Nov 19, 2019

RhoDeo 1946 Light 5

Hello,

 “If you want to find
the Secrets of the Universe,
think in terms of
Energy, Frequency and Vibration.”
– Nicola Tesla



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Source Vibrations sound technologies use 432Hz tuning, Solfeggio frequencies and brainwave entrainment to support your healing and meditation practice. Through the use of sound technologies listeners are able to improve brain function, deepen their meditation practice and fill ceremonial spaces with intentional sound. Combining neuro-acoustic science and insights from the wisdom traditions around the world, our audio sessions are designed to help listener enter states of consciousness known to accelerate the natural process of healing and spiritual evolution.

* Reduce anxiety, heal depression and get a better nights sleep.

* Begin or deepen your meditation practice.

* Use conscious music in your ceremonial practices.

* Discover non-ordinary states of consciousness.

* Transcend limiting patterns of thinking and feeling.

Source Vibration features advanced, mathematically, and spiritually based approaches to brainwave and subtle energetic entrainment. The programs are enriching the emerging field of vibro-acoustic technologies to support you in experiencing deeper states of consciousness, emotional healing, personal transformation.



Source Vibrations - Secret Fire ~ Live 432Hz Transmission   ( 65min flac    314mb)

part 1 30:13
part 2 35:17

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Here we offer David Talbott's first glimpses of celestial dramas in ancient times. Just a few thousand years ago a gathering of planets hung as towering forms in the ancient sky close to the earth, provoking spectacular electric discharge formations above our forebears and inspiring the vast complex of world myths and symbols. David Talbott's film 'Symbols of an Alien Sky' goes far beyond merely identifying "the celestial provocation" of our true history. Symbols resurrects and confirms the genius of Immanuel Velikovsky. With excruciating attention to detail Talbott rivals the intellectual obsession and integrity of the thousands of ancient chroniclers that are "urging us to remember." The credibility of Symbols is uniquely formidable as it firmly connects the library of the Stone Age to the Modern Age cosmology of leading edge plasma physicists Anthony Peratt , Wal Thornhill and others. With erudition Symbols defines an overdue and not-so-subtle challenge to modern institutional assumptions, promoted and guarded by the gamut from religion to politics to academia and beyond. As such Talbott’s most fundamental accomplishment in 'Symbols of an Alien Sky' is the reconnecting of global humanity to itself; to its true history, and what that reconnection implies for our future peace and well-being.

Symbols of an Alien Sky (Full Documentary) 76min






See the next two full documentaries in the Symbols of an Alien Sky series:

 Episode 2, Symbols of an Alien Sky: The Lightning-Scarred Planet, Mars  
 Episode 3, Symbols of an Alien Sky: The Electric Comet  



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 the 5th part of the 2nd sc-world tale Light Fantastic..... N-Joy



Sir Terence David John Pratchett OBE (28 April 1948 – 12 March 2015) was an English author of fantasy novels, especially comical works. He is best known for his Discworld series of 41 novels.

Pratchett's first novel, The Carpet People, was published in 1971. The first Discworld novel, The Colour of Magic, was published in 1983, after which Pratchett wrote an average of two books a year. His 2011 Discworld novel Snuff became the third-fastest-selling hardback adult-readership novel since records began in the UK, selling 55,000 copies in the first three days. The final Discworld novel, The Shepherd's Crown, was published in August 2015, five months after his death.

Pratchett, with more than 85 million books sold worldwide in 37 languages, was the UK's best-selling author of the 1990s. He was appointed Officer of the Order of the British Empire (OBE) in 1998 and was knighted for services to literature in the 2009 New Year Honours. In 2001 he won the annual Carnegie Medal for The Amazing Maurice and his Educated Rodents, the first Discworld book marketed for children. He received the World Fantasy Award for Life Achievement in 2010.

In December 2007, Pratchett announced that he had been diagnosed with early-onset Alzheimer's disease. He later made a substantial public donation to the Alzheimer's Research Trust (now Alzheimer's Research UK), filmed a television programme chronicling his experiences with the condition for the BBC, and became a patron for Alzheimer's Research UK. Pratchett died on 12 March 2015, aged 66.


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Discworld is a comic fantasy book series written by the English author Terry Pratchett, set on the Discworld, a flat planet balanced on the backs of four elephants which in turn stand on the back of a giant turtle. The books frequently parody or take inspiration from J. R. R. Tolkien, Robert E. Howard, H. P. Lovecraft, Charles Dickens and William Shakespeare, as well as mythology, folklore and fairy tales, often using them for satirical parallels with cultural, political and scientific issues.

Forty-one Discworld novels have been published. The original British editions of the first 26 novels, up to Thief of Time (2001), had cover art by Josh Kirby. The American editions, published by Harper Collins, used their own cover art. Since Kirby's death in 2001, the covers have been designed by Paul Kidby. Companion publications include eleven short stories (some only loosely related to the Discworld), four popular science books, and a number of supplementary books and reference guides. The series has been adapted for graphic novels, theatre, computer and board games, and television.

Newly released Discworld books regularly topped The Sunday Times best-sellers list, making Pratchett the UK's best-selling author in the 1990s. Discworld novels have also won awards such as the Prometheus Award and the Carnegie Medal. In the BBC's Big Read, four Discworld novels were in the top 100, and a total of fourteen in the top 200. More than 80 million Discworld books have been sold in 37 languages

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The Light Fantastic is a comic fantasy novel by Terry Pratchett, the second of the Discworld series. It was published on 2 June 1986, the first printing being of 1,034 copies. The title is a quote from a poem by John Milton and in the original context referred to dancing lightly with extravagance. The events of the novel are a direct continuation of those in the preceding book, The Colour of Magic (the only Discworld novel to follow on in this manner).

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Setting

The story takes place on the Discworld, a planet-sized flat disc carried through space on the backs of four gargantuan elephants – Berilia, Tubul, Great T'Phon and Jerakeen – who themselves stand on the shell of Great A'Tuin, a gigantic sea turtle. The surface of the disc contains oceans and continents, and with them, civilizations, cities, forests and mountains.

The Light Fantastic begins shortly after the ending of The Colour of Magic, with wizard Rincewind, Twoflower and the Luggage falling from the Discworld. They are saved when the Octavo, the most powerful book of magic on the Discworld, readjusts reality to prevent the loss of one of its eight spells, which has resided in Rincewind's head since his expulsion from Unseen University: Rincewind, Twoflower and the Luggage end up in the Forest of Skund. Meanwhile, the wizards of Ankh-Morpork use the Rite of Ashk-Ente to summon Death to find an explanation for the Octavo's actions. Death warns them that the Discworld will soon be destroyed by a huge red star unless the eight spells of the Octavo are read.

Several orders of wizards travel to the forest of Skund to try and capture Rincewind, who is currently staying with Twoflower and the Luggage in a gingerbread house in the forest. In the subsequent chaos, Rincewind and Twoflower escape on an old witch's broom, while the Archchancellor of Unseen University is killed when his attempt to obtain the spell accidentally summons the Luggage on top of him, crushing him to death. His apprentice, Ymper Trymon, uses the opportunity to advance his own power, intending to obtain the eight spells for his own good.

Rincewind and Twoflower run into a group of druids who have assembled a "computer" formed from large standing stones, and learn of the approaching red star. As Twoflower attempts to stop the druids from sacrificing a young woman named Bethan, Cohen the Barbarian, an octogenarian parody of Conan, attacks the druids. Twoflower is poisoned in the battle, forcing Rincewind to travel to Death's Domain to rescue him. The pair narrowly avoid being killed by Ysabell, Death's adopted daughter, and as they escape Death's Domain, Rincewind learns from the Octavo itself that it had arranged for its eighth spell to escape into his head, to ensure the spells would not be used before the right time.

Rincewind and Twoflower travel with Cohen and Bethan to a nearby town, where the toothless Cohen leaves to have some dentures made for him, having learned of them from Twoflower. While he is gone, Rincewind, Twoflower and Bethan are attacked by a mob of people who believe the star is coming to destroy the Discworld in response to the presence of magic. The trio escape into one of many shops that sell strange and sinister goods and inexplicably vanish the next time a customer tries to find them. The existence of these shops is explained as being a curse by a sorcerer upon the shopkeeper for not having something in stock. They are able to return to Ankh-Morpork via the shop.

As the star comes nearer and the magic on the Discworld becomes weaker, Trymon tries to put the seven spells still in the Octavo into his mind, in an attempt to save the world and gain ultimate power. However, the spells prove too strong for him and his mind becomes a door into the "Dungeon Dimensions", home to all manner of eldritch creatures. Rincewind and Twoflower manage to kill the now-mutated Trymon, and Rincewind reads all eight of the Octavo's spells aloud. This causes eight moons of the red star to crack open and reveal eight tiny world-turtles that follow their parent A'Tuin on a course away from the star. The Octavo then falls and is eaten by the Luggage.

Twoflower and Rincewind part company as Twoflower decides to return home, leaving the Luggage with Rincewind as a parting gift. Cohen and Bethan also leave to get married. Rincewind decides to re-enroll in the university, believing that with the spell out of his head, he will finally be able to learn magic.


Terry Pratchett -  Light Fantastic part 9,10 ( 71min mp3     28mb).


09 Light Fantastic 09  35min
10 Light Fantastic 10  36min


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previously

Terry Pratchett - The Colour of Magic part 1 ( 69min mp3     38mb).
Terry Pratchett - The Colour of Magic part 2 ( 69min mp3     38mb).
Terry Pratchett - The Colour of Magic part 3 ( 68min mp3     38mb).
Terry Pratchett - The Colour of Magic part 4 ( 69min mp3     38mb).
Terry Pratchett - The Colour of Magic part 5 ( 66min mp3     36mb).
Terry Pratchett - The Colour of Magic part 6 ( 69min mp3     36mb).
Terry Pratchett - The Colour of Magic movie ( 97min avi     698mb).

Terry Pratchett -  Light Fantastic part 1,2 ( 68min mp3     31mb).
Terry Pratchett -  Light Fantastic part 3,4 ( 68min mp3     31mb).
Terry Pratchett -  Light Fantastic part 5,6 ( 71min mp3     28mb).
Terry Pratchett -  Light Fantastic part 7,8 ( 71min mp3     28mb).

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Nov 17, 2019

Sundaze 1946

Hello, no re-ups tomorrow as i am away, not to worry , expect more next week..


Today's artist has been growing up in Norfolk and attending a school where being into music made you an outsider, his early interest in the electronic scene came from hearing acts like Aphex Twin and Orbital on the radio and reading about the equipment they used in music magazines.

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Nathan Fake is a British electronic musician whose lush, moody recordings range from atmospheric tech-house to vivid, shoegaze-influenced downtempo. Fake (his actual last name) began his career in the farm country of Norfolk in the U.K., where he learned how to play basic acoustic instruments before finding a love of the electronic genres. He moved to Reading at the age of 19, which gained his recordings significantly more exposure, and his demos found their way to producer/remixer/DJ James Holden. Holden immediately signed Fake to his Border Community imprint and released a set of 12"s (Outhouse and The Sky Was Pink) that put him on the global dance scale in terms of recognition. Fans from all electronic genres immediately took to Fake's distinctive sound (including luminaries like François K and Satoshi Tomiie), and his recordings began to be some of the most in demand of 2004.

Several 12"s on the Traum imprint followed in 2005, and Fake released his debut full-length, Drowning in a Sea of Love on Border Community, in March of 2006. Garnering favorable comparisons to Boards of Canada and Ulrich Schnauss, the album was a critical success, earning rave reviews from Pitchfork and Mixmag, among others. Drowning in a Sea of Remixes (featuring reworks by Apparat and Fairmont) followed, and Four Tet remixed album track "You Are Here" in 2007.

Fake subsequently moved to London, and his second album Hard Islands appeared in 2009. The album was significantly more stripped-down and club-friendly than his debut, but still demonstrated his talents for sophisticated sound design. Third full-length Steam Days, featuring singles "Paean" and "Iceni Strings," followed in 2012. The album retained the club-focused energy and rough edge of its predecessor, but its tracks generally had shorter running times, and were more focused and concise. Fake and Wesley Matsell started a label called Cambria Instruments in 2014, debuting with a split 12", followed by Fake's Glaive EP in 2015.

In 2016, Fake signed to Ninja Tune, having previously remixed Ninja Tune-signed artist Dorian Concept the previous year. Fake's first release for the label was Degreelessness, a collaboration with Prurient, which was issued at the tail-end of the year. Providence, Fake's most experimental full-length to date, appeared in March of 2017. This was followed by two Providence Reworks EPs and the more dancefloor-oriented Sunder EP, which appeared in 2018.



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IDM is a dangerous field. In order to make it right, you need just the perfect amount of balance between experimentation, rhythm and accessibility. And I think that's one of the main reasons why most producers fail at it, it's always too much of something or too little of something where it either sounds boring and just plain unlistenable.

And this is where Nathan Fake succeeds. Steam Days is an album that is all over the place, yet it manages to keep steady rhythms, sound weird as hell and still be cohesive enough to be an approachable release. It's quite an impressive feat actually and in a way reminds me of the styles golden age more than 20 years ago. Every song sound unusual with a bunch of things going on, but never with the impression that he's doing weird things just for the sake of it. Plus the album is pretty varied and overall it might actually challenge his debut for being his best. Definitely worth a shot, well done again Mr. Fake.



Nathan Fake - Steam Days ( flac   368mb)

01 Paean 3:54
02 Cascade Airways 2:44
03 Iceni Strings 5:30
04 Old Light 3:07
05 Harnser 4:32
06 World of Spectrum 3:50
07 Rue 3:49
08 Sad Vember 3:54
09 Neketona 3:53
10 Glow Hole 7:56
11 Warble Epics 5:47

12 Paean (Lone Remix) 5:00
13 Paean (Lukid Remix) 5:47
14 Paean (Coda) 1:11

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In 2014, Nathan founded the label Cambria Instruments with Wesley Matsell, the inaugural release being a split single between the two artists.



Nathan Fake - Black Drift + Glaive + RVK ( flac   341mb)

01 Black Drift 4:20
02 Bismuth 5:55 (by Wesley Matsell)

03 Fortune Bru 7:40
04 Glaive 4:53
05 Audio Gold 5:02
06 Ffantasi 6:46
07 Nuuk 8:39

08 RVK 5:25
09 RVK (Edit) 2:52


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Nathan Fake's album, Providence, is a reference to the gear used to make the album—Korg's Prophecy synth—and his belief in a kind of guiding hand that led him out of a year-long bout of writer's block. (His last album, Steam Days, came out five years ago.) Providence is a notable sonic shift for Fake, whose confidence seems renewed. The wide-eyed electronica of Drowning In A Sea of Love, from 11 years ago, has grown more urgent and aggressive.

Gone, for the most part, are the yearning cinematic vistas of his youth, reflected in older tracks like "Charlie's House" or "The Sky Is Pink." Providence is more beholden to greyscale textures and noisy blurts of sonic unease. Aspects of the album reflect the cathedral hymn blasts of artists like Tim Hecker or Ben Frost, and the album's lead single, "DEGREELESSNESS," enlists Prurient for a rain-soaked exercise in dance floor dystopia. Elsewhere, the tellingly titled "Feelings 1," with its boiling electronics and short clips of distortion, is a sonic snarl, and the warbling synths and martial drums of the title track that follows seem to take the equivalent of a deep breath. There's a sense of hostility and frustration to these tracks, particularly on the squealing tones of "SmallCityLights," as close as Fake might get to an '80s stadium guitar solo. Beyond the acquisition of new equipment, it's unclear what's led to this change in approach—perhaps he'd accomplished all he could with the pastoral excursions of past records. Providence marks a muscular new path for Fake, but he sounds as singular as always.



Nathan Fake - Providence ( flac   322mb)

01 Feelings 1 1:42
02 Providence 4:59
03 HoursDaysMonthsSeasons 5:45
04 Degreelessness 8:06
05 The Equator & I 2:25
06 unen 2:04
07 SmallCityLights 4:10
08 Radio Spiritworld 2:36
09 Connectivity 2:51
10 Rvk 5:25
11 Remain 3:40
12 Feelings 2 3:17

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Nathan Fake enlists the help of Overmono and Huerco S. to twist and mould recent album Providence highlight and Prurient collaboration (possibly best collab of the year?) DEGREELESSNESS into bold new shapes of breakbeat techno and dubwise smoker's delight ambience. While he has always been an artist who would always step out further than most, Providence saw a real upsurge in Nathan Fake's sound. Saving the re-up of his work for Ninja Tune, Province found Nathan stepping into entirely new dimensions of scene crossing sound. This is no more perfectly reflected than on his choice of remixers, the choices offer a brilliant viewpoint into his musical mind. First up is the fierce jacking pound of Tessela and Truss's Overmono, keeping a subtle DNB snare in the middle of the sequence they work in a euphoric build that when it hits its stride, the sense that this was designed for use within the confines of the nearest warehouse that boasts a giant oiled up rig really shows off the muscles rippling under the surface. A killer version set to execute everything in its path with a deadly techno sensibility.

Offering an alternative escape in the after hours, Huerco S. turns in a rare remix with his DEGREELESSNESS Backyard Interpretation. Diluting Prurient's roar down to a humming almost inaudible whisper, the floating sheen of his For Those Of You Who Have Never (And Also Those Who Have) album hangs thick in the air like sweet smoke, at once thick and muggy yet turning wonderfully addictive the more of it that you breathe in. Not content with just turning in two reworks, Nathan's first new track since Providence Bosky gives a scratchy acidic blend to a tight, almost Randomer style jagged electro beat. Yet the colourway blend of his recent work shines through while offering another exciting new path ahead for what lies ahead.

Nathan Fake puts together the second session of reworkings and remixes from his debut Ninja Tune LP Providence, where as the first volume saw Truss and Tessela's Overmono project turn his radioactive electronics into a stomping two part techno session, backed with Huerco S. to ambient it out. Volume 2 brings a new name to the forefront with four utterly stunning reworkings by Polish composer and multi-instrumentalist Olga Wojciechowska. And as a bonus, these are backed with a brilliant Konx-Om-Pax mix and some alt versions from Nathan himself. While Olga Wojciechowska is a name new to our ears, Nathan came across Olga's music via The Wire Tapper 40 CD, the blend of modern classical yet experimental sounds made an impact on Nathan as he explains: “It really stopped me in my tracks and hit me quite emotionally so I bought her album, I can honestly admit that it awoke me from the creative block which I had been experiencing at that time”. Turning in not one or two but four reworking, Olga pushes the original pieces electronics into a searching trip through a barrage of acoustic worlds littered with prepared piano notes and a slow-form sombreness that draws out the quieter moments of the album beautifully. Elsewhere Konx-Om-Pax turns in a rare remix that sees him distilling the UK hardcore dynamics of his Planet Mu material into a shimmering aquatic haze, while Nathan's dub and live reworkings add new avenues to the album, making us ready for a revisit to the original material. For us though, this one is all about Olga Wojciechowska, a name we hope to be seeing more of in the, not too distant future.



Nathan Fake - Providence Reworks I+II ( flac   330mb)

01 Bosky
02 Degreelessness (Feat. Prurient) (Overmono Remix)
03 Degreelessness (Feat. Prurient) (Huerco S. Backyard Interpretation)
04 HoursDaysMonthsSeasons (Olga Wojciechowska Rework)

05 Connectivity (Olga Wojciechowska Rework)
06 Remain (Olga Wojciechowska Rework)
07 Radio Spiritworld (Olga Wojciechowska Rework)
08 Degreelessness (Konx-Om-Pax Remix)
09 Feelings 1 (August Rub)
10 Remain (Live Version)

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Nov 15, 2019

RhoDeo 1945 Grooves

Hello, quite a contrast with last weeks Public Enemy, a group that largely held together for 30 years, their West Coast counterparts were into violence consequently made lot's of money and broke up within 5 years, no surprise there.....




Today's Artists were Niggaz Wit Attitudes an American hip hop group from Compton, California. They were among the earliest and most significant popularizers and controversial figures of the gangsta rap subgenre, and are widely considered one of the greatest and most influential groups in the history of hip hop music. Rolling Stone ranked N.W.A number 83 on their list of the "100 Greatest Artists of All Time". In 2016, the group was inducted into the Rock and Roll Hall of Fame, following three previous nominations....... N Joy

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 N.W.A, the unapologetically violent and sexist pioneers of gangsta rap, are in many ways the most notorious group in the history of rap. Emerging in the late '80s, when Public Enemy had rewritten the rules of hardcore rap by proving that it could be intelligent, revolutionary, and socially aware, N.W.A capitalized on PE's sonic breakthroughs while ignoring their message. Instead, the five-piece crew celebrated the violence and hedonism of the criminal life, capturing it all in blunt, harsh language. Initially, the group's relentless attack appeared to be serious, vital commentary, and it even provoked the FBI to caution N.W.A's record company, but following Ice Cube's departure in late 1989, the group began to turn to self-parody. With his high-pitched whine, Eazy-E's urban nightmares now seemed like comic book fantasies, but ones that fulfilled the fantasies of the teenage white suburbanites who had become their core audience, and the group became more popular than ever. Nevertheless, clashing egos prevented the band from recording a third album, and they fell apart once producer Dr. Dre left for a solo career in 1992. Although N.W.A were no longer active, their influence -- from their funky, bass-driven beats to their exaggerated lyrics -- was evident throughout the '90s, while their story was told in the critically acclaimed 2015 film Straight Outta Compton.

Ironically, in their original incarnation N.W.A were hardly revolutionary. Eazy-E (born Eric Wright), a former drug dealer who started Ruthless Records with money he earned by pushing, was attempting to start a rap empire by building a roster of successful rap artists. However, he wasn't having much success until Dr. Dre (born Andre Young) -- a member of the World Class Wreckin' Cru -- and Ice Cube (born O'Shea Jackson) began writing songs for Ruthless. Eazy tried to give one of the duo's songs, "Boyz-n-the Hood," to Ruthless signees HBO, and when the group refused, Eazy formed N.W.A -- an acronym for Niggaz With Attitude -- with Dre and Cube, adding World Class Wreckin' Cru member DJ Yella (born Antoine Carraby), the Arabian Prince, and the D.O.C. to the group. N.W.A's first album, N.W.A. and the Posse, was a party-oriented jam record that largely went ignored upon its 1987 release.

In the following year, the group added MC Ren (born Lorenzo Patterson) and revamped its sound, bringing in many of the noisy, extreme sonic innovations of Public Enemy and adopting a self-consciously violent and dangerous lyrical stance. Late in 1988, N.W.A delivered Straight Outta Compton, a vicious hardcore record that became an underground hit with virtually no support from radio, the press, or MTV. N.W.A became notorious for their hardcore lyrics, especially those of "Fuck tha Police," which resulted in the FBI sending a warning letter to Ruthless and its parent company, Priority, suggesting that N.W.A should watch their step.

Most of the group's political threat left with Cube when he departed in late 1989 amid many financial disagreements. A nasty feud between N.W.A and the departed rapper began that would culminate with Cube's "No Vaseline," an attack on the group's management released on his 1991 Death Certificate album. By the time the song was released, N.W.A, for all intents and purposes, were finished. In the two years between Cube's departure and the group's dissolution, N.W.A were dominated by Eazy's near-parodic lyrics and Dre's increasingly subtle and complex productions. The group quickly released an EP, 100 Miles and Runnin', in 1990 before following it up early the next year with Efil4zaggin ("Niggaz 4 Life" spelled backward). Efil4zaggin was teeming with dense, funky soundscapes and ridiculously violent and misogynist lyrics. Naturally, the lyrics provoked outrage from many critics and conservative watchdogs, but that only increased the group's predominately male, white suburban audience. Even though the group was at the peak of its popularity, Dre began to make efforts to leave the crew, due to conflicting egos and what he perceived as an unfair record deal.

Dre left the group to form Death Row Records with Suge Knight and The D.O.C. in early 1992. According to legend, Knight threatened to kill N.W.A's manager Jerry Heller if he refused to let Dre out of his contract. Over the next few years, Dre and Eazy engaged in a highly publicized feud, which included both of the rappers attacking each other on their respective solo albums. Ren and Yella both released solo albums, which were largely ignored, and Eazy continued to record albums that turned him into a complete self-parody until his tragic death from AIDS in March 1995. Before he died, Dre and Cube both made amends with Eazy. With his first solo album, 1992's The Chronic, Dre established himself as the premier hip-hop producer of the mid-'90s, setting the pace for much of hardcore rap with its elastic bass and deep, rolling grooves. Gangsta rap established itself as the most popular form of hip-hop during the '90s -- in other words, N.W.A's amoralistic, hedonistic stance temporarily triumphed over the socially conscious hip-hop of Public Enemy, and it completely rewrote the rules of hip-hop for the '90s. A 2015 biopic, the critically acclaimed, Academy-Award-nominated Straight Outta Compton, made over $200 million worldwide at the box office and inspired Dr. Dre's third solo album, Compton, released that same year. With N.W.A.'s cultural resurgence and mainstream recognition of their legacy in the history of rap and hip-hop, the group received another honor with their induction into the Rock 'N Roll Hall of Fame in 2016.



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Hip-hop was still very much dominated by New York in 1987 when Macola Records (a company that distributed numerous L.A. rap labels in the 1980s, including Eazy-E's Ruthless Records) distributed N.W.A's groundbreaking debut album, N.W.A and the Posse. Ice-T was among the few West Coast rappers enjoying national exposure, and gangsta rap was far from the phenomenon it would become a few years later. A number of the songs -- including the brutally honest "Dopeman" -- would be reissued on Straight Outta Compton, while Eazy-E's first single, "Boyz-n-the Hood" would be included on his 1988 solo album, Eazy-Duz-It. And the entire album would be reissued by Priority in 1989. This CD ranges from those early and seminal examples of gangsta rap to songs that are pure, unapologetic fun -- such as the outrageously humorous "Fat Girl" and N.W.A associates the Fila Fresh Crew's "Drink It Up," an infectious ode to booze employing the melody from the Isley Brothers' "Twist and Shout." One of the Crew's members was the D.O.C., who Dr. Dre and Eazy-E took to the top of the charts in 1989. Though not quite on a par with Straight Outta Compton, this is an engaging and historically important CD that's well worth acquiring.



VA - N.W.A and The Posse  (flac   320mb)

01 Eazy-E - Boyz-N-The Hood 5:40
02 N.W.A. - 8-Ball 4:26
03 The Fila Fresh Crew feat The D.O.C. - Dunk The Funk 5:03
04 N.W.A. - A Bitch Iz A Bitch 3:09
05 The Fila Fresh Crew feat The D.O.C. - Drink It Up 4:45
06 N.W.A. - Panic Zone 3:32
07 Eazy-E & Ron-De-Vu - L.A. Is The Place 4:33
08 N.W.A. - Dope Man 6:18
09 The Fila Fresh Crew feat The D.O.C. - Tuffest Man Alive 2:16
10 Eazy-E & Ron-De-Vu - Fat Girl 2:49
11 The Fila Fresh Crew feat The D.O.C. - 3 The Hard Way 4:13

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Straight Outta Compton wasn't quite the first gangsta rap album, but it was the first one to find a popular audience, and its sensibility virtually defined the genre from its 1988 release on. It established gangsta rap -- and, moreover, West Coast rap in general -- as a commercial force, going platinum with no airplay and crossing over with shock-hungry white teenagers. Unlike Ice-T, there's little social criticism or reflection on the gangsta lifestyle; most of the record is about raising hell -- harassing women, driving drunk, shooting it out with cops and partygoers. All of that directionless rebellion and rage produces some of the most frightening, visceral moments in all of rap, especially the amazing opening trio of songs, which threaten to dwarf everything that follows. Given the album's sheer force, the production is surprisingly spare, even a little low-budget -- mostly DJ scratches and a drum machine, plus a few sampled horn blasts and bits of funk guitar. Although they were as much a reaction against pop-friendly rap, Straight Outta Compton's insistent claims of reality ring a little hollow today, since it hardly ever depicts consequences. But despite all the romanticized invincibility, the force and detail of Ice Cube's writing makes the exaggerations resonate. Although Cube wrote some of his bandmates' raps, including nearly all of Eazy-E's, each member has a distinct delivery and character, and the energy of their individual personalities puts their generic imitators to shame. But although Straight Outta Compton has its own share of posturing, it still sounds refreshingly uncalculated because of its irreverent, gonzo sense of humor, still unfortunately rare in hardcore rap. There are several undistinguished misfires during the second half, but they aren't nearly enough to detract from the overall magnitude. It's impossible to overstate the enduring impact of Straight Outta Compton; as polarizing as its outlook may be, it remains an essential landmark, one of hip-hop's all-time greatest.

Despite not being a success at first and the lack of airplay, "Straight Outta Compton" sold over three million copies, thanks to the hits "Straight Outta Compton", "Gangsta Gangsta" and "Express Yourself". The album itself reached number 37 in the Billboard Top 200 in the spring of 1989, while it reached number 9 on Billboard's Top Soul LPs.



NWA - Straight Outta Compton    (flac   375mb)

01 Straight Outta Compton 4:16
02 Fuck Tha Police 5:45
03 Gangsta Gangsta 5:35
04 If It Ain't Ruff 3:33
05 Parental Discretion Iz Advised 5:15
06 8 Ball (Remix) 4:51
07 Something Like That 3:33
08 Express Yourself 4:23
09 Compton's In The House (Remix) 5:19
10 I Ain't Tha 1 4:53
11 Dopeman (Remix) 5:19
12 Quiet On Tha Set 3:56
13 Something 2 Dance 2 3:22

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Following a round of Ruthless Records releases (Eazy-E's Eazy-Duz-It, 1988; the D.O.C.'s No One Can Do It Better, 1989; Above the Law's Livin' Like Hustlers, 1990) and the departure of group member Ice Cube (who released a very successful debut, AmeriKKKa's Most Wanted, 1990), Dr. Dre went about producing new N.W.A music for a follow-up to Straight Outta Compton (1988). 100 Miles and Runnin', a five-track EP, was the first material to surface from the recording sessions, released in summer 1990 partly as a response to Ice Cube's departure (both Dr. Dre and MC Ren take verbal shots at him), a preview of what fans could expect on the group's forthcoming album (promoted on the two-minute, EP-closing "Kamurshol"), and a stopgap measure for a marketplace hungry for cutting-edge gangsta rap. The EP's title track is a clear highlight and is among N.W.A's all-time greatest efforts. Driven by a densely layered, fast-paced production, "100 Miles and Runnin'" is perhaps most noteworthy for its second verse, where Dr. Dre uncharacteristically delivers a fierce verse that stylistically resembles Ice Cube's classic opening verse from "Straight Outta Compton." The second song, "Just Don't Bite It," is another highlight, an alarming porno rap that at the time of its release was as explicit as anything out there, including 2 Live Crew. The third song, "Sa Prize, Pt. 2," is a passable "Fuck tha Police" rehash that suffers for the absence of Ice Cube, while next and final song on the EP, "Real Niggaz," is a fairly uneventful hardcore rap purposefully laden with the N-word. In little over 20 minutes, 100 Miles and Runnin' manages to broach the key gangsta rap points of controversy -- fleeing and/or killing the police, pornographic sex, obscenity, and extreme aggression -- as well as diss Ice Cube and promote the upcoming album. Years later, the controversial aspects of 100 Miles and Runnin' may seem ho-hum -- at least to anyone conditioned to expect such rhetoric from hardcore rap music -- but it's important to put this EP into its proper context, for the boundary-pushing showcased here was alarming for its time and a major reason why N.W.A earned such renown.



100 Miles And Runnin' EP (flac   154mb)

01 100 Miles And Runnin' 4:32
02 Just Don't Bite It 5:28
03 Sa Prize (Part 2) 5:58
04 Real Niggaz 5:27
05 Kamurshol 1:56

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Like 100 Miles and Runnin' (1990), the five-track EP that preceded it, N.W.A's third full-length album, Niggaz4life, courts controversy in every imaginable way, from its title (printed backward on the cover, as a mirror image) down to its mercilessly misogynistic second half, and it remains shocking years later, no matter how many times the controversial aspects of the album have been exploited again and again by others. Unfortunately, the shocking rhetoric -- which, to a degree unprecedented at the time of the album's release, revels in relentless obscenity, graphic sex, and extreme violence -- tends to overshadow the remarkable production work of Dr. Dre here. Similar in practice to the concurrent production work of the Bomb Squad, Dr. Dre and co-producer DJ Yella densely layer soul-funk samples from the 1970s over hard-hitting beats. As he had on his previous productions, Dr. Dre mines the Parliament-Funkadelic back catalog in particular for sample material: for instance, two Eazy-E solo showcases, "Automobile" and "I'd Rather Fuck You," are satirical interpolations of Parliament's "My Automobile" and Bootsy Collins' "I'd Rather Be with You," respectively, while the skits "Don't Drink That Wine" and "1-900-2-Compton" are likewise homage to George Clinton and company -- and, if you're keeping tabs, "Niggaz 4 Life" borrows an elastic bassline from Parliament's "Sir Nose d'Voidoffunk." The album-opening "Real Niggaz Don't Die" is one of the most remarkable productions, comprised of multiple samples, most evidently Rare Earth's "I Just Want to Celebrate," a joyous song whose sampled hook is in great juxtaposition to the overriding dire tone of the production, best characterized by one of the other songs sampled on the track, the Last Poets' "Die Nigger!!!" In terms of rapping, Niggaz4life suffers for the absence of Ice Cube, even as the D.O.C. assumes his position as the in-house ghostwriter. There's a lot of Eazy-E to be heard throughout the album, for better and for worse, as his sense of humorous menace is amusing as well as unsettling. In the end, it's easy to understand why N.W.A unraveled shortly after Niggaz4life: on the one hand, the group had become a vehicle for exploiting the taboos of gangsta rap, to significant commercial success (this was a chart-topping album, after all), while on the other hand, it had become less about the production talent of Dr. Dre, whose work was being sorely overshadowed by all the controversy



NWA - Niggaz4Life  (flac   401mb)

01 Prelude 2:27
02 Real Niggaz Don't Die 3:40
03 Niggaz 4 Life 4:58
04 Protest 0:53
05 Appetite For Destruction 3:22
06 Don't Drink That Wine 1:07
07 Alwayz Into Somethin' 4:24
08 Message To B.A. 0:48
09 Real Niggaz 4:27
10 To Kill A Hooker 0:50
11 One Less Bitch 4:47
12 Findum, Fuckum & Flee 3:54
13 Automobile 3:15
14 She Swallowed It 4:13
15 I'd Rather Fuck You 3:57
16 Approach To Danger 2:45
17 1-900-2-Compton 1:27
18 The Dayz Of Wayback 4:19

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This is a remastered version of Straight Outta Compton topped up with cover versions by friends and the infamous live call Compton's N The House .



NWA - Straight Outta Compton (20th Anniversary) (flac   547mb)

Remastered
01 Straight Outta Compton 4:03
02 F**k The Police 5:15
03 Gangsta Gangsta 4:06
04 If It Ain't Ruff 3:34
05 Parental Discretion Iz Advised 5:12
06 8 Ball (Remix) 4:33
07 Something Like That 3:34
08 Express Yourself 4:23
09 Compton's N The House 5:16
10 I Ain't Tha 1 4:54
11 Dopeman (Remix) 5:50
12 Quiet On Tha Set 3:58
13 Something 2 Dance 2 3:24
Bonus
14 Bone Thugs-N-Harmony - F**k Tha Police 5:03
15 Snoop Dogg / C-Murder - Gangsta Gangsta 4:40
16 Mack 10 - Dopeman 4:02
17 WC - If It Ain't Ruff 3:45
18 N.W.A - Compton's N The House (Live) 2:02


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Nov 12, 2019

RhoDeo 1945 Light 4

Hello,

 “If you want to find
the Secrets of the Universe,
think in terms of
Energy, Frequency and Vibration.”
– Nicola Tesla



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This deeply relaxing audio is designed to assist you to reach a deep delta meditative state of consciousness. Delta waves have been linked to the release of human growth hormone. The Sacred Healing Sound Journey meditation with powerful brainwave entrainment helps aid healing and recovery by taking the brainwaves to an ultra relaxed state and the deep delta state, beneficial to healing and rejuvenation helping to maximize your body’s own natural ability to heal.

There is no vocal recording specific to any subject so it is suitable to use with and empower your own healing visualizations, or simply listen and allow the frequencies to take your brainwaves down into the deep and restorative delta level. All you need is a comfortable stereo headphone set, some quiet time to relax where you will not be interrupted and then close your eyes, to begin to revitalize and regenerate at a deep delta level. This audio should be listened to with stereo headphones once a day, for 4 to 6 weeks. (Listening more often will not increase effectiveness.)

This audio uses a brainwave spectrum of Delta frequency

 Brain Waves Technology - Sacred Healing Sound Journey   ( 45min mp3     82mb)


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EU Spacenews

A recently released video clip provides stunning support for the Electric Universe interpretation of one of the most dramatic atmospheric phenomena on Earth — above clouds lightning. The clip reveals the top of the cloud from which a "gigantic jet" emerges, affording an opportunity for groundbreaking insights into the phenomenon. In this episode, we explain the importance of the image in providing an understanding of above clouds electrical discharges, and Earth's electrical environment. 7min 30 sec.
If you see a CC with this video, it means that subtitles are available. To find out which ones, click on the Gear Icon in the lower right area of the video box and click on “subtitles” in the drop-down box. Then click on the subtitle that you would like.





Join us at EU2020: VISION June 4-7 in Portland, Oregon USA.
Conference registration opens on New Year’s Day.

A Shocker: Solar Wind Provokes Lightning on Earth: https://www.youtube.com/watch?v=67wOT..

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 the 4th part of the 2nd sc-world tale Light Fantastic..... N-Joy

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Sir Terence David John Pratchett OBE (28 April 1948 – 12 March 2015) was an English author of fantasy novels, especially comical works. He is best known for his Discworld series of 41 novels.

Pratchett's first novel, The Carpet People, was published in 1971. The first Discworld novel, The Colour of Magic, was published in 1983, after which Pratchett wrote an average of two books a year. His 2011 Discworld novel Snuff became the third-fastest-selling hardback adult-readership novel since records began in the UK, selling 55,000 copies in the first three days. The final Discworld novel, The Shepherd's Crown, was published in August 2015, five months after his death.

Pratchett, with more than 85 million books sold worldwide in 37 languages, was the UK's best-selling author of the 1990s. He was appointed Officer of the Order of the British Empire (OBE) in 1998 and was knighted for services to literature in the 2009 New Year Honours. In 2001 he won the annual Carnegie Medal for The Amazing Maurice and his Educated Rodents, the first Discworld book marketed for children. He received the World Fantasy Award for Life Achievement in 2010.

In December 2007, Pratchett announced that he had been diagnosed with early-onset Alzheimer's disease. He later made a substantial public donation to the Alzheimer's Research Trust (now Alzheimer's Research UK), filmed a television programme chronicling his experiences with the condition for the BBC, and became a patron for Alzheimer's Research UK. Pratchett died on 12 March 2015, aged 66.


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Discworld is a comic fantasy book series written by the English author Terry Pratchett, set on the Discworld, a flat planet balanced on the backs of four elephants which in turn stand on the back of a giant turtle. The books frequently parody or take inspiration from J. R. R. Tolkien, Robert E. Howard, H. P. Lovecraft, Charles Dickens and William Shakespeare, as well as mythology, folklore and fairy tales, often using them for satirical parallels with cultural, political and scientific issues.

Forty-one Discworld novels have been published. The original British editions of the first 26 novels, up to Thief of Time (2001), had cover art by Josh Kirby. The American editions, published by Harper Collins, used their own cover art. Since Kirby's death in 2001, the covers have been designed by Paul Kidby. Companion publications include eleven short stories (some only loosely related to the Discworld), four popular science books, and a number of supplementary books and reference guides. The series has been adapted for graphic novels, theatre, computer and board games, and television.

Newly released Discworld books regularly topped The Sunday Times best-sellers list, making Pratchett the UK's best-selling author in the 1990s. Discworld novels have also won awards such as the Prometheus Award and the Carnegie Medal. In the BBC's Big Read, four Discworld novels were in the top 100, and a total of fourteen in the top 200. More than 80 million Discworld books have been sold in 37 languages

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The Light Fantastic is a comic fantasy novel by Terry Pratchett, the second of the Discworld series. It was published on 2 June 1986, the first printing being of 1,034 copies. The title is a quote from a poem by John Milton and in the original context referred to dancing lightly with extravagance. The events of the novel are a direct continuation of those in the preceding book, The Colour of Magic (the only Discworld novel to follow on in this manner).

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Setting

The story takes place on the Discworld, a planet-sized flat disc carried through space on the backs of four gargantuan elephants – Berilia, Tubul, Great T'Phon and Jerakeen – who themselves stand on the shell of Great A'Tuin, a gigantic sea turtle. The surface of the disc contains oceans and continents, and with them, civilizations, cities, forests and mountains.

The Light Fantastic begins shortly after the ending of The Colour of Magic, with wizard Rincewind, Twoflower and the Luggage falling from the Discworld. They are saved when the Octavo, the most powerful book of magic on the Discworld, readjusts reality to prevent the loss of one of its eight spells, which has resided in Rincewind's head since his expulsion from Unseen University: Rincewind, Twoflower and the Luggage end up in the Forest of Skund. Meanwhile, the wizards of Ankh-Morpork use the Rite of Ashk-Ente to summon Death to find an explanation for the Octavo's actions. Death warns them that the Discworld will soon be destroyed by a huge red star unless the eight spells of the Octavo are read.

Several orders of wizards travel to the forest of Skund to try and capture Rincewind, who is currently staying with Twoflower and the Luggage in a gingerbread house in the forest. In the subsequent chaos, Rincewind and Twoflower escape on an old witch's broom, while the Archchancellor of Unseen University is killed when his attempt to obtain the spell accidentally summons the Luggage on top of him, crushing him to death. His apprentice, Ymper Trymon, uses the opportunity to advance his own power, intending to obtain the eight spells for his own good.

Rincewind and Twoflower run into a group of druids who have assembled a "computer" formed from large standing stones, and learn of the approaching red star. As Twoflower attempts to stop the druids from sacrificing a young woman named Bethan, Cohen the Barbarian, an octogenarian parody of Conan, attacks the druids. Twoflower is poisoned in the battle, forcing Rincewind to travel to Death's Domain to rescue him. The pair narrowly avoid being killed by Ysabell, Death's adopted daughter, and as they escape Death's Domain, Rincewind learns from the Octavo itself that it had arranged for its eighth spell to escape into his head, to ensure the spells would not be used before the right time.

Rincewind and Twoflower travel with Cohen and Bethan to a nearby town, where the toothless Cohen leaves to have some dentures made for him, having learned of them from Twoflower. While he is gone, Rincewind, Twoflower and Bethan are attacked by a mob of people who believe the star is coming to destroy the Discworld in response to the presence of magic. The trio escape into one of many shops that sell strange and sinister goods and inexplicably vanish the next time a customer tries to find them. The existence of these shops is explained as being a curse by a sorcerer upon the shopkeeper for not having something in stock. They are able to return to Ankh-Morpork via the shop.

As the star comes nearer and the magic on the Discworld becomes weaker, Trymon tries to put the seven spells still in the Octavo into his mind, in an attempt to save the world and gain ultimate power. However, the spells prove too strong for him and his mind becomes a door into the "Dungeon Dimensions", home to all manner of eldritch creatures. Rincewind and Twoflower manage to kill the now-mutated Trymon, and Rincewind reads all eight of the Octavo's spells aloud. This causes eight moons of the red star to crack open and reveal eight tiny world-turtles that follow their parent A'Tuin on a course away from the star. The Octavo then falls and is eaten by the Luggage.

Twoflower and Rincewind part company as Twoflower decides to return home, leaving the Luggage with Rincewind as a parting gift. Cohen and Bethan also leave to get married. Rincewind decides to re-enroll in the university, believing that with the spell out of his head, he will finally be able to learn magic.


Terry Pratchett -  Light Fantastic part 7,8 ( 67min mp3     28mb).


07 Light Fantastic 7  35:43
08 Light Fantastic 8  31:35


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previously

Terry Pratchett - The Colour of Magic part 1 ( 69min mp3     38mb).
Terry Pratchett - The Colour of Magic part 2 ( 69min mp3     38mb).
Terry Pratchett - The Colour of Magic part 3 ( 68min mp3     38mb).
Terry Pratchett - The Colour of Magic part 4 ( 69min mp3     38mb).
Terry Pratchett - The Colour of Magic part 5 ( 66min mp3     36mb).
Terry Pratchett - The Colour of Magic part 6 ( 69min mp3     36mb).
Terry Pratchett - The Colour of Magic movie ( 97min avi     698mb).

Terry Pratchett -  Light Fantastic part 1,2 ( 68min mp3     31mb).
Terry Pratchett -  Light Fantastic part 3,4 ( 68min mp3     31mb).
Terry Pratchett -  Light Fantastic part 5,6 ( 71min mp3     28mb).


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Nov 11, 2019

RhoDeo 1945 Re Up 213

Hello,  Liverpool blitzed the artists from Manchester City 3-1, it was an unbelievable fast game of the highest quality, a level we haven't seen before. Liverpool had the edge and looks to steam ahead towards their first title in 30 years, consequently Klopp will get a statue in the city center, the keys of the city and free beer forever.


8 correct requests for this week,1 too early,  1 unavailable (aetix-roots),  1 same artist twice, whatever another batch of 25 re-ups (9.2 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 Novemberr 10th... N'Joy

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3x Beats Back in Flac  (Pompougnac - Hotel Costes, Vol. 04 ,  Pompougnac - Living On The Edge, Pompougnac - Hotel Costes, Vol. 09)



4xSundaze Back in Flac (Gabriel Le Mar - Short Stories, Gabriel Le Mar + Pete Namlook - Namlook*Le Mar, Subsonic Park - Inner City Codes, Subsonic Park - Echoes From Inside )



3x Aetix Back in Flac ( Green On Red - Gas Food Lodging, Green On Red - No Free Lunch + the Killer Inside Me, Green On Red - Here Comes the Snakes)



4x Grooves Back In Flac (Sheila E. - In The Glamorous Life, Sheila E. - In Romance 1600, Sheila E. - Sheila E., Sheila E. - Sex Cymbal)



2x Grooves NOW in Flac (VA - The Cruising Collection, Marvin Gaye - Live At The London Palladium)




3x Beats  NOW in Flac (VA - House Hallucinates, Jack And Tab - Tekno Acid Beat, Tyree - Tyree's Got A Brand New House)




3x Aetix Back in Flac ( Ludus - Pickpocket/Danger Came Smiling, Ludus – The Visit / The Seduction, Ludus - The Damage)




3x Sundaze Back in Flac (  üNN - Delay, üNN - Relief, üNN - Electronic Music )



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Nov 10, 2019

Sundaze 1945

Hello,


Today's artist has been growing up in Norfolk and attending a school where being into music made you an outsider, his early interest in the electronic scene came from hearing acts like Aphex Twin and Orbital on the radio and reading about the equipment they used in music magazines.

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Nathan Fake is a British electronic musician whose lush, moody recordings range from atmospheric tech-house to vivid, shoegaze-influenced downtempo. Fake (his actual last name) began his career in the farm country of Norfolk in the U.K., where he learned how to play basic acoustic instruments before finding a love of the electronic genres. He moved to Reading at the age of 19, which gained his recordings significantly more exposure, and his demos found their way to producer/remixer/DJ James Holden. Holden immediately signed Fake to his Border Community imprint and released a set of 12"s (Outhouse and The Sky Was Pink) that put him on the global dance scale in terms of recognition. Fans from all electronic genres immediately took to Fake's distinctive sound (including luminaries like François K and Satoshi Tomiie), and his recordings began to be some of the most in demand of 2004.

Several 12"s on the Traum imprint followed in 2005, and Fake released his debut full-length, Drowning in a Sea of Love on Border Community, in March of 2006. Garnering favorable comparisons to Boards of Canada and Ulrich Schnauss, the album was a critical success, earning rave reviews from Pitchfork and Mixmag, among others. Drowning in a Sea of Remixes (featuring reworks by Apparat and Fairmont) followed, and Four Tet remixed album track "You Are Here" in 2007.

Fake subsequently moved to London, and his second album Hard Islands appeared in 2009. The album was significantly more stripped-down and club-friendly than his debut, but still demonstrated his talents for sophisticated sound design. Third full-length Steam Days, featuring singles "Paean" and "Iceni Strings," followed in 2012. The album retained the club-focused energy and rough edge of its predecessor, but its tracks generally had shorter running times, and were more focused and concise. Fake and Wesley Matsell started a label called Cambria Instruments in 2014, debuting with a split 12", followed by Fake's Glaive EP in 2015.

In 2016, Fake signed to Ninja Tune, having previously remixed Ninja Tune-signed artist Dorian Concept the previous year. Fake's first release for the label was Degreelessness, a collaboration with Prurient, which was issued at the tail-end of the year. Providence, Fake's most experimental full-length to date, appeared in March of 2017. This was followed by two Providence Reworks EPs and the more dancefloor-oriented Sunder EP, which appeared in 2018.


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The Outhouse main mix is absolutely massive. Grooves for days, incredibly tight mix, foreshadows his later The Sky Was Pink. Watlington Street, this five-tracker of mostly bangers stands up surprisingly well for its age. 'Bored of House' sounds steely and futuristic, while the visceral chaos of 'Overdraft' sounds like the genesis of Nathan's live performance style which would emerge in the coming years



. Nathan Fake - Outhouse + Watlington Street + The Sky Was Pink ( 498mb)

01 Outhouse (Main mix) 10:51
02 Outhouse (Fluffy mix) 4:36
03 Outhouse (Beaty Tool mix) 5:57

04 Adamedge 9:11
05 Bored of House 9:37
06Underberg 9:09
07 Overdraft 4:00
08 Peary Land 5:56

09 The Sky Was Pink (Original Live Take) 4:49
10 The Sky Was Pink (Icelandic Version) 5:07
11 The Sky Was Pink (Holden Remix) 9:31
12 The Sky Was Pink (Holden Tool) 5:46

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Drowning in a Sea of Love is a record that flows with peculiar beats, enchanting synthesizers, and the occasional hint of shoegaze. The album also sends out heaps of sun-drenched, fuzzy synth bliss in dismal and joyous feelings. Thus, the inevitable result of Fake's basement-style experimentations and raved live performances is his full-length, now calling attention to his full atmospheric capabilities.

With ethereal mouldings, strong percussion and sparkling electronic glitches, Drowning in a Sea of Love is a beautiful mosaic that is fundamentally opposed to dance floors. The record opens with Stops, a playful dream-state. I’m especially glad to hear he hasn’t abandoned his signature breath-beats as in his mesmerizing, Coheed. Along with his beats, the chimes also compose a great deal of the background in Stops, making the shoegaze and sex motifs quite overt. The lullaby-esque arpeggios within Charlie’s House give a sense of near-nostalgia. Led by a straight forward flute sound and dizzyingly lush choirs of synths, the tune is a real wind chill along with handclaps and stereo swirls. A great impression is left from the radiantly soaring tune, Superpositions. Utilizing his signature distorted arena-sized synthesizers, Fake manages to create powerful ocean tides from his dynamic simplicity. Fake’s most successful, loved, and widely known piece is The Sky was Pink. Released previously as a single back in ‘04, the track is a progressive, rustic landscape of drum machines and ever-changing hazy synth work. With its ping-pong intro percussion, Long Sunny contains some more over-processed heavily reverbed synthesizers. Ending the album is a taste of slightly different textures than the rest of the record. Being a fan of the tune myself, Fell is a gorgeous finale of various glistening ice-like synths submerging into each other while glitch beats dancing on top. The beatless song reminds me of literally falling in slow motion. Pure bliss.

Drowning in a Sea of Love is - just like its cover (a typical British suburban neighborhood confined by a flower-sample wallpaper) suggests - a warm, sun-bathed (with occasional glimpses of darkness, see "Falmer"), comforting record. Perhaps one shouldn't read too much into it, but every time I put it on I just feel better about... life, I guess. There's nothing fake about Fake's first full-length LP. It's a cozy, relaxing work whose shortcomings are surprisingly few and whose major strengths are stellar. Give it a try.



Nathan Fake - Drowning in a Sea of Love + Rmxs (flac 461mb)

01 Stops 4:34
02 Grandfathered 3:15
03 Charlie's House 5:29
04 Bumblechord 3:10
05 Superpositions 2:31
06 Bawsey 0:59
07 The Sky Was Pink 4:51
08 You Are Here 4:25
09 Falmer 1:46
10 Long Sunny 5:20
11 Fell 5:47
Rmxs
12 Charlie's House (Apparat remix) 7:49
13 Long Sunny (Vincent Oliver remix) 5:56
14 Long Sunny (Fairmont remix) 6:26
15 You Are Here (FortDax remix) 8:28

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Hard-edged, confident 2009 album from the UK Electronica star. Hard Islands is melodic, musically ambitious and pushes the European Techno blueprint ever forward. The album edges towards the tougher end of Electronica occupied by Warp and Rephlex stalwarts Clark and Aphex Twin, where spine-tingling melody meets Fake's acute awareness of what works on the dancefloor. Castle Rising" starts off (comparatively) sparse before launching into the dense thicket of sound that the other tracks share before veering off into ambient territory, dropping the kick drum altogether, only to have it come pounding back in. The melody on "Basic Mountain" stays constant, until Fake decides to twist it, momentarily, into something unrecognizable, while "Turtle," has tiny pauses, like miniature hiccups in the music. "Narrier" has a more crystalline quality to it, while "Fentiger" ends with a melodic sea, even though it starts off with much more straightforward techno. Well, as straightforward as Nathan Fake gets, which is to say: forward-thinking



Nathan Fake - Hard Islands (flac 308mb)

01 The Turtle 6:20
02 Basic Mountain 6:15
03 Castle Rising 8:59
04 The Curlew 1:17
05 Narrier 3:34
06 Fentiger 6:46

07 Iceni Strings 5:29
08 Sense Head 5:02
09 Bauxite Dream 4:54

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. Nathan Fake - Outhouse Rmxs + You Are Here + Xmas Rush ( 323mb)

01 Outhouse (Marko Nastic Rmx)
02 Outhouse (Valentino Kanzyani Rmx)

03 You Are Here
04 You Are Here (Four Tet remix)
05 You are Here (Live version)
06 Stops (Live remix)
07 Casio Triangle Through A Granular Synth

08 Xmas Rush
09 Mi Cyaan Believe It (Michael Smith Tribute)

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Nov 8, 2019

RyhoDeo 1944 Grooves

Hello, OOOps not sure where my mind was yesterday, i finished the post early enough and then forgot to enter it into Rho-Xs, ah yes there's a first for everything




Today's Artists are arguably one of the most critically acclaimed and influential groups of all time, they brought their own brand of politics and sonic innovation into hip-hop in the 80s, and some would say, changed it forever.Their first four albums during the late 1980s and early 1990s were all certified either gold or platinum and were, according to music critic Robert Hilburn in 1998, "the most acclaimed body of work ever by a hip hop act  ...... N Joy

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 Public Enemy rewrote the rules of hip-hop, becoming the most influential and controversial rap group of the late '80s and, for many, the definitive rap group of all time. Building from Run-D.M.C.'s street-oriented beats and Boogie Down Productions' proto-gangsta rhyming, Public Enemy pioneered a variation of hardcore rap that was musically and politically revolutionary. With his powerful, authoritative baritone, lead rapper Chuck D rhymed about all kinds of social problems, particularly those plaguing the black community, often condoning revolutionary tactics and social activism. In the process, he directed hip-hop toward an explicitly self-aware, pro-black consciousness that became the culture's signature throughout the next decade. While Public Enemy's early Def Jam albums, produced with the Bomb Squad, earned them a place in the Rock and Roll Hall of Fame, they continued to release relevant material up to and beyond their 2013 induction.

Musically, Public Enemy were just as revolutionary, as their production team, the Bomb Squad, created dense soundscapes that relied on avant-garde cut-and-paste techniques, unrecognizable samples, piercing sirens, relentless beats, and deep funk. It was chaotic and invigorating music, made all the more intoxicating by Chuck D's forceful vocals and the absurdist raps of his comic foil, Flavor Flav. With his comic sunglasses and an oversized clock hanging from his neck, Flav became the group's visual focal point, but he never obscured the music. While rap and rock critics embraced the group's late-'80s and early-'90s records, Public Enemy frequently ran into controversy with their militant stance and lyrics, especially after their 1988 album It Takes a Nation of Millions to Hold Us Back made them into celebrities. After all the controversy settled in the early '90s, once the group entered a hiatus, it became clear that Public Enemy were the most influential and radical band of their time.

Chuck D (born Carlton Ridenhour, August 1, 1960) formed Public Enemy in 1982, as he was studying graphic design at Adelphi University on Long Island. He had been DJ'ing at the student radio station WBAU, where he met Hank Shocklee and Bill Stephney. All three shared a love of hip-hop and politics, which made them close friends. Shocklee had been assembling hip-hop demo tapes, and Ridenhour rapped over one song, "Public Enemy No. 1," around the same time he began appearing on Stephney's radio show under the Chuckie D pseudonym. Def Jam co-founder and producer Rick Rubin heard a tape of "Public Enemy No. 1" and immediately courted Ridenhour in hopes of signing him to his fledgling label.
Chuck D initially was reluctant, but he eventually developed a concept for a literally revolutionary hip-hop group -- one that would be driven by sonically extreme productions and socially revolutionary politics. Enlisting Shocklee as his chief producer and Stephney as a publicist, Chuck D formed a crew with DJ Terminator X (born Norman Lee Rogers, August 25, 1966) and fellow Nation of Islam member Professor Griff (born Richard Griffin) as the choreographer of the group's backup dancers, the Security of the First World, who performed homages to old Stax and Motown dancers with their martial moves and fake Uzis. He also asked his old friend William Drayton (born March 16, 1959) to join as a fellow rapper. Drayton developed an alter ego called Flavor Flav, who functioned as a court jester to Chuck D's booming voice and somber rhymes in Public Enemy.

Public Enemy's debut album, Yo! Bum Rush the Show, was released on Def Jam Records in 1987. Its spare beats and powerful rhetoric were acclaimed by hip-hop critics and aficionados, but the record was ignored by the rock and R&B mainstream. However, their second album, It Takes a Nation of Millions to Hold Us Back, was impossible to ignore. Under Shocklee's direction, PE's production team, the Bomb Squad, developed a dense, chaotic mix that relied as much on found sounds and avant-garde noise as it did on old-school funk. Similarly, Chuck D's rhetoric gained focus and Flavor Flav's raps were wilder and funnier. A Nation of Millions was hailed as revolutionary by both rap and rock critics, and it was -- hip-hop had suddenly become a force for social change. As Public Enemy's profile was raised, they opened themselves up to controversy. In a notorious statement, Chuck D claimed that rap was "the black CNN," relating what was happening in the inner city in a way that mainstream media could not project. Public Enemy's lyrics were naturally dissected in the wake of such a statement, and many critics were uncomfortable with the positive endorsement of black Muslim leader Louis Farrakhan on "Bring the Noise." "Fight the Power," Public Enemy's theme for Spike Lee's controversial 1989 film Do the Right Thing, also caused an uproar for its attacks on Elvis Presley and John Wayne, but that was considerably overshadowed by an interview Professor Griff gave The Washington Times that summer. Griff had previously said anti-Semitic remarks on-stage, but his quotation that Jews were responsible for "the majority of the wickedness that goes on across the globe" was greeted with shock and outrage, especially by white critics who previously embraced the group. Faced with a major crisis, Chuck D faltered. First he fired Griff, then brought him back, then broke up the group entirely. Griff gave one more interview where he attacked Chuck D and PE, which led to his permanent departure from the group.

Public Enemy spent the remainder of 1989 preparing their third album, releasing "Welcome to the Terrordome" as its first single in early 1990. Again, the hit single caused controversy as its lyrics "still they got me like Jesus" were labeled anti-Semitic by some quarters. Despite all the controversy, Fear of a Black Planet was released to enthusiastic reviews in the spring of 1990, and it shot into the pop Top Ten as the singles "911 Is a Joke," "Brothers Gonna Work It Out," and "Can't Do Nuttin' for Ya Man" became Top 40 R&B hits. For their next album, 1991's Apocalypse 91...The Enemy Strikes Black, the group re-recorded "Bring the Noise" with thrash metal band Anthrax, the first sign that the group was trying to consolidate its white audience. Apocalypse 91 was greeted with overwhelmingly positive reviews upon its fall release, and it debuted at number four on the pop charts, but Public Enemy began to lose momentum in 1992 as they toured with the second leg of U2's Zoo TV tour and Flavor Flav was repeatedly in trouble with the law. In the fall of 1992, they released the remix collection Greatest Misses as an attempt to keep their name viable, but it was greeted to nasty reviews.

Public Enemy were on hiatus during 1993, as Flav attempted to wean himself off drugs, returning in the summer of 1994 with Muse Sick-n-Hour Mess Age. Prior to its release, it was subjected to exceedingly negative reviews in Rolling Stone and The Source, which affected the perception of the album considerably. Muse Sick debuted at number 14, but it quickly fell off the charts as it failed to generate any singles. Chuck D retired Public Enemy from touring in 1995 as he severed ties with Def Jam, developed his own record label and publishing company, and attempted to rethink Public Enemy. In 1996, he released his first debut album, The Autobiography of Mistachuck. As it was released in the fall, he announced that he planned to record a new Public Enemy album the following year.

Before that record was made, Chuck D published an autobiography in the fall of 1997. During 1997, Chuck D reassembled the original Bomb Squad and began work on three albums. In the spring of 1998, Public Enemy kicked off their major comeback with their soundtrack to Spike Lee's He Got Game, which was played more like a proper album than a soundtrack. Upon its April 1998 release, the record received the strongest reviews of any Public Enemy album since Apocalypse '91...The Enemy Strikes Black. After Def Jam refused to help Chuck D's attempts to bring PE's music straight to the masses via the Internet, he signed the group to the web-savvy independent Atomic Pop. Before the retail release of Public Enemy's seventh LP, There's a Poison Goin' On..., the label made MP3 files of the album available on the Internet. It finally appeared in stores in July 1999.

After a three-year break from recording and a switch to the In the Paint label, Public Enemy released Revolverlution, a mix of new tracks, remixes, and live cuts. The CD/DVD combo It Takes a Nation appeared in 2005. The multimedia package contained an hour-long video of the band live in London in 1987 and a CD with rare remixes. The studio album New Whirl Odor also appeared in 2005. The "special projects" album Rebirth of a Nation -- an album with all rhymes written by Bay Area rapper Paris -- was supposed to be released right along with it, but didn't appear until early the next year. The odds-and-ends collection Beats and Places appeared before the end of 2006.

In 2007, the group released an album entitled How You Sell Soul to a Soulless People Who Sold Their Soul?. Public Enemy's single from the album was "Harder Than You Think". Four years after How You Sell Soul ... , in January 2011, Public Enemy released the album Beats and Places, a compilation of remixes and "lost" tracks. On July 13, 2012, Most of My Heroes Still Don't Appear on No Stamp was released and was exclusively available on iTunes. In July 2012, on UK television an advert for the London 2012 Summer Paralympics featured a short remix of the song "Harder Than You Think". The advert caused the song to reach No. 4[ in the UK Singles Chart on September 2, 2012. On July 30, 2012, Public Enemy performed a free concert with Salt-N-Pepa and Kid 'n Play at Wingate Park in Brooklyn, New York as part of the Martin Luther King Jr. Concert Series. On August 26, 2012, Public Enemy performed at South West Four music festival in Clapham Common in London. On October 1, 2012 The Evil Empire of Everything was released. On June 29, 2013, they performed at Glastonbury Festival 2013. On September 14, 2013 they performed at Riot Fest & Carnival 2013 in Chicago, Illinois. On September 20, 2013 they performed at Riot Fest & Side Show in Byers, Colorado.

In 2014 Chuck D launched PE 2.0 with Oakland rapper Jahi as a spiritual successor and "next generation" of Public Enemy. Jahi met Chuck D backstage during a soundcheck at the 1999 Rock & Roll Hall of Fame and later appeared as a support act on Public Enemy's 20th Anniversary Tour in 2007. PE 2.0's task is twofold, Jahi says, to "take select songs from the PE catalog and cover or revisit them" as well as new material with members of the original Public Enemy including DJ Lord, Davy DMX, Professor Griff and Chuck D. PE 2.0's first album People Get Ready was released on October 7, 2014. InsPirEd PE 2.0's second album and part two of a proposed trilogy was released a year later on October 11, 2015. Man Plans God Laughs, Public Enemy's thirteenth album, was released in July 2015. On June 29, 2017, Public Enemy released their fourteenth album, Nothing Is Quick in the Desert. The album was available for free download through Bandcamp until July 4, 2017

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Appropriately for the only hip-hop group that's been active for 20 years, cutting records and touring during that entire time, Public Enemy has a long memory. Long enough to be self-referential, as the title of their 2006 Paris collaboration Rebirth of a Nation suggested, but 2007's How You Sell Soul to a Soulless People Who Sold Their Soul??? bubbles over with references to their past: the title alone is an elliptical throwback to "Who Stole the Soul" on Fear of a Black Planet, but there are scores of musical nods to their past here, from the heavy metal shred on "Black Is Back" to how "Between Hard and Rock Place" plays like one of the bridges on Fear of a Black Planet, or the It Takes a Nation of Millions samples on "Can You Hear Me Now." Far from being recycled, these quotes and allusions provide a history that Public Enemy builds upon here, either in the beats or the words. The indictment of gangsta rap on "Sex, Drugs & Violence" or the materialism on "Can You Hear Me Now" carry a greater weight because their past is reflected within the music, offering a reminder of how things have changed in 20 years. Smartly, Public Enemy never tries to run from their middle age, but this isn't stilted like New Whirl Odor. They subtly yet sharply change the productions, expanding their signature dense soundscapes and sometimes departing from it as well, as in the hardcore gangsta of "Amerikan Gangster." Even if it hardly sounds like hip-hop that reaches the charts in 2007, this is ferocious and vital as music, while Chuck D remains one of the greatest lyricists in either rap or pop, as well as one of the more incisive political commentators. And in this context, Flavor Flav loses any of the cartoonish trappings his endless VH1 reality shows have given him, and remains a potent source of comic relief. In that sense, Public Enemy is the same as they ever were, but what's remarkable about How You Sell is how PE grows and matures without abandoning their core identity, proving that it's possible to age as a rap group without turning into an embarrassment. And even if PE doesn't pack the same kind of commercial punch as it used to, it's hard to call an album this spirited and alive irrelevant.



Public Enemy - How You Sell Soul To A Soulless People Who Sold Their Soul  (flac   439mb)

01 How You Sell Soul to a Souless People Who Sold Their Soul? 2:36
02 Black Is Back 2:42
03 Harder Than You Think 4:09
04 Between Hard & a Rock Place 0:59
05 Sex, Drugs & Violence feat. KRS-One 3:35
06 Amerikan Gangster feat. E.Infinite 4:03
07 Can You Hear Me Now 3:58
08 Head Wide Shut 1:31
09 Flavor Man 3:44
10 The Enemy Battle Hymn of the Public 3:23
11 Escapism 4:53
12 Frankenstar 3:23
13 Col-Leepin 3:58
14 Radiation of a Radiotvmovie Nation 1:10
15 See Something, Say Something 3:46
16 Long & Whining Road 4:24
17 Bridge of Pain 3:07
18 Eve of Destruction 4:15
19 How You Sell Soul (Time Is God Refrain) 2:31

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Its title hearkens back to a line in Public Enemy's incendiary 1989 anthem "Fight the Power," recalling the band's glory days but cutting deeper, exposing an ugly truth: 20-plus years and a black president in the White House later, things still haven't changed all that much in America. That lingering inequality nags at Chuck D throughout Most of My Heroes Still Don't Appear On No Stamp, PE's twelfth album and their first released after the election of Barack Obama, a development that would perhaps seem to the casual observer a vindication of everything Public Enemy represents -- famously, the Obamas' first date was at a showing of Spike Lee's Do The Right Thing where "Fight the Power" plays a crucial role -- but Public Enemy seems angrier than ever here. And deservedly so, as so much of what PE stands for -- sonically, politically, culturally -- is submerged in 2012, obscured by a marginalization of radicalization and imagination. Public Enemy fights against the dying light of Black Power and counterculture throughout Most of My Heroes Still Don't Appear On No Stamp, the phrase not only providing a title but a motif (it appears repeatedly throughout the record's 11 songs), the band deliberately evoking their past by sampling earlier records and tossing off allusions to older lyrics, staying true to the template created by the Bomb Squad in the late '80s yet avoiding a meticulous re-creation of that sonic onslaught. The music here isn't as dense as It Takes a Nation of Millions or Fear of a Black Planet -- it's nimble and spare, a steely reduction of the J.B.'s relentless groove, augmented by cacophonic flourishes of guitar and white noise. It's all the better to push the spotlight onto Chuck D, who is in full-blown preacher/teacher mode here, intent on tying the past into the present and doing a pretty effective job, too. Chuck doesn't much care if he comes across as an indignant professor here, and that's part of the charm of not just this, but all latter-day Public Enemy: this is the sound of true believers who give not a damn about fashion, they remain true to the sounds and sensibilities they laid out back in the late '80s. And the music remains vital and vibrant, possibly because, despite some progress, things still haven't changed all that much and, in some respects, have gotten worse...and as long as Public Enemy's heroes remain consigned to the margins, they'll still make music as dynamic as this.



Public Enemy - Most Of My Heroes Still Don't Appear On No Stamp  (flac   340mb)

01 Run Til It's Dark 3:18
02 Get Up, Stand Up 5:03
03 Most Of My Heroes Still... 3:31
04 I Shall Not Be Moved 5:23
05 Get It In 3:09
06 Hoover Music 3:58
07 Catch The Thrown 4:26
08 RLTK 4:38
09 Truth Decay 4:11
10 FassFood 4:03
11 WTF? 6:22

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Arriving just a few months after Most of My Heroes Still Don't Appear on No Stamp, Public Enemy's The Evil Empire of Everything is a decidedly different album than their other 2012 album. It's leaner and harder, stripped down to its hard, unbreakable basics, Public Enemy honing their politics and music so Evil Empire of Everything has a precise, steely glint. There is no hiding Chuck D's anger at the tragic shooting of Trayvon Martin, not when the album opens with 911 calls where black teenagers are held under suspicion for the color of their skin, and not when there's a centerpiece called "Beyond Trayvon," but for as hard as these songs hit, what's striking about Evil Empire of Everything is its music. Despite some prominent guests -- Ziggy Marley shows up on "Don't Give Up the Fight" and Tom Morello ladles guitar over "Riotstarted" -- Public Enemy make clear, conscious connections between their music and classic '60s soul, most notably on the slow-burning "Everything" (featuring vocals by Gerald Albright and Sheila Brody), where Chuck D's testifying sounds straight from the roster of Stax, but also on the hard funk of "Notice" or the blaring horns of "Say It Like It Really Is." This is how a hip-hop group reaches middle age: by placing themselves as part of a tradition, never lingering in the past but never desperately riding trends.



Public Enemy - The Evil Empire of Everything  (flac   357mb)

01 The Evil Empire Of 1:52
02 Don't Give Up The Fight 3:47
03 1 (Peace) 2:46
04 2 (Respect) :09
05 Beyond Trayvon 4:29
06 Everything 4:11
07 31 Flavors 3:09
08 Riotstarted 3:27
09 Notice (Know This) 2:14
10 Icebreaker 7:14
11 Fame 4:49
12 Broke Diva 3:12
13 Say It Like It Really Is 6:23

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The first generation of rockers who grew up in public faced their share of ridicule, a fact that does not escape Chuck D. A keen observer of history who also possesses a sly sense of humor, he raps over a sample of the Rolling Stones' "Honky Tonk Women" on Man Plans God Laughs, Public Enemy's 13th album. Like the Stones, PE have been around so long and their influence has been so thoroughly absorbed into the culture that it's easy to take them for granted, but where Mick & Keith played arenas, Public Enemy consciously shrugged off the majors and remained fierce insurrectionists, existing just under the radar. By the end of the 2000s, they may not have been regulars in mainstream music publications, but they still had underground hits, such as "Harder Than You Think," which surprisingly became the group's biggest-ever British hit in 2007. PE brings back that track's producer, Gary "G-Wiz" Rinaldo, to produce the entirety of Man Plans God Laughs, and he helps Chuck D create a hard, furious flash of a record that deliberately leans on Public Enemy's history while keeping a steely eye on the present. All the self-allusions -- samples from Nation of Millions, lyrical callbacks, horn stabs straight out of the Bomb Squad -- aren't a way to revive the past but rather to provide a context: this isn't music that came from nowhere, it is tied to history as well as the future. This is the worldview of a group that feels the weight of its years yet is unashamed -- Chuck admits at the outset that he's 55 -- and this sensibility lends gravitas to an album that's just shy of a half-hour. At this length, Man Plans God Laughs speeds by, but it also leaves a heavy imprint, both as politics -- it's a fierce, unflinching snapshot of the ravages of institutional racism, late capitalism, and cultural conformity in 2015 -- but also as music. Early Public Enemy was formatively innovative, but on this latter-day record PE explore and deepen that signature not unlike master jazzmen -- or the Stones, for that matter -- and that's not only worthy of an album, it's groundbreaking in terms of hip-hop.



Public Enemy - Man Plans God Laughs (flac   226mb)

01 No Sympathy From The Devil 2:50
02 Me To We 2:15
03 Man Plans God Laughs 2:04
04 Give Peace A Damn 3:01
05 Those Who Know, Know Who 2:11
06 Honky Talk Rules 3:48
07 Mine Again 2:12
08 Lost In Space Music 2:26
09 Corplantationopoly 2:27
10 Earthizen 2:27
11 Praise The Loud 2:14


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