RhoDeo 2020 Re Up 239

Hello,

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.


15 correct requests for this week , 1 double and 1 too early,  whatever another batch of 52 re-ups (17.5.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 May 16th... N'Joy

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3x Beats Back In Flac  (Laurent Garnier - Unreasonable Behaviour, Laurent Garnier - Retrospective 1, Laurent Garnier - Retrospective 2 )




3x Roots Back In Flac ( Brain Damage - Ashes To Ashes, Brain Damage - Burning Before Sunset ,  VA - Dub Stories)




3x Sundaze Back in Flac (Daedelus - Invention, Twine - Recorder , Jello - Voile)




4x Aetix Back in Flac ( , Einstuerzende Neubauten - Halber Mensch, Einstuerzende Neubauten - Fünf Auf Der Nach Oben Offenen Richterskala, Einstuerzende Neubauten - Haus der Lüge)




3x Sundaze  Back in Flac  (Eliane Radigue - Songs of Milarepa 1 , Eliane Radigue - Songs of Milarepa 2, Eliane Radigue - Jetsun Mila )




6x Japan  Back In Flac  (YMO - Technodon, Hosono - Omni Sight Seeing, Senor Coconut - Yellow Fever, Ryuichi Sakamoto - Beauty, YMO Remixes hi-tech-no crime,
YMO - Complete Service 1, YMO - Complete Service 2)




5x Sundaze Back in Flac (  Can - Saw Delight , Can - Peel Session, The Inner Space - Kamasutra, The Inner Space - Agilok and Blubbo )




4x Aetix Back in Flac (  The Exploited - Punks not dead, The Exploited - Troops Of Tomorrow, The Exploited - Let's Start A War...,  The Exploited - Horror Epics )




3x Beats Back in Flac (Leftfield - A Final Hit, Jedi Knights - New School Science , VA - The Theory Of Evolution)




3x Alphabet-Soup Back in Flac (Iggy and the Stooges - Raw Power, In Extremo - Weckt Die Toten, Infadels - We are not the Infadels )




3x Aetix Back in Flac (Bauhaus - In The Flat Field Extended, It's Immaterial - Life's Hard And Then You Die, still in ogg Torch Song - Wish Thing )




4x Aetix Back in Flac (The Psychedelic Furs - Psychedelic Furs, The Psychedelic Furs - Forever Now, The Psychedelic Furs - Mirror Moves + The Psychedelic Furs - Talk Talk Talk )



4x Beats Back in Flac (Massive Attack - Collected B Greats, Massive Attack - Protection EP, Massive Attack - Angel EP, Massive Attack - Blue Lines)




2x Roots Back in Flac (VA - Trojan Dub Massive Chapter One (placed by Bill Laswell), VA - Trojan Dub Massive Chapter Two (placed by Bill Laswell) )




3x Sundaze Back in Flac (Youth - A New Chapter in Dub Vol 2, Youth - VA - Ketama Live, Youth - VA - Ketama Vision )




As announced please return if you have it

Einstürzende Neubauten - 80-83 Strategies Against Architecture
Fenin - Mixes and Maxis
Onmutu Mechanicks - Nocturne

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



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Sundaze 2020

Hello, whilst more and more feeble minded succumb to the insane rightwing propaganda Trump allies spew out day after day attempting to contaminate real news with the label 'fake news'. Corona supporters rejoice with so many bodies eager to receive and transmit the virus during "the great awakening.". The US is so beyond confused, the country is in danger of collapse with riots turning into armed conflict and rightwing groups trying to takeover large parts of the country, therefor i very much doubt there will be regular presidential elections this year.


Today's Artist is Stefano Musso who began recording music under the pseudonym of Alio Die in 1989. "Alio Die" is Latin for "another day", used as a greeting in Roman times as a positive look towards a better tomorrow......N'Joy

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Stefano Musso studied art and electronics in his home town of Milan, Italy,  and began performing  ambient, electro-acoustic music under the name Alio Die in 1989. Characterized by evocative acoustic sounds manipulated and tendered electronically, Alio Die's work builds intimate soundscapes tied to the mystery and majesty of life and nature. His first CD "Under an Holy Ritual", released on his label Hic Sunt Leones in 1992 and re-released on Projekt in 1993, was received with international acclaim. Enthusiastically received in his home country, 'Holy Ritual' expanded Musso's international presence significantly in 1993 when it was licensed by the popular U.S. darkwave label Projekt. His music is a shadowy, cavernous, intensely detailed fusion of acoustical elements, step-and-repeat sample treatments, sparse, echoing percussion, and deep, atmospheric sound design, playing ambient's static tendencies off of shifting melodic and textural passages that suggest movement without sacrificing the music's vague, entropic formlessness.   He subsequently released more than 25 CDs, and collaborated  with many well-known artists such as Robert Rich, Vidna Obmana, Mathias Grassow, Nick Parkin, Yannick Dauby,  Amelia Cuni, Raffaele Serra, Ora, Antonio Testa.

"Natural and acoustic sounds and selected noises, electronically treated and reworked, are integrated in a meditative and spiritual context that often, in the feeling, becomes close to a prayer. Visible static, this music is rich of hidden sounds, layers of elements to discover at each listening. Alio Die's music, in the consciousness space that creates, it's a melting of technology and mysticism, like a new ritual with echoes of a medioeval time, deep and grounded in introspection."

and as this bio is rather limited here's an interview he did in 2008

2008 intervew by Tobias Fischer, he is editor-in-chief of tokafi, publisher of 15 Questions and a cultural editor for Germany's biggest Printmag on Recording, „Beat“.

Hi! How are you? Where are you?
I’m fine, moving at a good point.

What’s your view on the music scene at present? Is there a crisis?
If you mean the music business, yes it is in a kind of crisis... We know the reasons about that, downloads from the internet mainly. Less people buy original cds and more and more people copy. I’s happening to experimental and non commercial music, too, where listener were usually more motivated to buy the real cd. So we see that sales are strongly in decline and lots of shops and distributors have had to close down and cease their activities after many years.

On the other hand, the number of releases is still growing a lot, so the crisis it is not at all on the artistic activity side. With this in mind, I try to optimize the quality of the cd releases with digipack artworks and limited editions of 300 copies. The possibility of getting information quicker and exchange it is a good input to creativity, expecially for people which before lived in a kind of isolation from the rest of the world where they thought the things happened.

What, would you say, are the factors of your creativity? What “inspires” you?
My creativity derives from my special feeling about reality. Perhaps it is that what is forbidden and missing in our dayly life, which inspires me, it is a kind of ‘nostalgic’ feeling in a purified way, without the emotional aspect. I can find inspiration in nature or through observing life itself, or from other music and cultures as well. I’m intersted in disclosing the magic of the present moment in multilayered feelings of a simple complexity. The medicine must work on myself first, but the mixture must be usefull to everybody confronted with that listening experience, so I try to build up something not too personal, and perfectly tuned. I also aim at expressing the circularity of time, to find a point of view that is beyond time.


How would you describe your method of composing?
Taking inspiration from a kind of symbolic language through which I’ve found access to its code, I combine and decorate feelings by different sound elements, then add some random elements born from the present moment.

The process includes improvisation in the sessions with acoustic instruments and objects, but then the sounds are mixed in an accurate way and not so much things are left out.. I let Intuition guide random elements like synchronisation between layers and filters for example. I usually start experimenting with tunings derived from acoustic recordings and field recordings and then treat the sounds in my studio. I also like to sample in a creative way. By this I mean transforming the original source into something different...


How do you see the relationship between sound and composition?
In my music, the qualities of sound and composition are very closely aligned. Some melodical elements are also a part of it, but the more important thing is the right relation between all the ingredients of the music, tunes and vibes coming together to create a new creature ready to work with moods and states of consciousness of the listener.

How strictly do you separate improvising and composing?
Improvisations are usually directed to find a natural feeling that is not yet music, but sometimes it is a ‘controlled’ improvisation by special tunings already decided before. In any case, in the improvisational process I try to capture the feeling of the moment. This is already part of the composition, as it will help to give direction to the entire process of the recordings.


What does the term „new“ mean to you in connection with music?
Something new is something that brings together different elements for the first time, or old elements combined in a new way.

There is nothing new at all, I think usually we transform differents inputs and styles into a new language that come from our personal sensibility and creativity. Creativity must surely be fresh and new everytime, but personally, I like the ancient and the mysterious knowledge that comes from the past, as I don’t belive in any kind of ‘evolution’... In our era, to speak about devolution it actually more correct.


Do you personally enjoy multimedia as an enrichment or do you feel that it is leading away from the essence of what you want to achieve?
I personally enjoy a creative use of new technology. The point is not to agree or disagree with a new way of entertainment, but in the way we use it.


What constitutes a good live performance in your opinion? What’s your approach to performing on stage?
I don’t play live often. This is due to the fact that it is not possible replicating the works I create in the studio in a concert situation. So I tried to adapt some part of acoustical inserts and improvisations with real instruments with the looped electronic effects already embedded into basic sounds. I played live performances few times with Opium and with Zeit on the last two occasions.

I used also a support of a video with beautiful morphings of paintings by Yanusz Gilewicz,and kaleidoscopic mandalas images by Alessandro Vittorio(Ozis) and the results was wonderful.

Do you feel an artist has a certain duty towards anyone but himself? Or to put it differently: Should art have a political/social or any other aspect apart from a personal sensation?
Absolutely. I don’t take care of political/ social matter at all, but in any case I think the muse of art should guide one in some way, giving inspiration to new possibilities in cultural and human aspects. Apart  from entertainment, this is a basic meaning and primary reason for music that can build bridges towards different levels of consciousness. If the work of an artist, apart from his originality, is totally disconnected from this important duty, it is totally devoid of any meaning and it is only self-celebratory.


How, would you say, could non-mainstream forms of music reach wider audiences without sacrificing their soul?
In our times there is no risk of becoming too popular with this music or of become commercial- At least not for me... It does happen sometimes with other kinds of ”Ambient” music but still very rarely.


You are given the position of artistic director of a festival. What would be on your program?
Medieval-pagan music like Faun, Daemonia Nimphe, In Gowan Ring for the afternoon, Jack or Jive, Amelia Cuni and Terry Riley, evening and Robert Rich, all night long.


Many artists dream of a “magnum opus”. Do you have a vision of what yours would sound like?
Usually it is the last music released.. But in this case more than usually it is my last album AURA SEMINALIS. You must know that I considered Opus Magnum as the title to this one (I later rejected it for being too obvious..). By the way my Opus magnum will be researched again and looped again later, it is a work still in progress...

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Five Thousand Spirits is a Project between Stefano Musso (Alio Die), Raffaele Serra, and Claudio Dondo (Runes Order). Five Thousand Spirits' first album, A Tapestry For Sorcerers, released in 1995, was a Dark Ambient album with a cosmic feel more akin to Runes Orders work than Alio Die or Raffaele Serra's work, after this album, Claudio Dondo quit the group and it became a project of Musso and Serra. This line-up has since released five albums, all similar in sound to both artists solo work, which is oriented towards minimal and ethnic styled ambient.


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Five Thousand Spirits is a music project/entity and in this, their first release, feautures the collaboration between Stefano Musso, Raffaele Serra, and Claudio Dondo (Runes Order), who abandoned the project after this release. Runes Order's knowledgeable followers will also feel at home, but for any new comer, this is "virgin" territory and to be honest one of the best "prog/electronic" bands, I have heard in ages. Sublime interactions between, vibrant, cosmic, highly creative and emotinally charged atmospheres, fusioned with both intelligent and experimental song writing, enhanced by a flawless performance of an almost all-electronic ensemble, consiting exactly as follows: Raffaele Serra playing synth, harmonium and samplers, Claudio Dondo on synth and electronics and Stefano Muso's samplers. Trend setting, original as unique, rich in its musical ideas which never cease in offering all kind of creative and enchanting or obscure yet detached envirnonments, underlined strongly with masterful melody lines that simply sound and are genius !

Five Thousand Spirits - A Tapestry For Sourcerers (flac 214mb)

1. From Sea To Sea (2:18)
2. Enter, So Far From This Sky (10:37)
3. Alphamantra (4:37)
4. Onyx (6:38)
5. Eskdalemuir(16:39)
6. Lais (7:57)
7. Haat-Lunis (8:00)
8. Limahians (7:25)

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After Claudio Dondo's early departure from Five Thousand Spirits, soon after their first release, Raffaele Serra and Stefano Musso (Alio Die) took charge of all the "spirits" of the project and played between both all electronics, synths and effects for this "Mesmeric Revelation", 1999 project. This second release starts off with what I call an "electronic environmental symphony" that lasts around 30 minutes +-, with inner sections quiet well defined as they are perfectly blended with each other's movements and different scopes, that travel through pure cosmic electronic music across mid-western canons and slight multinational details. Never sticking to a single musical figure, the effect in fact is as rich as it is "mesmeric". The following four compositions, which by the way are named "untitled" as the first, aside from being shorter in time (5 to 7 minutes +-), are closer to the placid electronic ambients, which both musicians have worked with in their solo releases. Spacious, invisible like, slow paced enticing musical structures, alongside some "unearthly" musical territories, which in fact are too demanding to actually work out as "ambient music" in its strict form, due to their uncompromising songwriting, which can turn to be bright as obscure in a single song without notice, yet totally friendly if you let yourself in.

Five Thousand Spirits - Mesmeric Revelation (flac  154mb)

1. Mesmeric Revelation I (31:17)
2. Mesmeric Revelation II (3:25)
3. Mesmeric Revelation III (4:08)
4. Mesmeric Revelation IV (7:12)
5. Mesmeric Revelation V (6:00)

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The cosmos and the mechanical are the "spirits" within this 2006, Five Thousand Spirits "Quantum Consciousness". A quantum leap, music wise, in comparisson to their 1990's first two releases. Raffaele Serra and Stefano Musso aka Alio Die, release 7 years later, this the first part of a two parts project that same year. An unparalleled adventure into the past and future of the famous 70's "cosmic music" electronics, shamelessly but WITHOUT ripping off nobody's language. They already have their OWN and it is more than perfectly woven, and it shows without question, in this highly modern and unique approach to yesteryear's electronic music canons. It is industrial, as it is the heavens, as it is the pitch black cosmos or its multicolored stars. It is human yet monstrous. It is the droning "noise/ambient" music like Fripp & Eno's 1973, "No Pussyfooting" or their 1975 "Evening Star", in its level of experimentation and way ahead creativity, to kind of construct a referential, if so, let's say to polished new territories without avoiding the "pure electronics" experimentation side of that era. It is prog/electronics, but way above the already stated (and over-stated) "Berlin School´s" electronic languages. It is humanly poetic, among non-human elements. The structured and emotional, yet detached, melody lines, conjure a memorable an intimate experience all way through, non stop, flawless !

 Five Thousand Spirits - Quantum Consciousness  (flac 289mb)

1. Re-Entry (11:22)
2. Green Desire (14:18)
3. If The Stars Are Gods (8:00)
4. Through The Magicscope (8:34)
5. Reflections On Black (15:57)

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"Schwarzschild Radius, also called gravitational radius, distance that defines the size at which a spherical astronomical object such as a star becomes a black hole. A black hole is an object so dense that not even light can escape the pull of its gravitational force (seeGravitation). If an object collapses to within its Schwarzschild radius, it becomes a black hole. The radius is named after German astronomer Karl Schwarzschild, who derived the first model of a black hole in 1916."

The return by Five Thousand Spirits Schwarzschild Radius album,second part of a series, it is an unbroken journey of great intensity that Raffaele Serra ed Alio Die have characterized with an electronic refine touch and a flood vitality, always at the threshold of a mystery's whirlpool, an electronic mantra that in these lands have already given some kind of dependance. Great second chapter after the great 'Quantum Consciousness'.

 Five Thousand Spirits - Schwarzschild Radius  (flac 296mb)

1. Immaculate Perception (9:59)
2. Sirius Remembered (7:20)
3. Blackwater Days (8:56)
4. Unholy Alliance (7:49)
5. Akua Nuten (8:16)
6. Fog Pumas (11:53)

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RhoDeo 2019 Grooves

Hello,


Today's Artists are Hull-based duo Fila Brazillia is the most popular and acclaimed of the noted Pork Recordings stable. Formed in 1990 by producers Steve Cobby and Dave McSherry, Fila followed Cobby's association with Ashley & Jackson, a moderately successful pop/dance group signed to Big Life! that went belly up as the label began demanding more and more pop and less dance. Returning to his native Hull from Manchester, Cobby met DJ/dabbler Dave Pork, and the two forged a creative alliance. Hooking up with McSherry to form Fila, the group's first 12", "The Mermaid," was released that same year on Pork's fledgling imprint (formed, actually, specifically for the occasion), gaining instant acclaim among DJs and headphonauts alike for its innovative fusion of funk, dub, house, hip-hop, and acid jazz.........N Joy

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Fila Brazillia followed their debut single with a string of full-length releases (Old Codes, New Chaos, Maim That Tune, and Black Market Gardening among them), which were instrumental in building Pork's reputation as one of the most consistent and respected of England's vast ocean of underground breakbeat/trip-hop labels. Later releases integrated elements of pop and drum'n'bass on a number of tracks. Fila's rep also translated into a number of acclaimed remixes, including Lamb's "Cotton Wool," the Orb's "Toxygene," and DJ Food's "Freedom" (over a dozen of which were featured on the 2000 collection Brazilification). During the new millennium, the duo released the mix album Another Late Night in 2001 and the studio effort Jump Leads early the following year. After two years of recording inactivity, in 2004 the duo released a pair of production albums (The Life and Times of Phoebus Brumal and Dicks), plus another mix album (Another Fine Mess). In addition to Fila, Cobby is also an active member of other Pork stable acts such as Solid Doctor (his solo guise) and Heights of Abraham, both of which have released a number of full-length recordings.

Their early albums were released on Pork Recordings, also based in Hull: Old Codes New Chaos, Maim That Tune, Mess, Black Market Gardening, Luck Be a Weirdo Tonight and Power Clown. After creating their own music label with Sim Lister, Twentythree Records, they released further albums A Touch of Cloth, Jump Leads, The Life And Times of Phoebus Brumal, Dicks and Retrospective. They have also released two DJ mix albums, Another Late Night: Fila Brazillia, for Azuli Records' "Another Late Night" series, and Another Fine Mess: Fila Brazillia, and two collections of remixes: Brazilification and B2.

Their collaborations include working with Harold Budd and Bill Nelson to release Three White Roses & A Budd (Twentythree Records, 2002). They co-produced the first Twilight Singers LP Twilight as Played by The Twilight Singers with Greg Dulli in 2001. Cobby and McSherry have produced more than 70 remixes for artists including Black Uhuru, Busta Rhymes, DJ Food, Lamb, Radiohead and The Orb. Bill Hicks, the controversial American stand-up comedian, satirist and social critic, "appears" on Fila Brazillia's album Maim That Tune (1996) and the album is dedicated to Hicks.

Their music has made its mark both on small-screen blockbusters (such as CSI and Sex and the City) and cult cinema films such as Dogtown and Z-Boys, Riding Giants and Once in a Lifetime: The Extraordinary Story of the New York Cosmos, a 2006 documentary about the New York Cosmos soccer team. One of their better-known songs, A Zed and two L's, appears on Jam, a black comedy sketch show by British satirist Chris Morris. Their song "Here Comes Pissy Willy" from the Power Clown album featured as the theme to the James Whale Show on Talk Radio in the late 1990s.

After releasing their Retrospective album in 2006, Cobby and McSherry quietly ended their longtime partnership. Currently, McSherry is a lecturer in Audio Production at the University of Lincoln.

Cobby went on in late 2006 to form Steel Tiger Records with Sim Lister. Over the course of 2007, the label saw various digital releases by J*S*T*A*R*S (Cobby and Lister), Peacecorps (Cobby and guitarist Rich Arthurs) and by The Cutler (Cobby and ex-head of Pork Recordings David "Porky" Brennand). The first formal album by The Cutler on Steel Tiger Records was released on 7 July 2008, and the most recent "Everything Is Touching Everything Else" (Steel Tiger Records ST016, 10 June 2013) – with vocals by Isobel Helen, Archie Heselwood, Andrew Taylor and Little Glitches – distributed by Kudos Records Ltd.

In 2013 Steve Cobby provided the soundtrack for the Hull 'UK City of Culture 2017' bid film - 'This City Belongs to Everyone', produced by Nova Studios - on 20 November 2013 Kingston upon Hull, East Riding of Yorkshire, was announced as the winning City, and so as UK City of Culture 2017.

After a 16 year hiatus, on 6 March 2020, the band returned with the release of the MMXX EP.


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Fila Brazillia live at the Victoria & Albert Museum, London. Recorded 03-11-00.
The 'concept' behind the show was to create a piece using 4 d.j. cd players, a d.a.t. tape and 2 mixers. The cd's were prepared beforehand and consisted of various random sequences. The 2 sets were unrehearsed and resulted in these two 'beatless' 20+ minute pieces.  I can almost hear the crowd of die-hard Fila fans as this CD contains just two tracks (boo!), both at 25 minutes long (hooray!), but with the predictable track titles (hiss!) of Victoria and Albert. Not that the track titles denote anything separate – run the two tracks together with a crossfader and you might just think it’s all one long 50 minute track. It’s not traditional FB sounds either. There are no beats, no bass, in fact – no rhythm section to speak of. This is pure ambient music – bloops and bleeps, with the odd sampled strain of music to bring you back to some familiar ground. However, that’s all it is – for 50 minutes. On the plus side, however, it’s lovely, unobtrusive background music – you know it’s there, but you’re not completely aware of it. It adds to, rather than creates an atmosphere – and I’m guessing, that’s what the music was for in the first place. You would be hard-pressed to get more chilled than this.

 Fila Brazillia - FB@V&A    (flac   280mb)

01 Victoria 25:51
02 Albert 23:35

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Nearly a decade after Steve Cobby and David McSherry jacked in a putative career in acid jazz to develop Fila Brazillia’s mix of chilled ambient and loose-limbed funk, it seems the music-buying world has gradually come around to their homegrown and often plain sound. On this, their sixth self-released album, the Hull duo branch out from their usual output to include guitars, wailing blues harmonicas and even – shock! – songs. At its best, their sound is fibrous, organic and streets ahead of their compilation-album rivals. It’s both grown-up and delightfully daft, like Vangelis gone disco (that’s meant as a compliment). Motown Coppers flies the flag for wilfully off-centre funk with its drum’n’bass-meets-country-blues groove. Tracks such as ‘We Build Arks’ could have slipped through the cracks of an overly chilled-out nation of music-lovers, but they are transformed by singer Steve Edwards into the kind of AOR epics that wouldn’t shame Glen Campbell or Jimmy Webb.

  Fila Brazillia - Jump Leads  (flac   353mb)

01 Bumblehaun 6:01
02 Motown Coppers 4:42
03 Spill the Beans 4:27
04 DNA 6:53
05 We Build Arks 3:50
06 It's a Knockout 6:33
07 Monk's Utterance 5:42
08 Percival Quintaine 4:53
09 Nightfall 7:35
10 Mother Nature's Spies 3:46
11 The Green Green Grass of Homegrown 3:50

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After the imaginative but often leaden-sounding Jump Leads LP in 2001, Messrs. Cobby and McSherry applied their usual mastery of sound science to The Life and Times of Phoebus Brumal, an extraordinary set of music that starts out bouncing like Basement Jaxx but ends up revealing more stylistic and musical innovation than anyone else in the field of organic electronica. That these productions appear on what is apparently a concept album centering on the daftly named figure in the title shouldn't scare away any listeners (although fleeing would indeed be understood). Without a look at the liner notes, which apparently include excerpts from the diary of Mr. (or Mrs.) Brumal -- but are actually nonsensical assemblages of words from artwork maestros Designers Republic -- the only clues that this material forms a concept album are in the seamless, excellent transitions between tracks. The first two songs feature the type of spangly disco productions that Basement Jaxx made a specialty, although Cobby and McSherry's process of Brazilification adds innumerable subtleties to the sound, and the openers are only the launching pad for the dozen tracks to come that, together, comprise one of the strongest full-lengths in dance music this side of the millennium. A few vocals do intrude, although they're usually dispatched quickly and treated well by the production duo. Unfortunately, Papa V's feature on the third track is the one least worth hearing; Djinji Brown's pair of songs on the second side should have been front and center (although perhaps a different order wouldn't have suited any concept at work).

Fila Brazillia - The Life And Times Of Phoebus Brumal (flac   403mb)

01 Platinum Spider 3:20
02 Underpuppy 4:50
03 Bullshit 5:10
04 Existentialist Singalong 1:24
05 Blowhole 4:11
06 Thatched Neon 5:09
07 You Won't Let Me Rock 4:10
08 La Boulangerie Digitale 4:13
09 Boca Raton 6:14
10 Bantamweight Werewolf 1:03
11 Madame Le Fevre 4:36
12 Romantic Adventure 4:42
13 Uberboff 4:35
14 In the Kingdom of Sound 5:45

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French for ten (Dix) Dicks has coincidently 23 tracks the same digits as their own 23 Records label, as well as releasing separate solo projects with Steve Cobbys “96” Solid Doctor and Dave “Man” McSherry Mandrillus Sphynx on 23 Records in 2003, the question remains, how do you release two albums in one year, squeeze recording in and run a label.
With Dicks being a less dance floor orientated as previous album “Life and Times of Phoebus Brumal” or Stylewise, this album sums up the word eclectic, taking tunes all over the place. You can tell how much fun they had making it. Sidearms And Parsnips rides along with the familiar Fila moniker with muted percussion, guitar riffs and background filtered sounds with a down tempo groove, harmonica samples and nice kit fills. Shellac has a drawn out beat backed up with a synth baseline and keyboard stabs to shades of what came of the previous album. D’Avros slides in a full interlude, meshing in electro synth chords, backed up by some bongo beats and more of the fuzz guitar. Bringing in the banjo ‘Kiss My Whippet’ bounces along with strummed campfire guitar over junked up beats. Ballon hinges on the hip hop tip with more of the abundant electric guitar riffs which run into more keyboard lightly feathering in between making for a lush tune, running with the Fila sound. The Goggle Box (Their 12″ EP release on a big pink bit of vinyl) picks up the BPM’s with electro synths stabs meshed with lounge fuelled house beats that wander around a light track with a touch of funk serving up a nice tune. Doggin starts up with the revving of engines, dropping in some lucid bass guitar with flowing synthy chords and filtered beeps and breaks, taking in turn what a Fila track is renowned for, a form of placid mayhem. Bringing the album full circle is the 23rd on track on the viscously pink CD Septentrion twist in some subtle smooth turntable effects with percussion layered in amongst tempered cymbal fills, live concert piano sounds and a double bass hailing out of a Dingee jazz club.

Dicks saturates your palate with everything and anything, sometimes feeling like your eating your dinner and desert all blended up and served as a shake. Loaded up with everything from the psychedelic rock, breaks infused electro and throwing some sampled material for good measure, and don’t forget that Banjo ! Once again, Fila Brazillia throw out an eclectic album as ever which has given them their status as some very well respected, cracked up, remix bandits. At least you can find “that” pink CD when your looking for it.

  Fila Brazillia - Dicks  (flac   380mb)

01 An Impossible Place 0:38
02 Sidearms & Parsnips 2:34
03 Shellac 2:16
04 D'Avros 3:19
05 The Great Attractor 2:39
06 Kiss My Whippet 1:56
07 Ballon 5:06
08 Lullaby Berkowitz 3:48
09 The Cubist News 1:57
10 Goggle Box 4:57
11 Heil Mickey 4:05
12 Doggin' 2:31
13 708-7606-19 0:52
14 And Flesh 2:17
15 Curveball for the 21st Century 2:29
16 The Hull Priests 2:47
17 Sugarplum Hairnet 1:37
18 Furball Shindig 2:43
19 The Third Tendril of the Squid 2:05
20 We've Almost Surprised Me 2:09
21 V.D. 0:21
22 Nutty Sack 3:06
23 Septentrion 3:20


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RhoDeo 2019 Magicians 5

Hello, 20 years later Graham Hancock wrote Magicians of the Gods a sequal to Fingerprints with which i'll continue this week. 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.




Hancock's thesis is based on the previously widely criticised 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 civilisations 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

Threshold opens new perceptual channels for expanding and integrating personal awareness while developing creative insights which assist in dissolving fear barriers. Voiced by Bob Monroe. Includes a Guidance Manual and the following six exercises:

Intro Focus 12 - establish the higher energy state of expanded awareness
Problem Solving - receive creative solutions to your questions
One Month Patterning -  reshape your life in desired direction
Color Breathing - link mind and body to energize and support healing
Energy Bar Tool - direct your nonphysical energies
Living Body Map - balance and strengthen the physical self

Hemi-Sync - The Gateway Experience - Wave II - Threshold 2 ( 68min flac   310mb).:


CD2 - 03 One-Month Patterning 38:31

CD2 - 04 Color Breathing 30:00

HemiSync - Gateway Experience - Wave II - Threshold(PDF)


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Plasma is the fourth state of matter.

“Without electricity, the air would rot.”
— Ralph Waldo Emerson

By definition, “plasma” means that electrons are stripped from atomic nuclei, so they can move within a material. This happens because electron orbital dynamics are overcome by thermal or other energy sources. Due to gravity and other influences, electric discharges can take place when regions in plasma develop excess charge. Those discharges form magnetic sheaths along their discharge axes. If there is enough charge flow, sheaths will glow. Those regions of isolated charge, or “cells”, are known as double layers. Double layers induce intense electric fields, which accelerate charged particles. When electric charge spirals in an electromagnetic field, X-rays, extreme ultraviolet, and sometimes gamma rays are generated. Electric fields that form along plasma strands can create an attractive force orders of magnitude greater than gravity. Although, instead of merging, those Birkeland current strands (sometimes thousands of light-years long and wide) twist into helices that rotate faster as they compresses tighter.

The cosmos is interlaced with electric circuits made up of those energized filaments composed of twisting Birkeland currents. At the largest scale, there are loads in the circuits converting electrical energy into rotational energy. They are known as galaxies. Electric Universe advocates propose that galactic evolution can better be explained in terms of those large-scale plasma discharges. Why stars in galaxies (and galaxies, themselves) tend to coalesce in long arcs is one of a hundred mysteries confronting conventional cosmology. Gravity-only hypotheses cannot resolve the issue of star formation, so what is observed within the barred spirals and elliptical whirlpools that congregate in million-light-year clusters continues to elude explanation.

As written elsewhere, plasma is not a substance, it is a state of matter, so it cannot be analyzed in terms of its component parts, it arises in complicated interactions. It is an emergent phenomenon. “Emergent” means: “arising as an effect of complex causes and not analysable simply as the sum of their effects.” As previously written, properties like filamentation, long-range attraction and short-range repulsion, cell-like differentiation, and characteristic instabilities indicate a system of interaction. Electric charge moving in closed circuits through plasma attracts matter over vast distances. Double layers might glow in visible or infrared light. However, plasma might also initiate dark discharges. Perhaps those are the filamentary “dark lanes” seen by astronomers. Radio lobes far above the poles of active galaxies are the signature of Birkeland currents, while the spiral arms of some galaxies exhibit dark, twisted strands of material extending from their cores.

Stephen Smith

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How and when did the asteroids and comets in our solar system form? For countless decades, astronomers have embraced the story that these small rocky bodies are the primordial leftovers of our solar system’s formation, supposedly from a nebular cloud four and a half billion years ago. Of course, as viewers of this series have long known, science discovery has done little to nothing to support this view. In fact, one of the great surprises of the Space Age is that asteroids and comet nuclei appear remarkably similar – they have complex, rocky and rubble strewn surfaces. The Electric Universe has always proposed the “radical” hypothesis that comets, asteroids and meteoroids were torn from planetary surfaces by interplanetary lightning in an epoch of planetary instability. A major piece of this puzzle is the evidence for electrical scarring on planets and moons, and one of the more dramatic examples of such scarring may be the enormous trench Valles Marineris on Mars.

In this episode, retired nuclear engineer Ray Gallucci offers an independent analysis of the specific role that Mars may have played in creating the asteroid belt.





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Graham Hancock’s multi-million bestseller Fingerprints of the Gods remains an astonishing, deeply controversial, wide-ranging investigation of the mysteries of our past and the evidence for Earth’s lost civilization. Twenty years on, Hancock returns with Magicians of the Gods, the sequel to his seminal work. Published on 10 September 2015 in the UK and on 10 November 2015 in the US, Magicians of the Gods is not in any sense an ‘update’ of Fingerprints but is a completely new book filled from front to back with completely new evidence, completely new travels to the world’s most mysterious archaeological sites, and completely new insights, based on the latest scientific evidence, into the global cataclysm that wiped an advanced civilization from the earth and made us a species with amnesia, forced to begin again like children with no memory of what went before.

Near the end of the last Ice Age 12,800 years ago, a giant comet that had entered the solar system from deep space thousands of years earlier, broke into multiple fragments. Some of these struck the Earth causing a global cataclysm on a scale unseen since the extinction of the dinosaurs. At least eight of the fragments hit the North American ice cap, while further fragments hit the northern European ice cap.

The impacts, from comet fragments a mile wide approaching at more than 60,000 miles an hour, generated huge amounts of heat which instantly liquidized millions of square kilometers of ice, destabilizing the Earth’s crust and causing the global Deluge that is remembered in myths all around the world.

A second series of impacts, equally devastating, causing further cataclysmic flooding, occurred 11,600 years ago, the exact date that Plato gives for the destruction and submergence of Atlantis.

The evidence revealed in this book shows beyond reasonable doubt that an advanced civilization that flourished during the Ice Age was destroyed in the global cataclysms between 12,800 and 11,600 years ago.

But there were survivors – known to later cultures by names such as ‘the Sages’, ‘the Magicians’, ‘the Shining Ones’, and ‘the Mystery Teachers of Heaven’. They travelled the world in their great ships doing all in their power to keep the spark of civilization burning. They settled at key locations – Gobekli Tepe in Turkey, Baalbek in the Lebanon, Giza in Egypt, ancient Sumer, Mexico, Peru and across the Pacific where a huge pyramid has recently been discovered in Indonesia. Everywhere they went these ‘Magicians of the Gods’ brought with them the memory of a time when mankind had fallen out of harmony with the universe and paid a heavy price.

A memory and a warning to the future… For the comet that wrought such destruction between 12,800 and 11,600 years may not be done with us yet. Astronomers believe that a 20-mile wide ‘dark’ fragment of the original giant comet remains hidden within its debris stream and threatens the Earth. An astronomical message encoded at Gobekli Tepe, and in the Sphinx and the pyramids of Egypt, warns that the ‘Great Return’ will occur in our time…

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Graham Hancock - Magicians of the Gods 13-15 ( 146min  67mb)

narrated by the man himself, Graham Hancock

13 Chapter 13 60:00
14 Chapter 14 55:36
15 Chapter 15 30:21

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previously

Graham Hancock - Magicians of the Gods 1-3 ( 125min  57mb)
Graham Hancock - Magicians of the Gods 4-6 ( 121min  51mb)
Graham Hancock - Magicians of the Gods 7-9 ( 118min  54mb)
Graham Hancock - Magicians of the Gods 10-12 ( 158min  66mb)

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RhoDeo 2019 Re Up 238

Hello,



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 deminishing day by day. I'm doing my best to fulfil 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.


15 correct requests for this week , 1 double and 1 too early,  whatever another batch of 52 re-ups (16.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 May 10th... N'Joy

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4x Sundaze NOW in Flac ( Zoviet France - Popular Soviet Songs, Zoviet France - Popular Soviet Songs 2, Zoviet France - Popular Soviet Songs 3, Zoviet France - Misfits  +  Gesture)



3x Aetix Back In Flac ( The Cramps - A Date With Elvis, The Cramps - Off The Bone ,  The Cramps - Stay, Sick!)




3x Grooves Back in Flac (Bee Gees - Saturday Nite Fevers, Sticky Fingers , still in ogg Stargard - Stargard + Downtown Disco)




4x Aetix Back in Flac ( Logic System - Logic, Logic System -  Venus, Logic System - Orient Express, Logic System - Electric Carnaval)




3x Beats  Back in Flac 1331 (Laurent Garnier - Early Works 1 , Laurent Garnier - Early Works 2, Laurent Garnier - 30)




3x Aetix Back in Flac  (The dB's - Stands For DeciBels, The dB's - Repercussion, The dB's - Like This)




4x Grooves  Back In Flac  (Skyy - Skyy, Skyy - Skyyport, Skyy - Skyway, Skyy - Skyy Line)




3x Aetix Back in Flac (  R.E.M. - Murmur, R.E.M. - Reckoning, R.E.M. - Fables Of The Reconstruction)




3x Sundaze Back in Flac (  Spacetime Continuum - Sea Biscuit, Spacetime Continuum – Emit Ecaps, Spacetime Continuum ft Terence McKenna - Alien Dreamtime)




5x Beats Back in Flac (Meat Beat Manifesto - Storm The Studio, Meat Beat Manifesto - Subliminal Sandwich 1, Meat Beat Manifesto - Subliminal Sandwich 2, Meat Beat Manifesto - RUOK, Meat Beat Manifesto - Mutations)




3x Sundaze Back in Flac (Arovane ‎- Tides, Arovane - Atol Scrap, Arovane ‎– Lilies )




3x Sundaze Back in Flac (Ruxpin - Radio, Ruxpin - Midnight Drive, Ruxpin - Magrathea)




3x Aetix Back in Flac (The Feelies - Crazy Rhythms, The Feelies - The Good Earth, The Feelies - Only Life)




4x Beats Back in Flac (Telex - Wonderful World, Telex - 3 EP's, Telex - Looney Tunes, Telex - Is Release A Humour ~We Love Telex~)




3x Sundaze Back in Flac (VA - No New York, James Chance & The Contortions - Buy, The Lounge Lizards - Lounge Lizards, Bush Tetras - Boom in the Night )



As announced please return if you have it

Brain Damage - Ashes To Ashes
Brain Damage - Burning Before Sunset
VA - Dub Stories

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


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Sundaze 2019

Hello,


Today's Artist is Stefano Musso who began recording music under the pseudonym of Alio Die in 1989. "Alio Die" is Latin for "another day", used as a greeting in Roman times as a positive look towards a better tomorrow......N'Joy

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Stefano Musso studied art and electronics in his home town of Milan, Italy,  and began performing  ambient, electro-acoustic music under the name Alio Die in 1989. Characterized by evocative acoustic sounds manipulated and tendered electronically, Alio Die's work builds intimate soundscapes tied to the mystery and majesty of life and nature. His first CD "Under an Holy Ritual", released on his label Hic Sunt Leones in 1992 and re-released on Projekt in 1993, was received with international acclaim. Enthusiastically received in his home country, 'Holy Ritual' expanded Musso's international presence significantly in 1993 when it was licensed by the popular U.S. darkwave label Projekt. His music is a shadowy, cavernous, intensely detailed fusion of acoustical elements, step-and-repeat sample treatments, sparse, echoing percussion, and deep, atmospheric sound design, playing ambient's static tendencies off of shifting melodic and textural passages that suggest movement without sacrificing the music's vague, entropic formlessness.   He subsequently released more than 25 CDs, and collaborated  with many well-known artists such as Robert Rich, Vidna Obmana, Mathias Grassow, Nick Parkin, Yannick Dauby,  Amelia Cuni, Raffaele Serra, Ora, Antonio Testa.

"Natural and acoustic sounds and selected noises, electronically treated and reworked, are integrated in a meditative and spiritual context that often, in the feeling, becomes close to a prayer. Visible static, this music is rich of hidden sounds, layers of elements to discover at each listening. Alio Die's music, in the consciousness space that creates, it's a melting of technology and mysticism, like a new ritual with echoes of a medioeval time, deep and grounded in introspection."

and as this bio is rather limited here's an interview he did in 2008

2008 intervew by Tobias Fischer, he is editor-in-chief of tokafi, publisher of 15 Questions and a cultural editor for Germany's biggest Printmag on Recording, „Beat“.

Hi! How are you? Where are you?
I’m fine, moving at a good point.

What’s your view on the music scene at present? Is there a crisis?
If you mean the music business, yes it is in a kind of crisis... We know the reasons about that, downloads from the internet mainly. Less people buy original cds and more and more people copy. I’s happening to experimental and non commercial music, too, where listener were usually more motivated to buy the real cd. So we see that sales are strongly in decline and lots of shops and distributors have had to close down and cease their activities after many years.

On the other hand, the number of releases is still growing a lot, so the crisis it is not at all on the artistic activity side. With this in mind, I try to optimize the quality of the cd releases with digipack artworks and limited editions of 300 copies. The possibility of getting information quicker and exchange it is a good input to creativity, expecially for people which before lived in a kind of isolation from the rest of the world where they thought the things happened.

What, would you say, are the factors of your creativity? What “inspires” you?
My creativity derives from my special feeling about reality. Perhaps it is that what is forbidden and missing in our dayly life, which inspires me, it is a kind of ‘nostalgic’ feeling in a purified way, without the emotional aspect. I can find inspiration in nature or through observing life itself, or from other music and cultures as well. I’m intersted in disclosing the magic of the present moment in multilayered feelings of a simple complexity. The medicine must work on myself first, but the mixture must be usefull to everybody confronted with that listening experience, so I try to build up something not too personal, and perfectly tuned. I also aim at expressing the circularity of time, to find a point of view that is beyond time.


How would you describe your method of composing?
Taking inspiration from a kind of symbolic language through which I’ve found access to its code, I combine and decorate feelings by different sound elements, then add some random elements born from the present moment.

The process includes improvisation in the sessions with acoustic instruments and objects, but then the sounds are mixed in an accurate way and not so much things are left out.. I let Intuition guide random elements like synchronisation between layers and filters for example. I usually start experimenting with tunings derived from acoustic recordings and field recordings and then treat the sounds in my studio. I also like to sample in a creative way. By this I mean transforming the original source into something different...


How do you see the relationship between sound and composition?
In my music, the qualities of sound and composition are very closely aligned. Some melodical elements are also a part of it, but the more important thing is the right relation between all the ingredients of the music, tunes and vibes coming together to create a new creature ready to work with moods and states of consciousness of the listener.

How strictly do you separate improvising and composing?
Improvisations are usually directed to find a natural feeling that is not yet music, but sometimes it is a ‘controlled’ improvisation by special tunings already decided before. In any case, in the improvisational process I try to capture the feeling of the moment. This is already part of the composition, as it will help to give direction to the entire process of the recordings.


What does the term „new“ mean to you in connection with music?
Something new is something that brings together different elements for the first time, or old elements combined in a new way.

There is nothing new at all, I think usually we transform differents inputs and styles into a new language that come from our personal sensibility and creativity. Creativity must surely be fresh and new everytime, but personally, I like the ancient and the mysterious knowledge that comes from the past, as I don’t belive in any kind of ‘evolution’... In our era, to speak about devolution it actually more correct.


Do you personally enjoy multimedia as an enrichment or do you feel that it is leading away from the essence of what you want to achieve?
I personally enjoy a creative use of new technology. The point is not to agree or disagree with a new way of entertainment, but in the way we use it.


What constitutes a good live performance in your opinion? What’s your approach to performing on stage?
I don’t play live often. This is due to the fact that it is not possible replicating the works I create in the studio in a concert situation. So I tried to adapt some part of acoustical inserts and improvisations with real instruments with the looped electronic effects already embedded into basic sounds. I played live performances few times with Opium and with Zeit on the last two occasions.

I used also a support of a video with beautiful morphings of paintings by Yanusz Gilewicz,and kaleidoscopic mandalas images by Alessandro Vittorio(Ozis) and the results was wonderful.

Do you feel an artist has a certain duty towards anyone but himself? Or to put it differently: Should art have a political/social or any other aspect apart from a personal sensation?
Absolutely. I don’t take care of political/ social matter at all, but in any case I think the muse of art should guide one in some way, giving inspiration to new possibilities in cultural and human aspects. Apart  from entertainment, this is a basic meaning and primary reason for music that can build bridges towards different levels of consciousness. If the work of an artist, apart from his originality, is totally disconnected from this important duty, it is totally devoid of any meaning and it is only self-celebratory.


How, would you say, could non-mainstream forms of music reach wider audiences without sacrificing their soul?
In our times there is no risk of becoming too popular with this music or of become commercial- At least not for me... It does happen sometimes with other kinds of ”Ambient” music but still very rarely.


You are given the position of artistic director of a festival. What would be on your program?
Medieval-pagan music like Faun, Daemonia Nimphe, In Gowan Ring for the afternoon, Jack or Jive, Amelia Cuni and Terry Riley, evening and Robert Rich, all night long.


Many artists dream of a “magnum opus”. Do you have a vision of what yours would sound like?
Usually it is the last music released.. But in this case more than usually it is my last album AURA SEMINALIS. You must know that I considered Opus Magnum as the title to this one (I later rejected it for being too obvious..). By the way my Opus magnum will be researched again and looped again later, it is a work still in progress...




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Entitled after Hindi water beings dedicated to art and pleasure, Apsaras finds Die and his compatriot singer, Cuni, creating a quietly enchanting series of soft, flowing pieces that will easily please those listeners accustomed to Die's work and that of fellow travelers like Steve Roach, Robert Rich, and Vidna Obmana. Cuni herself has a collaborative streak with some fine musicians indeed -- past partners include folks like Paul Schutze and Terry Riley -- and on Apsaras she brings both a controlled power and deep, meditative emotion well-suited to the music. Influences can be heard from not merely Indian singing but Egyptian and Arabic vocal styles, extended croons and cries just smoothed out enough to match the ethereal -- sometimes to the point of near-complete silence -- work of Die. "Island of the Rose Apple Tree," which takes up a quarter of Apsaras' length, demonstrates the value of their collaboration well; with a core rhythm based around very, very slow bass tones and soft, bell-like echoes, Die sets the stage for Cuni's marvelous lead. Ranging from barely detectable low registers to stronger but never overwhelming turns -- in keeping with the flow of the album as a whole, everything she sings sounds like it's coming across a distant sea, mysterious and strange -- it's a tour de force performance. "Water Memories" is equally as impressive and lengthy, a slightly more energetic flow and wash of electronic textures and a recurrent sitar loop that Cuni again serenely rides through and above, at one point suddenly coming through at her loudest and clearest. Water sounds and atmospheres are unsurprisingly heavily featured throughout Apsaras, and while it's a new age trope almost as much as power chords are for rock & roll, Die's use of it fits the music well.

Alio Die & Amelia Cuni - Apsaras (flac 254mb)

01 Ambhas 5:41
02 Island of the Rose Apple Tree 15:28
03 Aapaha 6:07
04 Water Memories 14:03
05 Churning of the Ocean 5:40
06 Apsaras 11:55

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Alio Die has an extensive discography of consistent high quality, pick up at random any of his releases and you won't be disappointed. But Incantamento is his absolute gem, i doubt that anybody can listen to this and not be impressed and even transformed. Nocturnal and Godly, press play and you are transported in the summer night somewhere in Mediterranean countryside, marvel at the stars, smell the citrus and cypress, hear the katydids, be silent - and remember God. Yes, this is bliss. Organic, pure and eternal, this is one of the best albums the ambient scene has to offer.

Alio Die - Incantamento (flac  428mb)

01 Lunae 54:27
02 Waters 19:12

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Electronica legends and like-minded drone masters Alio Die (born Stefano Musso) and Mathias Grassow conspired to create one of 2003's finest ambient releases. Expanding Horizons, a double-CD set, features deep drones, smooth samples, gentle rhythms, and subtle melodies. Die recorded his basic tracks in '99. Grassow added his touches and arranged and mixed the final master in '01 and '02. Klaus Wiese (singing bowls, zither, Indian strings) and Carsten Agthe (percussion) added their expertise as well. So, these discs feature three of the greatest drone artists ever -- Grassow, Die and Wiese. Agthe has recorded with Grassow and Wiese frequently. His deft touch and sense of timing compliment the organic textures and dark timbres smoothly. Deep listeners will fall into the catacombs created by this outstanding conglomeration of electronica talent. The music mesmerizes and captivates. This quartet has created a bed of sonic feathers with some hard edges, the bed is as comfortable and as it is harsh. The conundrums define these soundscapes. This album is surely an instant classic. Only the best albums from Steve Roach and Robert Rich stir such strong reactions.

 Alio Die & Mathias Grassow - Expanding Horizon    (flac 511mb)

01 Enchanted Land 10:19
02 Day Of Fulfilment 10:00
03 Radiant Clearing 3:33
04 Organum 10:08
05 The First Bright Light 10:18
06 Amithaba 14:50
07 Dawn 12:04
08 Dewdrops 3:27

 Alio Die & Mathias Grassow - Expanding Horizon 2  (flac 502mb)

09 The Falcon 11:41
10 The Poetess 13:20
11 Serpents Hollow 3:34
12 Tuscany 15:34
13 Brugh Na Boine - The Elves Realm 28:12

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RhoDeo 2018 Grooves

Hello, they are dropping like flies these days and not just from covid 19, Gabi Delgado (D.A.F.) Hamilton Bohannon, Tony Allen, Dave Greenfield (Stranglers) and last week Florian Schneider (Kraftwerk) decided the timing was perfect to leave the planet without much ado, a handful of people at his burial, the news broke days after he had died of cancer after a short sick bed. Florian represented the austere perfectionist side of Kraftwerk and as such instrumental in keeping a low profile for the band members.


Today's Artists are Hull-based duo Fila Brazillia is the most popular and acclaimed of the noted Pork Recordings stable. Formed in 1990 by producers Steve Cobby and Dave McSherry, Fila followed Cobby's association with Ashley & Jackson, a moderately successful pop/dance group signed to Big Life! that went belly up as the label began demanding more and more pop and less dance. Returning to his native Hull from Manchester, Cobby met DJ/dabbler Dave Pork, and the two forged a creative alliance. Hooking up with McSherry to form Fila, the group's first 12", "The Mermaid," was released that same year on Pork's fledgling imprint (formed, actually, specifically for the occasion), gaining instant acclaim among DJs and headphonauts alike for its innovative fusion of funk, dub, house, hip-hop, and acid jazz.........N Joy

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Fila Brazillia followed their debut single with a string of full-length releases (Old Codes, New Chaos, Maim That Tune, and Black Market Gardening among them), which were instrumental in building Pork's reputation as one of the most consistent and respected of England's vast ocean of underground breakbeat/trip-hop labels. Later releases integrated elements of pop and drum'n'bass on a number of tracks. Fila's rep also translated into a number of acclaimed remixes, including Lamb's "Cotton Wool," the Orb's "Toxygene," and DJ Food's "Freedom" (over a dozen of which were featured on the 2000 collection Brazilification). During the new millennium, the duo released the mix album Another Late Night in 2001 and the studio effort Jump Leads early the following year. After two years of recording inactivity, in 2004 the duo released a pair of production albums (The Life and Times of Phoebus Brumal and Dicks), plus another mix album (Another Fine Mess). In addition to Fila, Cobby is also an active member of other Pork stable acts such as Solid Doctor (his solo guise) and Heights of Abraham, both of which have released a number of full-length recordings.

Their early albums were released on Pork Recordings, also based in Hull: Old Codes New Chaos, Maim That Tune, Mess, Black Market Gardening, Luck Be a Weirdo Tonight and Power Clown. After creating their own music label with Sim Lister, Twentythree Records, they released further albums A Touch of Cloth, Jump Leads, The Life And Times of Phoebus Brumal, Dicks and Retrospective. They have also released two DJ mix albums, Another Late Night: Fila Brazillia, for Azuli Records' "Another Late Night" series, and Another Fine Mess: Fila Brazillia, and two collections of remixes: Brazilification and B2.

Their collaborations include working with Harold Budd and Bill Nelson to release Three White Roses & A Budd (Twentythree Records, 2002). They co-produced the first Twilight Singers LP Twilight as Played by The Twilight Singers with Greg Dulli in 2001. Cobby and McSherry have produced more than 70 remixes for artists including Black Uhuru, Busta Rhymes, DJ Food, Lamb, Radiohead and The Orb. Bill Hicks, the controversial American stand-up comedian, satirist and social critic, "appears" on Fila Brazillia's album Maim That Tune (1996) and the album is dedicated to Hicks.

Their music has made its mark both on small-screen blockbusters (such as CSI and Sex and the City) and cult cinema films such as Dogtown and Z-Boys, Riding Giants and Once in a Lifetime: The Extraordinary Story of the New York Cosmos, a 2006 documentary about the New York Cosmos soccer team. One of their better-known songs, A Zed and two L's, appears on Jam, a black comedy sketch show by British satirist Chris Morris. Their song "Here Comes Pissy Willy" from the Power Clown album featured as the theme to the James Whale Show on Talk Radio in the late 1990s.

After releasing their Retrospective album in 2006, Cobby and McSherry quietly ended their longtime partnership. Currently, McSherry is a lecturer in Audio Production at the University of Lincoln.

Cobby went on in late 2006 to form Steel Tiger Records with Sim Lister. Over the course of 2007, the label saw various digital releases by J*S*T*A*R*S (Cobby and Lister), Peacecorps (Cobby and guitarist Rich Arthurs) and by The Cutler (Cobby and ex-head of Pork Recordings David "Porky" Brennand). The first formal album by The Cutler on Steel Tiger Records was released on 7 July 2008, and the most recent "Everything Is Touching Everything Else" (Steel Tiger Records ST016, 10 June 2013) – with vocals by Isobel Helen, Archie Heselwood, Andrew Taylor and Little Glitches – distributed by Kudos Records Ltd.

In 2013 Steve Cobby provided the soundtrack for the Hull 'UK City of Culture 2017' bid film - 'This City Belongs to Everyone', produced by Nova Studios - on 20 November 2013 Kingston upon Hull, East Riding of Yorkshire, was announced as the winning City, and so as UK City of Culture 2017.

After a 16 year hiatus, on 6 March 2020, the band returned with the release of the MMXX EP.


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All Fila releases take a little time to "grok" and this one took me longer than most -- but the musical reward is in direct proportion to the effort. The fifth installment of the Fila-B World Domination Tour finds them really stretching out and enjoying their art. The boys are experimenting more with the textures of "live" sounds and instrumentation, and playing faster and looser with their funk-jazz-soul signature sound. The Fila M.O. is still there -- rump-shaking simplicity disguising jazzy complexity -- but instead of bringing it to you on a platter, this time they're asking you to meet them half way. Arrangements and melodies are more complex and multi-layered, and overall selection reflects more stylistic variety.
Even more experimentally hyper than on previous LPs, Fila Brazillia cross-fertilize styles with abandon on Luck Be a Weirdo Tonight, resulting in such genre-bending as prog-blaxploitation and space-disco, as well as more straight-ahead fusions like lounge-disco.

Fila Brazillia - Luck Be A Weirdo Tonight (flac   349mb)

01 Lieut. Gingivitis Shit 5:10
02 Billy Goat Groupies 3:36
03 Apehorn Concerto 6:15
04 Hells Rarebit 7:34
05 Her Majesties Hokey Cokey 4:35
06 Rustic Bellyflop 4:39
07 Van Allens Belt 9:54
08 Pollo de Palo 6:29
09 Heat Death of the Universe 7:45
10 Weasel Out the Muck 6:43
11 Do the Hale-Bopp 6:07

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The eclecticism and the organic warmth of Fila Brazillia's electronica continue to amaze on Power Clown, one of their finest efforts to date. Laid-back jazz-funk grooves straight out of the '70s are the foundation of the record, but hints of Stevie Wonder-esque soul, hip-hop, bossa nova, ambient, spacey techno, house, minimalist electro, big-beat, and trip-hop all pop up here and there, as do touches of ethnic percussion, acoustic guitar, saxophone solos, new age-y synth flourishes, and the occasional odd vocal sample or sound effect. What really pushes Power Clown over the top, though, is that the group maintains their focus throughout, never meandering and changing things up often enough to keep the grooves from becoming repetitive. One of the finest and most overlooked electronic-dance releases of 1998.

  Fila Brazillia - Power Clown    (flac   370mb)

01 Bovine Funk 6:39
02 The New Cannonball 4:360
03 Here Comes Pissy Willy 4:22
04 Throwing Down a Shape 5:19
05 Bumpkin Riots 5:59
06 President Chimp Toe 4:08
07 Firelanes 5:32
08 It Loved to Happen 1:08
09 Little Hands Rouge 5:50
10 Tunstall and California Haddock 3:38
11 Feathery Legs 8:22
12 A Wince of Sumo 2:11
13 The Speewah 5:23

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Fila's first album away from the excellent Pork Recordings is a mesmerising creation. The fusion of styles (funk, jazz, ambient etc) is wonderfully realised and Fila have produced an album with a sound of its' own. A Touch of Cloth charts territory similar to the previous year's Power Clown, namely the lighter side of '70s funk. From Curtis Mayfield to 77 Sunset Strip, Fila Brazillia captures the decade with all the laid-back rhythms and groovy basslines listeners expect. This album is a very coherent whole, this album is an single listening experience, with each track forming an integral part of the overall fabric. There are of course moments that each listener will cherish especially keenly. For me the closing track Spores is simply stunning. A chillout masterpiece up there with the finest I can recall. Whenever the track comes on, I will totally defocus any distractions and just sit still spellbound by the melodic perfection of it. Fila have always had a very strong ability to assemble a diverse range of influences into a new whole, but for me this album demonstrates that knack with more confidence and sureness of touch than their other excellent albums before or since.

 Fila Brazillia - A Touch Of Cloth  (flac   312mb)

01 The Bugs Will Bite 4:56
02 Airlock Homes 4:17
03 Ridden Pony 3:18
04 Slow Light 4:19
05 Swann Todd 3:19
06 Snakeskin Bib 5:16
07 XII 2:04
08 Trivia 3:53
09 Pigs Blood and Chalk 4:14
10 Dervish Controller 4:37
11 Leonids 8:16
12 Spores 3:55

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Mixing obscure brain funk with the erogenous pulse of jazz, soul, and left-field electronic chamber pop, Fila Brazillia's first attempt at a mix album is one of the most enjoyably indiscriminate chill-out compilations in some time. New York's Kinetic label, best known for its Tranceport franchise, was wise to let Fila Brazillia's Steve Cobby and Dave Pork step in and kick off their new Another Late Night series. The duo's liking for accessible, caricature-based, mischievous downtempo blends well in this mix environment, where the freedom to place elements like Prince Alla's roots reggae, the Swingle Singers' Prelude and Fugue in C minor, and the stoic lunacy of the Beta Band in the same arena as Kelis and Marvin Gaye goes unchallenged. It's both an excellent introduction to the band's idiosyncrasies and a tacit triumph of naked eclecticism in its own right.

  Fila Brazillia - Another Late Night  (flac   401mb)

01 John Barry - The Persuaders Theme 2:02
02 Homelife - Firefly 2:50
03 The Infesticons - Hero Theme 3:10
04 Prince Alla - Bucket Bottom 2:43
05 Mr. Scruff - Get a Move On 7:00
06 Marvin Gaye - "T" Plays It Cool 4:01
07 Brian Eno - Regiment 3:00
08 The Beta Band - It's Not Too Beautiful 6:33
09 David Holmes - Rodney Yates 6:09
10 Fila Brazillia - Nature Boy 3:54
11 Unforscene - Nuclear Symphony 4:51
12 Nightmares on Wax - Nuits 5:36
13 Outside - Blue Skies 6:14
14 Kelis - Suspended 4:29
15 The Swingle Singers - Prelude and Fugue in C Minor 1:48

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RhoDeo 2018 Magicians 4

Hello, 20 years later Graham Hancock wrote Magicians of the Gods a sequel to Fingerprints with which i'll continue ,. 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.

More sad news from the covid 19 front, Dave Greenfield keyboardist of the Stranglers has succumbed to the nasty virus, may he rest in music. The farewell tour already cancelled because of covid may never take place as Dave was so central to the Stranglers. BTW he wrote Golden Brown.




Hancock's thesis is based on the previously widely criticised 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 civilisations 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

Threshold opens new perceptual channels for expanding and integrating personal awareness while developing creative insights which assist in dissolving fear barriers. Voiced by Bob Monroe. Includes a Guidance Manual and the following six exercises:

Intro Focus 12 - establish the higher energy state of expanded awareness
Problem Solving - receive creative solutions to your questions
One Month Patterning -  reshape your life in desired direction
Color Breathing - link mind and body to energize and support healing
Energy Bar Tool - direct your nonphysical energies
Living Body Map - balance and strengthen the physical self

Hemi-Sync - The Gateway Experience - Wave II - Threshold ( 72min flac   310mb).:


CD1 - 1 - Intro Focus 12  35:09

CD1 - 2 - Problem Solving  36:59

HemiSync - Gateway Experience - Wave II - Threshold(PDF)


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The Sun is not a ball of (con)fusion.

“In a low density plasma, localized space charge regions may build up large potential drops over distances of the order of some tens of the Debye lengths. Such regions have been called electric double layers. An electric double layer is the simplest space charge distribution that gives a potential drop in the layer and a vanishing electric field on each side of the layer. In the laboratory, double layers have been studied for half a century, but their importance in cosmic plasmas has not been generally recognized.” (Hannes Alfvén).

Electric Sun theory proposes that the Sun is a positively charged electrode in a vast galactic circuit. The Sun’s negative pole is the heliosphere, billions of kilometers away, which acts like a “virtual cathode”. Double layers, so often mentioned in these pages, isolate the Sun from the Interstellar Medium (ISM). The solar wind, composed of neutral and charged particles (an electric discharge), radiates from the Sun in all directions. It travels to the edge of the Solar System at around 400 kilometers per second. Conventional ideas about heat transfer do not explain the acceleration of charged particles as they pass by the planets on their way to the heliospheric cathode.

According to consensus opinions, the Sun accelerates charged particles into space in the same way that sound waves are amplified. The interior solar energy travels outward through “acoustical wave-guides,” known as magnetic flux tubes. Spicules balloon thousands of kilometers above the photosphere and carry the hot gas with them. As standard theories about the Sun propose, there is also a vast “conveyor belt” circulating solar matter down into magnetically active zones deep inside the solar interior, where it is “reenergized.” In an Electric Universe, however, the Sun is the locus of positive charge with respect to interstellar plasma. Sunspots appear when electric discharges penetrate the photosphere, allowing electric charge to flow into its depths. Electromagnetic flux tubes expose the Sun’s cooler interior. The idea of acoustic heat transfer from the core cannot be supported by any observations of the Sun.

Moving charged particles are defined as an electric current, which generates electromagnetic fields. Voyagers 1 and 2 discovered electromagnetic fields constraining the heliospheric boundary into a sphere. The ISM must be electrically charged in order for that structure to exist. This observation confirms Electric Sun theory. Previous computer models of the Solar System’s boundary region were written based on the presupposition that the ISM “collides” with the solar wind as it “plows” its way through, forming a “nose” and an elongated “tail”, similar to a boat wake. Electric Universe advocates predicted the opposite effect: charged particles and the ISM’s electromagnetic field produce a spherical shape.

As mentioned, the Sun’s electric field accelerates charged particles: the faster they accelerate, the stronger the field. As noted, however, the interplanetary electric field is extremely weak, but the solar wind acceleration over tens of millions of kilometers does confirm its electric field, enough to sustain a drift current back across the Solar System—sufficient to power an Electric Sun.

Stephen Smith
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It’s common to hear people refer to “what science says.” But the term ‘science’ has two conflicting senses: science as currently-accepted theory and science as method. In fact, in pursuing the questions raised by currently-accepted theory, method is likely to overturn currently-accepted theory. As Thunderbolts contributor Mel Acheson explains in his latest epistemological adventure, from the perspective of currently-accepted theory, the Electric Universe Theory is next to impossible. But as method, it says the Electric Universe Theory is a viable and valuable insight that presents the opportunity of enlarging the insights of other disciplines.





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Graham Hancock’s multi-million bestseller Fingerprints of the Gods remains an astonishing, deeply controversial, wide-ranging investigation of the mysteries of our past and the evidence for Earth’s lost civilization. Twenty years on, Hancock returns with Magicians of the Gods, the sequel to his seminal work. Published on 10 September 2015 in the UK and on 10 November 2015 in the US, Magicians of the Gods is not in any sense an ‘update’ of Fingerprints but is a completely new book filled from front to back with completely new evidence, completely new travels to the world’s most mysterious archaeological sites, and completely new insights, based on the latest scientific evidence, into the global cataclysm that wiped an advanced civilization from the earth and made us a species with amnesia, forced to begin again like children with no memory of what went before.

Near the end of the last Ice Age 12,800 years ago, a giant comet that had entered the solar system from deep space thousands of years earlier, broke into multiple fragments. Some of these struck the Earth causing a global cataclysm on a scale unseen since the extinction of the dinosaurs. At least eight of the fragments hit the North American ice cap, while further fragments hit the northern European ice cap.

The impacts, from comet fragments a mile wide approaching at more than 60,000 miles an hour, generated huge amounts of heat which instantly liquidized millions of square kilometers of ice, destabilizing the Earth’s crust and causing the global Deluge that is remembered in myths all around the world.

A second series of impacts, equally devastating, causing further cataclysmic flooding, occurred 11,600 years ago, the exact date that Plato gives for the destruction and submergence of Atlantis.

The evidence revealed in this book shows beyond reasonable doubt that an advanced civilization that flourished during the Ice Age was destroyed in the global cataclysms between 12,800 and 11,600 years ago.

But there were survivors – known to later cultures by names such as ‘the Sages’, ‘the Magicians’, ‘the Shining Ones’, and ‘the Mystery Teachers of Heaven’. They travelled the world in their great ships doing all in their power to keep the spark of civilization burning. They settled at key locations – Gobekli Tepe in Turkey, Baalbek in the Lebanon, Giza in Egypt, ancient Sumer, Mexico, Peru and across the Pacific where a huge pyramid has recently been discovered in Indonesia. Everywhere they went these ‘Magicians of the Gods’ brought with them the memory of a time when mankind had fallen out of harmony with the universe and paid a heavy price.

A memory and a warning to the future… For the comet that wrought such destruction between 12,800 and 11,600 years may not be done with us yet. Astronomers believe that a 20-mile wide ‘dark’ fragment of the original giant comet remains hidden within its debris stream and threatens the Earth. An astronomical message encoded at Gobekli Tepe, and in the Sphinx and the pyramids of Egypt, warns that the ‘Great Return’ will occur in our time…

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Graham Hancock - Magicians of the Gods 10-12 ( 158min  66mb)

narrated by the man himself, Graham Hancock

10 Chapter 10 70:00
11 Chapter 11 35:22
12 Chapter 12 53:14

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previously

Graham Hancock - Magicians of the Gods 1-3 ( 125min  57mb)
Graham Hancock - Magicians of the Gods 4-6 ( 121min  51mb)
Graham Hancock - Magicians of the Gods 7-9 ( 118min  54mb)

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