RhoDeo 1144 Illuminatus !

Hello, hope you've had an enjoyable weekend, sportsnews of the day or is it ? Vettel cruises to victory again, after being snubbed he was lucky to win last years title he really made a point of establishing his reign this year. Arsenal fans were over the moon as their god, Robin van Persie, led in the destruction of their rivals Chelsea, way to go meanwhile another dutch victory as they trashed the US in the world bridge finals, teamplayers those dutch. Maybe not so strange then that Maharishi Mahesh Yogi choose the Netherlands as the location for his Transcendental Meditation worldheadquarters.

Trance isn't that the music where dutch dj's reign ? Could it be the relaxed attitude towards mindexpanding drugs is causing all of this ? Surely not, it's the abundance of cheap (healthy) food, believe it or not this small spec on the world map is the biggest foodexporter in the world. All this proves that all that GM propaganda is bullshit, it's the dismal productivity in large parts of the world that is to blame for hunger, f.i. if Africa would just double it's low productivity it would not only be able to feed it's own peoples, but become a main exporter aswell. In turn the worlds biodiversity and lungs (rainforests) could be spared from the wanton destruction that is going on at the moment.

We're nearing the end of the Illuminatus saga. Today the first chapters of the Leviathan the third and final part of the Illuminatus Trilogy with the start of the 9th trip, Yesod chapters 0 till 2

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The three parts of the trilogy are subdivided into five "books" named after the five seasons of the Discordian calendar (Chaos, Discord, Confusion, Bureaucracy, The Aftermath). This book is not designed to be easy to digest. You are not meant to internalize its message thoughtlessly. It's funny, contradictory, and self-aware, and it's hard for people who take themselves seriously to get caught up in a book that, for the most part, doesn't. I could say this book deserves to be more than a cult classic, its cultural influence will continue to seep in with or without grander acclaim.

The plot meanders between the thoughts, hallucinations and inner voices (both real and imagined) of its many characters, as well as through time (past, present and future)— sometimes in mid-sentence. Much of the back story is explained via dialogue between characters, who recount unreliable, often mutually contradictory, versions of their supposed histories. There are even parts in the book in which the narrative reviews and jokingly deconstructs the work itself.

The Illuminatus ! Trilogy was performed by the incomparable Ken Campbell and Chris Fairbank, and broadcast live in London on ResonanceFM in June 2006. In 1976, Ken Campbell adapted Illuminatus! for the stage - a 10 hour epic which went on to open the Royal National Theatre in London under the patronage of Her Majesty Elizabeth II. Chris Fairbank played Simon Moon, among other characters. 30 years and 23 Fernando Poos since Ken and Chris first breathed life into Shea and Wilson's masterpiece and Illuminatus! seems even more startlingly relevant and chock full of laughter than ever before. Enjoy the Trips!

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Leviathan, Bureaucracy, Yesod, 9th trip (0-2) (51 min, 18mb)

09-00 Leviathan - Prologue (17:52)
09-01 Yesod - FDR (16:26)
09-02 Illuminati Primi (16:55)

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previously

The Eye In The Pyramid Chaos, Discord (183mb)

The Golden Apple, Confusion, Bureaucracy ( 195mb)


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Sundaze 1144

Hello, Occupy rallies are starting to irritate the thugs in uniform who feel their authority is challenged, these nincompoops don't even realise they are being screwed in the same way the 99% is. Their preferred choice is putting the boot in. It's the identifying with authority that gets their little dicks hard. Isn't it ironic that the first victim was an Irak veteran marine? In times ahead the US army may yet come to play a decisive role, there's an overwhelming support there for presidential candidate Ron Paul as well, Ron who ? Indeed the one that's been kept out by the media as their masters fear him, as he has real grassroots support and really wants to slash the federal government.

Today's artists belong to the founding fathers of ambient music, in many ways, they were there first, Tangerine Dream. After a few years developing Kraut/Cosmic rock by 74 their skills and technology astonished the world when they released Phaedra, which 37 years and an explosion in computer technology later still stands as a masterpiece in aural art. In the eighties they concentrated on filmmusic which greatly expanded their fanbase, it's on these era i will concentrate for this and next weeks post.

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Edgar Froese, born in Tilsit, East Prussia, in 1944, was little influenced by music while growing up. Instead, he looked to the Dadaist and Surrealist art movements for inspiration, as well as literary figures such as Gertrude Stein, Henry Miller, and Walt Whitman. He organized multimedia events at the residence of Salvador Dali in Spain during the mid-'60s and began to entertain the notion of combining his artistic and literary influences with music; Froese played in a musical combo called the Ones, which recorded just one single before dissolving in 1967. The first lineup of Tangerine Dream formed later that year, with Froese on guitar, bassist Kurt Herkenberg, drummer Lanse Hapshash, flutist Volker Hombach and vocalist Charlie Prince. The quintet aligned itself with contemporary American acid rock (the Grateful Dead, Jefferson Airplane), and played around Berlin at various student events. The lineup lasted only two years, and by 1969 Froese had recruited wind player Conrad Schnitzler and drummer Klaus Schulze. One of the trio's early rehearsals, not originally intended for release, became the first Tangerine Dream LP when Germany's Ohr Records issued Electronic Meditation in June 1970. The LP was a playground for obtuse music-making -- keyboards, several standard instruments, and a variety of household objects were recorded and filtered through several effects processors, creating a sparse, experimentalist atmosphere.

Both Schulze and Schnitzler left for solo careers later in 1970, and Froese replaced them the following year with drummer Christopher Franke and organist Steve Schroeder. When Schroeder left a year later, Tangerine Dream gained its most stable lineup core when organist Peter Baumann joined the fold. The trio of Froese, Franke, and Baumann would continue until Baumann's departure in 1977, and even then, Froese and Franke would compose the spine of the group for an additional decade.

On 1971's Alpha Centauri and the following year's Zeit, the trio's increased use of synthesizers and a growing affinity for space music resulted in albums that pushed the margin for the style. Atem, released in 1973, finally gained Tangerine Dream widespread attention outside Europe; influential British DJ John Peel named it his LP of the year, and the group signed a five-year contract with Richard Branson's Virgin Records. Though less than a year old, Virgin had already become a major player in the recording industry, thanks to the massive success of Mike Oldfield's Tubular Bells

Tangerine Dream's first album for Virgin, Phaedra, was an milestone not only for the group, but for instrumental music. Branson had allowed the group free rein at Virgin's Manor Studios, where they used Moog synthesizers and sequencers for the first time; the result was a relentless, trance-inducing barrage of rhythm and sound, an electronic update of the late-'60s and early-'70s classical minimalism embodied by Terry Riley. Though mainstream critics were unsurprisingly hostile toward the album (it obviously made no pretense to rock & roll in any form), Phaedra broke into the British Top 20 and earned Tangerine Dream a large global audience.

The follow-ups Rubycon and the live Ricochet were also based on the blueprint with which Phaedra had been built, but the release of Stratosfear in 1976 saw the use of more organic instruments such as untreated piano and guitar; also, the group added vocals for 1978's Cyclone, a move that provoked much criticism from their fans. Both of these innovations didn't change the sound in a marked degree, however; their incorporation into rigid sequencer patterns continued to distance Tangerine Dream from the mainstream of contemporary instrumental music.

more next week

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As if the sound is breaking through your speakers, Alpha Centauri begins its journey. Crackling and swirling synthesizers seize control of your stereo. Like a call to psychedelic arms, the first track "Sunrise in the Third System" marches on with its organ. The music on this album is quite different from Tangerine Dream’s first album Electronic Meditation, because of a heavier reliance on keyboards and electronic technology, although they still mostly remain in the background: the dominant instruments on the album are organ and flute. The shift in instrumentation still resulted in an atmosphere dubbed by Edgar Froese himself as Kosmische musik. This album sold 20,000 copies in their native Germany, nearly four times as many as their later classic Phaedra

Tangerine Dream – Alpha Centauri (flac 201mb)

01 Sunrise In The Third System 4:21
02 Fly And Collision Of Comas Sola 13:23
03 Alpha Centauri 22:08

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This is the first Tangerine Dream album to feature their now classic sequencer-driven sound, which kicked off the whole Berlin School genre. This album marked the beginning of the group's international success and was their first album released on the British Virgin records label. It achieved a six-figure sale in the UK, reaching No.15 in the charts in a 15-week run, with virtually no air play, only by strong word-of-mouth. It also earned the group a gold disc in Australia.

Phaedra is one of the most important, artistic, and exciting works in the history of electronic music, a brilliant and compelling summation of Tangerine Dream's early avant-space direction balanced with the synthesizer/sequencer technology just beginning to gain a foothold in nonacademic circles. The result is best heard on the 15-minute title track, unparalleled before or since for its depth of sound and vision. Given focus by the arpeggiated trance that drifts in and out of the mix, the track progresses through several passages including a few surprisingly melodic keyboard lines and an assortment of eerie Moog and Mellotron effects, gaseous explosions, and windy sirens. Despite the impending chaos, the track sounds more like a carefully composed classical work than an unrestrained piece of noise. Perhaps even more powerful as a musical landmark now than when it was first recorded, Phaedra has proven the test of time, one of those 1001 Albums You Must Hear Before You Die.

Tangerine Dream – Phaedra (flac 154mb)

01 Phaedra 17:45
02 Mysterious Semblance At The Strand Of Nightmares 9:55
03 Movements Of A Visionary 8:01
04 Sequent C' 2:18

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Ricochet is the first live album by German electronic music group Tangerine Dream. The album was released in 1975. It consists of two long compositions mixed from taped recordings of the England and France portions of their fall 1975 European Tour. The sound of the album is similar to the group's other "Virgin Years" releases, relying heavily on synthesizers and sequencers to produce a dense ambient soundscape. Ricochet utilizes more percussion and electronic guitar than its predecessors Phaedra and Rubycon, bordering on electronic rock. The principal innovation on the album is its use of complex multi-layered rhythms, foreshadowing not only the band's own direction in the 80s, but also trance music and similar genres of electronic dance music.

After the Top 20 placings for Phaedra and Rubycon, Ricochet fared less well in sales terms, spending just four weeks on the UK album chart, reaching number 40. In recent years however, Ricochet has outdone all other Baumann-era albums in popularity and become the third most popular Tangerine Dream album overall.

Tangerine Dream – Ricochet (flac 213mb)

01 Ricochet Part 1 16:59
02 Ricochet Part 2 21:05

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RhoDeo 1143 Grooves

Hello, more rap coming your way today, after the New York party rap of the early eighties and the 'conscious' response later that decade. Ushering in a new era of hip-hop that downplayed violence and sexual exploits, the New York City-based Native Tongues took the rap world by storm in the late '80s and early '90s. The base of the group originally consisted of the Jungle Brothers, Afrika Bambaataa, and Queen Latifah, with the purpose being to perform with each other and promote one another's projects in order to get noticed by the mainstream.

They shared a common goal, and that was to spread a positive message through music without taking away the gritty realism and street logic that came with hardcore hip-hop. De La Soul were the next to join the group, taking Stetsasonic producer Prince Paul and upstart teenagers A Tribe Called Quest with them. This would fill the initial lineup, and De La Soul's "Buddy" and the Jungle Brothers' "Doin' Our Own Dang" became early recorded examples of their collaborations. That's why they are all gathered here today...three great hip hop albums ..word up!

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Mike Gee (born Michael Small; Harlem, NY), DJ Sammy B (born Sammy Burwell; Harlem, NY), and Baby Bam (born Nathaniel Hall; Brooklyn, NY) came together as the Jungle Brothers in the mid-'80s and began their recording career at the dance label Idler.Their landmark opening salvo, Straight out the Jungle was also the very first album from the Native Tongues posse, which would utterly transform hip-hop over the next few years. That alone would be enough to make it a groundbreaking release, but Straight out the Jungle also contains the musical seeds for a number of soon to be dominant trends. As well as, the group's groundbreaking collaboration with legendary house producer Todd Terry, "I'll House You," paved the way for numerous hip-house hybrids that shot up the dance and pop charts over the next few years.

The follow-up to their groundbreaking debut, Done By the Forces of Nature is the point where the Jungle Brothers' production catches up to their musical ambition. There's still a ruddy, lo-fi edge to the record, but the samples are more abundant and intricately woven, and there's an altogether fuller sound that gives the group a greater presence. Moreover, the group's non-musical ideas come into greater focus as well. The Native Tongues' Afrocentric philosophy gets a more extensive airing here than on the debut, filling the record with positive consciousness-raising, both cultural and spiritual, there are even the occasional lyrical asides concerning good dietary habits.

All of this makes Done by the Forces of Nature one of the most intellectual hip-hop albums released up to that point, but as before, the group tempered their cerebral bent with a healthy sense of humor and fun. Thanks to the improved production, the J.Beez are able to take it to the dancefloor better than ever before, and toss in some pure, good-time, booty-shaking grooves. Late in the album, the posse cut "Doin' Our Own Dang" offers the chance to hear most of the Native Tongues -- Tribe, De La, and Latifah -- dropping rhymes all in one place. Through it all, the J.Beez construct an eclectic musical backdrop borrowed from jazz, early R&B, funk, African music, and more. Even if Straight out the Jungle was the historical landmark, Done by the Forces of Nature feels more realized in many respects, and is arguably the more satisfying listen.

Jungle Brothers – Done By The Forces Of Nature ( 291mb)

01 Beyond This World 4:08
02 Feelin' Alright 3:36
03 Sunshine 3:45
04 What "U" Waitin' "4"? 4:04
05 "U" Make Me Sweat 4:01
06 Acknowledge Your Own History 3:40
07 Belly Dancin' Dina 3:41
08 Good Newz Comin' 4:38
09 Done By The Forces Of Nature 3:49
10 Beeds On A String 3:34
11 Tribe Vibes 3:53
12 J. Beez Comin' Through 3:36
13 Black Woman 3:57
14 In Dayz "2" Come 3:56
15 Doin' Our Own Dang 4:18
16 Kool Accordin' "2" A Jungle Brother 1:56

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De La Soul formed while the trio members -- Posdnuos (Kelvin Mercer), Trugoy the Dove (David Jude Jolicoeur), and Pasemaster Mase (Vincent Lamont Mason Jr.) -- were attending high school in the late '80s. At the time of its 1989 release, De La Soul's debut album, 3 Feet High and Rising, was hailed as the future of hip-hop. With its colorful, neo-psychedelic collage of samples and styles, plus the Long Island trio's low-key, clever rhymes and goofy humor, the album sounded like nothing else in hip-hop. Where most of their contemporaries drew directly from old-school rap, funk, or Public Enemy's dense sonic barrage, De La Soul were gentler and more eclectic, taking in not only funk and soul, but also pop, jazz, reggae, and psychedelia.

Weaving clever wordplay and deft rhymes across two dozen tracks loosely organized around a game-show theme, De La Soul broke down boundaries all over the LP, moving easily from the groovy my-philosophy intro "The Magic Number" to an intelligent, caring inner-city vignette named "Ghetto Thang" to the freewheeling end-of-innocence tale "Jenifa Taught Me (Derwin's Revenge)." Rappers Posdnuos and Trugoy the Dove talked about anything they wanted (up to and including body odor), playing fast and loose on the mic like Biz Markie. Thinly disguised under a layer of humor, their lyrical themes ranged from true love to the destructive power of drugs to Daisy Age philosophy to sex. Prince Paul (from Stetsasonic) and DJ Pasemaster Mase led the way on the production end, with dozens of samples from all sorts of left-field artists, the pair didn't just use those samples as hooks or drumbreaks but as split-second fills and in-jokes that made some tracks sound more like DJ records.

De La Soul – 3 Feet High And Rising ( 387mb)

01 Intro 2:17
02 The Magic Number 3:14
03 Change In Speak 2:33
04 Cool Breeze On The Rocks 0:46
05 Can U Keep A Secret 1:38
06 Jenifa Taught Me (Derwin's Revenge) 3:25
07 Ghetto Thang 3:35
08 Transmitting Live From Mars 1:06
09 Eye Know 4:06
10 Take It Off 1:53
11 A Little Bit Of Soap 0:47
12 Tread Water 3:54
13 Potholes In My Lawn 4:14
14 Say No Go 4:20
15 Do As De La Does 1:58
16 Plug Tunin' (Last Chance To Comprehend) 4:13
17 De La Orgee 1:11
18 Buddy (feat. Jungle Brothers, Q-Tip) 4:56
19 Description 1:24
20 Me Myself And I 3:41
21 This Is A Recording 4 Living In A Fulltime Era (L.I.F.E.) 3:16
22 I Can Do Anything (Delacratic) 0:40
23 D.A.I.S.Y. Age 3:58
24 Plug Tunin' (Original 12" Version) 3:41

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Without question the most intelligent, artistic rap group during the 1990s, A Tribe Called Quest jump-started and perfected the hip-hop alternative to hardcore and gangsta rap. In essence, they abandoned the macho posturing rap music had been constructed upon, and focused instead on abstract philosophy and message tracks. Comprised of Q-Tip, Ali Shaheed Muhammad, and Phife, A Tribe Called Quest debuted in 1989 and released their debut album one year later. Second album The Low End Theory was, quite simply, the most consistent and flowing hip-hop album ever recorded, though the trio moved closer to their harder contemporaries on 1993's Midnight Marauders.

Though the abstract rappers finally betrayed a few commercial ambitions for Midnight Marauders, the happy result was a smart, hooky record that may not have furthered the jazz-rap fusions of The Low End Theory, but did merge Tribe-style intelligence and reflection with some of the most inviting grooves heard on any early-'90s rap record. The productions, more funky than jazzy, were tighter overall -- but the big improvement, four years after their debut, came with Q-Tip's and Phife Dawg's raps. Focused yet funky, polished but raw, the duo was practically telepathic . The mammoth track here was the pop hit "Award Tour," a worldwide call-out record with a killer riff and a great pair of individual raps from the pair, it assured that Midnight Marauders would become A Tribe Called Quest's biggest seller. The album was commercially successful, artistically adept, and lyrically inventive; and cemented their status as alternative rap's prime sound merchants, authors of the most original style since the Bomb Squad first exploded on wax.

A Tribe Called Quest – Midnight Marauders (flac 306mb)

01 Midnight Marauders Tour Guide 0:45
02 Steve Biko (Stir It Up) 3:11
03 Award Tour 3:46
04 8 Million Stories 4:21
05 Sucka Nigga 4:05
06 Midnight 4:25
07 We Can Get Down 4:19
08 Electric Relaxation 4:04
09 Clap Your Hands 3:16
10 Oh My God (Feat. Busta Rhymes) 3:29
11 Keep It Rollin' Feat. Large Professor 3:05
12 The Chase, Part 2 (Feat.Consequence)4:02
13 Lyrics To Go 4:09
14 God Live Through 4:15
15 Hot Sex 2:45
16 One, Two, S**t (Feat. Busta Rhymes) 2:45

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RhoDeo 1143 Goldy Rhox 43

Hello, today the 43rd post of GoldyRhox, classic pop rock, in the darklight a UK artist that had a hard time selling this album, in the end he found an entrepreneur planning to start a recordlabel, it became its first release and a launchpad for a space industry 35 years later, a very smart and colorful entrepeneur indeed. Now it would be disingenuous to state if todays mystery album hadn't sold many millions of copies he'd never gotten of the ground but money multipliers and the reputation he garnered from it made it possible for Sir Richard Branson to go a long way, he did very well.

Meanwhile todays mystery artist needn't be pitied but this album overshadowed the rest of his career, recently he got his rights back (after 35 years) and he's rereleased the album in several new formats, not that it hadn't been rereleased and remastered by the previous rightsholder, EMI todays mystery album is the 25th anniversary version. As a typical EMI snub just before they had to release the rights, a cover-mount deal with a sunday newspaper let them add 2,7million discs with the album for the friendly price of half a million into EMI's empty bankaccounts.

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

As Halloween is only days away, i thought something to get in the mood as todays mystery album became the haunting theme to what was the horror movie of 1973, The Exorcist, there was some real synergy there. Still not sure why 'holy' water and the cross would impress otherworldly intruders, these are clearly placebos for the focused mind of the exorcist. ( Any shaman could tell you) . Todays mystery album stayed 5 years in the UK charts , taking a year to reach no 1. The piece was later orchestrated by David Bedford for The Orchestral version and it had three sequels in the 1990s. Finally, the album was fully re-recorded at its 30th anniversary version in 2003.


Goldy Rhox 43 (flac 254mb)

Goldy Rhox 43 (ogg 123mb)


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RhoDeo 1143 Aetix

Hello, Aetix is still at that great southern land, currently the Queen is touring the country shaking hands with the offspring of those that were dumped there in her name. Strange how this country hasn't managed to become a republic yet, something masochistic (slavish) in human nature i guess, or maybe they are under the illusion the queen will protect them against those bad ass aboriginals attacking them with an army of enchanted kangaroo's carrying billions of poisonous spiders in their pouches.

Todays artists certainly didn't lack quality, they even managed getting acknowledged in the UK and western Europe but they were forced to be a long way from home most of the time. Beautiful place, Perth but oh so isolated 4,000 km to do a gig in Sydney go figure thats Moscow-Paris and back, flying bit too expensive certainly in those days. Without a commercial breakthrough becoming a 'serious' citizen was inevitable for most of the band after spending so much unsettled time, so after 12 years the Triffids song ended. Main man David McComb battled on without much success and then he died, likely of heart-failure age 37, he had given it all.

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In 1976 in Perth, high school students, David McComb on acoustic and bass guitars and vocals, and Alan 'Alsy' MacDonald on drums and vocals, formed Dalsy as a multimedia project making music, books and photographs. They wrote and performed songs with Phil Kakulas on guitars and vocals (all three later in The Blackeyed Susans), In May 1978, they became The Triffids, taking their name from the post-apocalyptic novel by John Wyndham.

Between 1978 and 1981, McComb had written over 100 original songs and The Triffids had recorded and independently released six cassette tapes. By 1979, Kakulas and Sinclair had left and were replaced by David's older brother, Robert McComb on violin and guitar, and Will Akers on bass guitar, in 1980 Margaret Gillard had joined on keyboards. Gillard and Akers left in February 1982 and were replaced by Jill Yates on keyboards and a returning Sinclair. April saw the release of Reverie, a four-track EP on Resonant Records. Around this time, due to the small population/market in Perth, the band started the long journey driving from Perth to Sydney, then Melbourne (and back again 8,000 km) to play shows.

Soon after the release of Bad Timing and Other Stories EP, Mushroom Records let the band go. They signed with new Australian independent label, Hot Records. The Triffids' debut album, Treeless Plain, released in November 1983 was a critically acclaimed and brilliant album—described as a "magnificent, muscular piece of work that pounds out simple powerful rock songs – one of the best indie rock albums of its day. The Triffids, without Birt, recorded Lawson Square Infirmary at the Sydney Opera House where they worked with several musicians. The resulting six track country music-style EP was issued by Hot Records in October under the name, Lawson Square Infirmary.

In late August 1984, the band relocated to London, where Treeless Plain and Raining Pleasure had been issued by Rough Trade Records to positive critical reception. With little savings and five return plane tickets due to expire by Christmas, they gave themselves three months to make inroads in the UK, well the made the cover of NME. During the Australian tour in early 1985, the band acquired their final permanent member, Lee, who had performed on the mini-album, Lawson Square Infirmary

During 1985, The Triffids had toured Europe, they were feted by the European press and played from tiny clubs to stadiums supporting Echo & the Bunnymen. A grass roots following developed as they toured western European countries, finding pockets of popularity in: Holland, Greece, Scandinavia, Ireland and Belgium. The band toured as part of the Summer Eurofestival circuit, performing at Glastonbury, Pinkpop, Waterpop, Seinäjoki, Roskilde, T&W Belgium and The Hague's Parkpop.

Unable to raise a major record deal and with low finances, Born Sandy Devotional was recorded in London in August 1985 with Gil Norton producing, and was released in March 1986. According to Ian McFarlane, Australian rock music historian, "It was full of some of the most lonely, spacious songs ever written, and it remains one of the best Australian albums of the 1980s. Their critical success in the UK boosted their profile back in Australia where they recorded In the Pines in early 1986, while awaiting the release of Born Sandy Devotional, which eventuated in March. In the Pines was issued in January 1987 and took The Triffids deeper into folk and country music, with a lo-fi sensibility. The Triffids toured UK later in the year.

The Triffids were courted by several UK major record labels, based on the success of Born Sandy Devotional, eventually signing a three record deal contract with Island Records in the UK in November 1986. Between April and August 1987, the band worked again with Norton, to record Calenture, their Island Records debut. The album, released in February 1988, saw them explore themes of insanity, deception and rootlessness—the title refers to a fever suffered by sailors during long hot voyages.

After, Born Sandy Devotional, they graduated to the festival circuit and played alongside Iggy Pop, Ramones, The Fall, Anthrax and Echo & the Bunnymen. By 1988, their fame was such that NME invited them to contribute a cover version of The Beatles's song, "Good Morning Good Morning" to the tribute album, Sgt. Pepper Knew My Father. The Triffids wanted to record the next album in Australia but, after the Calenture experience, Island wanted to keep the band nearby. The Black Swan was recorded between September and October 1988 in Somerset, UK and produced and engineered by Stephen Street. It was well received by critics, but the commercial success was not overwhelming, which disappointed band members.

Together with being tired from the constant travelling and touring, led to The Triffids being dissolved. The group travelled to the US in 1989 for a pair of New York dates before taking a much needed vacation – one which turned permanent.The band's last Australian shows were towards the end of 1989, with the final at the Australian National University, in Canberra on 14 August 1989. A year later saw the postumous release of the live album, Stockholm, which completed their contractual obligations with Island.

Following the breakup of the band, Alsy MacDonald, Jill Birt and Robert McComb took "proper jobs" as a lawyer, architect and teacher respectively, with MacDonald and Birt marrying.. David McComb and Lee continued to be involved with the Blackeyed Susans, a group David McComb formed as a side band earlier. In 1990, David McComb moved back to London with the aim of pursuing his solo career. In 1992, after no success, he returned to Australia to make some solo recordings for Mushroom Records (featuring both Casey and Lee) releasing just one solo album, Love of Will, in 1994.

Following a tour David McComb suffered substance abuse-related health problems, which ultimately resulted in him undergoing a heart transplant in 1996. Following a car accident in Melbourne, David McComb was admitted to St Vincents hospital. Only 3 days later he died at home, on 2 February 1999, just a few days short of his 37th birthday.

The five remaining members of The Triffids gave a series of performances on 17–20 January 2008, as part of the 2008 Sydney Festival celebrating the music and the memory of David McComb, supported by many australian artists. A feature length documentary of these shows, It's Raining Pleasure, was released in early 2009.

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The Triffids' full-length debut, Treeless Plain, emerged in 83. By then, the group had relocated from Perth to Sydney and solidified its lineup with the addition of Jill Birt (keyboards) and Martyn Casey (bass). Although frontman and principal songwriter David McComb drew on a primarily American rock tradition for inspiration the resulting songs were always inextricably linked to his native Western Australian environment. Indeed, the title of this album refers to the Nullarbor ("No Tree") Plain, the desolate area the band regularly traversed en route to east Australia ( a 32-hour drive).

Comprising material that had been honed in live performance and recorded over a dozen midnight-to-dawn sessions, Treeless Plain underscores the Triffids' knack for blending folk and country with indie rock in a way that anticipated the rise of alt-country in the '90s. McComb's characteristically dark narratives are well-represented many songs remained live favorites until the band's demise. Treeless Plain piqued interest in the U.K. -- where the band ultimately enjoyed the bulk of its success -- and offered incontrovertible evidence of McComb's skill as a songwriter with a unique lyrical and musical vision.

The Triffids - Treeless Plain (rem) (flac 395mb)

01 Red Pony 4:10
02 Branded 2:43
03 My Baby Thinks She's A Train 3:38
04 Rosevel 3:00
05 I Am A Lonesome Hobo 2:14
06 Place In The Sun 2:21
07 Plaything 3:01
08 Old Ghostrider 3:07
09 Hanging Shed 4:02
10 Hell Of A Summer 4:30
11 Madeline 2:36
12 Nothing Can Take Your Place 3:05
Bonus Tracks
13 Interview 1:19
14 Old Ghostrider (Live) 2:51
15 Plaything (Live) 2:48
16 My Baby Thinks She's A Train (Live) 3:21
17 Rosevel (Live) 2:57
18 Hell Of A Summer (Live) 3:40
19 On The Street Where You Live (Live) 2:24

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With Born Sandy Devotional, the Triffids fully realized the potential shown on their earlier releases, Treeless Plain and Raining Pleasure. By 1985 the band was based in London, but despite the fact that this album was recorded 9,000 miles from home, its roots lie deep in the Triffids' native western Australia. While the spectacular cover photograph featuring the township of Mandurah provides a sense of place, David McComb's songwriting evokes his home environment all the more vividly. Indeed, this is the most accomplished work from McComb's tragically short career, encapsulating his talent for creating a lyrical and musical resonance between the stark, isolated geography of western Australia and universally recognizable, desolate interior landscapes.

Born Sandy Devotional certainly is dark, its lyrics replete with death, psychological turmoil, and despair, but it's never maudlin or banal. McComb's commanding delivery combines with expansive, string-adorned arrangements to elevate many of these songs to the level of high emotional drama; haunting keyboards, vibes, and "Evil" Graham Lee's pedal steel add atmospheric detail. The elusive quality of McComb's writing makes his stories all the more compelling and memorable as he offers listeners fragmented, unresolved scenes instead of comfortable, complete narratives. Born Sandy Devotional was a landmark release for the Triffids. More than that, it stands as a testament to McComb's status as one of Australia's most gifted rock songwriters.

The Triffids - Born Sandy Devotional (rem) ( flac 438mb)

01 The Seabirds 3:20
02 Estuary Bed 4:49
03 Chicken Killer 3:51
04 Tarrilup Bridge 3:21
05 Lonely Stretch 5:02
06 Wide Open Road 4:08
07 Life Of Crime 4:24
08 Personal Things 2:57
09 Stolen Property 6:47
10 Tender Is The Night (The Long Fidelity) 3:53
Bonus Tracks
11 The 107 3:28
12 When A Man Turns Bad 4:35
13 Of The Plaza 2:40
14 White Shawl 1:08
15 Convent Walls 4:04
16 Time Of Weakness 3:12
17 Born Sandy Devotional 5:07
18 Wish To See No More 1:59
19 Tender Is The Night (The Long Fidelity) (Alt Vers.) 3:42

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The unpredictability and diversity of The Black Swan undoubtedly challenged longtime Triffids fans. With producer Stephen Street, the band trades Calenture's wide-screen orchestrations and grand-scale arrangements for a more direct, more honed sound, also making greater use of the burgeoning digital technology of the late '80s. And while previous Triffids albums were never homogeneous, on The Black Swan they used a greater variety of musical instruments than their previous albums with bouzouki, güiro and accordion and a more obvious use of synths and programming. The title of the album was originally going to be Disappointment Resort Complex but was renamed to The Black Swan, which according to McComb is based on the 1952 novel (of the same name) by Thomas Mann. While the Triffids explore new ground and refuse to settle into a formulaic identity, the one constant here is the strength of McComb's songwriting, which displays new levels of confidence and adventurousness. Indeed, the evocative "Too Hot to Move, Too Hot to Think," the austere, spooky "Blackeyed Susan," and the moving, country-flavored ballad "New Year's Greetings" are career highlights. The Black Swan isn't the band's most consistent, seamless statement; like its namesake, the album is a curious, contradictory beast with nomadic tendencies. Above all, it offers a fascinating glimpse of the myriad directions the Triffids might have taken, had this not been their swan song.

The Triffids - present The Black Swan (flac 297mb)

01 Too Hot Too Move, Too Hot To Think 4:11
02 American Sailors 0:39
03 Falling Over You 3:42
04 Goodbye Little Boy 3:26
05 Bottle Of Love 3:34
07 Butterflies Into Worms 3:18
08 New Year's Greetings (The Country Widower) 5:42
09 Good Fortune Rose 3:32
10 One Mechanic Town 3:09
11 Blackeyed Susan 4:01
12 The Clown Prince 4:36
13 Fairytale Love 3:52

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RhoDeo 1143 Roots

Hello, we're still on that island with a huge place in the global music catalog, Jamaica. A production hothouse and they say the Weed makes you slow and lazy-go figure. Without the ganja driven reggae music Jamaica would have remained a Caribbean backwater and dare i say would never have given us Bolt, the fastest man in the world.

Some old school reggae today the Maytals basically invented the term reggay, The Abyssinians were a serious bunch of rastafari that unfortunately didn't succeed in the big league as money, status and religion is a toxic mix for any ensemble.

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Toots and the Maytals, originally called simply The Maytals, are one of the best known ska and reggae vocal groups. Formed in the early 1960s when ska was hot, the Maytals had a reputation for having strong, well-blended voices and a seldom-rivaled passion for their music. Frontman Hibbert's soulful style led him to be compared to Otis Redding".

Frederick "Toots" Hibbert, the frontman of the group, was born in May Pen, Clarendon, Jamaica in 1945, the youngest of seven children. He grew up singing gospel music in a church choir, and moved to Kingston in 1958 at the age of thirteen. In Kingston, Hibbert met Henry "Raleigh" Gordon and Nathaniel "Jerry" Mathias, forming in 1961. The Maytals first had chart success recording for producer Clement "Coxsone" Dodd at Studio One. With musical backing from Dodd's house band, The Skatalites, the Maytals' close-harmony gospel singing ensured success, overshadowing Dodd's other up-and-coming vocal group, The Wailers.

After staying at Studio One for about two years, the group moved on to do sessions for Prince Buster before recording with Byron Lee in 1966. With Lee, the Maytals won the first-ever Jamaican Independence Festival Popular Song Competition with their original song "Bam Bam" However, the group's musical career was interrupted in late 1966 when Hibbert was arrested and imprisoned for 18 months.He stated that he was not arrested for ganja, but whilst bailing a friend. He also stated that he made up the number 54-46 when writing "54-46 That's My Number" about his time in jail.

Following Hibbert's release from jail towards the end of 1967, the Maytals began working with the Chinese Jamaican producer Leslie Kong, a collaboration which yielded a string of hits throughout the late 1960s and early 1970s.These included "Do the Reggay", one of several songs released in 1968 to first use the word 'reggae' (spelled 'reggay') in a Jamaican recording. "Pressure Drop"; "54-46 That's My Number" the 1969 Jamaica festival's popular song winner; "Sweet and Dandy"; and "Monkey Man", the group's first international hit in 1970. By 1971, they had not only become the biggest act on the island, they were also (thanks to signing a recording contract with Chris Blackwell's Island Records) international stars.In 1972 they won their third Jamaica festival popular song with "Pomps and Pride".The group was also featured twice in the soundtrack to The Harder They Come, the 1972 film starring Jimmy Cliff, named as one of Vanity Fair's Top 10 soundtracks of all time.

After Kong's death in 1971, the group continued to record with Kong's former sound engineer, Warrick Lyn. Their re-instated producer Byron Lee renamed them Toots & the Maytals. The group released three best-selling albums produced by Lyn and Blackwell of Island Records, and enjoyed international hits with Funky Kingston in 1973 and Reggae Got Soul in 1975.

Toots and the Maytals' compositions would be given a second airing in 1978-80 during the reggae punk and ska revival period in the UK, In 1982, Toots & the Maytals' "Beautiful Woman", reached number one in New Zealand, but the group had already broken up. They reformed in the early 1990s to continue touring and recording successfully.

In 2005, the group released True Love, an album consisting of re-recorded versions of their earlier hits, it won the Grammy Award that year for best reggae album. In 2006, they recorded a reggae/ska version of Radiohead's "Let Down" for the tribute album, Radiodread, by the Easy Star All-Stars. The album was a song for song makeover of the English rock band's album OK Computer into reggae, dub and ska. In August 2007 Toots & the Maytals released Light Your Light, which featured re-workings of older songs again", as well as new material. Toots & the Maytals hold the current record of number one hits in Jamaica, with a total of thirty one.

In March 2009 it was announced that Toots & the Maytals would be performing alongside Amy Winehouse, for their shared record label, Island Records' 50th anniversary. Winehouse had covered the band's "Monkey Man", and the act were supposed to support her at the Shepherds Bush Empire in London on 31 May 2009. However, Winehouse had succumbed again, leaving the Maytals to play at the more intimate Bush Hall, round the corner from the Empire, to a sell-out crowd.

Toots & The Maytals - In The Dark (flac 177mb)

01 Got To Be There 3:10
02 In The Dark 2:51
03 Having A Party 2:54
04 Time Tough 4:28
05 I See You 3:20
06 Take A Look In The Mirror 3:22
07 Take Me Home Country Roads 3:26
08 Fever 2:33
09 Love Gonna Walk Out On Me 3:19
10 Revolution 3:37
11 54-36 3:31
12 Sailing On 3:36

Toots & The Maytals - In The Dark (ogg 87mb)

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The vocal trio was originally formed in 1968 by Bernard Collins and Donald Manning. Their first song was "Satta Massagana", it's a Rastafarian hymn sung partly in the ancient Ethiopian Amharic language. They recruited a third vocalist, who was still at school and often unable to attend rehearsals; He was soon replaced by Donald's brother Lynford Manning.

"Satta Massagana" was first recorded for producer Clement "Coxsone" Dodd in March 1969, but he decided against releasing it, seeing no commercial potential for what he saw as a song constituting cultural subversion.In 1971, the group purchased the master tapes from Dodd for 90 pounds and released it on their own Clinch label, the single becoming a massive success, prompting Dodd to release his own instrumental and deejay versions. The group released further takes on the song on Clinch by Tommy McCook, Big Youth, and Dillinger, as well as their own "Mabrak", featuring the group reciting passages from the Old Testament. The group's second release, "Declaration of Rights", featured Leroy Sibbles on backing vocals, and like their first was a huge hit in Jamaica, (and subsequently in the international market) .

The group continued to record throughout the 1970s for producers including Lloyd Daley, Tommy Cowan, and Geoffrey Chung and their debut album, Forward on to Zion was produced by Clive Hunt and released in 1976. The follow-up, Arise (1978) was recorded under stressful conditions with internal rivalries threatening to break up the group, and after the album's release, Collins left the band, to be eventually replaced by Carlton Manning.This line-up performed at the 1979 Reggae Sunsplash festival, but split up the following year.

The original line-up reunited in 1998 and went on to record new material, including the singles "African Princess" and "Swing Low" and the album Reunion, although Collins was not involved in songwriting at this time.

The Abyssinians debut album has had a very complex release history. The first unofficial editions, very limited in quantity, were released by Clive Hunt in 1975. The first official release occurred in Jamaica in 1976 on Pentrate Label, and shortly after in the United States on Jam Sounds. The following years, 1977 and 1978, saw the album released by three labels under the title Forward On To Zion. The album would see numerous re-releases over the next decade, in 1993 the album was released on compact disc for the first time by Heartbeat Records. This edition included four previously unreleased bonus tracks.And once again in 2007 as a deluxe edition which included four additional bonus tracks.

The Abyssinians - Satta Massagana (flac 368mb)

01 Declaration Of Rights 3:26
02 The Good Lord 3:25
03 Forward Unto Zion 3:46
04 Know Jah Today 2:56
05 Abendigo 3:33
06 Y Mas Gan 3:49
07 Black Man's Strain 2:45
08 Satta Massagana 3:29
09 I And I 3:34
10 African Race 2:53
11 Leggo Beast 3:10
12 Peculiar Number 4:00
13 Reason Time 2:55
14 There Is No End 3:22
15 Jerusalem 2:17
16 Leggo Beast Dub 2:58
17 Abendigo (Extended Mix) 5:57
18 Poor Jason Whyte (Extended Mix) 4:18

The Abyssinians - Satta Massagana (ogg 140mb)

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RhoDeo 1143 Illuminatus 8th

Hello, hope you've had an enjoyable weekend, sportsnews of the day, the death of the gung ho driving moto GP star Simoncelli who was run over exactly at the soft spot during a crash, considering how often these guys walk away after hi speed crashes very bad luck indeed. Let's not forget scores of anonymous motorcyclists around the world died as well today and everyday. Other big sports news was the trashing United got from City in Manchester, I'm sure banksters see this as a good omen in their stand off with united Europe.

Today the final chapters of the Golden Apple with the conclusion of the 8th trip, Hod chapters 7 till 10

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The three parts of the trilogy are subdivided into five "books" named after the five seasons of the Discordian calendar (Chaos, Discord, Confusion, Bureaucracy, The Aftermath). This book is not designed to be easy to digest. You are not meant to internalize its message thoughtlessly. It's funny, contradictory, and self-aware, and it's hard for people who take themselves seriously to get caught up in a book that, for the most part, doesn't. I could say this book deserves to be more than a cult classic, its cultural influence will continue to seep in with or without grander acclaim.

The plot meanders between the thoughts, hallucinations and inner voices (both real and imagined) of its many characters, as well as through time (past, present and future)— sometimes in mid-sentence. Much of the back story is explained via dialogue between characters, who recount unreliable, often mutually contradictory, versions of their supposed histories. There are even parts in the book in which the narrative reviews and jokingly deconstructs the work itself.

The Illuminatus ! Trilogy was performed by the incomparable Ken Campbell and Chris Fairbank, and broadcast live in London on ResonanceFM in June 2006. In 1976, Ken Campbell adapted Illuminatus! for the stage - a 10 hour epic which went on to open the Royal National Theatre in London under the patronage of Her Majesty Elizabeth II. Chris Fairbank played Simon Moon, among other characters. 30 years and 23 Fernando Poos since Ken and Chris first breathed life into Shea and Wilson's masterpiece and Illuminatus! seems even more startlingly relevant and chock full of laughter than ever before. Enjoy the Trips!

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The trilogy's rambling story begins with an investigation by two New York City detectives (Saul Goodman and Barney Muldoon) into the bombing of Confrontation, a leftist magazine, and the disappearance of its editor, Joe Malik. Discovering the magazine's investigation into the assassinations of John F. Kennedy, Robert F. Kennedy, and Martin Luther King, Jr., the two follow a trail of memos that suggest the involvement of powerful secret societies. They slowly become drawn into a web of conspiracy theories. Meanwhile, the magazine's reporter, George Dorn — having been turned loose without support deep in right-wing Mad Dog, Texas — is arrested for drug possession. He is jailed and physically threatened, at one point hallucinating about his own execution. The prison is bombed and he is rescued by the Discordians, led by the enigmatic Hagbard Celine, captain of a golden submarine. Hagbard represents the Discordians in their eternal battle against the Illuminati, the conspiratorial organization that secretly controls the world. He finances his operations by smuggling illicit substances.

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The Golden Apple, Bureaucracy, Hod, 8th trip (7-10) (75 min, 27mb)

08-07 Mama Sutra2 (18:28)
08-08 Telemachus Sneezed (17:36)
08-09 Tobias Knight (20:43)
08-10 Look Into The Pool (18:42)

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previously

The Eye In The Pyramid Chaos, Discord (183mb)

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Sundaze 1143

Hello, Occupy rallies all over, as the western world seems to finally have woken up to the insane games bankers are playing, or are they, believe it or not most trade 75% is completely computer controlled, so called High Frequency trading where even fysical distance to the exchange is extremely important, hundreds of a second give a big advantage,. Ironic isn't it the world is ruined by computers performing their algorithms. You can understand now why these City and Wallstreet bankers oppose even a minute tax as it would slash their timing advantage. High Frequency trading should be banned immediately, it's insane and amoral.

Today is all about the Germans, no not whether they will keep propping up the Euro (banks defacto) but their work on the ambient scene, no less then 3 stars appear today, Klaus Schulze again this time in league with that other big name Pete Namlook who's made a big splash with his label Fax releasing his solowork and many scores of collaborations. He's done 23 thusfar with the third star of the day Move D amazing output and what's even more astonishing the quality of the work is high though obviously there's some variation.

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Pete Namlook (born 1960 as Peter Kuhlmann in Frankfurt, Germany) is one of the most influential figures of electronic and ambient music in the 1990s. Inspired by Oskar Sala, one of the pioneers of electronic music, Namlook focused on the untapped potential of analogue synthesizers, often developed or extended in his laboratory.

Freshly educated in composition from Goethe University, Pete Namlook (inversion of koolman which translates as Kuhlman) started his career in Frankfurt playing in the electronic ensemble Romantic Warrior that was loosely part of the new age and electronic scene. They cut Romantic Warrior (Frog, 1985), Himalaya (Frog, 1986), Planet (Blue Flame, 1988).

Namlook is also involved in synth design, such as the Hartmann ‘Neuron’, and has an Aladdin’s cave of synths, past and present which he shares with his many collaborators. These have included the likes of Robert Gorl of DAF fame, Richie Hawtin, Bill Laswell, Klaus Schulze, Biosphere (aka Gier Jennsen), Pascal F.E.O.S and shortly, Speedy J under his Jochem Paap ambient moniker.

Its hard to characterise Namlook’s music because it covers so much ground. It can be ambient, old school electro, environmental, trance, techno, jazz or ethnic. His use of sound is innovative with faultless production values and his output has a life affirming energy, often quite beautiful.

" I guess the sounds that I use are very important, they inspire me to create new music, new harmonic and melodic structures. As Schönberg showed with his composition 'Farben' within his variations for Orchestra Op.16. Sound 'matters' .. you cannot say that the harmonic structure is more important. It is the sound in connection with the tones that bring music to its highest beauty Schönberg called it 'Klangfarbenmelodie'. This idea I used for my compositions a lot. "

In 92 Kuhlmann assumed the identity of Pete Namlook, opened hiw own Fax label and made his first album, Silence (Fax, 1992), a collaboration with Dr Atmo Namlook understood that producing was more important than recording and he set out to discover, encourage and promote music by ambient electronic artists. During the first year alone, his label released over 100 records and CDs. The label name refers to the "fax" as a medium for fast and cheap distribution of ideas. Its humble weekly releases are equivalent to sending a fax to a group of friends.

His double albums are containers of lengthy ambient suites reminiscent of Germany's kosmische school of the 1970s and of Brian Eno's late 1970s "discreet" music, but also influenced by his two true love: eastern classical music. No musical genre was a direct influence, though: Namlook has always claimed that Nature was his main teacher.

Namlook has been criticized for adopting a quality-over-quantity approach -- his label's release schedule was up to a CD per week for more than a year, and currently produces 24 per year, many of them Namlook's own -- but he's succeeded in attracting a devoted, ravenous following that allows him and his label to continue releasing new music. Fax has released more than 250 full-length CDs, dozens of 12"s, and several compilations -- including the sprawling four-CD Ambient Cookbook, which remains the best introduction to the label . With distributors on three continents and a small universe of websites devoted to reviewing, trading, and collecting Fax titles, the label and its proprietor have long since passed the stage of phenomenon and crossed over to institution.

Musically, Namlook draws most recognizably on the synthscapes of artists such as Klaus Schulze and Hans Jochim Roedelius, combing the droning electronics of those artists with, depending on the project or collaborator, ethnic instrumentation (tabla, tambouri, oud), environmental samples (rain, voices, arriving and departing trains, wildlife), sweeping electronic treatments, and minimal acoustic and electronic rhythms. His collaborations tend to outdo his solo recordings, although a few of his solo works are among Fax's finest.

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The Evolution of the Dark Side of the Moog is a collection of pieces from Vol. 1 through Vol. 8 of that glorious e-music series from Pete Namlook, Klaus Schulze, and -- on half of them -- Bill Laswell. This CD traces the growth of the series and includes the now-famous Robert Moog introduction from Vol. 5. These three visionaries have created a series that rates as some of the best space music ever to grace a disc changer. Gathering pieces from the entire set into one disc is a stroke of genius and as exciting as anything. This is neither psychoactive nor psychoacoustic. It is almost perfect space music for cadets and even for casual fans. It is essential even for collectors with the entire set on hand already.

Schulze / Namlook - Evolution of DSOTM (flac 488mb)

01 Intro Voice Robert A. Moog 0:12
02 I - Wish You Were There (Excerpt) 3:32
03 II - A Saucerful Of Ambience (Excerpt) 15:01
04 III/3 - Phantom Heart Brother 5:25
05 III/4 - Phantom Heart Brother 6:17
06 IV/7 - Three Pipers At The Gates Of Dawn 2:39
07 IV/8 - Three Pipers At The Gates Of Dawn (Feat Bill Laswell) 8:45
08 V/8 - Psychedelic Brunch (Feat Bill Laswell) 8:03
09 VI/6 - The Final DAT 10:28
10 VII/6 - Obscured By Klaus 7:57
11 VIII/2 - Careful With The AKS, Peter 1:09
12 VIII/6 - Careful With The AKS, Peter 8:42

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David Moufang (born 1966, Heidelberg, Germany) is a German ambient techno musician. He records with his partner, Jonas Grossmann as Deep Space Network project and his solo releases as Move D. His other projects include Earth to Infinity, Reagenz, Koolfang, and Conjoint.In addition to his solo recordings for Source, Fax, and Compost, Move D's David Moufang has also partnered with Jonas Grossman (as Deep Space Network) and Jonah Sharp (as Reagenz) to produce many of the best explorations of leftfield techno and trip-hop recorded during the '90s. In 1992, he founded Source Records (based in Heidelberg, Germany) with Grossman, and the pair released their first material together that same year, as Earth to Infinity. One year later, Moufang and Grossman released their first Deep Space Network LP, Big Rooms, and the album received American distribution through Instinct. Moufang branched out in a big way during 1994-95: he released the solo album Solitaire on Fax, the Move D debut Kunststoff on Source, and collaborated with Spacetime Continuum's Jonah Sharp as Reagenz for a self-titled album on Reflective.

Moufang's often confusing timeline continued in 1996 with another Move D release (Exploring the Psychedelic Landscape) and two more DSN works, Deep Space Network Meets Higher Intelligence Agency and Traffic: Live at the Love Parade. In 1997, he inaugurated yet another project, an ambient-jazz unit known as Conjoint.

Starting with 96's Exploring The Psychedelic Landscape until 2010's Stranger he has released 23 albums with Pete Namlook, all on Fax

Move D / Namlook V - Wired (flac 380mb)

01 Softwired 27:38
02 Short Return Of The Astrogator 0:21
03 Hardwired - Tangent 8:39
04 Hardwired - Hypotenuse 9:33
05 Hardwired - Asymptote 4:39
06 Wear Your Love Out 8:21
07 1969 8:44

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One of the better collaborations, recommended to listen this while watching the rising sun, as the music really feels like a warm surrounding glow.

Move D / Namlook - X - Let The Circle Not Be Broken (flac 404mb)

01 Sea Of Holes 32:06
02 Springtime 22:18
03 Escape From Berlin 1:53
04 Der Strahlende Verlierer 8:24
05 Heidelberg, Texas 12:10

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RhoDeo 1142 Grooves

Hello, more rap coming your way today, after the New York party rap of the early eighties came the 'conscious' response later that decade. Most serious Hip Hop historians mark 1988 as the official start of the "conscious" Hip Hop movement with the release of Public Enemy's "It Takes a Nation to Hold us Back" followed by Boogie Down Production's "By Any Means Necessary. " To jack a lyric from KRS, "these two albums started consciousness in rap. For a four year period, it seemed that the prophesied "revolution" was just around the corner and the dreams of "Huey P" were about to be realized at any moment. However, 20 years later, we see that the promised revolution never came, replaced by a devolution of not only Hip Hop but black culture, in general.

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The Ultramagnetic MC's formed in 1984. Their first single was "To Give You Love" (1985) on the Diamond International label. The group's worldwide buzz started with "Ego Trippin'," its first 12-inch single on Next Plateau Records in 1986 that was the first hip hop song to feature the "Synthetic Substitution" drum break sample. The group's next single was "Traveling At The Speed of Thought (Original)"/"M.C.'s Ultra (Part Two)" followed by "Funky/Mentally Mad," one of the most sought-after 12-inch singles of its career. Funky was based on a Joe Cocker piano sample later used as the basis for Dr. Dre and Tupac's California Love. It was released in 1987. This led to the release of the group's first album.

The Ultramagnetic MC's released a new school classic in 1988, Critical Beatdown, introducing many new sampling techniques. Many believe that without the group's primary producer, Ced Gee, the golden era of sampling may have looked very different. Ced, while uncredited, also produced the majority of Boogie Down Productions' seminal Criminal Minded. These albums are among the first to use "chopped" samples, rearranged and edited to change context. Both albums also feature many James Brown samples, which became very prominent in Hip Hop in ensuing years. KRS-One has been quoted as saying that he was very close to joining Ultramagnetic MC's early on. Paul C. was also a major contributor to Critical Beatdown, producing "Give The Drummer Some," and engineering most of the album.

The group went on a hiatus for several years, breaking up temporarily in 1990. They returned in 1992, with the album Funk Your Head Up. The album received a muted response, in part because many tracks had been given a commercial sheen, having been remixed by outside producers at their label's insistence. In 1993, the group released the album The Four Horsemen, which featured guest production and vocals by Godfather Don, who produced solo Kool Keith sessions in 1992. Some of those tracks appear on The Four Horsemen, and also on The Cenobites LP. The former was the last official album the Ultramagnetic MC's released until their 2007 reunion.

Kool Keith and Tim Dog reunited on the album Big Time, released under the name Ultra in 1997. Kool Keith went on to record many solo CDs, including several under aliases such as Dr. Octagon and Dr. Dooom. His abstract rhymes and syncopated, off-beat delivery influenced many rappers. In 2004, the original versions of the Next Plateau singles were finally released on CD as bonus tracks on the remastered Critical Beatdown. In a 9 December 2005 interview on Houston's Late Nite Snax radio show, Kool Keith confirmed rumours that the Ultramagnetic MC's had reformed and recorded a new album. The Best Kept Secret was released January 2007. Although the album's cover features the original line-up of Kool Keith, Ced Gee, Moe Love and TR Love, TR (along with Tim Dog) is notably absent.

Ultramagnetic MC's – Critical Beatdown ( 383mb)

01 Watch Me Now 4:47
02 Ease Back 3:24
03 Ego Trippin' (Original 12" Version) 5:26
04 Moe Luv's Theme 2:14
05 Kool Keith Housing Things 3:15
06 Travelling At The Speed Of Thought (Remix) 1:51
07 Feelin' It 3:31
08 One Minute Less 1:58
09 Ain't It Good To You 3:33
10 Funky (Remix) 3:40
11 Give The Drummer Some 3:43
12 Break North 3:24
13 Critical Beatdown 3:42
14 When I Burn 2:32
15 Ced-Gee (Delta Force One) 2:49
Ultramagnetic MC's – Critical Beatdown Bonus ( 198mb)
16 Funky (Original 12" Version) 4:47
17 Bait (Original 12" Version) 4:26
18 A Chorus Line (Original 12" Version) 6:04
19 Travelling At The Speed Of Thought (Hip House Club Mix) 4:22
20 Ego Trippin' (Bonus Beats) 1:11
21 Mentally Mad (Original 12" Version) 5:05

Ultramagnetic MC's – Critical Beatdown ( 185mb)

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Boogie Down Productions was a hip hop group that was originally composed of KRS-One, D-Nice, and DJ Scott La Rock. DJ Scott La Rock was murdered on August 27, 1987, months after the release of BDP's debut album, Criminal Minded. The name of the group, Boogie Down, derives from a nickname for the South Bronx, one of the five boroughs of New York City. Their debut LP Criminal Minded contained frank descriptions of life in the South Bronx of the late 1980s thus setting the stage for what would eventually become gangsta rap.

While Criminal Minded contained vivid descriptions of South Bronx street life, BDP changed after Scott's death. Producer Lee Smith was dropped and KRS-One adopted "The Teacha" moniker and made a deliberate attempt at creating politically and socially conscious Hip-Hop. BDP were hugely influential in provoking political and social consciousness in Hip-Hop however they were sometimes overshadowed by the political hip hop group Public Enemy. Original member and Criminal Minded co-producer, Lee Smith, was dropped by Parker in pursuit of a deal. Signing with Jive/RCA Records, Parker recorded eight albums for that label in a 10-year period, eventually dropping the Boogie Down Productions moniker and billing himself as a solo performer.The membership of BDP changed continuously throughout its existence, the only constant being KRS-One. BDP as a group essentially ended because KRS-One began recording and performing under his own name rather than the group name. In the liner notes on BDP's 1992 final album Sex and Violence, KRS-One writes: "BDP in 1992 is KRS-One, Willie D and Kenny Parker!

Released in early 1987, Criminal Minded heavily sampled records from James Brown and AC/DC and also had a dancehall reggae influence. The album is also credited with providing a prototype for East Coast gangsta rap. For instance, the cover, which showcases Parker and Sterling surrounded by an arsenal of weapons, was hip-hop’s first major release to feature members brandishing firearms. Initially, the album sold at least several hundred thousand copies; however, the relationship between the group and B-Boy Records quickly deteriorated when the label, headed by Jack Allen and Bill Kamarra, was allegedly slow to pay royalties. A lawsuit was launched, which was eventually settled out-of-court. Meanwhile, Criminal Minded became notoriously hard to find, falling in and out of print every few years, surfacing with a different distributor every time. Eventually, the Boston-based independent label LandSpeed Records landed the distribution rights to Criminal Minded, hence re-release in 2002. An expanded re-release titled The Best of B-Boy Records: Boogie Down Productions includes longer versions of the albums tracks and several 12-inch singles that didn't make Criminal Minded's original pressing. In 2003, the album was ranked number 444 on Rolling Stone magazine's list of the 500 greatest albums of all time.

Boogie Down Productions – Criminal Minded ( 277mb)

01 Poetry 4:19
02 South Bronx 4:31
03 9mm Goes Bang 4:10
04 Word From Our Sponsor 4:25
05 Elementary 4:26
06 Dope Beat 4:13
07 Remix For P Is Free 4:15
08 The Bridge Is Over 4:21
09 Super-Hoe 4:16
10 Criminal Minded 4:25

Boogie Down Productions – Criminal Minded ( 114mb)

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Public Enemy rewrote the rules of hip-hop, becoming the most influential and controversial rap group of the late '80s and, for many, the definitive rap group of all time. Building from Run-D.M.C.'s street-oriented beats and Boogie Down Productions' proto-gangsta rhyming, Public Enemy pioneered a variation of hardcore rap that was musically and politically revolutionary. With his powerful, authoritative baritone, lead rapper Chuck D rhymed about all kinds of social problems, particularly those plaguing the black community, often condoning revolutionary tactics and social activism. In the process, he directed hip-hop toward an explicitly self-aware, pro-black consciousness that became the culture's signature throughout the next decade.

Chuck D (born Carlton Ridenhour, August 1, 1960) formed Public Enemy in 1982, as he was studying graphic design at Adelphi University on Long Island. He had been DJing at the student radio station WBAU, where he met Hank Shocklee and Bill Stephney. All three shared a love of hip-hop and politics, which made them close friends. Shocklee had been assembling hip-hop demo tapes, and Ridenhour rapped over one song, "Public Enemy No. 1," around the same time he began appearing on Stephney's radio show under the Chuckie D pseudonym. Def Jam co-founder and producer Rick Rubin heard a tape of "Public Enemy No. 1" and immediately courted Ridenhour in hopes of signing him to his fledgling label.

Chuck D initially was reluctant, but he eventually developed a concept for a literally revolutionary hip-hop group -- one that would be driven by sonically extreme productions and socially revolutionary politics. Enlisting Shocklee as his chief producer and Stephney as a publicist, Chuck D formed a crew with DJ Terminator X (born Norman Lee Rogers, August 25, 1966) and fellow Nation of Islam member Professor Griff (born Richard Griffin) as the choreographer of the group's backup dancers, the Security of the First World, who performed homages to old Stax and Motown dancers with their martial moves and fake Uzis. He also asked his old friend William Drayton (born March 16, 1959) to join as a fellow rapper. Drayton developed an alter ego called Flavor Flav, who functioned as a court jester to Chuck D's booming voice and somber rhymes in Public Enemy.

Public Enemy's debut album, Yo! Bum Rush the Show, was released on Def Jam Records in 1987. Its spare beats and powerful rhetoric were acclaimed by hip-hop critics and aficionados, but the record was ignored by the rock and R&B mainstream. It's an expert, fully realized record of extraordinary power, but it pales in comparison with what came merely a year later, by any other artist an album this furious, visceral, and exciting would unquestionably be heralded as a classic. From Public Enemy, this is simply a shade under classic status. Their second album, It Takes a Nation of Millions to Hold Us Back, was impossible to ignore. Under Shocklee's direction, PE's production team, the Bomb Squad, developed a dense, chaotic mix that relied as much on found sounds and avant-garde noise as it did on old-school funk. Similarly, Chuck D's rhetoric gained focus and Flavor Flav's raps were wilder and funnier. A Nation of Millions was hailed as revolutionary by both rap and rock critics, and it was .

"Fear of a Black Planet" was released to enthusiastic reviews in the spring of 1990, and it shot into the pop Top Ten as the singles "911 Is a Joke," "Brothers Gonna Work It Out," and "Can't Do Nuttin' for Ya Man" became Top 40 R&B hits. For their next album, 1991's Apocalypse 91...The Enemy Strikes Black, the group re-recorded "Bring the Noise" with thrash metal band Anthrax, the first sign that the group was trying to consolidate their white audience. Apocalypse 91 was greeted with overwhelmingly positive reviews upon its fall release, and it debuted at number four on the pop charts, but the band began to lose momentum in 1992 as they toured with the second leg of U2's Zoo TV tour and Flavor Flav was repeatedly in trouble with the law. In the fall of 1992, they released the remix collection Greatest Misses as an attempt to keep their name viable, but it was greeted to nasty reviews.

Public Enemy was on hiatus during 1993, as Flav attempted to wean himself off drugs, returning in the summer of 1994 with Muse Sick-n-Hour Mess Age. Chuck D retired Public Enemy from touring in 1995 as he severed ties with Def Jam, developed his own record label and publishing company, and attempted to rethink Public Enemy. In 1996, he released his first debut album, The Autobiography of Mistachuck. As it was released in the fall, he announced that he planned to record a new Public Enemy album the following year. Before that record was made, Chuck D published an autobiography in the fall of 1997. During 1997, Chuck D reassembled the original Bomb Squad and began work on three albums. In the spring of 1998, Public Enemy kicked off their major comeback with their soundtrack to Spike Lee's He Got Game, upon its release, the record received the strongest reviews of any Public Enemy album since Apocalypse '91.

Before the retail release of Public Enemy's seventh LP, There's a Poison Goin' On..., the label made MP3 files of the album available on the Internet. After a three-year break from recording Public Enemy released Revolverlution, a mix of new tracks, remixes, and live cuts. The CD/DVD combo It Takes a Nation appeared in 2005. The multimedia package contained an hourlong video of the band live in London in 1987 and a CD with rare remixes. The new album New Whirl Odor also appeared in 2005. The odds-and-ends collection Beats and Places appeared before the end of 2006.How You Sell Soul to a Soulless People Who Sold Their Soul??? arrived in the summer of 2007.

Public Enemy – It Takes A Nation Of Millions To Hold Us Back ( 367mb)
01 Countdown To Armageddon 1:41
02 Bring The Noise 3:47
03 Don't Believe The Hype 5:20
04 Cold Lampin With Flavor 4:13
05 Terminator X To The Edge Of Panic 4:30
06 Mind Terrorist 1:18
07 Louder Than A Bomb 3:37
08 Caught, Can We Get A Witness ? 5:03
09 Show Em Watcha Got 1:57
10 She Watch Channel Zero ?! 3:50
11 Night Of The Living Baseheads 3:16
12 Black Steel In The Hour Of Chaos 6:25
13 Security Of The First World 1:22
14 Rebel Without A Pause 5:05
15 Prophets Of Rage 3:15
16 Party For Your Right To Fight 3:27

Public Enemy – It Takes A Nation Of Millions To Hold Us Back ( 133mb)

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once elsewhere
Public Enemy - Yo ! Bum Rush The Show (87 ^ 99mb)
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RhoDeo 1142 Goldy Rhox 42

Hello, today the 42nd post of Goldy Rhox, classic pop rock, in the darklight a US group that had build a considerable status in it's niche, todays mystery album transformed them from cult metal heroes into global superstars....bringing a little refinement to their undoubted power. Five years before the band stood at the point of collapse after a bandmember died at a tourbus crash. They battled on and since todays mystery album every one of their subsequent albums entered at no 1 in the US and elsewhere , a regular cashcow for the industry, but why share all that money? Free of their contract they plan to release their next album, the way last weeks mystery artist is doing it, thru the internet.

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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.

Todays mystery album was released on August 12, 1991, it was the bands 6th album and as they seemed lack inspiration to come up with another title, and keeping it simple it became an eponymous one, same can be said for it's almost featureless black cover. Rumor has it they'd been using tons of illicit drugs and preferred recording separately but their producer wouldn't have any of that, the poor man got tons of slack by the bands fans who considered the album too soft and commercial and introducing classical strings had them gasp for air, those poor headbangers...Still it was a costly production $ 1,000,000 clearly the band had build up considerable credit with the record company, a credit that would be vastly extended as todays mystery album debuted at number one in ten countries, and spent four consecutive weeks at the top spot of the Billboard 200, making it the band's first album to top album charts. It's the group's best-selling album to date, selling more than 22 million copies worldwide. The album was certified 15x platinum (diamond) by the RIAA on November 13, 2009. It makes you wonder why the band made so much fuzz and suing Napster for enabling their users to share the band's work, (money... nothing else matters) it certainly damaged their reputation with the fans,but got them showered by the music powers that be (coke buddies). The band promoted the album with a series of tours. In 2003, the album was ranked number 252 on Rolling Stone's list of The 500 Greatest Albums of All Time.


Goldy Rhox 42 (flac 398mb)
Goldy Rhox 42 (ogg 144mb)


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RhoDeo 1142 Aetix

Hello, Aetix is still at that great southern land, they too have rallied in Melbourne, Sydney, Brisbane and joined the global Occupy movement. Much has been said by the media (elite stooges) that the movement lacks an agenda and basically was senseless or worse, deriding the protesters as lazy and workshy, completely beside the truth, but then ever since 9/11 the press have proven to have become completely opposed to reporting any truths that would upset the powers that be. Admittedly those that tried quickly got the sack and being blacklisted in the States these days means the Gestapo (Homeland security) is always on your back.

Back to the Occupy Movement, what is it that brings them out-

We, the people, rallying in Occupy Together protests around the world are battling first and foremost for the right to life, in the face of elitist governments and corporations doing their best to depopulate this globe through machinations hardly known to the public.As one people, united, we the 99% acknowledge the reality. That the future of the human race requires the cooperation of its members together with a system that protects our rights upon corruption of that system. No true democracy is attainable when the process is determined by economic power. We come together at a time when corporations run our governments. They place profit over people, self-interest over justice and oppression over equality. Because our governments have failed in their responsibilities, it is up to the individuals to protect their own rights and those of their neighbors. We are rallying for the restoration of human dignity, where people have been treated like cattle by the various elites of the world in their pursuit of wealth and power.

Todays band combines the jangling guitar pop of '60s icons like the Byrds with the opaque wordplay of frontman Steve Kilbey to create a lush, melancholy brand of neo-psychedelia rich in texture and melody.

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From the early 1970s, Steve Kilbey and Peter Koppes had played in several glam rock bands in Canberra, Australia. In April 1980 they formed a three-piece with Nick Ward on drums and began performing. After Marty Willson-Piper (hailing from Liverpool) joined them, they took the name 'The Church'. Allegedly, the name was chosen largely because it was unclaimed, but later allusions to the band's spiritual interests by Kilbey hint that it was less coincidental. Their debut album, Of Skins and Heart, was recorded late in 1980, produced by Chris Gilbey and mixed by Bob Clearmountain. Almost all tracks were written by Steve Kilbey. A second single, "The Unguarded Moment," was released alongside the album in March 1981, it appeared on the charts, thanks to this publicity, the band went on their first national tour.

The success of "Of Skins and Heart" manager Chris Gilbey to present the band to Carrere (europe) and Capito (US), which both went on to release it. In both regions, the album was renamed and repackaged with slightly altered track listings. Capitol also released an edited version of "The Unguarded Moment" which was a minute shorter than the original - a decision that didn't much please the band. The second album this The Blurred Crusade, was released 1982, this time both mixed and produced by Bob Clearmountain. Stylistically more complex than the band's debut, it is widely considered a more consistent and sophisticated work. The first single, "Almost With You" resulted in a second hit for the band, and has since become one of the band's trademark songs.

Due to this renewed success, the Church went on a second Australian tour. Carrere released the album in Europe as well, bringing in enough sales to convince the band to tour there for the first time. But Capitol, the band's American label, declined to release The Blurred Crusade and demanded the Church write more radio-friendly material (3 min tracks) . in 83 they released the self produced "Seance" thought to be too dark and cryptic by the fans, but that ticked of the reviewers in Europe and the US. The last two albums had done well thru import in the US and when Warner released the packaged double EP Remote Luxury, their first US tour came about, a mixed result as it didnt make the any money. After a sabbatical the band returned with Heyday in 86, the album was well recieved but sold too little for EMI Australia so they got dropped, revenge was sweet as the next year, after a disturbing encounter with the LA life style where they recorded Starfish, the single Under the Milky Way' became a huge international hit . Of cause pressure was on to top that with their next album Gold Afternoon Fix, which didnt deliver the return of marketing investment. Returning to Australia they licked their wounds and wrote priest=aura, considered their best work, though at the time it got a mixed reception, without marketing support and Seatle grunge taking the limelight the album marked the end of the Church's commercial achievement.

The band went off to diverse side projects and upon release of 94 Sometime Anywhere, the band had transformed musically , the recordlabelsaw no future in it and dropped them. With new drummer Tim Powles, the Church issued 1996's Magician Among the Spirits on the tiny White label; a subsequent tour marked Koppes' return to the fold. Hologram of Baal followed in 1998, and a year later the Church released the covers collection Box of Birds. After Everything Now This and the double album Parallel Universe both appeared in 2002. The group signed with Cooking Vinyl in 2003, releasing Forget Yourself, a magical collection of new songs that harkened back to their late eighties days. They continue to be prolific and their latest studio album Uninvited, Like the Clouds (06) was recently followed by, a follow up to their un-plugged El Momento Descuidado (04), El Momento Siguiente (07).2009's album title of Untitled #23 is a vague signal that the Church is returning to the spacy, hazy territory of their heyday on this, their 23rd album.

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The Church's fourth album, Heyday, released in 1986, was a pivotal experience for the band, as it marked the first time they had attempted to write an album collectively (previous to this, Steve Kilbey had served as the primary song-writer), and they did so despite the fact that going in to the recording sessions, the band was on the verge of disintegration.
What had made Heyday, so distinctive was its orchestrated sound, as producer Peter Walsh had made liberal use of multi-tracking instruments and vocals to lend the album its oceanic depth and ethereal textures, presenting both a brilliant slew of songs and some fantastic performances, the quartet created a flat-out fantastic record. While the process of creating Heyday gave The Church a creative second-wind, the album failed to break through commercially; as a result, the band was unceremoniously jettisoned by their record label, EMI.

The Church - Heyday (flac 341mb)

01 Myrrh 4:19
02 Tristesse 3:29
03 Already Yesterday 4:14
04 Columbus 3:50
05 Happy Hunting Ground 5:31
06 As You Will 4:45
07 Tantalized 4:59
08 Disenchanted 3:55
09 Night Of Light 4:47
10 Youth Worshipper 3:43
11 Roman 3:51
12 The View 3:41

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Gold Afternoon Fix should have been a consolidation of the band's increased commercial profile and cachet after "Under the Milky Way," Unfortunately, the Church's original choice for producer -- John Paul Jones, who likely would have helped oversee a total masterpiece -- was rejected, leading to another session with Wachtel. This time the balance between accessibility and art didn't succeed as planned. The end result is an album that's sometimes fantastic, sometimes merely there. After that things move between hit and miss, but there's enough character coming through to ensure a pleasant listen.

The Church - Gold Afternoon Fix ( flac 410mb)

01 Pharaoh 3:54
02 Metropolis 4:44
03 Terra Nova Cain 5:10
04 City 3:22
05 Monday Morning 2:46
06 Russian Autumn Heart 4:06
07 Essence 5:14
08 You're Still Beautiful 3:07
09 Disappointment 6:10
10 Transient 4:22
11 Laughing 4:35
12 Fading Away 3:40
13 Grind 6:07

The Church - Gold Afternoon Bonus Fix ( flac 313mb)

01 Much Too Much 3:51
02 Take It Back 4:03
03 Desert 2:50
04 Forgotten Reign 4:20
05 Hunter 4:24
06 Dream 2:56
07 Ride Into The Sunset 4:32
08 You Got Off Light 3:29
09 The Feast 4:49
10 Metropolis (Acoustic) 4:18
11 Grind (Acoustic) 5:37

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Probably the most obscure album title yet from the Church, and definitely one of the least likely to provide a catchy radio single, but with this defiant reclaiming of their own destiny, the band came up with its best album to date. If not as gloriously catchy as Heyday, Priest = Aura shows the Church fully in charge of creating evocative, poetic, and gripping music with a distinctly unsettling edge. Part of the strength of Priest = Aura is its excellent sequencing, organized from start to finish. The opening song, "Aura," finds the band coming in after an atmospheric synth start, Kilbey's sly lyric equally applicable to the band's recent situation and standing as a cryptic invocation of strange experiences away from home.

The Church - Priest=Aura (flac 403mb)

01 Aura 6:59
02 Ripple 6:03
03 Paradox 3:59
04 Lustre 5:45
05 Swan Lake 2:26
06 Feel 3:55
07 Mistress 4:12
08 Kings 4:35
09 Dome 4:00
10 Witch Hunt 1:27
11 The Disillusionist 6:24
12 Old Flame 1:37
13 Chaos 9:34
14 Film 3:56

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once elsewhere (Sunshine outback--been deleted but now here in remastered flac)

The Church - The Blurred Crusade ( 82 ^ 408mb)

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