RhoDeo 1117 Beats

Hello, well my pc is back up, though i'm still getting adjusted to windows 7, and nvidia cant find my videocard , to top that my isp cut me off as payment seems to have gone array aswell so for now i'm on some free wifi bandwidth..not very stable so it remains to be seen how much posting will be done this week. For now, this was ready to go out last week..

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After working together in Perennial Divide Stephens and Jack Dangers (John Stephen Corrigan) left to form Meat Beat Manifesto (MBM), their first album was destroyed in a studiofire. They then recorded the LP Storm The Studio, which got them labeled as an industrial act. In response, they released 99%, which was more techno-influenced, in May 1990. In August of the same year, they released Armed Audio Warfare, which was an effort to re-create the lost tracks of the would-be debut album. They build a reputation with a live show that was conceived as an intense audio-visual experience, with dancers, led by choreographer Marcus Adams, in costumes designed by artist Craig Morrison and video clips accompanying live instruments, sequenced electronic instruments, and dazzling live DJing.

On 1992's Satyricon Meat Beat adopted a more mainstream electronic sound, influenced by such newly popular dance bands as Orbital, The Shamen, and The Orb, all of whom had either remixed or been remixed by MBM. The album produced the hits "Mindstream" and "Circles". However, "Original Control (Version 2)", renamed "I Am Electro" in later compilations, remains the best-known track from the album, featuring samples of recordings from the 1939 World's Fair exhibit Elektro The Robot.

In 1994 Dangers relocated from England to San Francisco, resulting in Stephens' departure from the band. Dangers continued MBM from his new home, releasing the double album Subliminal Sandwich in 1996. While this album represented MBM's major-label debut on Trent Reznor's Nothing Records, it failed to achieve the critical and commercial successes of previous releases. In 1997 Dangers recruited drummer Lynn Farmer and multi-instrumentalist John Wilson (MBM member 1995-1998 former Supreme Love Gods) to record and release Actual Sounds + Voices in 1998, which found the group's earlier flirtations with jazz fusion featured more prominently; the record included appearances by saxophonist Bennie Maupin. The album yielded the single "Prime Audio Soup" which was featured in the film The Matrix. While Jon Wilson left the band prior to the 1998–1999 tour, Farmer remains with the band as of Spring 2007. Wilson was replaced by former Consolidated programmer Mark Pistel, who also remains a contributing member.

In 2002 Meat Beat released RUOK?, another big step in the evolution of their sound and prominently featuring Dangers' newly acquired toy, the EMS Synthi 100, as well as guest contributions from turntablist Z-Trip and The Orb's Alex Paterson. In 2003 they released a remix album for Storm The Studio, followed by ...In Dub, a remix album of RUOK.

At the Center, was released in 2005, the album is a collaboration between Jack Dangers and jazz musicians Peter Gordon, Dave King, and Craig Taborn. It has been well-received by many critics.Then MBM went on a year long worldwide tour again, the first in 7 years Being renowned for making a concert not only an aural but a visual spectacle aswell this time they made use of video sampling technology that allowed the band to trigger video clips in realtime, on two large screens positioned stage front, while the band performed either sidestage or behind the screens.

Presently, the veteran composer and sound sculptor , Jack Dangers continues to stretch sonic boundaries and influence new generations of sound activists. As a premiere remixer, producer and sound designer, he has played a seminal role in defining tomorrows' music today. Prior to Meat Beat Manifesto there was Perennial Divide. Archive Things/Purged was released earler this year and features unreleased tracks and instrumental versions from Perennial Divide, together with some of the original MBM demo tracks.

MBM's ninth studio album, Autoimmune, was released on April 2008 the album features the first vocals by Dangers himself since 1998's Actual Sounds + Voices, as well as collaborations with DJ Z-Trip and MC Azeem. The album has been described as a return to an older, harder MBM sound and as a dubstep album, though Dangers has stated that he prefers not to fall into any specific genre or category with his work. Meat Beat Manifesto once more toured to support the new album with the same stage setup as the 2005–2006 tour. Meat Beat Manifesto latest album Answers Come In Dreams

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Somewhere between the hypnotic drone of acid techno and the grating aggression of industrial metal lies Meat Beat Manifesto. On 99%, Manifesto thrives on a very original sound that takes its cue from an endless catalog of samples mixed together seamlessly over hip-hop and techno beats. Dangers creative use of sound is what makes this album stay fresh and engaging.



Meat Beat Manifesto - 99% (90 flac 279mb)

01 Now 5:19
02 Psyche-Out 4:44
03 All The Things You Are 4:40
04 Hello Teenage America 2:05
05 10 X Faster Than The Speed Of Love 5:56
06 99% 0:19
07 Dogstar Man/Helter Skelter 8:34
08 Think Fast 5:01
09 Hallucination Generation 2:40
10 Deviate 5:24

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In 1997 Dangers recruited drummer Lynn Farmer and multi-instrumentalist John Wilson (MBM member 1995-1998 former Supreme Love Gods) to record and release Actual Sounds + Voices in 1998, which found the group's earlier flirtations with jazz fusion featured more prominently; the record included appearances by saxophonist Bennie Maupin. The album yielded the single "Prime Audio Soup" which was featured in the film The Matrix. While Jon Wilson left the band prior to the 1998–1999 tour, Farmer remains with the band as of Spring 2007. Wilson was replaced by former Consolidated programmer Mark Pistel, who also remains a contributing member. Dangers smartly opens the door to these and other musicians, he is the master arranger of the genre, orchestrating found sounds, vintage noise, an obscure library of samples, and always a rich collage of rhythm; he's typically the puppet master, but here he becomes a member of the band.




Meat Beat Manifesto - Actual Sounds + Voices (98 flac 491mb)

01 Everything’s Under Control 0:43
02 Prime Audio Soup 6:17
03 Book Of Shadows 5:43
04 Oblivion/Humans 5:52
05 Let's Have Fun 3:30
06 The Tweek 2:25
07 Acid Again 5:47
08 Let Go 4:44
09 Where Are You?/Enuff 5:59
10 Hail To The Bopp 4:40
11 3 Floors Above You 5:00
12 Funny Feeling 6:10
13 The Thumb 10:47
14 Wavy Line 1:17
15 Wildlife 4:03

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Ben Stokes (member of MBM) aka Dimensional Holofonic Sound or more widely known as D.H.S. best known for the cult techno anthem 'House Of God', a track which still gets the regular remix treatment 20 years on. Here we get 15 sample heavy tracks of space travel related wackiness. From public information films to the B-movie where each will differ from the previous in most notably, genre. Attention Earth People really comes into play by the sheer diversity going on here and it doesn't wane on the attention span either. It's obviously well produced, full of humour and colossal in bounce and groove.




Dimensional Holofonic Sound – Attention Earth People ( 383mb)

01 Intro 0:48
02 Fascinating 3:50
03 Attention Earth People 4:45
04 Station Lunar 3 3:58
05 I Am Your Control 4:21
06 Uranus 4:15
07 1963 3:30
08 Watch The Sky 5:13
09 Venus The Morning Star 4:46
10 As High As It Can Go 3:47
11 Mars 4:45
12 Intergalactic Travel 4:30
13 Intergalactic Dub 4:54
14 Suspended Animation 4:28
15 Atomic Clock 5:42

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elsewhere on this blog (Rhotation 1, 43)

Meat Beat Manifesto - Satyricon ( 92 ^ 145mb)

Meat Beat Manifesto - Storm The Studio 01-08 (^ 93mb)
Meat Beat Manifesto - Storm The Studio 09-14 (^ 72mb)

Meat Beat Manifesto - Subliminal Sandwich 1 ( ^ 99mb)
Meat Beat Manifesto - Subliminal Sandwich 1.5 ( ^ 99m)
Meat Beat Manifesto - Subliminal Sandwich 2 ( ^ 99mb)

Meat Beat Manifesto - RUOK? 02 61 min ^ 137mb)

Meat Beat Manifesto - Mutations ( 78min * 99mb)

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MBR trouble

Hello, regular visitors would have noticed as sudden arrest in posting, well.. one word, Sinowal a very nasty rootkit virus which took out my pc whilst I was trying to get rid of it, my infected MBR got destroyed and installing a new OS got me some functionality back in the end but no network adapter and a missing partition which held lots of music-stuff prepared for eventual posting and the posting files i create, f.i. Saturday's post was ready to go out. At the moment i'm elsewhere hoping to find the right tools to get my system going when i return, i reckon if all goes well i'll be posting again coming Saturday. Until then,

Yours Truly, Rho


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RhoDeo 1116 Goldy Rhox 26

Hello, today the 23rd post of GoldyRhox, classic pop rock. 23, 23 Van de Vaart scored twice tonight against the Wenger boys (better known as Arsenal). Mourinho's butchers managed to take a cut out of Barcelona's legs, rarely seen a bunch of millionaires so psyched up for the kill, result very little footbal by two global top teams, once again it became clear that a videoreferee is needed in todays much faster game. For some geriatric reason FIFA won't alowe it.
Ok so todays mystery album has been waiting for the Goldy Rhox treatment for sometime as it directly impacts the Good Friday thats coming up, something to elevate the days ahead..

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Most of the albums i 'll post made many millions for the music industry and a lot of what i intend to post still gets repackaged and remastered decades later, squeezing the last drop of profit out of bands that for the most part have ceased to exist long ago, although sometimes they get lured out of the mothballs to do a big bucks gig or tour. Now i'm not as naive to post this kinda music for all to see and have deleted, these will be a black box posts, i'm sorry for those on limited bandwidth but for most of you a gamble will get you a quality rip don't like it, deleting is just 2 clicks...That said i will try to accomodate somewhat and produce some cryptic info on the artist and or album.

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Todays mystery album is a musical and one that took the world by storm and established the composing duo for life as many more successes followed . Being in their early twenties chosing the format of a rock opera is not that surprising, choosing a religious theme is. They got more then away with it, it was a runaway success from the start, most of you will have seen and or heard the 73 hippy movie version, probably once again at a channel near you this easter.

The original album has a rock flavor that is very different from the composing duo's later work. This is in part due to the emotive singing of Murray Head and Ian Gillan and the playing of well-known rock session musicians such as guitarists Neil Hubbard and Chris Speddiing, bassist Alan Spenner and drummer Bruce Rowland. The musical arrangements are often multi-layered, featuring rock and classical elements, and contain many abruptly shifting dynamics and time signatures. Many feel that this double album, known as the "Brown Album" from its brown cover, is the definitive version of the musical. Here's your chance to enjoy the superior original, sadly Jesus still dies at the end...

Goldy Rhox 23 212mb

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RhoDeo 1116 Aetix

Hello, time for another Aetix episode and an example of how drug abuse in combination with strong emotions can bring about art, be it accompanied by lots of pain, never so extremely felt by the apperently not so macho frontman of the band who saw his lover leave with his bassplayer. Ah yes those bassblayers, always quietly moving their hips....and their lips.
Anyway it was the final straw, long before he made some great albums, the first two are up for grabs here.

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The Gun Club was formed by Jeffrey Lee Pierce, former head of the Blondie fan club in Los Angeles. Joining him was Brian Tristan, who was later renamed Kid Congo Powers during his stint with The Cramps, Don Snowden and Brad Dunning. Pierce played guitar and lead vocals, while Tristan took on lead guitar, Snowden on bass, and Dunning rounding out the quartet on drums. The band was originally a rockabilly band called The Cyclones led by Pleasant Gehman on lead vocals, but Gehman departed after only one show. Adopting the name "The Creeping Ritual", Pierce moved to vocals and they spent some time gigging at local venues. Snowden and Dunning departed around this time, being replaced by two ex-members of The Bags, Rob Ritter and Terry Graham, respectively. Eventually, the group grew dissatisfied with their name and switched to "The Gun Club", suggested by Pierce's roommate, Black Flag and Circle Jerks singer Keith Morris. Pierce was already a notorious drunk, exhibitionist, poet and fanboy and The Gun Club were quickly a dangerous new spoke on the spinning wheel of dynamic LA alt-culture.

Kid Congo left before the recording of the first album to join The Cramps. He was replaced by Ward Dotson, who would play lead and slide guitar on the band's debut album. Securing a record deal on Slash Records division Ruby, the group released their debut album, Fire of Love in 1981. The album was produced by Tito Larriva of The Plugz and The Flesh Eaters frontman Chris D. Critic this debut LP was hotly anticipated throughout lowbrow Los Angeles upon its release, as the band had acquired an early reputation for cathartic, tear-'em-up live performances. Main Flesh Eater Chris D. took to releasing this fine platter on his own vanity subsidiary of Slash, Ruby Records.

1982 and the band had signed to Blondie guitarist Chris Stein's Animal Records. The band temporarily relocated to New York to record their follow-up album, 1982's Miami. This album would feature not only Stein as producer, but also Debbie Harry on backup vocals on select tracks. Upon release, the album received good reviews but was widely criticized for Stein's production, which was said to have a thin mix. Rob Ritter left shortly after the album, changing his name to Rob Graves and forming the band 45 Grave. Before leaving, Ritter taught all of his bass parts to his former Bags bandmate Patricia Morrison and trained her as his replacement. Due to increasingly common arguments, Pierce dismissed Graham and Dotson also.

Pierce returned to guitar playing during this new line-up, and both he and Powers are credited with guitar on their third album, 1984's The Las Vegas Story. This album marked a significant change for the band; it represented a shift away from the punk rock of Fire of Love and Miami and a step towards a more polished, alternative rock sound. After gigs supporting Siouxsie and the Banshees, the band decided to call it quits and played their farewell shows in the winter of 1984.

During the break-up, Powers, Morrison, and Desperate formed a band called Fur Bible, while Jeffrey Lee Pierce embarked on a solo career. Pierce assembled a band consisting of former members of The Cure and Roxy Music and released Wildweed in 1985. He organized a new band to tour in support of the album, including Nick Sanderson of Clock DVA and Pierce's then-girlfriend Romi Mori. Sanderson played drums while Mori played guitar.

After a short stint doing spoken word performances, Pierce decided to reform a new version of the band in 1986. Powers, who had also been recruited into Nick Cave & The Bad Seeds at this time, resumed his place at guitar, with Mori switching to bass, and Sanderson retaining his place on drums. Under this line-up, The Gun Club would record a handful of albums, including 1987's Mother Juno. This album, produced by Robin Guthrie of The Cocteau Twins, was met with positive critical reception and was a successful comeback for the band. After the release of Nick Cave's 1990 album The Good Son, Kid Congo Powers departed The Bad Seeds to focus more on The Gun Club.

1990 saw the release of the band's fifth studio effort, Pastoral Hide and Seek, which Pierce produced himself. Nick Sanderson departed after the release of 1991's mini-album Divinity to focus on his other project, World of Twist. He was replaced with Simon Fish, who had previously played with Pierce on one of his solo albums. In 1992, Powers left the band to focus on his solo project Congo Norvell, without their lead guitarist, Pierce decided to handle both lead and rhythm guitar parts on what would be their final album, 1993's Lucky Jim. Pierce and Romi Mori had, at this point, been dating since the mid-eighties. However, Sanderson and Mori grew increasingly close until finally the two eloped in 1994, leaving The Gun Club without a rhythm section. Pierce, by his own account, had been off of drugs for several years but soon switched back to drug and alcohol abuse after the departure of his longtime girlfriend.

Jeffrey Lee Pierce - reggae fan, heroin addict, and former president of the Blondie fan club - upheld the confident predictions of many by dying a lonely and fairly depressing death over fourteen years ago, on March 31st, 1997. Pierce's Johnny Thunders-esque holdout in the face of self-wrought bodily deterioration was oddly admirable, yet in no way was the man mistaken for a hero for it. He expired of a brain hemorrhage at a relative's house in Utah, HIV-positive and sick with hepatitis after untold years of drug use, alcoholism and the usual other suspects.


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What makes Fire Of Love such a brilliant listen long after its time is the fact that this blatant homage to the blues was amplified, energized and kicked into overdrive - yet not in the way that, say, The Yardbirds or Led Zeppelin did it, but in a
new style that combined the ghostliness of the original model with a FAST, unwound and supremely energetic beat. The band had a studio magic that was tight & controlled in all the right places, yet loose and wild as a general rule. Ward Dotson joined Greg Ginn and Karl Precoda as one of LA's early '80's gutter-circuit guitar heroes, with each man bringing a totally unique slant to his instrument. Dotson attacked the guitar with each rise in tempo, all the while keeping the sound harmonious with the desired mood. Usually this mood was pretty bleak (but crazed), and harkened to moonlit, fevered nights that spoke of sex, voodoo and imminent violence. Jeffrey Lee Pierce was far from a visionary or even a particularly outstanding musician, but he had the cajones to lead this fantastic band through the recording of an album of timelessly roughshod and unruly punk-blues, perhaps the first -- and easily the best -- of its kind. Let's give the devil his due for this one, and ask him to take real good care of Jeffrey



The Gun Club - Fire of Love ( 97mb)

01 Bunker Soldiers 2:53
02 Almost 3:44
03 Mystereality 2:45
04 Electricity 3:39
05 The Messerschmitt Twins 5:41
06 Messages 4:12
07 Julia's Song 4:41
08 Red Frame / White Light 3:11
09 Dancing 2:58
10 Pretending To See The Future 3:47

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The sophomore record by the Gun Club bore the curse of having to follow a monolith of their own making. Fire of Love sold extremely well for an independent; it was a favorite of virtually every critic who heard it in 1981. Miami showcased a different lineup as well. Ward Dotson replaced Congo Powers (temporarily, at least) on guitar, and there were a ton of guest performances, including Debbie Harry and Chris Stein. Stein produced the album.

Going for a higher, more desolate sound, frontman and slide player Jeffrey Lee Pierce and his band were literally on fire. The songs here centered themselves on a mutant form of country music that met the post-punk ethos in the desert, fought and bloodied each other, and decided to stay together. Pierce and company pull out all the roots and reveal them for what they are: "John Hardy," is a squalling punk-blues, with the heart of the country in cardiac arrest. Dotson proved to be a fine replacement for Congo Powers, in that his style was pure Telecaster country revved by the Rolling Stones and Johnny Thunders. Miami was given a rough go when it was issued for its production. But in the bird's-eye view of history its songs stack up, track for track, with Fire of Love and continue to echo well .



The Gun Club - Miami ( 93mb)

01 Carry Home (3:15)
02 Like Calling Up Thunder (2:30)
03 Brother And Sister (3:00)
04 Run Through The Jungle (4:11)
05 A Devil In The Woods (3:07)
06 Texas Serenade (4:45)
07 Watermelon Man (4:08)
08 Bad Indian (2:38)
09 John Hardy (3:25)
10 The Fire Of Love (2:10)
11 Sleeping In Blood City (3:30)
12 Mother Of Earth (3:23)

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RhoDeo 1116 Roots

Hello, last week we were left at the crossroads of our human civilisation, the middle east. A fertile sphere to be inspired by the other. Collaborations is the inevetable outcome for the new generations of aspiring artists, if not in music but perhaps in style of presenting. Baba Zula choose a well known dubmusic professor called Mad to master and mix their album, it does lift them from anonimity even if his influence isn't that present. The Vadhat sisters not being alowed to perform publicly were picked up by a Norwegian who opened the doors to the west for their singing. Great album here, finally two musicians whose path crossed in an unlikely place so they made the best of it...

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Baba Zula follows a musical compass to Turkish musical roots going as far back as pre-Islamic, shamanic times, through Anatolia reaches all the way up to present-day Istanbul. Despite sounds that might initially come to mind when one hears the phrase "Oriental Dub", Baba Zula's music is in fact rock'n roll that rolls in a way that westerners have not heard since the late 1960s rock epoch. Baba Zula share their legacy with us through their music, a music born out of Istanbul and influenced by the memories of Istanbul passed on to them from generations past.

The band was founded in Istanbul in 1996, featuring founding members Levent Akman and Murat Ertel as well as Coşar Kamçı who replaced original member Emre Onel in 2005. BaBa Zula added live drawing artist Ceren Oykut into the mix in 2004. Her presence onstage has added an important visual aspect to BaBa Zula's live performances. They go to great lengths to provide their fans with a unique live show experience. Their ritual-like performances are a mixture of disciplines of art, often featuring belly dancers, elaborate costumes, poetry, theatre and live animation, delivering viewers a tantalizing audio-visual feast.

Baba Zula's debut album, Tabutta Rovasata (Sommersault in the Coffin), is the original music score for Dervis Zaim's first movie of the same name released in 1996, The album also includes four songs on which the movie's stars Ahmet Ugurlu, Tuncel Kurtiz and Aysel Aydemir contribute vocals. Baba Zula's album Three Plays from Seventeen pieces (Doublemoon Records) comprising music created for the plays The Little Prince by Antoine de Saint Exupéry, Frog Tales by Arnold Lobel and Kitchen Accidents by Perihan Mağden, was released in 1999. Along with a number of other artists, Ralph Carney, Brenna McCrimmon and Selim Sesler also took part in this album as guest stars. Baba Zula also made the music for the film Renkli Türkçe (Colored and in Turkish), directed by Ahmet Cadırcı.

Their third album Psychebelly Dance Music, released in May 2003, was mixed and mastered by the British musician and producer Mad Professor, who previously worked with Massive Attack, The Orb and Lee Perry. Their fourth album Duble Oryantal, which was released on Doublemoon Records in May 2005, reunited them with mix-master Mad Professor, Sly & Robbie and Alexander Hacke and reflects the culmination of years of fearless musical adventuring, and as usual there is a talented and eclectic supporting cast. On the 2007 release Roots, Baba Zula return to their original format as a trio. Traditional Turkish influences on the album include works by important composers and lyricists in the history of Turkish music, such as Neşet Ertaş and Pir Sultan Abdal as well as analog recording techniques courtesy of Turkish producer Mehmet Ateş.



Baba Zula and Mad Professor – Psychebelly Dance Music (Ruhani Oyun Havalari) (flac  286mb)

01 O Divanin Ustundeki Baygin Bakisin (Your Languished Gaze on That Couch) (Baba Zula, Ertel) 2:17
02 Kisaltmalar (Abbreviations) (Baba Zula, Ertel, MacCrimmon) 7:17
03 Tilki Dansi (The Fox Dance) [Dub Mix] (Baba Zula) 1:17
04 Fayiman Cuneyt (Baba Zula) 3:42
05 Cecom (Baba Zula, MacCrimmon) 5:15
06 Su Daglari Sardi Feryadim (My Cries Have Covered All These Mountains) (Traditional) 6:09
07 Tek Kurek Yalova (Married to Five Fingers) (Baba Zula) 0:23
08 Nobetci Felsefeci (Watchman the Philosopher) (Baba Zula) 3:04
09 Ser Ver Sir Ver (Sacrifice Your Secrets, Sacrifice Yourself) [Dub Mix] (Baba Zula) 6:10
10 Seksek (Hopscotch) (Baba Zula) 0:44
11 Biz Size Asik Olduk (We Fell in Love with You) [Dub Mix] (Baba Zula) 3:54
12 Seks Sinemasinin Esrari (Mary Jane of the Sex Cinema) (Baba Zula) 0:40
13 Urfa Besiri Hoyrati (Traditional) 6:18
14 Kisaltmalar (Abbreviations) [Dub Mix] (Baba Zula, Ertel, MacCrimmon) 7:14
15 Zerrin oz un Odasina Girdim (I Stepped into Zerrin oz Room) (Baba Zula) 2:31


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Who can stop Eve from singing ?

Born in Tehran in 1973, Mahsa Vahdat started her career in music by taking piano lessons of Minoo Mohebbi from an early age. She continued the piano with Laleh Aghevli. She picked up Persian traditional singing with Pari Maleki and continued singing with Mehdi Fallah and Mohsen Keramati. Vahdat also plays the setar which she studied under Ramin Kakavand and later Masoud Shoari. She entered the Art University in Tehran in 1993 and graduated from the Music Faculty with a BA in Music. In the Art University she has been under the influence of master musicians such as Sharif Lotfi, Ahmad Pejman, Hooshang Zarif, Behnam Vadani, Abdorreza Sajadi, Hushang Kamkar, and Mohammad Reza Darvishi.

A new work by Iranian sisters Mahsa and Marjan Vahdat is a step away from the more contemporary collaboration they made in 2007 with Norwegian musicians. After this fruitful cooperation with Knut Reiersrud they decided that this time around, they'd work with Iranian musicians playing ney, setar, bass, synth, oud, doudouk, kamancha, daf and other percussion), and with the composer, arranger and producer Atabak Elyasi. ).

The front page of the CD shows a more than 4000 years old woman figure from Iran, and together with the title “I am Eve” and the strong poetic power that fills the whole record, it strikes a tone of woman power which has the weight of thousands of years and makes the oppressing doctrines of present Iran a parenthesis of history. The music on the record is more meditating and less experimental than “Songs from a Persian Garden”. But it still takes brave steps to renew the Persian tradition, both harmonically and in terms of sound. First of all, it brings power and beauty, and it is carried by fantastic vocal works and delicate and interesting arrangements.

“I am Eve” has melodic elements born from Persian classical tradition, shaped by the Vahdat sisters. The poems are written by contemporary poets in Iran like Azar Khajavi and Layegh Shir Ali and by classical poets like Rumi and Baba Taher. Among the musicians are Pasha Hanjani and Amir Eslami (ney), Shervin Mohajer (kamancha), Shahram Gholami (oud), Ali Razmi and Atabak Elyasi (setar), Reza Asgarzadeh (doudouk), Babak Riahipour (bass), Ali Rahimi (daf and percussion).

Since Lullabies from the Axis of Evil followed by Risheh dar khak (Roots in the Ground)~The composer of this album is Pejman Taheri and its publisher Ava-ye Barbad. Compositions strive to find a new language that combines classical Persian music with new poetic forms.The latest Album "Scent of Reunion" ( Love duets across civilications) was released in 2009

After the Islamic Revolution in 1979 in Iran, the female voice was banned in public and even some years after the revolution female singers can only perform for women only audiences or alongside a male voice. She can never perform solo in public; a process of elimination of the female voice in the performing cultural heritage in Iran. But many female singers in Iran have continued singing regardless, as have sisters Mahsa and Marjan Mahdat, who give private concerts in Iran but mostly perform outside of the country.

Their repertoire is inspired by regional and traditional music from Iran with their own musical expression; their lyrics are
mostly mystical and love poems from great Persian poets like Hafez, Rumi, Saadi from several centuries ago, as well as
contemporary Iranian poetry speaking about Iranian society. An active campaigner for human rights, Mahsa gives numerous benefit concerts and, with Marjan, is also one of the ambassadors of Freemuse, an independent international organisation advocating freedom of expression for musicians and composers worldwide.

Btw t an excellent booklet with the translated poetery comes with it.



Mahsa and Marjan Vahdat - I Am Eve (flac 320mb)

01. I Am Eve 7:05
02. Mystery 5:04
03. Kurdish Song 6:12
04. The Mirror of the Morning Wine 6:03
05. Navai 6:40
06. Sorrowful Spring 6:07
07. King of Love 8:44
08. Mirage 5:10
09. Land of Love 4:28
10. Caravan 5:05

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Zhubin Kalhor was born in 1980 from Iranian parents, he started his musical journey at the age of 14, when he started learning to play Daf (the framedrum) and Kamanche (the Iranian fidel) with the famous Iranian master Ardeshir Kamkar. After having played Persian classical music (radiff) with various masters, he left Iran and settled in Pune, India where he met musicians from all over the world. Years of playing with musicians trained in different background, like classic Indian, Jazz and Blues, Turkish, Arabic etc. gave Zhubin the opportunity to experiment and find his unique style.

But to him music is not only a matter of style. It’s about transforming spirituality and the mysteries of life into chemistry with the listener. The last 5 years Zhubin has performed solo and with various bands in concerts and festivals all over the world, among others with Bahramji, Ahura, Barbad, Pecheurs de Perles, Prem Joshua and the Mystics of Sound and Hawa.

Rajkumar Bikramjit Singh was born into the Royal family of Rajkumar Roton Singh and Yaimabi Devi in the town of Imphal in Manipur februari 65. In 1974 tragedy struck this self confident 8-year old. An accident left him incapacitated for over a year. Bikram was under closely monitored medical treatment for multiple fractures which he endured after falling off a tree. The shadow cast over young Bikramjit’s misfortune, prompted his father to gift him with his first flute whiles he convalesced. All that persistent practise paid off: Bikram was just thirteen years old when he started accompanying singers and other musicians on tours. He played for (AIR) All India Radio that year with some established radio performers. But his real reckoning came when he moved to Pune to pursue higher studies.

In 1989, Bikram moved to Pune to complete his masters in Archaeology followed by a Ph.D in 1992. However, pretty soon his academic pursuits came to a halt as Bikram dove passionately to pursue his musical career. He met fellow 'outcast' Zhubin there and discovered their shared spirituality easily overcame the 15 year generation gap and so together they released Himalay.

Their music blends ranging from Iran to India, a carpet weaving are the Northeast. Artist's compositions, where the two partners ranging from local to global album, relaxing at the peak of the Himalaya Mountains as a break in life. Misty mountains, the villages along the shores of rivers that pour, delicate anklets tinkle in the morning to the sound of the awakening of the image with the full album. Zagros'un mountains, the valleys of the passage, from the plains of the Himalayas extending the music's poetry breathe Zhubin and Singh.



Zhubin Kalhor and Bikramjit Singh - Himalaya ( 122mb)

1. Village Road / Köy Yolu - 10:32
2. Morning Dew / Sabah Çiği - 09:49
3. Tale Of The Bootman / Çizmeli Adamın Hikayesi - 10:02
4. Bamboo Dance / Bambu Dansı - 09:35
5. Lonesome Journey / Yalnız Yolculuk - 10:07
6. This Journey Continues / Bu Yolculuk Devam Eder - 10:17

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RhoDeo 1116 RAW

Hello, it's been a full day here. with little sleep again. I watched the F1-with plenty of overtaking, considering the Red Bulls have a car with problems, they perfoprmed outstanding again, even if in the end pretty boy Hamilton won the very close race. Todays RAW talk is about The Acceleration of Knowledge, like in McKenna's Timewave faster and faster we go, there's no keeping up with the datastreams that's been flowing all over the globe. McKenna saw his timewave collapse to zero around the time of the Mayan supposedly predicted our present universe be annihilated in December 2012 when the Great Cycle of the Long Count reaches completion., he didnt know about all that at the time mid seventies, he devlopped his theory by braking down the I-tjing codes to what became his Timewave Zero theory. Increasing interconnectedness, eventually reaching a singularity of infinite complexity in 2012, at which point anything and everything imaginable will occur simultaneously. Well, he was 'shamaning' on mushrooms and DMT at the time. Anyway in contrast to the disasters Hollywood likes to frighten the public with, most serious researchers assume a much more benine shift towards the better natured and nurtured. Who knows there might be a catharsis event, but we all are priviliged by being here now.

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Robert Anton Wilson (born Robert Edward Wilson, January 18, 1932 – January 11, 2007) was an American author and polymath who became at various times a novelist, philosopher, psychologist, essayist, editor, playwright, futurist, civil libertarian and self-described agnostic mystic. Recognized as an episkopos, pope, and saint of Discordianism, Wilson helped publicize the group through his writings, interviews, and strolls.

Wilson claimed in Cosmic Trigger: Volume 1 "not to believe anything", since "belief is the death of intelligence". He described this approach as "Maybe Logic.". Wilson saw his work as an "attempt to break down conditioned associations, to look at the world in a new way, with many models recognized as models or maps, and no one model elevated to the truth". His goal being "to try to get people into a state of generalized agnosticism, not agnosticism about God alone but agnosticism about everything".

RAW Explains Everything !

09 Raw - The Acceleration of Knowledge 1 (41min. 37mb)



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Sundaze 1116

Hello, it was about time I gave some serious attention to todays band, Coil. From the 'ashes' of Throbbing Gristle Genesis P and Peter formed Psychic TV which would branch out to form Coil.....

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

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

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

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

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

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

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

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

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

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

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

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Musick to Play in the Dark Vol. 1 was one of two albums attributed purely to a style called "moon music", which signified their change from a "solar" to a "moon" group..The initial CD pressing was limited to 2,000 copies. Approximately 1,000 of those copies that were ordered directly from Coil include a certificate of provenance, numbered and signed by Peter and John.



Coil - Musick To Play In The Dark Vol. 1 ( flac 302mb)

1 Are You Shivering? 9:35
2 Red Birds Will Fly Out Of The East And Destroy Paris In A Night 12:39
3 Red Queen 10:58
4 Broccoli 9:17
5 Strange Birds 7:32
6 The Dreamer Is Still Asleep 9:56

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The Remote Viewer was first released as a CD-R in an edition of 500 , the first disc is the exact same material as on the original release. Remote Viewing 1' opens as a cacophony of sounds, frequencies and noises. Over repetition a pattern slowly forms. A couple of minutes into the layered construction, a base line appears, producing a backbone for the soaring, brief melodies and sounds. It is almost as molding with clay. A figure is beaten, stripped and shaved from the mixture of noises. The inclusion of percussion and a moaning bagpipe-like melody run a climax. At each of its silences, the void is filled with emptiness. The entire structure is mesmerizing and heavily meaningful. Never appearing to be random, it always seems to follow an invisible path to a very clear objective. When the sounds calm down into a swaying around the bass notes, the purpose appears to be almost fulfilled, yet always turbulent and never in complete quietude. . The second disc features two pieces created in 2006 using material from the original Remote Viewer sessions. These new pieces, predictably titled “Remote Viewing 4” and “Remote Viewing 5,” follow the structures that are on the original disc, however there’s more emphasis on glitches and the beat on “Remote Viewing 4,” giving a more aggressive edge to the music. “Remote Viewing 5” removes most of the drone and goes the warped melody route.



Coil - The Remote Viewer ( flac 430mb)

1-1 Remote Viewing 1 ~ 19:31
1-2 Remote Viewing 2 ~ 07:59
1-3 Remote Viewing 3 ~ 21:13
2-4 Remote Viewing 4 ~ 09:53
2-5 Remote Viewing 5 ~ 09:26


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Here's what Peter Christopherson writes on the recent Steamin' Soundworks tribute to Jhonn Balance: "Jhonn Balance was my partner for 20 years, both in Coil and in bed. During that time, he delighted in scaring me by diving out into what appears, from the narrow viewpoint of our species, to be a Huge Dark Abyss."

The Ape Of Naples is an exceptional collection assembled from Balance's final recordings and earlier, uncompleted material originally recorded at Trent Reznor's New Orleans studio. Given the circumstances of its construction, the album is a remarkably unified work, its every meditative gesture alloyed with a looming, unmistakable sense of impending loss and/or transition. Full credit must be given to Christopherson for his skillful and devoted stewardship to the creation of this album.



Coil - The Ape Of Naples ( flac 330mb)

01 Fire Of The Mind 5:14
02 The Last Amethyst Deceiver 10:11
03 Tattooed Man 6:33
04 Triple Sun 3:46
05 It's In My Blood 4:51
06 I Don't Get It 5:35
07 Heaven's Blade 4:21
08 Cold Cell 4:08
09 Teenage Lightning 2005 7:11
10 Amber Rain 5:12
11 Going Up 8:30

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elsewhere on this blog

Coil - Love's Secret Domain (90 flac 348mb)

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RhoDeo 1115 Beats

Hello, time for some Sundaze beats as todays act surely could be catagorized, their assertive trippy style took the world by haze..it took some time to reach Europe and the US all the way from the Great Southern Land but then it really hit home, and meanwhile the guys have become a force of psychedelic nature. I'm not sure if they've made an appearance yet at the Burning Man Festival, but they should....

Enjoy



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.Simon Posford and Raja Ram are Shpongle, an ambient techno/trance project formed in 1996 after the pair viewed a solar eclipse in India. The two went into the studio and attempted to duplicate the experience in sonic form, and the result was a 20-minute track, "...And the Day Turned to Night,"Their sound has sampled eastern ethnic instruments and western contemporary synthesizer-based psychedelic music. Posford is responsible for the synth and studio work while Raja Ram contributes with flute arrangements.

"A multi-verse not very far away where queues and noise don't exist neither pain nor fear, scary faces or bad smells...just peace and pieces, and perfect weather Sucking the big toe of humanity, your armchair turns into an aural spacecraft, catapulting you through the veils of reality and consciousness into a psychedelic adult theme park: Sonar Ballistickle, Soma sucking cyber sorcerers floating weightlessly on the threshold of bliss, creating psycho-geometric, atomic telepathic shimmering incandescent dream dilations. This hybrid exotic seretonin drenched electro-plasmic dripping brain forest moves with endless hallucinogenic changing patterns while, unnoticed a million angels dance on a pinhead. Fun-Shui, Phrenological escapology; the divine moment of truth...the inevitability of the unexpected - the vortex of the cortex. Knowing what we don't know, while sampling the cosmos; from the darkness to the light; from the unreal to the real....from death to immortality...

...Lets Get Shpongled!"

Their debut album, Are You Shpongled?, was released 1998 on Twisted Records. Are You Shpongled? and recieved a warm reception aswell as a strong word to mouth marketing. and gained influence in the then-small psychedelic downtempo genre. Since they released, Tales of the Inexpressible, released in 2001. Simon Posford and Raja Ram hone and expand the style introduced on their debut album, Are You Shpongled?. Raja Ram plays Spanish and East Asian instruments along with the flute, and Simon Posford plays classical guitar as well as synthesizing and sampling. The song whose name is most often stated as "Room 23" appears on the back cover of the album with the name "Room 23, where the character 3 that partially looks like the digit "3" is actually the Om, the sacred eternal sound in Hinduism. 2003 saw the release of Remixed a project on which 8 diverse acts gave some of their previous music a workover.

Nothing Lasts ... But Nothing is Lost is a 2005 album by Shpongle. It is the project's third and was announced as their last studio album, though the duo has since released a fourth. Like the previous two albums, it features many live musicians and vocalists in combination with computer-generated sounds and spoken-word samples. Stylistically the album can be described as a fusion of world music, intelligent dance music, and psychedelic trance. It is dedicated to the memory of author and psychedelic researcher Terence McKenna, whose voice and ideas are used throughout the album. The tracks flow together continuously without any break. Ineffable Mysteries from Shpongleland is the fourth studio album by Shpongle released on November 2, 2009. Songs from the album began to trickle to the public in live form, being played at many of Shpongle's 2009 concerts.The album was ranked at #7 on Sputnik's Best Of 2009 list. In a recent interview with Simon Posford, it was revealed that Shpongle would be working towards a fifth album due for release in 2012.


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The music is all-out, and provides ultimate proof of how great minds sharing talent have true potential to convey the unthinkable. It's tribal, it's purely electronic, then again at places it's not, it's ambient despite lacking tipical characteristics of the genre, but then it's uptempo with musical traits dissimilar from the standard psy trance sound of the era. Starting with the amazing Shpongle Falls, the album slowly draws you into a dream state, peaking at the tribal DMT and ending with the beautiful And The Day Turned to Night which brings you down to earth so well that it makes my hairs stand on end just to think about it. It's Shpongle, and 13 years ago, it was a release in a galaxy of its own, sounding like nothing else, and best of all is that it still does. A musical landmark no matter what do you expect from music.



Shpongle - Are You Shpongled (98 461mb)

01 Shpongle Falls 8:33
02 Monster Hit 8:57
03 Vapour Rumour 10:26
04 Shpongle Spores 7:16
05 Behind Closed Eyelids 12:29
06 Divine Moments of Truth 10:20
07 ...and the Day Turned to Night 19:57

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Shpongle - Tales of the Inexpressible (01 455mb)

01 Electroplasm
02 Shpongolese Spoken Here
03 Nothing Is Something Worth Doing
04 Ineffable Mysteries
05 I Am You
06 Invisible Man In A Fluorescent Suit
07 No Turn Un-stoned
08 Walking Backwards Through The Cosmic Mirror


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After two fantastic Shpongle albums, they have decided to let some other artists play with their tracks. An album with eight Shpongle tracks, remixed by eight different groups. The duo has had some great artists to remix their tracks. Very interesting to hear remixes by groups like that who usually makes very different music from Shpongle. I think I had expected some trance versions in this album, but I really enjoyed the way they have gotten electro, dub, drum ‘n’ bass and down tempo trance into one album.



Shpongle - Remixed ( 02  549mb)

01 Crystal Skulls (Western Rebel Alliance Remix) 6:34
02 ...And The Day Turned To Fright (Eat Static Remix) 9:16
03 Star Shpongled Banner (Brothomstates Remix) 4:57
04 A New Way To Say 'Hooray!' (Prometheus Remix) 7:51
05 My Head Feels Like A Frisbee (Delusions Of Grandeur Remix) 7:01
06 Dorset Perception (Total Eclipse Remix) 7:26
07 Around The World In A Tea Daze (Ott Remix) 8:25
08 Once Upon The Sea Of Blissful Awareness (Esionjim Remix) 6:54
+ DMT ep
09 Divine Moments Of Truth (Shpongle Trance Remix) 8:19
10 Divine Moments Of Truth (Instrumental Remix) 7:45
11 Divine Moments Of Truth (Original Russian Bootleg Mix) 10;10

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elsewhere on this blog (Sunshine Outback, page deleted) but here in Flac again

Shpongle - Nothing Lasts... But Nothing Is Lost ( 05 * 444mb)

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RhoDeo 1115 Goldy Rhox 22

Hello, today the 22th post of GoldyRhox, classic pop rock. And once more an album that took it's time before becoming a in the a classic rock staple. Rock chicks were rare at the time, If not for the strength of their songs aswell as their assertiveness we might never have heard of the sisters responible for this album.

Most of the albums i 'll post made many millions for the music industry and a lot of what i intend to post still gets repackaged and remastered decades later, squeezing the last drop of profit out of bands that for the most part have ceased to exist long ago, although sometimes they get lured out of the mothballs to do a big bucks gig or tour. Now i'm not as naive to post this kinda music for all to see and have deleted, these will be a black box posts, i'm sorry for those on limited bandwidth but for most of you a gamble will get you a quality rip don't like it, deleting is just 2 clicks...That said i will try to accomodate somewhat and produce some cryptic info on the artist and or album.

Well todays mystery album isnt one of Rolling Stone Mag alltime greats, and it aint a Canadian band, allthough i always presumed it, or maybe it is, after all they lived and recorded in Vancouver, were screwed big time by a label Mushroom that tried to balloon from them. Anyway the band in question had gone to several lineups until two Californian sisters (Ann & Nancy) joined and that took up writing, singing and playing lead guitar, btw Nancy is still looking great at 56, they are still rocking and just released another succesful album "Red Velvet Car" this one however was their first one and sold more than a million, it scored overseas as well, mainland Europe and UK, subsequent albums and news probably got drowned out by the new music scene that was developping in the late seventies. Whatever it was, going on a cruise with Annie seemed like a great prospect in 76...


Goldy Rhox 22 93mb


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RhoDeo 1115 Aetix

Hello, maybe i'm posting too late these days-about an hour later as usual, this time no exception. Obviously over the years i posted a decent amount of socalled eighties music, in general i stayed clear of the more commercial acts as these get enough attention. Well the band today collapsed several times and at the moment is succesful again after basicly being lifted by the audience.... That said i still don't understand why their first album wasn't a mega success, fresh electronic music streaming out the speakers, it's still lifting my mood today. Their 2nd album was a bit of a downer-in sync with the times somewhat, held up by a leftover from the first album, Enola Gay. With the third album, which caught me by the tirtle Architecture and Morality, they switched direction again going for a strong melodic sound, Europe loved it, personally i was less impressed, and why i bought their next three albums i dont know, these are in my cabinet with less then 10 spins put together as it where. And now, the best and brightest of Orchestral Manoeuvres In The Dark coming up.

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Founders Andy McCluskey and Paul Humphreys met at primary school in Meols on the Wirral Peninsula, in the early 1960s, and in the mid-1970s, as teenagers, they were involved in different local groups. By the mid-1970s McCluskey had formed Equinox, as bassist and vocalist, alongside schoolmate Malcolm Holmes on drums, while Humphreys was their roadie. During that time McCluskey and Humphreys discovered their electronic style influenced by Kraftwerk.

In September 1977,McCluskey and Humphreys put together the seven-piece (three singers, two guitarists, bassist, drummer, and keyboard player) Wirral 'supergroup' The Id, whose line-up included drummer Malcolm Holmes and McCluskey's girlfriend Julia Kneale on vocals. The group began to gig regularly in the Merseyside area, performing original material (largely written by McCluskey and Humphreys). They had quite a following on the scene, and one of their tracks ("Julia's Song") was included on a compilation record of local bands called Street to Street. In August 1978, The Id split due to the traditional musical differences. The same month, McCluskey joined the electronic Wirral quartet Dalek I Love You as lead singer, but quit in September.

In September 1978, the same month he left Dalek I Love You, McCluskey rejoined Humphreys and their project was named Orchestral Manoeuvres in the Dark. They began to gig regularly as a duo, performing to backing tracks played from a Teac 4 track tape-recorder .Their debut performance was in October 1978 at Eric's Club in Liverpool. Finding themselves on the cusp of an electronic new wave in British pop-music, they released a one-off single, "Electricity", with celebrated independent label Factory Records. The track was supposed to be produced by the legendary Factory Records producer Martin Hannett, in fact, the A-side was the bands original demo produced by their friend, and soon to be manager, Paul Collister. The single's sleeve was designed by Peter Saville, whose distinctive graphics provided OMD's public image well into the mid-80s.

In 1979 they were asked to support Gary Numan on his first major British tour. They were always grateful to Numan for his help and support. He let them travel on his bus and use his trucks to transport their gear. They returned the favour some 13 years later when they asked Numan to support them on their arena tour in the mid-nineties

The eponymous first album (1980) showcased the band's live set at the time, and was basically recorded by the Humphreys/McCluskey duo, although included some guest drums from Id drummer Malcolm Holmes, and saxophone from Wirral musician Martin Cooper. It had a simple, raw, poppy, melodic synthpop sound. Dindisc arranged for the song "Messages" to be re-recorded (produced by Gong bassist Mike Howlett) and released as a single – this gave the band their first hit. A tour followed, the tape recorder was augmented with live drums from Malcolm Holmes, and Dalek I Love You's Dave Hughes on synths. Hughes then left OMD in November 1980, replaced by Martin Cooper.

The second album Organisation followed later that year, recorded as a 3 piece with Humphreys, McCluskey and Holmes. It was again produced by Howlett, and saw a rather moodier, dark feel. The album spawned the hit single "Enola Gay", named after the plane that dropped an atomic bomb on Hiroshima. The song was originally intended to be included on the debut album, but was left out at the final selection, which may explain why the song is somewhat at odds with the darker feel of the second album.

November 1981 saw the release of their most commercially successful album in the UK and Europe – Architecture & Morality. The album's sound saw OMD's original synth-pop sound augmented by the Mellotron, an instrument previously associated with prog rock bands. They used it to add very atmospheric swatches of string, choir and other sounds to their palette. Two more hit singles "Joan of Arc" and "Maid of Orleans" were taken from the album, which eventually sold more than 3 million copies.

1983 saw the band lose commercial momentum somewhat, with the release of their more experimental Dazzle Ships album, which mixed melancholy synth ballads and uptempo synthpop with musique concrete and short wave radio tape collages. It was recorded by the 4-piece Humphreys/Holmes/Cooper/McCluskey line-up, and produced by Rhett Davies. Its relative commercial failure caused a crisis of confidence for Humphreys and McCluskey and brought about a deliberate move towards the mainstream. 1984's Junk Culture was a return to a poppier sound and saw the band using digital sampling keyboards such as the Fairlight CMI and the E-mu Emulator. The album was a success, reassuring the group about their new direction. The "Locomotion" single returned the group to the top five in the UK and was a good indicator of the group's new found sound In 85 the band expanded to a sextet, featuring new band members Graham (guitar, trombone, keys) and Neil Weir (trumpet), and released Crush, produced by Stephen Hague. The success of the single "So in Love" in the US Hot 100 also led to some success for the LP which entered the American Top 40, establishing the group in the US as well as making Stephen Hague a sought-after producer.

Later in 1985, the band wrote the song "If You Leave" for the John Hughes movie Pretty in Pink. The song was featured on the soundtrack and became a huge hit in the US and Canada where it reached the Top 5. The same six piece line-up also released The Pacific Age in 1986, but the band began to see their critical and public popularity wane in the UK while they failed to capitalise upon their breakthrough in the US market. The Pacific Age contained the UK #11 hit single, "(Forever) Live & Die" . However, the band's increasingly commercial direction was causing growing dissatisfaction among the band's long-term fans, as well as within the band itself.

During 1988 the band appeared poised to consolidate their US success, with a support slot for Depeche Mode's 101 tour at the Rose Bowl in Pasadena, California on 28 June 1988, a top 20 US hit with "Dreaming" and a successful "Best of" album. However, it was at this point when OMD broke in two. Co-founder Paul Humphreys was the first to depart the group in 1989, unhappy with the band's commercial orientation. The Weirs were then downgraded to auxiliary members and soon left the fold. Finally, Cooper, and Holmes left OMD by 1990 to join Humphreys in founding a new band called The Listening Pool.

This left only McCluskey to carry on, essentially becoming a solo artist working under the OMD banner. McCluskey's first album from the new OMD was the critically acclaimed Sugar Tax LP in 1991, which charted admirably at #3 in the UK. McCluskey would then work with keyboardists Nigel Ippinson and Phil Coxon for the album Liberator (1993). McCluskey returned with a rotating cast of musicians for the 1996 album Universal. For this last album, Humphreys returned as a co-writer of a few songs, though not as a performer or group member.
Though both Liberator and Universal produced minor hits and the latter also spawned their first Top 20 hit in five years with "Walking On The Milky Way", McCluskey retired the OMD name in late 1996, due to waning public interest in an 80's synth band at the height of the guitar-based Britpop era.

Post-1996, McCluskey decided to focus on management and songwriting , with McCluskey focusing his talents elsewhere, Humphreys decided to play many revival shows using the OMD banner. On 1 January 2006, Andy McCluskey announced plans to reform OMD with the McCluskey, Humphreys, Holmes and Cooper line up. The original plan was to tour the album Architecture & Morality and other pre-1983 material, then record a new album set for release in 2007..

Through May and June, the band toured with the "classic" line up of McCluskey, Humphreys, Holmes and Cooper. They began their set with a re-ordered but otherwise complete restaging of the Architecture & Morality album. The second half of each concert featured a selection of their best known hits, and audience reaction was consistently positive. In June 2009 an orchestral concert with the Royal Liverpool Philharmonic was given in Liverpool. A recording of this concert was released on DVD in December 2009.November and December also saw a return to arena touring as support for Simple Minds. OMD's 11th studio album, History of Modern, was released on 20. September 2010 to positive critical acclaim, reaching #28 in the UK album charts, and has sold well over 100,000 in Europe. A European tour to promote the album followed in November 2010. In March of 2011 OMD played their first North American tour as the original line up since 1988. The shows were hugely popular with unanimously positive reviews reflecting a general acknowledgement of the bands influential place in musical history combined with their ability to still deliver an incredibly powerful live show.

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OMD's first full-length album won as much attention for its brilliant die-cut cover -- another example of Peter Saville's cutting-edge way around design -- as for its music, and its music is wonderful. For all that, this is a young band, working for just about the last time with original percussionist Winston; there's both a variety and ambition present that never overreaches itself. The influences are perfectly clear throughout, but Andy McCluskey and Paul Humphreys would have been the last people to deny how Kraftwerk, Sparks, and other avatars of post-guitar pop touched them. What's undeniably thrilling, though, is how quickly the two synthesized their own style. Consider "Almost," with its dramatic keyboard opening suddenly shifting into a collage of wheezing sound beats and McCluskey's precise bass and heartfelt, lovelorn singing and lyrics. The chilly keyboard base of "The Messerschmitt Twins" gets offset by McCluskey's steadily stronger vocal, while the swooping, slightly hollow singing on "Mystereality" slips around a quietly quirky arrangement, helped just enough by Martin Cooper's at-the-time guest sax. Even the fairly goofy "Dancing" has a weird atmosphere at play in the metallic vocals and groaning tones. In terms of sheer immediacy, there's little doubt what the two highlights are -- the re-recorded and arguably better version of "Electricity" is pure zeitgeist, a celebration of synth pop's incipient reign with fast beats and even faster singing. "Messages," though it would later benefit from a far more stunning reworking, still wears the emotion of its lyrics on its sleeve, with a killer opening line -- "It worries me, this kind of thing, how you hope to live alone and occupy your waking hours" -- and a melody both propulsive and fragile. The mysterious chimes and spy movie dramatics of "Red Frame/White Light" (inspired by a phone box) are almost as striking. Orchestral Manoeuvres in the Dark is just like the band that made it -- perfectly of its time and easily transcending it. Bonus Tracks (11 Messages (Single Version) 4:46, 12 I Betray My Friends 3:52, 13 Taking Sides Again 4:22, 14 Waiting For The Man 3:00, 15 Electricity (Hannett / Cargo Studios Version) 3:36, 16 Almost (Hannett / Cargo Studios Version) 3:52



OMD - Orchestral Manoeuvres In The Dark (flac 407mb)

01 Bunker Soldiers 2:53
02 Almost 3:44
03 Mystereality 2:45
04 Electricity 3:39
05 The Messerschmitt Twins 5:41
06 Messages 4:12
07 Julia's Song 4:41
08 Red Frame / White Light 3:11
09 Dancing 2:58
10 Pretending To See The Future 3:47
Bonus Tracks
11 Messages (Single Version) 4:46
12 I Betray My Friends 3:53
13 Taking Sides Again 4:23
14 Waiting For The Man 3:00
15 Electricity (Hannett/Cargo Studios Version) 3:37
16 Almost (Hannett/Cargo Studios Version) 3:51

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OMD made a return to form, however, on their third album, 1981's Architecture & Morality. Shaking off the dread of their music engaging with the public while simultaneously weathering critical scrutiny, OMD shows a greater facility for pop melody, crafting songs of aching fragility rather than off-putting gloom. Along with the Human League's Dare-- also initially released in 1981-- Architecture & Morality is a bridge between synth-pop's more bleak, industrial beginnings and the shimmer and shine of ambitious New Pop. Lush ballads such as "The Beginning and the End" and "Souvenir" effortlessly cast aside OMD's final notions of Gary Numan-esque faux-robotics. Re-Mastered issue of the 1981 album. Contains 7 bonus tracks which are b-sides of the singles from the album and also "Gravity Never Failed", recorded during the A&M sessions.




OMD - Architecture and Morality ( flac 355mb)

01 The New Stone Age 3:18
02 She's Leaving 3:26
03 Souvenir 3:36
04 Sealand 7:42
05 Joan Of Arc 3:48
06 Joan Of Arc (Maid Of Orleans) 4:10
07 Architecture & Morality 3:38
08 Georgia 3:20
09 Beginning & the End 3:44
Bonus Tracks
10 Extended Souvenir 4:16
11 Motion And Heart (Amazon Version) 3:07
12 Sacred Heart 3:30
13 The Romance Of The Telescope 3:22
14 Navigation 3:00
15 Of All The Things We've Made 3:25
16 Gravity Never Failed 3:24

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RhoDeo 1115 Roots

Hello, last week we were left in ancient Ethiopia i kept the ancient part as we move back in time towards the Arabian Peninsula. How did they live without an ipod well we know they made music instruments so they must have had plenty of concerts, likely every night and booze wasnt prohibited yet. This has changed when we enter Sufi territory , the mystic arm of Islam and as such not much loved by the fundamentalists thru the ages, a car bomb at their mosque 2 weeks ago is proof of that. Still their asceteic mysticism is acknowledged througout the world.

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Ensemble De Organographia - Music of the Ancient Sumerians, Egyptians and Greeks

Archeological discoveries in the Middle East over the last several decades have brought to light new musical documents that have greatly increased our understanding of ancient music. Texts that describe Babylonian musical notation have been uncovered at Ur and Ashur, and compositions written in this system have been found at Ugarit and Nippur. These discoveries have helped to define a clearer picture of the Sumero-Babylonian musical art, and, while information on the subject of Egyptian musical notation remains obscure by comparison, several verbal descriptions of instrumental performance and several extant musical documents have been identified. Fortunately, Greek compositions and music theory tex`s survive in relatively greater numbers and continue to be identified; recently transcribed musical documents in Greek notation found at Oxyrhynchus in Egypt are heard here for the first time.
The repertoire on this recording, preserved mainly on clay tablets and papyri, dates from the 20th century B.C. to the third century A.D. It includes the musical instructions for the hymn "Lipit-Ištar, King of Justice" which is regarded as the world's oldest surviving example of musical notation. The selections range in varying states of preservation from the nearly perfect Hurrian Hymn 6 to tiny fragments of melody and text.



Music of Ancient Sumerians Egyptians (flac  220mb)

Greek Music from Egypt
01 - Musical Excerpts [Oxyrhynchus papyri 4461] (3:02)
02 - Lament [Oxyrhynchus papyri 4465] (1:42)
03 - Fragment 1 [Oxyrhynchus papyri 4462] (3:09)
04 - Paean [Oxyrhynchus papyri 4466] (1:40)
05 - Trochaic Fragment [Oxyrhynchus papyri 3162] (1:00)
06 - Four Settings from Menander's 'Epitrepontes' [Oxyrhynchus papyri 3705] (1:36)
07 - Excerpts mentioning Eros and Aphrodite [Oxyrhynchus papyri 4462] (4:39)
08 - Musical excerpt [Oxyrhynchus papyri 4467] (3:15)
09 - Hypolydian excerpt [Oxyrhynchus papyri 4464] (2:55)
10 - Fragment 3 [Oxyrhynchus papyri 3161] (1:59)
Sumero-Babylonian
11 - A Zaluzi to the Gods (Hurrian Hymn 6, copied by Ammurabi) [R.S. 15.30 + 49, 17.387] (3:49)
12 - Hurrian Hymns, 19 & 23 [R.S. 19.149 and 18.282] (1:34)
13 - URḪIYA & an. - Hurrian Hymns, 13 & 12 (copied by Ipšali) [R.S. 19.164d and 19.147] (0:41)
14 - Hurrian Hymn 2 (1:14)
15 - URḪIYA. Hurrian Hymn 8 [R.S. 19.84] (1:21)
16 - PUḪIYA(NA) - Hurrian Hymn 5 [R.S. 14.18] (0:44)
17 - Hurrian Hymn 4, 21, & 22 [R.S. 14.15, 19.154 and 19.164c] (2:32)
18 - Hurrian Hymn 7 & 10 [R.S. 19.155 and 19.148] (1:55)
19 - Hurrian Hymn 16 & 30 [R.S. 19.164a and 19.164b] (2:10)
20 - Musical Instructions for 'Lipit-Ištar, King of Justice' [N. 3354] c. 1950 BC (0:44)
Egyptian
21 - Trumpet Call, after Plutarch (0:33)
22 - Isis Sistrum Rhythm, after Apuleius (0:31)
23 - Theban banquet scene (1:33)
24 - Harp Piece I [Brooklyn Museum] (1:57)
25 - Harp Piece II [Brooklyn Museum] (2:02)

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The word "Sufi", which is derived from the concept of tassawuf, denotes the esoteric currents in Islam which aim at seeking mystic union and the experience of the dissolution of the self in the Divine Essence. These currents appeared in the second century after the hijrah and since then have continued to multiply in various forms in the Islamic world. Both the word tassawuf and "Sufi", which is derived from it, contain the root suf which means wool and refers to the rough woollen garment originally worn by the ascetics as a token of their detachment. The thinker al-Ghazali (450/1058-505/1111), a great Islamic mystic, in his work entitled Ihya 'ulum al-din (Revival of the Sciences of Religion), defined this aim as follows: "To renounce the world in order to lead the life of an ascetic by ridding oneself of material bonds, by emptying the heart of its earthly concerns, and by approaching Almighty God with perfect spiritual diligence".

In one of his Maqamat the story-teller Hariri gives an account of the intense piety which prevailed during the second century after the hijrah in Baghdad, which was a meeting place for writers who sympathized with the ideas of the Sufis, and also in Basra, Kufa, Wasit and elsewhere. At this period Southern Iraq was the scene of a revival of religious fervour which led to the beginnings of the Sufi movements centred round the person of Hassan Basri (died in 110/772), who is regarded as the father of Islamic mysticism. These movements, which started in Iraq, later spread to Syria, Egypt and Anatolia through the founding of two of the oldest orders, the Qadiriyya and the Rifa'iyya. Other movements came into being and influenced one another. This is true of the movement in Khorasan with its Turkish and Syrian ramifications (Mawlawiyya), of that in Egypt and the Maghrib (Shadhiliyya), and of that in Turkestan, which spread to the Ottoman Empire (Bektashiyya). The Indian movement (Chistiyya), however, does not appear to have had any influence on the Arab world.

The Sufi movement came under harsh criticism during the period of political agitation that followed the decline of the Umayyad caliphate and the ascendance of the Abbasids. It was attacked chiefly on the account of its esoteric practices and of being the privilege of an elite circle indulging in gnostic speculations. This weakening of faith was violently condemned by al-Ghazali, who advocated a return to the sources and affirmed the importance of a response of the heart in a direct and vivid experience. This appeal did not go unheeded and Sufism began to be propagated by groups of people who gathered round a spiritual leader, a munshid, a director of conscience, called a shaykh, a bestower of baraka (blessing), who after his death, was elevated to the rank of the saint (sayedna) of his tariqa. Although the word tariqa originally denoted a way, a path to follow, in its religious acceptation it came to signify method, and then order or brotherhood. Hence the appearance in Mesopotamia of the first communities in the history of Islam, that of Qadiriyya founded by Abdulqadir Jilani (died in Baghdad in 561/1166) and that of the Rifa'iyya founded by Ahmad Rifa'i (died in 575/1182). Very little is known about the latter, who left no writings. Born in an Arab family, he spent his life as an ascetic among the fakirs (a synonym of dervishes, the etymological meaning being "poor men") who gathered round him in a marshy region north of Basra called Bata'ih or al-Batiha. Initially the order was called the Bata'ihiyya, but it soon assumed the name of its founder. This here stems from the Turkish movement.



Derviches Tourneurs de Turquie - La Ceremonie des Mevlevi ( 117mb)


01 Na'at-i-mevlânâ - Taksîm (13:15)
02 Pesrev - Birinci selâm (11:48)
03 Ikinci selâm (4:19)
04 çüncü selâm - D-rdüncü selâm - Taksîm (4:47)
05 Niyâz ayini - Taksîm (12:29)
06 La récitation du Coran (5:27)

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RhoDeo 1115 Raw 08

Hello, it's been a full day here. with little sleep. I watched the F1-with plenty of overtaking, apart from Vettel, nobody passed him, therefore he won again. Schumacher can start to worry, his outstanding achievements are likely to be shaded by Vettel in the years to come.

Politics and conspiracies are nothing new as RAW further explains today

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Robert Anton Wilson (born Robert Edward Wilson, January 18, 1932 – January 11, 2007) was an American author and polymath who became at various times a novelist, philosopher, psychologist, essayist, editor, playwright, futurist, civil libertarian and self-described agnostic mystic. Recognized as an episkopos, pope, and saint of Discordianism, Wilson helped publicize the group through his writings, interviews, and strolls.

Wilson claimed in Cosmic Trigger: Volume 1 "not to believe anything", since "belief is the death of intelligence". He described this approach as "Maybe Logic.". Wilson saw his work as an "attempt to break down conditioned associations, to look at the world in a new way, with many models recognized as models or maps, and no one model elevated to the truth". His goal being "to try to get people into a state of generalized agnosticism, not agnosticism about God alone but agnosticism about everything".

RAW Explains Everything !

08 Politics and Conspiracy Theory part 2 (43min. 36mb)


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