental landscape. Specifically, he claims that coastal civilizations in and around the Atlantic Ocean, Southeast Asia and the Pacific Ocean were destroyed by rising sea levels. He argues that this was the origin of various flood myths around the world, and that "what we think of as human history is merely the record of human events that have transpired since the last, great planetary catastrophe.
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What is Gateway Experience®
Mind Awakening program to help you achieve expanded awareness, and much more.
The Gateway Experience® In-Home Training Series is dedicated to developing, exploring and applying expanded states of awareness. Beginning with Discovery, there are seven "albums” called "Waves of Change.” Each Wave (3 CDs, 6 tracks) contains special Hemi-Sync® exercises designed to gently lead the listener into profound states of expanded awareness. While in such states, one has available a broader range of perceptions with which to solve problems, develop creativity or obtain guidance.
Each album is progressive in nature, building on the tools and techniques from the previous albums. Therefore, the albums must be used sequentially. The Gateway Experience Guidance Manuals, included with each Wave, prepare you for these exercises which help you to know and better understand your total self so you might enjoy a more fulfilling life.
What can you expect from the Gateway Experience?
"As much or as little as you put into it. Some discover themselves and thus live more completely, more constructively. Others reach levels of awareness so profound that one such experience is enough for a lifetime. Still others become seekers-after-truth and add an on-going adventure to their daily activity."
-- Robert A. Monroe
Adventure
Explore new experiences, new ideas, new places and new friends. This album provides you with the ultimate expression beyond Freedom – that of a personally controlled and directed adventure. Voiced by Bob Monroe. Includes Guidance Manual and the following six exercises:
One Year Patterning – for designing your desired future
Five Messages – gain insight into your total self
Free Flow 12 – an unparalleled background for personal exploration
NVC I – non-verbal communication, the language of intuitive thought
NVC II – broaden perception in all states of your being
Compoint 12 – establish a reference point for communication with higher consciousness
HemiSync - Gateway Experience - Wave IV Adventure (PDF)
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Earth’s surface is not what it was a short time ago.
That Earth and the Solar System experienced catastrophic events, perhaps as little as 5000 years ago, is one of the major presumptions of Electric Universe theory. Most adherents to the theory consider 10,000 years ago to be as far back as necessary when looking for evidence.
Mainstream geological theories state that it took millions, if not billions, of years to arrange the topography on Earth. Mountains rise in response to mechanisms that are so slow as to be undetectable over all the millennia of human history: the Himalayas, the Alps, and the Rocky Mountains, for example, retain the shapes that were visible to ancient nomadic tribes that wandered the continents in ages past.
The seas, it is said, have not left their basins in time spans that have no meaning to the human mind. The Atlantic Ocean bridged the distance between Africa, Europe, and the Americas so long ago that it is greater than the time humanity has existed.
Rivers, deserts, canyons—all appear to modern eyes just as they would have appeared to Alexander the Great, Goyathlay, Sargon, or Khufu. The cyclic processes of erosion or sediment deposition are said to be the same today as they were long ago. Most of the current methods for dating artifacts, geologic layers, or fossils are dependent on that hypothesis of gradual, uniform action.
What if the uniformitarian hypothesis is incorrect? What would be the ramifications if carbon dating, potassium-argon, or the so-called “geologic column” were not reliable windows to the past? What if the topography of Earth was created in a period of time so short that ancient civilizations were able to record it? What meaning would the Neolithic, or the Jurassic, or the Precambrian eras have?
Coal beds cover millions of square kilometers all over the world. Insects, leaves, trees, rocks, and animal bones are found inside them, although hardly any intact forms exist. The majority are disarticulated, shredded, or crushed. Carbonized trees are sometimes found standing upright in a few coal seams, extending down through many layers that are said to represent 250 to 500 million years.
When did these plants and animals, all strong, all “fit,” all perfectly adapted to their environments, meet their dooms? What caused the forests to burn, freeze, and then succumb to petrification?
Again, the primary assumption in the development of dating systems is that the Earth is an isolated planet that does not interact with other celestial bodies. Planetary scientists do say that there have been meteor impacts of staggering size, but nothing like that has taken place for the aforementioned millions of years. Large craters, such as Popigai or Chicxulub, date back to the Jurassic Age, according to convention.
It is assumed that radioactive decay rates are the same now as they were when the radioactive elements were formed; and no alterations to Earth’s electric or magnetic fields have taken place. Geologists rely on a smooth, continuous clock ticking off the millennia at a measurable rate. If that is not the case, then the Age of the Dinosaurs, or the formation of the ocean basins, could have occurred at any point in the past, or over any length of time.
It seems possible that plasma interactions with Earth and other charged bodies in space, or the impact on the biosphere from ion beams, could disrupt all the elemental changes that are used to date rocks. Earth could be much younger than the billions of years commonly ascribed to it, or much older. If Electric Universe concepts are found to be more reasonable than previous theories, that cataclysmic events completely overturned the familiar environment that older peoples experienced, then we have no “clocks” and no “calendars” to use, except those that came into being a mere 100 generations ago.
Stephen Smith
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How do stars and planets form?
The solar nebular hypothesis of standard cosmology tells us that gravitational collapse and accretion are the processes that lead to the creation of planets and stars—formative processes that occur over countless eons of time.In contrast, the Electric Universe model and plasma cosmology propose that the electromagnetic phenomenon called the Z-pinch, (also called zeta pinch or Bennett pinch after Willard Harrison Bennett 1903-1987), which is known as a dominant organizational phenomenon in the cosmos.We explore the increasingly convincing evidence that both stars and planets do indeed form by cosmic Z-pinches.
In conclusion, Robert explains how his analysis only strengthens the electrical discharge hypothesis.
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Was an advanced civilization lost to history in the global cataclysm that ended the last Ice Age? Graham Hancock, has made it his life’s work to find out — and in America Before he draws on the latest archaeological and DNA evidence to bring his quest to a stunning conclusion.
Hancock’s research takes us on a series of journeys and encounters with the scientific rebels responsible for the recent extraordinary breakthroughs. In the process, from the Mississippi Valley to the Amazon rainforest, he reveals that ancient ‘New World’ cultures share a legacy of advanced scientific knowledge and sophisticated spiritual beliefs with supposedly unconnected ‘Old World’ cultures.
Have archaeologists focussed for too long only on the ‘Old World’ in their search for the origins of civilization while failing to consider the revolutionary possibility that those origins might in fact be found in the ‘New World’?
America Before: The Key to Earth’s Lost Civilisation is the culmination of everything that millions of readers have loved in Hancock’s body of work over the past decades, namely a mind-dilating exploration of the mysteries of the past, amazing archaeological discoveries and profound implications for how we lead our lives today.
A few of the revelations from the book:
We were taught in school that the Americas were the last of the great landmasses of the Earth to be inhabited by humans – who were thought to have arrived exclusively on foot from northeast Asia around 13,000 years ago by crossing the Bering Straits which formed a land-bridge to Alaska during the lowered sea-levels of the Ice Age. By contrast, anatomically modern humans, originating in Africa, are believed to have reached Europe, Asia, and even Australia, as far back as 60,000 years ago.
Since the recent publication in Nature of landmark research in southern California scientists have begun to realise that something of immense importance is missing from this long-established picture. Though the general public have not been kept well informed, it now appears that the Americas were first peopled at least 130,000 years ago – many tens of thousands of years before human settlements became established elsewhere. Yet because of the dominance of the former – and now entirely discredited – theory of the late peopling of the Americas, and of mental blocks associated with that theory, archaeologists continue to focus only on the ‘Old World’ in their search for the origins of civilization and have not considered the revolutionary possibility that those origins might in fact be found in the ‘New World’.
Certain tribes of the Amazon rainforest are closely related to Australian Aborigines and to Melanesians from Papua New Guinea. This extraordinary, unexpected and extremely ancient DNA signal is only present in South America and is completely absent in North America and Mesoamerica. It bears witness to something that archaeologists hitherto believed to be impossible – that the technology and skills needed to cross the Pacific Ocean, and successfully resettle a reproductively-viable population, existed more than 13,000 years ago.
Such secrets of human prehistory, now revealed by cutting-edge science, call for a complete rethink of our understanding of our own remote past and hint at the existence of a lost civilization of the Ice Age.
Astonishing similarities exist between the spiritual beliefs of the ancient Egyptians, as manifested in their Books of the Dead, and the spiritual beliefs of the mound-builder cultures of the Mississippi Valley – as manifested, for example, at Moundville in Alabama, Cahokia in Illinois and Watson Brake in Louisiana. Hitherto written off as ‘coincidental’ by archaeologists, the new investigation presented in America Before confirms that the parallels are very real. The deep and explicit details, imagery and beliefs, shared by these two supposedly unconnected religious systems can no longer be dismissed as coincidence. Nor are they the result of direct ‘diffusion’ of culture from ancient Egypt to ancient North America, or vice versa. Challenging our entire understanding of prehistory, what the evidence points to instead is a shared legacy of sophisticated ideas concerning the mystery of life and death inherited more than 13,000 years ago, in both the ‘Old’ World and the ‘New’, from an advanced predecessor civilization as yet unidentified by archaeologists.
South America’s Amazon rainforest has long been regarded as pristine jungle, unpeopled until less than a thousand years ago and thereafter inhabited only by ‘primitive’ tribes of hunter gatherers.
America Before, comprehensively refutes this picture with a thorough investigation of the latest scientific evidence.
Far from an untouched wilderness, the book reveals the Amazon to be a vast ‘garden’, very precisely shaped and moulded by humans for more than 13,000 years. It’s early inhabitants possessed advanced scientific knowledge concerning the molecular properties of plants – evident in concoctions such as the visionary brew ayahuasca and the nerve poison curare. Those first peoples of the Amazon were also the creators of a ‘miracle earth’ – terra preta –still capable of rejuvenating much younger infertile soils when it is added to them today.
Thanks to scanning technologies such as LIDAR, and because of the tragic ongoing clearances of old-growth rainforest to make way for cattle ranches, we now know that great cities once existed in the Amazon, their populations supported by the immense agricultural productivity of terra preta.
We know, too, that in ancient times there were people here who possessed and deployed sophisticated geometrical and astronomical skills to create immense earthworks, many with footprints larger than that of the Great Pyramid of Egypt.
America Before reveals the true extent and significance of these vast, newly-discovered Amazonian ‘geoglyphs’, their stunning resemblance to the equally grand and mysterious earthworks of Ohio, such as Serpent Mound, and the Newark and High Bank works, and connections to other geometrical and astronomical monuments as far afield as Stonehenge in England and Angkor in Cambodia.
Again, what the evidence points to is a shared legacy of knowledge inherited from a much earlier civilization that has been lost to history.
For some decades it has been generally accepted that a global cataclysm occurred around 12,800 years ago at the onset of a mysterious period of earth changes and climate instability known to geologists as the Younger Dryas. Since 2007 a group of more than 60 scientists, publishing in leading peer-reviewed journals, have presented evidence linking the cataclysm to a disintegrating comet that crossed the orbit of the earth 12,800 years ago and bombarded our planet with a ‘swarm’ of fragments, some more than a kilometre in diameter.
Though compelling, with new corroborative studies published every year, the comet hypothesis remains controversial and a number scientists favour other explanations. What all are agreed on, however, is that a global cataclysm did indeed occur.
America Before reveals that the epicentre of the cataclysm lay in North America, then still in the grip of the Ice Age with much of the northern half of the continent covered in ice a mile deep. An immense flood was unleashed as large sectors of the ice cap suddenly melted. From the Channelled Scablands of the state of Washington, via the gigantic pot-holes lining the Saint Croix River in Minnesota, to the Finger Lakes of upstate New York, a huge swathe of North America was swept clean by this deluge. At the same time global sea-level rose, the Gulf Stream was stopped in its tracks and the world was plunged into a deep-freeze that lasted 1,200 years.
It was the end of the former age of the earth, the Pleistocene, and the beginning of our own epoch, the Holocene. In the transition, America Before reveals that an advanced civilization, hitherto the stuff of myth and legend, was lost to history.
21. Chapter 20 - The Poverty Point Time Machine 30:06
22. Chapter 21 - Glimpses Behind the Veil 32:39
23. Chapter 22 - Quietus 26:47
24. Chapter 23 - The Portal and the Path 69:41
Today's artist developed a complex range of sounds founded upon the seamless integration of electronic, electric, and acoustic instrumentation, and the exploration of complex tunings. He's made dozens of albums these past 30 years even if this is my 5th posting on him there's plenty left to come back to him in the future but for now ..... N'Joy
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A California native, Rich began experimenting with electronics in the late '70s before attending Stanford University, where he completed a degree in psychology. While at Stanford, Rich's involvement in the university's prestigious Center for Computer Research in Music and Acoustics expanded his interest in electronic composition, as well as bringing him in contact with a wide range of nontraditional, non-Western musical ideas. In 1987, he released an album titled Numena. This was the beginning of a new sound for Rich. It was his first album to explore complex rhythmic patterns, a wider range of acoustic instrumentation, and just intonation. It was also his first album to be released on CD originally. Rich's performance of several all-night "sleep concerts" during this period also helped solidify an aesthetic focus on psychoacoustics, perceptible in early recordings such as Geometry and Trances/Drones.
Rich's more mature works such as Rainforest and Propagation have sought to combine that interest with more recognizable electro-acoustical elements (Rich plays a wide range of instruments, from synths and effects racks to hand drums and flute), but the influence of digital sound manipulation has also moved increasingly to the fore. Inspired by the more textural works of artists like SPK and Throbbing Gristle, Rich's interest in the edgier side of electronic composition has also earned him a reputation among fans of gothic, industrial, and dark ambient, made most obvious by his collaboration in 1995 with Brian Williams of Lustmord. .
In 1992, he formed a new group called Amoeba. The group has released three albums featuring ex-Urdu members Rick Davies and Andrew McGowan at different times. In 2001, he released an album titled Somnium, a 7-hour album divided into three tracks on one DVD video. This album was a recreation of the sleep concert environment he created during the 1980s at Stanford. Although not officially recognized, many people believe it to be the longest artist album of all time.
In 2004, he released an album of piano solos titled Open Window. This album documents his improvised piano style that has been part of his live concerts for decades. It was recorded on a 1925 vintage A.B. Chase baby grand piano. On March 11, 2005, Robert suffered a hand injury. He was cleaning a glass jug and accidentally slipped and fell on top of it. During the recovery process, he continued to record new material and tour. He also constructed end-blown flutes from PVC pipe that are more easily played with limited right-hand dexterity.
During his 2006 tour, Rich performed in front of a film created by visual artist Daniel Colvin as a backdrop. After the tour he created a score for the film, which was released on CD and DVD in 2007 under the title Atlas Dei. In 2007 he also released the album Illumination, a companion soundtrack of a multimedia installation by Michael Somoroff, and a collaboration album with touch guitarist Markus Reuter.
One of Rich's other interests is food. He maintains a Web site of recipes and other food related topics called Flavor Notes. He also has a long list of recipes for wild mushrooms.
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"Gaudi", Robert Rich's homage to early 20th century Spanish architect Antoni Gaudi, is a stunning work that captures the very essence of the master's aesthetic. Gaudi's structures are a sublime balance of matter and air, light and shadow, and science and art imbued with the ideal of nature rising up to the attain the sacred. From the majestic opener, "Sagrada Familia", to the lattice-like finale, "Mosaic", Rich uses the medium of music - itself the vibration of air through space and time - to evoke the architect's timeless organic geometry. Rich's use of just intonation here perfectly complements this concept and never sounded better. The highlight here, for me at least, comes midway through with "Harmonic Clouds" - a luminous piece with delicate chimes and slow chord progressions evolving over time with no two chords sounding exactly alike. Rather than sounding dissonant though or falling apart musically, it floats by effortlessly and it feels like a trek through a massive humid and damp cave in certain tracks to climbing up primordial steps and dense coniferous jungle in others. Easily some of Rich's best and inventive soundscapes.
According to the composer, Propagation is nothing less than a sonic metaphor for "the miraculous process of living," the spreading of genetic material across the planet in a brilliant, perpetually evolving dance of chemical, biological, and spiritual ecstasy. In the fertile imagination of Robert Rich, musical ideas and instruments from around the world mingle, mate, and proliferate in the lush, brackish waves of sound that flow from his well-tuned synthesizers and electronic processors. According to the composer, Propagation is nothing less than a sonic metaphor for "the miraculous process of living," the spreading of genetic material across the planet in a brilliant, perpetually evolving dance of chemical, biological, and spiritual ecstasy. Appropriately enough, Rich has managed to combine and recombine his vast musical influences to create a few new sonic species of his own. The third Hearts of Space recording from this talented Bay-area multi-instrumentalist adds a number of guest artists to the sensuous yet rigorous cross-cultural stew he's been perfecting for years. Rich himself excels on synths, samplers, slide guitar, percussion, and bamboo flutes, often adding extra spice through his use of exotic tuning systems that reach back to the ancient roots of harmony.
On the opening track, "Animus," Middle Eastern-style flute melodies wrap their breathy, sinuous lines around nebulous veils of synthesized sound and trance-inducing rhythms. Subsequent selections combine Rich's evocative sound imagery with LISA MOSKOW's inviting improvisations on the Indian sarod, Forest Fang's oriental-style violin melodies, and Carter Scholz's mesmerizing solos on Indonesian gamelan instruments. The seven resulting pieces illustrate a new level of maturity and complexity in Rich's style. At the same time, Propagation embodies a clarity of vision matched by few artists immersing themselves in the deep and often murky waters of cross-cultural sound explorations. According to the composer, Propagation is nothing less than a sonic metaphor for "the miraculous process of living," the spreading of genetic material across the planet in a brilliant, perpetually evolving dance of chemical, biological, and spiritual ecstasy. In the fertile imagination of Robert Rich, musical ideas and instruments from around the world mingle, mate, and proliferate in the lush, brackish waves of sound that flow from his well-tuned synthesizers and electronic processors. According to the composer, Propagation is nothing less than a sonic metaphor for "the miraculous process of living," the spreading of genetic material across the planet in a brilliant, perpetually evolving dance of chemical, biological, and spiritual ecstasy.
Propagation is easily some of the mans best work as an ambient artist,. a nice, balmy ethnic stew that goes great on a hot afternoon.
Thematically, Robert Rich's Bestiary seems to consist of some kind of otherworldly, almost animalistic electronic ambience, with titles like "Dante's Anthromorphic Zoo," "Mentis Intentions," and "Sharpening Her Talons." This work is strange contextually, both from the standpoint of Robert Rich's previous work as well as other electronic music; nevertheless, though, this is a strangely evocative and emotive recording. One of the things that's really distinct about this recording is Robert Rich's use of the MOTM modular synthesizer, which brings an almost Kraftwerkian machine-like aesthetic to this work, an aesthetic that Robert Rich's work really hasn't had in the past; in fact, his work has always been quite organic whether he was working in an ethno-tribal idiom or more of an experimental idiom. Robert Rich's Bestiary is certainly a new chapter in his book of artistry. Full of crazy and organic yet otherworldy alien sounds, Bestiary doesn't just create an atmosphere but a biosphere as well. It's a very wierd and unique album, which is great at first but it gets a bit too wierd for its own good near the end, but it's an interesting recording that reveals a more experimental side of Robert Rich's work.
01 Mantis Intentions 8:02
02 Nesting on Cliffsides 12:47
03 Dante's Anthropomorphic Zoo 3:07
04 Bestiary 6:19
05 Carapace Hides the Delicacy 3:13
06 Folded Space 5:35
07 Sharpening Her Talons 3:52
08 Premonition of Circular Clouds 10:21
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Outpost is the first effort to come out of the intriguing collaboration between Robert Rich and Ian Boddy. At first learning of this album, one might imagine what could possibly proceed from such a pairing - Rich, the ethno-surrealistic soundscape innovator and sleep concert scholar; meeting Boddy, the 21st century purveyor of intelligent EM by way of progressive synth-music. The result is quite unexpected. Among Outpost's more indentifiable elements are its reverb enshrouded flute, glissando guitar and "prepared" piano. But the sonic arrangements involved in this project and the resulting aural fantasies are the album's most compelling aspect. At the core of Outpost are the unique rhythms and tone patterns Rich created through modular synth manipulations and Boddy's ingenuous modulations, sonic textures and eerie atmospheres. According to Rich, "I think it sounds quite different from either of our solo work, but obviously people will recognize our individual styles and sounds". Boddy adds, "It just turned out the way it did due to the two of us interacting musically".
This album is best experienced at night - the dead of night. Throughout its 59 minutes, Outpost presents ten tracks on a graidient that slopes gradually between contrasts; sliding from desolate and lonely vibrations to rhythmic flutters in high relief and back again into the convoluted murkiness. Outpost allows these two brilliant sound designers to intertwine their talent and craft to create an album of rolling contour, shifting between dark and ominous moods. This album has character and will definately be of interest to those who enjoy contemplating the mysteries of sonic invention and how the artist uses this means to convey a pervading sense of uncertainty.
01 First Outpost 1:31
02 Ice Fields 8:21
03 Methane 3:48
04 Lagrange Point 6:48
05 Link Lost 10:15
06 State of Flux 6:38
07 Tuning In 5:47
08 Tuning Out 6:54
09 Edge of Nowhere 6:25
10 Last Outpost 2:18
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Hurray, Liverpool are Premier League Champions, not on the field but when watching Man City loose (undeservedly) to Chelsea, it was always going to be something of an anti-climax without the fans on the stands. Rarely has a team been so superior than the rest this season, 30 years the Liverpudlians had to wait, but Klopp and his men made sure that nothing would come between them and the title not even a deadly virus...the restart saw them a little rusty but the next game they outplayed Crystal Palace in superior fashion. Their next match (as champions) will be at Man City, expect a demonstration....
As regular visitors you know what to expect....some more music from Hull's music scene and Pork Recordings, no worry i'll get back to Steve Cobb later but for now i go back to 1996 at a time when Siberia was largely frozen and baby mammoths a rarity so we can understand the reason to call yourself Baby Mammoth, alas Siberia has been thawing rapidly these last decades popping up lot's of instant frozen mammoths (another huge mystery as none of our scientists has any idea how it happened- i have btw) Anyway as these guys didnt grab the power of the internet when they closed up shop in 2003 there presence therein is surprisingly limited, this in contrast with the real baby mammoths that have been extinct for 10,000 years
Today's Artists are extinct time to dig em up........N Joy
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Amidst heavy competition, Baby Mammoth is the Pork label's most prolific act, packing in five full LPs of blunted instrumental hip-hop between their debut in late 1996 and the end of the decade. Like other Pork acts Fila Brazillia and Solid Doctor, the duo of Mark Blissenden and Andrew Burdall specialize in earthy breaks and ambient atmospheres, more slanted to the instrumental edge of acid jazz than other producer-based trip-hop acts. The pair first met Pork label-head Dave Brennand and associate Steve Cobby (aka Fila Brazillia) at a club in Hull, where both band and label are based. The relationship blossomed with the release of Baby Mammoth's debut, 10,000 Years Beneath the Street, in 1996. Blissenden and Burdall then released two albums the following year (as well as an EP and single). Baby Mammoth settled down to a more languid release schedule with one LP release each year in 1998 (Another Day at the Orifice), 1999 (Swimming), 2000 (Motion Without Pain), and 2001 (Seven Up). After a year-long break, the band returned with Octo Muck in 2003. A year later, Blissenden teamed with labelmates Steve Cobby and Robert Ellerby from Beige for the Fabric 18 mix CD.
Bullitnuts. An electronic studio based duo from Hull, UK, recording 3 albums with the highly respected UK label Pork Recordings in the 1990's. They amalgamated live musicians with stolen samples and midi triggered electronics, mostly using an AKAI S1000 sampler and an Atari 1040ST sequencer. They have since worked separately on various projects outside of the Pork label. The Bullitnuts were heavily reliant on a sequencer and samples and were not a "live" band at all. The music was constructed and arranged via midi through a 24 channel mixing desk and via effects then recorded in one go "live" to DAT tape like lots of people did in the 90's.
01 Elephunk 8:18
02 Pacific Glitter 5:06
03 Tasty Maloney 7:18
04 The Ghost of Henry 4:40
05 One Foot Up My Arse 6:33
06 Motion Without Pain 7:30
07 Danger on the Rocks 6:43
08 Ebb & Flow 6:10
09 Pigs in Space 5:56
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Inspirational,blissful and chunky deep house from 'Pork' labels veterans Baby Mammoth here. The album accents percussion and doesn't layer on many ambient tracks. It is rather upbeat for a downtempo album. Highlights are Baroque n' Roll, Frank's Angels.
01 1 6:34
02 And I'll See You 8:09
03 Baroque 'n' Roll 6:41
04 Frozen 7:26
05 Pink Elephants (Live) 4:21
06 Lazy 6:51
07 Deadpool 5:51
08 Perfect World 5:10
09 Frank's Angels 6:24
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With Steve Cobby's Solid Doctor and Heights of Abraham projects put on hold and with Fila Brazillia entering a problematic phase, the way was clear for another band to assume the place of Pork Recordings leading act. This might not yet be obvious in September 1996, when '1st of the Day' was released, but curiously enough (and perhaps not surprisingly so), there was actually some speculation whether Bullitnuts could be another of Cobby's projects. A few details supported this possibility: the absence of credits on the album cover and leaflet allowed the speculation, while the intense schedule of releases by Cobby in 1995-96 certainly made the possibility quite plausible. And the music itself only added to the picture: inventive, atmospheric and groovy, displaying a variety of melodic and rhythmic resources, and achieving a seamless mix of the electronic, the acoustic and the electric, it had all the qualities one had grown to admire in Cobby's various projects, while at the same time retaining enough distinctive features that might justify the creation of yet another moniker. As the future would reveal, however, on this occasion the usual suspect was innocent: the people behind Bullitnuts were Robert Ellerby and Murray Clarke, a duo that had already issued a couple of releases under the name Opik.
As these considerations have already suggested, '1st of the Day' is an underrated gem, a work that deserves a place among the best that downtempo groove electronica has to offer. Almost every single one of its 10 tracks is a highlight, but some special mentions could be made. Treasures to be found include for instance the serene and melodic 'Fortean Daze', the percussive stroll and playful 'ethnic' chants of 'Rhesus Perplexus' or 'Feathered Up', which almost epitomizes the classic sound of atmospheric downtempo funk. And on the second half of the album, two of the pieces might be mentioned as absolute peaks. Based on a slow breakbeat groove and an almost solemn low piano theme, 'Joker In My Yard' builds on layers of keyboards and guitar to eventually reach notable heights, the ingenious interplay of instruments creating a dark atmosphere that is both unsettling and trippy. And closing the set, 'Semantic Pearls' bathes a suggestively jazzy rhythm section in wonderful moody spacey keyboards and produces some of the most magical moments to ever have surfaced from the city of Kingston upon Hull.
'Nut Roast', the Bullitnuts' second long-player, is a darker, more somber affair than the duo's impressive debut album. It tries to diversify the band's already eclectic approach to downtempo dance music, including some apparent rock influences, with steadily paced simple beats and guitar soloing featuring on some tracks. These attempts do not always produce the best results, but overall this is definitely better than anything Fila Brazillia released after 'Mess', for instance, and there are even two masterpieces: the dancefloor-friendly breakbeat with a sense of mystery of 'A Sponge, Two Bricks & A Spring', and the slow and sweet melancholy of 'Tipple Tales'. Worth checking out.....
01 A Sponge, Two Bricks & a Spring 9:17
02 Savoir Fare 8:57
03 Dark Horse 9:34
04 Between the Eyes 9:49
05 Rockskool 8:06
06 Twice As Much 7:16
07 Lizard Tooth Eye 7:55
08 Hell for Leather 6:46
09 Tipple Tales 10:12
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Volume 18 for Fabric sees the series take a different approach, this time embracing a jazzy, leftfield feel compared to the deep and tech house approaches as shown on previous volumes. Appearing on 18 is not 1, not 2 but three artists in the form of Baby Mammoth, Beige and Solid Doctor who also records as renowned downtempo artist Fila Brazilla.
Baby Mammoth takes the first steps on the mix kicking things off with the cheekily titled Elephunk. From an ambient synth intro dropping the occasional vocal sample, the tune breaks into a deep breakbeat infused number featuring percussive loops and a keyboard solo. Blind Date incorporates a jazz infused reggae bounce with soothing flute licks, a quirky electro hook and deep latin percussion riffs and finally Baby Mammoth closes with a Nickodemus & Osiris remix of Finale which sees a Hammond organ doing a solo on top of a funky percussion break as the mix moves into funky latin house perfect for lazy summer afternoons.
Beige takes over the mix dropping four unreleased tunes for the Fabric mix. Appearing in his Momma Gravy guise he begins his Momma Gravy set with the quirky disco infused Shut Up which features a calming synth hook combined with futuristic sci-fi noises and 80s style drum beats. Boy Without A Comb brings forth more retro 80s elements and has a distinct new wave feel about it, fusing together elements of 80s disco, rock and pop with cheesy 80s style vocals to boot. Beige finally brings his section to an end with the guitar led Did You Piss On My Guitar?. Again it's on a notable 80s disco tip embracing the sounds of 80s electro synths mincing with a guitar riff.
Solid Doctor then takes over with his brand of quirky leftfield beats kicking it off with Fila Brazilla's Bullshit. It's electronica with a quirky jazz feel to it as Solid Doctor combine house-style vocals with an acid-induced hook. J*S*T*A*R*S churn out a catchy bassline melody, disco guitar lick and an infectious rhythm on Spansules. Solid Doctor then brings the mix to a close with Mandrillus Sphinx's 70s style disco influenced, Pigeon's G-Spot. Don't really know how they came up with such a title (and perhaps it's best not to know) but the tune definitely has a sweet funky feel to it and makes for a great closer to the album.
For someone who really doesn't expose himself to the Fabric sound as much as he should have, I found this quite an enjoyable mix and it offers a lot of variety. Loaded with flavours of electro, disco, funk and hip hop, Fabric 18 is like having a brand of Neopolitan ice cream with flavours you'd enjoy.
Here at Rho-xs visitor numbers have been stable but i did notice a big rise in re-up requests which points to my visitors spending more time at Rho-Xs (glad to be at service). Alas over the years i've lost access to a number of disks, specially the loss of my Aetix and Roots collection hinders my capability to re-up. Obviously the torrent world offers a solution, but this scene is dynamic and suffers the same fate as my posts , the hosts delete the file when demand has dropped, in the torrent world this even worse. Unfortunately this means whilst bigger names get revived the more obscure tend to completely disappear, a fate that is suffered by roots artists as an example Salif Keita a relative big name is nowhere to be found in flac these days (just one album) when a few years ago there were many titles to be had. Same goes for many a reggae artist and even in Aetix the choice of what is on offer is diminishing day by day. I'm doing my best to fulfill requests but it's difficult and in the future i will request you my visitor to give back the odd title that you downloaded via Rho-xs and repost it here.
7 correct requests for this week , 0 double and 1 too early, no confused=people requesting at the wrong place, whatever another batch of 25 re-ups (9.4 gig)
These days i'm making an effort to re-up, it will satisfy a smaller number of people which means its likely the update will expire relatively quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section at the page where the expired link resides, or it will be discarded by me. ....requests are satisfied on a first come first go basis. ...updates will be posted here remember to request from the page where the link died! To keep re-ups interesting to my regular visitors i will only re-up files that are at least 12 months old (the older the better as far as i am concerned), and please check the previous update request if it's less then a year old i won't re-up either.
Looka here , requests fulfilled up to June 22th... N'Joy
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4x Beats Back in Flac (Orbital - Diversions, Sven Väth - Touch Themes Of..., VA - Wasted (The Best Of Volume 1-1), VA - Wasted (The Best Of Volume 1-2 )
3x Beats Back in Flac (Fuse - Dimension Intrusion , Plastikman - Musik, Richie Hawtin - DE9 | Transitions)
3x Roots Back in Flac (Funky Kingston - Reggae Grooves 68-74, Funky Kingston 2 - Reggae Grooves 68-74, VA - Jamaica Funk (Funk And Soul 45's) )
5x Sundaze Back in Flac (Stereolab - Dots and Loops, Stereolab - Aluminum Tunes, Stereolab - Aluminum Tunes 2, Stereolab - Cobra n Phases Group Play, Stereolab - The First of the Microbe ..)
3x Beats Back in Flac (Orbital - Radiccio + Mutations , Orbital – Snivilisation, Orbital - Blue Album)
4x Sundaze Back in Flac (Zoviet France - Shouting At The Ground, Zoviet France - Digilogue, Zoviet France - Just An Illusion , Zoviet France - Shadow, Thief Of The Sun )
3x Sundaze Back In Flac (Sylvian n Sakamoto - World Citizen, Alva Noto + Sakamoto - Summvs, Fennesz & Sakamoto - Flumina I+II )
As announced please return if you have it
Dislocation Dance - Midnight Shift + Singles
Dislocation Dance - Music Music Music
Dalek I Love You - Dalek I Love You
you can do this by uploading at https://bayfiles.com/ no need to fill in anything there, just copy the result as a comment at Rho-Xs
Hello, the internet has caused cracks to appear in the image those cowed archaeologists had upheld the century before and Graham Hancock but the boot in in his eloquent way in America Before - The Key to Earth’s Lost Civilization the audiobook i will post the coming weeks read by the man himself. But wait there's more Robert A. Monroe takes you on a guided trip the coming months to developing, exploring and applying expanded states of awareness. I'd say a great way to spend the freetime corona delivers. And in the meantime i will keep trying to convice you that current astrophysics is producing nothing but pretty computer graphics and fantastical nonsense on par with Disney sci-fi and needless to say starving the Electric Universe people of funds to be able to blow all that nonsense, that has been produced this last century by established astrophysics, out of the water. These people don't care about truth only their next paycheck , lets face it most established sciences are dead or codified like the medieval Catholic Church. The only 'moving' sciences are computer and bio-genetic but then these are young sciences. This stranglehold of the past ignorance must be broken.The Electric Universe Theory is an excellent candidate to break the deadlock.
Hancock's thesis is based on the previously widely criticized Younger Dryas impact hypothesis, which proposes that the Younger Dryas climate event was caused by one or more large comets striking the Earth around 10,800 BC. Hancock argues that this caused widespread destruction, with a short-term return to Ice Age conditions followed by massive flooding that altered the continental landscape. Specifically, he claims that coastal civilizations in and around the Atlantic Ocean, Southeast Asia and the Pacific Ocean were destroyed by rising sea levels. He argues that this was the origin of various flood myths around the world, and that "what we think of as human history is merely the record of human events that have transpired since the last, great planetary catastrophe.
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What is Gateway Experience®
Mind Awakening program to help you achieve expanded awareness, and much more.
The Gateway Experience® In-Home Training Series is dedicated to developing, exploring and applying expanded states of awareness. Beginning with Discovery, there are seven "albums” called "Waves of Change.” Each Wave (3 CDs, 6 tracks) contains special Hemi-Sync® exercises designed to gently lead the listener into profound states of expanded awareness. While in such states, one has available a broader range of perceptions with which to solve problems, develop creativity or obtain guidance.
Each album is progressive in nature, building on the tools and techniques from the previous albums. Therefore, the albums must be used sequentially. The Gateway Experience Guidance Manuals, included with each Wave, prepare you for these exercises which help you to know and better understand your total self so you might enjoy a more fulfilling life.
What can you expect from the Gateway Experience?
"As much or as little as you put into it. Some discover themselves and thus live more completely, more constructively. Others reach levels of awareness so profound that one such experience is enough for a lifetime. Still others become seekers-after-truth and add an on-going adventure to their daily activity."
-- Robert A. Monroe
Adventure
Explore new experiences, new ideas, new places and new friends. This album provides you with the ultimate expression beyond Freedom – that of a personally controlled and directed adventure. Voiced by Bob Monroe. Includes Guidance Manual and the following six exercises:
One Year Patterning – for designing your desired future
Five Messages – gain insight into your total self
Free Flow 12 – an unparalleled background for personal exploration
NVC I – non-verbal communication, the language of intuitive thought
NVC II – broaden perception in all states of your being
Compoint 12 – establish a reference point for communication with higher consciousness
HemiSync - Gateway Experience - Wave IV Adventure (PDF)
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Astronomers believe that solar flares are caused by “magnetic reconnection events”.
“We all shine on…like the moon and the stars and the Sun…”
― John Lennon
A recent press release illustrates another of the more common ideas about the Sun. Using the thermonuclear fusion model of solar activity, astronomers think that solar flares are explosions that release an enormous amount of energy, equivalent to a trillion “Little Boy” atomic bombs exploding at the same time. In extreme cases, solar flares can disable radio connections and power stations on Earth, but they are also at the basis of stunning space weather phenomena. The Northern Lights, for instance, are linked to flares that disturb the Sun’s magnetic field. As the press release states, “…we already understand quite a lot about the physical processes that take place during a solar flare. For one thing, we know that solar flares convert energy from magnetic fields into heat, light and motion energy very efficiently.”
The prevailing view is that the Sun accelerates charged particles away from its surface in the same way that sound waves are amplified. Pulsations in the photosphere are thought to travel along “magneto-acoustic wave-guides,” otherwise known as “magnetic flux tubes”. It is that kinetic effect that pushes “hot gas” outward. In an Electric Universe, the Sun possesses a positive space charge sheath with respect to the interstellar medium (ISM). In other words, it is an anode terminal connected to galactic power circuits. Those circuits are of unknown length, and unknown potential, but they probably include influences that encompass thousands of cubic light-years. The electromagnetic energy moving through those galactic “transmission lines” is also unknown, but astronomers constantly report their amazement at the amount of energy released by solar flares.
It is not the intent of this article to challenge the magnetic reconnection model; that was done in several previous Pictures of the Day. Sufficient to say is that the Sun’s heliospheric boundary is a double layer “cocoon”, isolating it from galactic plasmas flowing through the Interstellar Medium. Voltage differences occur within the heliosphere, so the Sun experiences charge/discharge phenomena related to variable electrical input from the Milky Way. Therefore, sunspots and flares most likely derive from changes in its electrical supply, indicating variable input from its galactic circuit. Solar flares could be like tremendous lightning bursts on the Sun, discharging matter at near relativistic speeds. The circuit that connects the Sun with the Milky Way might extend for hundreds, or even thousands of light-years. How much electrical energy is contained in those “transmission lines” feeding the solar anode can be understood by analyzing the electric potentials within the Sun’s sphere of influence.
Stephen Smith
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In his previous presentation, electric geology investigator Robert Hawthorne explored the stupendous geological feature in the American Southwest known as Upheaval Dome. As Robert explained, while standard geology favors the interpretation that Upheaval Dome was created by a kinetic impact, the hypothesis that the feature was created by interplanetary lightning finds great support in the geologic evidence.
Now, in Part Two of this presentation, Robert includes recent experimental research which shows that chemical changes in rock normally attributed to impact such as “shocked quartz” are also produced by powerful lightning. He introduces an unusual rock associated with the Upheaval Dome site, called the Obsession Stone, whose discoverers were able to submit the rock for professional chemical analysis.
In conclusion, Robert explains how his analysis only strengthens the electrical discharge hypothesis.
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Was an advanced civilization lost to history in the global cataclysm that ended the last Ice Age? Graham Hancock, has made it his life’s work to find out — and in America Before he draws on the latest archaeological and DNA evidence to bring his quest to a stunning conclusion.
Hancock’s research takes us on a series of journeys and encounters with the scientific rebels responsible for the recent extraordinary breakthroughs. In the process, from the Mississippi Valley to the Amazon rainforest, he reveals that ancient ‘New World’ cultures share a legacy of advanced scientific knowledge and sophisticated spiritual beliefs with supposedly unconnected ‘Old World’ cultures.
Have archaeologists focussed for too long only on the ‘Old World’ in their search for the origins of civilization while failing to consider the revolutionary possibility that those origins might in fact be found in the ‘New World’?
America Before: The Key to Earth’s Lost Civilisation is the culmination of everything that millions of readers have loved in Hancock’s body of work over the past decades, namely a mind-dilating exploration of the mysteries of the past, amazing archaeological discoveries and profound implications for how we lead our lives today.
A few of the revelations from the book:
We were taught in school that the Americas were the last of the great landmasses of the Earth to be inhabited by humans – who were thought to have arrived exclusively on foot from northeast Asia around 13,000 years ago by crossing the Bering Straits which formed a land-bridge to Alaska during the lowered sea-levels of the Ice Age. By contrast, anatomically modern humans, originating in Africa, are believed to have reached Europe, Asia, and even Australia, as far back as 60,000 years ago.
Since the recent publication in Nature of landmark research in southern California scientists have begun to realise that something of immense importance is missing from this long-established picture. Though the general public have not been kept well informed, it now appears that the Americas were first peopled at least 130,000 years ago – many tens of thousands of years before human settlements became established elsewhere. Yet because of the dominance of the former – and now entirely discredited – theory of the late peopling of the Americas, and of mental blocks associated with that theory, archaeologists continue to focus only on the ‘Old World’ in their search for the origins of civilization and have not considered the revolutionary possibility that those origins might in fact be found in the ‘New World’.
Certain tribes of the Amazon rainforest are closely related to Australian Aborigines and to Melanesians from Papua New Guinea. This extraordinary, unexpected and extremely ancient DNA signal is only present in South America and is completely absent in North America and Mesoamerica. It bears witness to something that archaeologists hitherto believed to be impossible – that the technology and skills needed to cross the Pacific Ocean, and successfully resettle a reproductively-viable population, existed more than 13,000 years ago.
Such secrets of human prehistory, now revealed by cutting-edge science, call for a complete rethink of our understanding of our own remote past and hint at the existence of a lost civilization of the Ice Age.
Astonishing similarities exist between the spiritual beliefs of the ancient Egyptians, as manifested in their Books of the Dead, and the spiritual beliefs of the mound-builder cultures of the Mississippi Valley – as manifested, for example, at Moundville in Alabama, Cahokia in Illinois and Watson Brake in Louisiana. Hitherto written off as ‘coincidental’ by archaeologists, the new investigation presented in America Before confirms that the parallels are very real. The deep and explicit details, imagery and beliefs, shared by these two supposedly unconnected religious systems can no longer be dismissed as coincidence. Nor are they the result of direct ‘diffusion’ of culture from ancient Egypt to ancient North America, or vice versa. Challenging our entire understanding of prehistory, what the evidence points to instead is a shared legacy of sophisticated ideas concerning the mystery of life and death inherited more than 13,000 years ago, in both the ‘Old’ World and the ‘New’, from an advanced predecessor civilization as yet unidentified by archaeologists.
South America’s Amazon rainforest has long been regarded as pristine jungle, unpeopled until less than a thousand years ago and thereafter inhabited only by ‘primitive’ tribes of hunter gatherers.
America Before, comprehensively refutes this picture with a thorough investigation of the latest scientific evidence.
Far from an untouched wilderness, the book reveals the Amazon to be a vast ‘garden’, very precisely shaped and moulded by humans for more than 13,000 years. It’s early inhabitants possessed advanced scientific knowledge concerning the molecular properties of plants – evident in concoctions such as the visionary brew ayahuasca and the nerve poison curare. Those first peoples of the Amazon were also the creators of a ‘miracle earth’ – terra preta –still capable of rejuvenating much younger infertile soils when it is added to them today.
Thanks to scanning technologies such as LIDAR, and because of the tragic ongoing clearances of old-growth rainforest to make way for cattle ranches, we now know that great cities once existed in the Amazon, their populations supported by the immense agricultural productivity of terra preta.
We know, too, that in ancient times there were people here who possessed and deployed sophisticated geometrical and astronomical skills to create immense earthworks, many with footprints larger than that of the Great Pyramid of Egypt.
America Before reveals the true extent and significance of these vast, newly-discovered Amazonian ‘geoglyphs’, their stunning resemblance to the equally grand and mysterious earthworks of Ohio, such as Serpent Mound, and the Newark and High Bank works, and connections to other geometrical and astronomical monuments as far afield as Stonehenge in England and Angkor in Cambodia.
Again, what the evidence points to is a shared legacy of knowledge inherited from a much earlier civilization that has been lost to history.
For some decades it has been generally accepted that a global cataclysm occurred around 12,800 years ago at the onset of a mysterious period of earth changes and climate instability known to geologists as the Younger Dryas. Since 2007 a group of more than 60 scientists, publishing in leading peer-reviewed journals, have presented evidence linking the cataclysm to a disintegrating comet that crossed the orbit of the earth 12,800 years ago and bombarded our planet with a ‘swarm’ of fragments, some more than a kilometre in diameter.
Though compelling, with new corroborative studies published every year, the comet hypothesis remains controversial and a number scientists favour other explanations. What all are agreed on, however, is that a global cataclysm did indeed occur.
America Before reveals that the epicentre of the cataclysm lay in North America, then still in the grip of the Ice Age with much of the northern half of the continent covered in ice a mile deep. An immense flood was unleashed as large sectors of the ice cap suddenly melted. From the Channelled Scablands of the state of Washington, via the gigantic pot-holes lining the Saint Croix River in Minnesota, to the Finger Lakes of upstate New York, a huge swathe of North America was swept clean by this deluge. At the same time global sea-level rose, the Gulf Stream was stopped in its tracks and the world was plunged into a deep-freeze that lasted 1,200 years.
It was the end of the former age of the earth, the Pleistocene, and the beginning of our own epoch, the Holocene. In the transition, America Before reveals that an advanced civilization, hitherto the stuff of myth and legend, was lost to history.
Hello, we have the longest day of the year today, the ancients tended to celebrate it, Glastonbury would have celebrated it, but then covid came along and totally ruined the party al that is left is a small ceremony at Stonehenge. Far away in the dark heart of the US Trump does have a party and he invited all his followers to join him, obviously this attracts lots of media interested to see who these worshipers are , turns out they are regular uninformed folk ready to believe anything their vain tv star says, yes as such rather dangerous where it not that Trump is a coward (as all bully's are) and easily spooked, alas people do stupid things when panicking thus this president can cause lots of damage as this rally today proves he desperately needed a bath in the adulation his followers give him, despite the fact thousands will be infected with covid is irrelevant, the man is a minor demon supported by another female demon pretending to be a priest, Paula White that's doublespeak for Jezebel Black and she is currently the power behind the throne crazy as bat shit and thus dangerous...there will be lot's of chaos in the coming months but i think a civil war will be avoided..
As for today to make the transition from Alio Die easier i start with a co-production he did with today's artist Robert Rich a man that appeared here earlier (7 years ago) but there is plenty left to ponder on. In the years that followed our man developed a complex range of sounds founded upon the seamless integration of electronic, electric, and acoustic instrumentation, and the exploration of complex tunings. He's made dozens of albums these past 30 years even if this is my 3rd posting on him there's plenty left to come back to him in the future but for now ..... N'Joy
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A California native, Rich began experimenting with electronics in the late '70s before attending Stanford University, where he completed a degree in psychology. While at Stanford, Rich's involvement in the university's prestigious Center for Computer Research in Music and Acoustics expanded his interest in electronic composition, as well as bringing him in contact with a wide range of nontraditional, non-Western musical ideas. In 1987, he released an album titled Numena. This was the beginning of a new sound for Rich. It was his first album to explore complex rhythmic patterns, a wider range of acoustic instrumentation, and just intonation. It was also his first album to be released on CD originally. Rich's performance of several all-night "sleep concerts" during this period also helped solidify an aesthetic focus on psychoacoustics, perceptible in early recordings such as Geometry and Trances/Drones.
Rich's more mature works such as Rainforest and Propagation have sought to combine that interest with more recognizable electro-acoustical elements (Rich plays a wide range of instruments, from synths and effects racks to hand drums and flute), but the influence of digital sound manipulation has also moved increasingly to the fore. Inspired by the more textural works of artists like SPK and Throbbing Gristle, Rich's interest in the edgier side of electronic composition has also earned him a reputation among fans of gothic, industrial, and dark ambient, made most obvious by his collaboration in 1995 with Brian Williams of Lustmord. .
In 1992, he formed a new group called Amoeba. The group has released three albums featuring ex-Urdu members Rick Davies and Andrew McGowan at different times. In 2001, he released an album titled Somnium, a 7-hour album divided into three tracks on one DVD video. This album was a recreation of the sleep concert environment he created during the 1980s at Stanford. Although not officially recognized, many people believe it to be the longest artist album of all time.
In 2004, he released an album of piano solos titled Open Window. This album documents his improvised piano style that has been part of his live concerts for decades. It was recorded on a 1925 vintage A.B. Chase baby grand piano. On March 11, 2005, Robert suffered a hand injury. He was cleaning a glass jug and accidentally slipped and fell on top of it. During the recovery process, he continued to record new material and tour. He also constructed end-blown flutes from PVC pipe that are more easily played with limited right-hand dexterity.
During his 2006 tour, Rich performed in front of a film created by visual artist Daniel Colvin as a backdrop. After the tour he created a score for the film, which was released on CD and DVD in 2007 under the title Atlas Dei. In 2007 he also released the album Illumination, a companion soundtrack of a multimedia installation by Michael Somoroff, and a collaboration album with touch guitarist Markus Reuter.
One of Rich's other interests is food. He maintains a Web site of recipes and other food related topics called Flavor Notes. He also has a long list of recipes for wild mushrooms.
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Fissures brings together two influential innovators of dark ambient-leaning electro-acoustic composition. Specifically, the album combines Rich's knack for integrating a range of acoustic instruments (dulcimer, PVC flutes, steel guitar) into alien, otherworldly atmospheres with Alio Die's talent for depths-plumbing, remarkably spatial arrangements which are as uncannily musical as they are subtle and mesmerizing. While the album echoes moments of both artists' previous work (Rich's collaboration with Brian Williams, Stalker, as well as Alio Die's 1995 Amplexus release, Suspended Feathers), Fissures manages a singular, wholly organic fusion of the two.
Clearly, in this collaboration, Rich and Musso create a compelling piece of ambient/tribal EM that dares the listener to let go... Step off the canyon's edge into... Well, into wherever it takes you! Quoting Rich, "A 'fissure,' in the shamanic sense is the point where you dive between worlds. The connection for me in this metaphor is that the journey is undertaken for healing purposes. Stefano and I took a similar journey in our collaboration, and what we brought back is surprisingly gentle, although not without its shadows." A twilight experience, perhaps? A choice dream in the impending sunrise..
01 Turning To Stone 5:27
02 A Canopy Of Shivers 5:51
03 Sirena 9:10
04 Mycelia 8:13
05 The Divine Radiance Of Invertebrates 8:37
06 The Road To Wirikuta 18:49
07 Tree Of The Wind 5:40
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During the period 1979-1984, Robert Rich was busy with psychology studies, Sleep Concerts and developing his musical style via a series of different experiments, ranging from solo work to performances that buried the audience in layers of sound from all directions. The music on Trances/Drones is drawn from that period, including all of the Trances and Drones material, plus the title track from Sunyata, Rich's first release, and the previously unreleased "Resonance." The music here is wonderfully relaxing (more so with the Trances material than with Drones) and perpetually fascinating. There's a lot more going on in most of the material here than would be expected at first blush -- layer after layer of swirling textures and tones -- and you'll find that interrupting one of these pieces is generally a shock: Rich has a talent for finding the internal rhythms of the body, which means you should allow the music to let you go gently (which, in the end, it does).
Numen: a spiritual force or influence often identified with a natural object, phenomenon, or place
A warm, artful, meditative fusion of acoustical elements, environmental recordings, and analog electronics. The album's 25-minute opener, "The Other Side of Twilight," is an epic suite of sweeping textures and shifting melodies among Rich's most excursional. Originally released in 1987, this 1993 reissue was remixed/remastered by Rich himself.
01 The Other Side of Twilight 25:04
02 Moss Dance 5:40
03 Numen 11:51
04 The Walled Garden 10:31
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Below zero is an album which consists of six selections that were previously issued on various compilation albums with the exception of track 2. Below zero is a departure from Robert's more recent projects. Below zero explores the dark and mysterious side of Robert's music it is easier (and more fun) to get lost in the music. One of Rich's better releases, the dark atmospheres are full of organic textures and experimental timbres. Deep listening is more of an event than just an experience. These are true ambient soundscapes that are intelligently and thoughtfully put together, not simply allowed to drone on until the full 74 minutes of the album elapse. This is highly recommended. These pieces are dark, somewhat uncomfortable, with an oppressive air about them. They are easy to get lost in. This sounds great being blasted from my car stereo. It is also lulling enough to put me into a deep sleep. Interesting to listen to actively. If you are getting into Rich, make this one of your first stops.
1 Star Maker 21:24
i. Interstellar Travel
ii. Worlds Innumerable
iii. The Beginning and the End
iv. The Myth of Creation
02 Dissolving the Seeds of a Moment 10:42
03 A Flock of Metal Creatures Fleeing the Onslaught of Rust 7:02
04 Termite Epiphany 8:16
05 Liquid Air 9:00
06 Requiem 7:35
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Hello, as regular visitors you know what to expect....some more music from Hull's music scene and Pork Recordings, no worry i'll get back to Steve Cobb later but for now i go back to 1996 at a time when Siberia was largely frozen and baby mammoths a rarity, so we can understand the reason to call yourself Baby Mammoth, alas Siberia has been thawing rapidly these last decades popping up lot's of instant frozen mammoths (another huge mystery where none of our scientists has any idea how it happened- i have btw) Anyway as these guys didn't grab the power of the internet when they closed up shop in 2003 their presence therein is surprisingly limited, this in contrast with the real baby mammoths that have been extinct for 10,000 years
Today's Artists are extinct, time to dig em up........N Joy
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Amidst heavy competition, Baby Mammoth is the Pork label's most prolific act, packing in five full LPs of blunted instrumental hip-hop between their debut in late 1996 and the end of the decade. Like other Pork acts Fila Brazillia and Solid Doctor, the duo of Mark Blissenden and Andrew Burdall specialize in earthy breaks and ambient atmospheres, more slanted to the instrumental edge of acid jazz than other producer-based trip-hop acts. The pair first met Pork label-head Dave Brennand and associate Steve Cobby (aka Fila Brazillia) at a club in Hull, where both band and label are based. The relationship blossomed with the release of Baby Mammoth's debut, 10,000 Years Beneath the Street, in 1996. Blissenden and Burdall then released two albums the following year (as well as an EP and single). Baby Mammoth settled down to a more languid release schedule with one LP release each year in 1998 (Another Day at the Orifice), 1999 (Swimming), 2000 (Motion Without Pain), and 2001 (Seven Up). After a year-long break, the band returned with Octo Muck in 2003. A year later, Blissenden teamed with labelmates Steve Cobby and Robert Ellerby from Beige for the Fabric 18 mix CD.
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‘10,000 Years Under the Street’, the band’s debut album, offers 12 slices of nice, pleasant groove, but in general doesn’t leave much of a mark on the listener. However, as usual with the band, there are a few tracks that surpass the general ‘niceness’ to offer something a bit more substantial. These tracks are ‘Mysterious Muses’, which includes an alluring female vocal sample, ‘Venus Vibe Trap’, and ‘Binks’, the latter an unexpected excursion into deep house music that proves to be the best moment on the album. The record is a bit too long, surpassing 70 minutes in total, and I don’t think it completely justifies its length. However, it generally provides pleasant enough background music, with the 3 tracks highlighted above justifying a more attentive listen.
01 Come Again 7:09
02 Mysterious Muses 6:13
03 Whiskey Soul 5:14
04 Dima 5:51
05 Venus Vibe Trap 6:05
06 Van 6:40
07 The Devil Lies 4:25
08 How Can I Love? 6:28
09 Thin Air 6:22
10 Binks 6:29
11 Oh Really!? 5:18
12 Past Lives 6:02
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A marked improvement over 10,000 Years Beneath the Street, Bridging Two Worlds shows a more mature sound for Baby Mammoth. Song development is less on an issue this time around, although some of the tunes don't have the complexity that would shoot them into the stratosphere. Not all, though: "Slipping Jigsaws" is a lazy-eyed journey that takes some interesting turns. "Moonburn" has a sax sample atop easygoing synth chords and a shuffling beat. And the final track, "Crack Phase One," is a delicious ambient snippet. Worth looking into!
Baby Mammoth continue their winning streak. Their third album, One... Two... Freak, has the fuller sound and more thought-out drum programming that marked their second, Bridging Two Worlds. But the music itself is more layered, too, adding a feeling of depth. "Additive," for instance, is simple, but catchy. The tracks are better edited too; they end before their welcome is worn out. There's a bit more moodiness as well - like the sustained tones on "Wend Off." Plenty to be happy with here. Although "Skidding on All Fours" adds a bit of skittery drum'n'bass, and two tracks ("Additive," "Warm Air Rising") have some vaguely electro leanings, the great majority of tracks on One...Two...Freak are simply excellent fusion-inspired productions.
01 Out Of Kilter 2:01
02 Skidding On All Fours 5:48
03 Additive 5:47
04 Luna Park 5:13
05 For Dear Life 4:58
06 Zen Butchers 7:06
07 Wend Off 5:15
08 Warm Air Rising 7:44
09 Basilica 4:53
10 Foxy Grandpa 5:33
11 Sleep 4:19
12 Sound In Your Mouth 5:03
13 Humdrum Doldrum 2:16
14 Level Freak 5:42
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Swimming augments the duo's tried-and-true vision of earthy trip-hop with live musicians from around their hometown of Hull, making for a much more immediate record than others in the Baby Mammoth discography. Guitarist Tom Harland's jazz riffs lend a bit of energy to "Quick Kick," while others like "Long Stroke" and "Smoke" also benefit from experienced programming. These kinds of chillout albums are dime a dozen really, so they need not do anything more than chill you out and be nicely ignorable and they're doing their job. And this does that!
