Sundaze 1240

Hello, time for some Sundaze to go with a lazy sunday afternoon, todays artist is a bit of an oddball as he hasn't released anything these past 8 years, despite being rather successful the previous five. I suppose making music babies became to stressful for him, it's not a nine to five job. After all with creative processes it's always in your head, 24/7 and that can become unsettling, anyway with his last track here he announced "Good Bye Forever". Likely he's got a decent job now and dabbles for himself in free time. And that's OK by me... Here's some Arovane for you'll  NJoy !


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Zahn was born in Germany in 1965. He first began experimenting with rudimentary audio equipment and keyboards when he was 15. Over the years he continued experimenting and developing his sound, even learning to play the clarinet at one point. In the late 80s he was dealing increasingly with synthesizers and turntablism and deconstruction of hip hop beats. In 1989 Zahn began creating music with a collective of electronic musicians in Munich. This collective, known as S.A.M., was dedicated to creating live, free, electronic improvisational music and operated in Germany.

Throughout the 90s Zahn lived in Berlin and continued creating electronic music. After working for a radio station for a time he caught the attention of electronic music label Din. He released his first tracks as the Arovane EP there, it also released the first of German dub minimalist Stefan Betke's work as Pole. Stylistically, Arovane's work hearkens back to the insular melodic electro of early Autechre, combining interesting, highly syncopated machine box rhythms with warm, delicate synth textures that evoke a gauzy, somewhat nostalgic mood contrasted by the sharpness of the rhythms. It gained him a degree of notoriety and acclaim mainly in Germany and then throughout the world in the IDM, ambient, and electronic music scene.

Indeed, while Autechre's Amber has become a touchpoint of sorts for a whole new generation of laptop do-it-yourselfers whose music rarely rises above tribute, Zahn's Arovane work is a legitimate extension of an aesthetic left largely unfinished, and is some of the most interesting and accomplished music of its kind. Since the productive early Arovane years of 1999 and 2000 there have been a collaboration with Phonem and one additional album release, Lilies, in 2004. It may be significant that the last track on that album is called "Good Bye Forever" – no further release from Arovane has surfaced after the release of Lilies.

Arovane can possibly be compared to a blend between the robotic glitch sound of early Autechre and the expansive open synth-laden fields of Boards of Canada. Zahn and his music are often referred to as being melodically advanced.

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Atol Scrap features a full hour of some of the most intriguing electronic listening music recorded during the late '90s. Uwe Zahn's productions balance two competing sides of electronics with apparent ease. On one side, the warm and inviting; on the other, the relentlessly technical and complex. There've been plenty of producers who've excelled at either heavily processed rhythms or haunted melodies (think Autechre and Boards of Canada, respectively), but Atol Scrap documents the emergence of that rare artist who displays astonishing skills at both. Zahn flashes his Berlin credentials with the calm, faraway ambience of "Scapen Te," similar to Chain Reaction producers like Monolake, Pole, and Porter Ricks. On several tracks ("Norvum," "Revart Amx"), though, he experiments with complex rhythms, revealing ties to the growing crowd of DSP (digital signal processing) artists led by Autechre and Oval.

Arovane - Atol Scrap (flac  344mb)

01 Nonlin.r 1:31
02 Tascel_7 5:42
03 Thaem Nue 7:29
04 Ambelio 5:49
05 Scapen Te 6:16
06 Norvum 7:43
07 Christian Kleine - Revart Amx (Rmx Arovane) 5:01
08 Failed 5:15
09 Amine 5:28
10 R/Elet 6:41
11 Atol Scrap 7:24

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One should never underestimate a creative force that truly doesn't come into its own until at least the second time around. This is why Arovane's Tides should be a testament to waiting to see how something develops rather than letting it all fade away too soon. It is -- surprisingly -- a lovely, lilting album of electronic class. Few people could have predicted the quantum leap of quality between the debut and this release. As soon as the first track -- "Theme" -- begins, one knows things are different: a harpsichord trills over waves of big, slow beats, a languid pace lives on yet with a progression that keeps it breathing, and everything sounds, well, correct. The goal here seems to be to try and outdo Boards of Canada. So you get the ambient thumps of songs like "A Secret" (with enough high swishes to leave you wanting more), the rumbling, slow breaks of songs like "The Storm" (with a layering of melodies that demands to be appreciated), or even the subtle crescendo of songs like "Epilogue." Indeed, if Arovane's debut was trying to be magnetic with piddling about, this follow-up is just hypnotic due to good old fashioned songwriting. Again, it's true that one shouldn't underestimate second albums. Tides might not capture that sheer dynamic exquisiteness of a release like Music Has the Right to Children, yet its ideals are often just as splendorous. Surprisingly short, sweet, and not too many bloops and bleeps. This is just about everything that minimalist electronic musicians should try and emulate. Tides is beautiful work.

Arovane ‎- Tides (flac  230mb)

01 Theme 3:40
02 Tides 5:32
03 Eleventh! 4:45
04 Tomorrow Morning 1:51
05 Seaside 3:35
06 A Secret 4:39
07 The Storm 7:23
08 Deauville 5:43
09 Epilogue 2:43

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Four years after the last proper Arovane album -- a collaboration with Phonem and a compilation of previously 12"-only material intervened -- Lilies will also allegedly be followed by another stretch of relative inactivity for producer Uwe Zahn. Just as 2000's Tides followed a trip to France, Lilies was made after some time spent in Japan, though there isn't a whole lot of evidence of that; excepting a few slight samples and one contribution from vocalist Kazumi, the album is very much a continuation of Tides, with many of the same motifs present (fluttering harpsichords, tingling hi-hats, soft-smear strings, fine keyboard patterns). Bursting with florescent melodies propelled by creative beat-making, these nine tracks (in a very tight, digestible 37 minutes) reaffirm that, despite Zahn's beginnings as a follower and scores of nondescript peers working in roughly the same field, the producer has carved out a sound of his own -- one that's as discernible as Boards of Canada's oft-filched (but never successfully cloned) take on downtempo IDM.

Arovane ‎– Lilies (flac  212mb)

01 Ten Hours 3:01
02 Windy Wish Trees 3:19
03 Passage To Nagoya 2:07
04 Cry Osaka Cry 5:08
05 Pink Lilies (Voc Kazumi) 4:00
06 Lilies 5:27
07 Tokyo Ghost Stories 5:07
08 Instant Gods Out Of The Box 4:35
09 Good Bye Forever 3:48

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RhoDeo 1239 Beats

Hello, Beats is having a Chilean German in the spotlight today, Ricardo Villalobos. Njoy !

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 I Think I should leave the introductions over to the artist himself..

“At the age of three I moved to Germany. There was a military coup [General Augusto Pinochet overthrew the democratic government of Salvador Allende in 1973] and we had to go, it was a forced situation. My mother is German so that was an easy decision. I found Germany to be very nice. For sure it was complicated, and I had problems with the culture and the language at first, but after a while I found out how to behave in Germany, how to fix those problems, and then it was really cool. My whole family is extremely musical. My Uncle, my Grandma, my step-Mother… it is called a family parra; a traditional, musical family. Also around me was a collection of scientists, mathematicians; my Father and Grandpa. It was a complete division between mathematics and music. Now, I hear some people saying that music is like ‘the mathematics of feelings’. I believe there is something like a brotherhood between music and mathematics.”

As far back as the early '90s, Ricardo Villalobos began building an impressive discography of 12" releases on respected dance labels like Playhouse and Perlon, and around the turn of the decade he was one of the most revered producers and DJs in dance music. In his youth, the Chilean-born Villalobos moved with his family to Germany in order to avoid the military dictatorship of Pinochet, and he eventually fell in with the country's fertile house community. A minimalist at heart, he trotted the globe to study percussion in order to apply his knowledge to his productions, which almost always sound remarkably expansive despite their simplicity. In addition to his own solo material, he has recorded with fellow expatriate Dandy Jack as Ric y Martin and with Luciano as Sense Club; additionally, he has taken part in Markus Nikolai's Hombre Ojo project. Two excellent mixes -- 2002's Love Family Trax and 2003's Taka Taka -- were released as his profile was significantly increasing, but the apex of his career was Alcachofa, a 2003 full-length released on Playhouse. A second full-length, Thé au Harem d'Archimède, arrived on Perlon in 2004 and was nearly as astonishing as its predecessor. Long-form releases that followed include the double 12" Achso (Cadenza, 2006), the two-track/72-minute Fizheuer Zieheuer (Playhouse, 2006), the compilation Salvador (Frisbee Tracks, 2006), the Villalobos-production-centric mix Fabric 36 (Fabric, 2007), and Vasco (Perlon, 2008). In 2011, Villalobos released Re:ECM, in which he and fellow electronic producer Max Loderbauer rework tracks from such artists as Arvo Pärt, Miroslav Vitous, Bennie Maupin, John Abercrombie, and others.

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It's wholly appropriate that this album is titled Alcachofa (artichoke). Ricardo Villalobos is like an artichoke -- a more subtle fruit that's consumed by peeling off its fleshy leaves and delicately skimming the pulp off the inner surface. Out of all the microhouse producers, Villalobos is the one who has thrived the most on skeletal structures and the slight but all-important subtleties that accompany them. That continues here, with burbling, spacious constructs swarming all throughout your headspace. Unlike most house, there isn't a great sense of redemption, spirituality, or joy in Villalobos' productions. Besides as tracks that are destined to be caned during DJ sets, they are also more likely to be utilized in home-listening settings. Villalobos could've easily thrown together a compilation of previously vinyl-only highlights -- from releases on Perlon, Playhouse, Lo-Fi Stereo, Frisbee Tracks, and others -- that would've made for one of the best dance full-lengths of 2003. Instead, he came up with this almost entirely new set, and the result is exactly the same. He is in complete control of his machines at all times, and he makes them do strange things that no one else can. Pitchfork Media placed Alcachofa at #165 on The Top 200 Albums of the 2000s. Resident Advisor voted Alcachofa at #1 on the Top 100 Albums of the 2000s. Stylus Decade placed Alachofa at #73 on the Top Albums of the 2000s

Ricardo Villalobos ‎– Alcachofa (flac  420mb)

01 Easy Lee 10:06
02 Y.G.H. 8:16
03 Bahaha Hahi 7:35
04 I Try To Live (Can I Live) 9:21
05 Waiworinao 8:10
06 Theogenese 9:19
07 What You Say Is More Than I Can Say (Edit) 8:02
08 Dexter 9:05
09 Fools Garden (Black Conga) 7:42

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Thé Au Harem d’Archimède feels like a baffled-hand answer to the anthemic status of Villalobos’ 2003 tracks “Easy Lee” and “Dexter”. There’s nothing here that’s quite as catchy or instantly navigable - and that’s not negative. On Thé Au Harem d’Archimède, Villalobos shifts from overt to covert. He’s still the master of the slow crawl, but everything’s under water or glass. It’s an album that plays more with the soft impact of slowly mutating percussive patterns, bowel-tremor bass that spreads like an oil slick over the surface of your body, and the occasional odd flash of colour: In “Hireklon”, pattering handclaps and a moody set of pulsations are interrupted by the ill-logic of atonal acoustic guitar that sounds. It’s a startling moment precisely because it works so well.

There’s a real pleasure in these gelatinous, liquefied forms, even at their most reduced and flushed-out. At its weakest, Thé Au Harem d’Archimède sounds like crib-notes for Alcachofa  but more often than not, it extrapolates other fields of possibility, stringing together a series of plateaus, extending the ideas that Villalobos sent forth in his early 12”’s for the Perlon label. For all the tension built into Villalobos’ music, it rests perfectly.

Ricardo Villalobos ‎- Thé Au Harem D'Archimède (flac  376mb)

01 Hireklon 9:01
02 Serpentin 9:46
03 For All Seasons 4:27
04 Théorème D'Archimède 6:50
05 Hello Halo 8:12
06 Temenarc 2 6:01
07 Temenarc 1 7:27
08 Miami 9:00
09 True To Myself 14:18

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The 36th volume in the popular Fabric series of DJ-mix CDs is unique. Mixed by Ricardo Villalobos, the CD is comprised entirely of new, nowhere-else-available tracks produced either by the iconic Chilean/German DJ alone or with a collaborator. So, in a way, Fabric 36 serves as both a DJ mix as well as a new studio album. The tracks are spare, multi-layered, and ever-changing. In fact, without the track numbers it can be tricky to pinpoint where the transitions are from one to the next -- a very fluid, engrossing mix this is, to such an extent that the entire CD feels like one long track that ebbs and flows (and unfortunately growing quite dull during the seemingly never-ending 12-minute "Andruic and Japan" halfway through). Fans of Villalobos (especially cultists) will find plenty to enjoy here; on the other hand, fans of the Fabric series (rather than of Villalobos himself) may find this particular volume too esoteric for their taste. Either way, Fabric 36 is a welcome entry in the discography of Villalobos, whose studio output had slowed considerably in recent years as his renown grew to iconic status and his in-person DJing consequently grew in demand. While Fabric 36 is neither on a par with Villalobos' best DJ mixes (Taka Taka, 2003) nor his best studio albums (Alcachofa, 2003), it's an outstanding effort nonetheless and should be of interest to anyone who enjoys creative electronic dance music, particularly of the minimal variety.

Ricardo Villalobos ‎– Fabric 36 (flac  428mb)

01 Groove 1880 1:30
02 Perc And Drums 3:35
03 Moongomery 6:07
04 Farenzer House 5:59
05 M.Bassy (feat Patrick Ense) 2:26
06 Mecker 2:33
07 4 Wheel Drive (feat Jorge Gonzáles) 5:30
08 Fizpatrick (feat Patrick Ense) 6:30
09 Andruic & Japan (feat Andrew Gillings) 12:29
10 Organic Tranceplant 0:59
11 Prevorent 2:00
12 Fumiyandric 2 (feat  Fumiya Tanaka) 2:30
13 Won't You Tell Me 6:14
14 Primer Encuentro Latino Americano 9:44
15 Chropuspel Zündung 6:15

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Just a couple months prior to the release of Alcachofa, his first production-oriented full-length, Ricardo Villalobos put out his second mixed set of lustrous house goodness. Much more varied but just as steadily flowing as Love Family Trax, Taka Taka is as winning as Dan Bell's The Button-Down Mind Strikes Back!, and it also sits alongside that disc and Tobias Thomas' Smallville as glowing showcases for microhouse circa 2003. Like those mixes from Bell and Thomas, Taka Taka is rooted in a particular production style, and throughout, that style is linked to a series of minor but unexpected deviations that make for some of the most exciting moments. Take, for instance, the way Brothers' Vibe's "Años Libre"  is melded into the cold metallic waves of Vainqueur's "Elevation 2" for over four minutes. Shortly after "Años Libre" evaporates, Walter Jones' deep house track "All God's Children" rolls in with a punishing human-drummer beat that's eventually joined in tandem by a programmed one. This frenetic shake-up eventually gives way to another brick of quirked-out microhouse, including tracks from Villalobos, False, and Luciano, but the set winds up being capped off by a trio of productions that fall in line with more traditional, full-bodied, less-clipped house -- all without falling victim to overtly sophisticated smoothness. Those who have been privy to Villalobos' turntable performances should be easily won over by this natural display of slick selection-making and mixing. There are few in his realm.

Ricardo Villalobos - In The Mix (Taka Taka) (flac  514mb)

01 Joris Vermeiren - Atomium 2:27
02 Ark - Sweet Chat Rio (Dimbiman Rmx) 3:00
03 Melchior Productions - All There Is
04 Cabanne - Le Crapin 2:31
05 Dimbiman - "V" 1:44
06 John Shananigans - Charlie's On The Dancefloor 2:53
07 Jabberjaw - I Speak For Some Of That 3:15
08 Claro Intelecto - Contact 2:59
09 Mathew Jonson - Magic Through Music 4:06
10 Baeks - Lost Summer 3:32
11 Brothers' Vibe - Manos Libre 2:27
12 Vainqueur - Elevation 2 :51
13 Walter Jones - All God's Children (Maurice Fulton Rmx) 3:41
14 Kat Williams - That Track By Kat 4:50
15 Daniel Bell - Squirrel Bait 4:27
16 False - You Wouldn't 1:34
17 Ricardo Villalobos - Dexter 6:37
18 Errorsmith - Stiff Neck 2:50
19 Luciano - Mr. Chancleta 3:39
20 Koro Osanago - Mini-Klik (Random Factor Rmx) 4:44
21 Soul Capsule -  Law Of Grace 5:14
22 Joris Vermeiren - Evoluon 5:06

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RhoDeo 1239 Goldy Rhox 76

Hello, today the 76th post of Goldy Rhox, classic pop rock. In the darklight today are an English art rock band formed in 1971 by Bryan Ferry, who became the group's lead vocalist and chief songwriter, and bassist Graham Simpson. The other members are Phil Manzanera (guitar), Andy Mackay (saxophone and oboe) and Paul Thompson (drums and percussion). Former members include Brian Eno (synthesizer and "treatments"), and Eddie Jobson (synthesizer and violin). Although the band took a break from group activities in 1976 and again in 1983, they reunited for a concert tour in 2001, and have toured together intermittently since that time.

The band was one of the first rock music groups which created and maintained a carefully crafted look and style that included their stage presentation, music videos, album and single cover designs, and promotional materials such as posters, handbills, cards and badges. They were assisted in this by a group of friends and associates who helped to sculpt the classic band's 'look'—- notably fashion designer Antony Price, hair stylist Keith Mainwaring, photographer Karl Stoecker, the group's "PR consultant" Simon Puxley

The band's debut album, produced by King Crimson's Pete Sinfield, was the first in a series of increasingly sophisticated album covers, art-directed by Ferry in collaboration with his friend Nick De Ville. The album artwork imitated the visual style of classic "girlie" and fashion magazines, featuring high-fashion shots of scantily-clad models Amanda Lear, Marilyn Cole and Jerry Hall, each of whom had romances with Ferry during the time of their contributions, as well as model Kari-Ann Muller who appears on the cover of the first Roxy album but who was not otherwise involved with anyone in the band, but who later married Mick Jagger's brother Chris.

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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.

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Their fifth album, todays mystery album, contained their only U.S. hit, "Love Is the Drug". (The singer said the song came to him while kicking the leaves during a walk through Hyde Park.) At this time he was involved in a relationship with Texas-born supermodel Jerry Hall. In 2003, the album was ranked number 371 on Rolling Stone magazine's list of the 500 greatest albums of all time. The cover features Bryan Ferry's then-girlfriend, model Jerry Hall on rocks near South Stack, Anglesey.

After the concert tours in support of the mystery album in 1976, Roxy Music disbanded. Their live album Viva! was released in August 1976. During this time the singer released two solo records on which some bandmembers performed, and Manzanera reunited with Eno on the critically acclaimed one-off 801 Live album.


Goldy Rhox 76   (flac 283mb)

Goldy Rhox 76   (ogg 100mb)


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previously (25/11/10)

Goldy Rhox 02 (flac 275mb)

Goldy Rhox 02 (ogg 100mb)

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RhoDeo 1239 Aetix

Hello, Aetix time again and todays band has been highlighted previously in the Wavetrain-Sheffield Sons post June 2007, more than 5 years ago that is so time to renew acquintance with The Human League, some classic work here and a rarity EP. Njoy !

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After "The Future" Martyn Ware and Ian Marsh carried on as a duo for a short while, recording instrumentals but quickly decided they really needed a vocalist, they invited Martyn's friend Philip Oakey, who was then working as a hospital porter, when Philip came up with lyrics for Being Boiled, his future as lead vocalist was secured. And he certainly looked the part. Determined to produce pop music in a modern and original way, the group then spent two thousand pounds on new hi-tech gear. Although their financial situation forced them to buy most of it under 'hire-purchase' agreements, they were soon the proud owners of a two-track tape recorder and a 100 System Synthesizer (with sequencer module).

With this new line-up, the group decided to change their name. They chose The Human League, a name taken from a science-fiction board game called Star Force.They then spent time writing and recording material for a demo tape in a disused factory on Devonshire Lane in the centre of Sheffield. The demo tape featured Being Boiled, Circus Of Death and Toyota City, all recorded in mono on their new two-track tape recorder and all later commercially released.

Following the release of The Dignity Of Labour, the group decided they needed stronger backing than the tiny Fast Product label could offer. So, keeping Bob Last on board as their manager, they decided to put together a new demo tape with which to impress the major record companies. A number of record companies were soon offering The Human League recording contracts, the group chose to sign with Virgin Records, who had had a hand in the release of The Dignity Of Labour and whose publishing arm had recently signed the group.

The release of the group's ground-breaking debut album, Reproduction, in October 1979 was met with a number of unenthusiastic reviews. Although promoted with the subsequent release of the Empire State Human single, taken from the album, sales of Reproduction were substantially lower than Virgin had anticipated. As a result, Virgin decided to cancel all but two dates of the group's proposed UK tour.

Their next challenge was to persuade Virgin to finance the establishment of their own personal recording studio in Sheffield. Virgin were eventually convinced, realising that it would cost less to set up the group with their own studio than it would to hire other studios for future recordings..The League spent the early part of 1980 recording their second album the group's electronic sound was now beginning to grow again in popularity, as interest in the burgeoning New Romantic / Futurist scene developed.

When the group's second album, Travelogue, was released in May that year, it was more warmly received than Reproduction, reaching Number 16 in the UK charts and eventually spending an impressive 42 weeks in the Top 75.The album was generally brighter in tone than its predecessor, and most agreed that Travelogue demonstrated that the group were finally fulfilling their potential. In support of the album, the group undertook what would be their final UK tour, this was followed by dates in mainland Europe.

In November 1980, Martyn and Ian announced the formation of their British Electric Foundation production company.This left Philip and Adrian to deal with the group's forthcoming European tour, which was due to begin about two weeks later. Philip and Adrian agreed with Martyn and Ian that they would continue to use the Human League name, on the condition that Martyn and Ian would receive 1% of the League's future royalties, though the group's financial debt to Virgin would remain the responsibility of the new League line-up

The two began seeking new members for the impending live shows. Philip famously recruited two teenage girls (Susanne Sulley and Joanne Catherall) his girlfriend spotted dancing at Sheffield's Crazy Daisy disco. Even Bob had some concerns about the new format of the group, but staunchly defended Philip's decision in the face of negative reaction from Virgin Records. Bob: "I understood that Phil had very interesting instincts which should be backed, but the fights I had with Virgin!

The two groups now found themselves in the slightly strange position of having to share the studio they jointly owned, taking turns to use the equipment to record demos for their next albums. During this time, much bitching took place in the music press, mainly from the B.E.F. corner...The bickering eventually subsided and Bob Last continued to manage the new incarnation of The Human League, even though he was now a director and shareholder in the B.E.F.

The new-look Human League went on to huge worldwide success with the single Don't You Want Me and the third Human League album, Dare!, which sold five million copies and is hailed by many as one of the definitive pop albums of the 1980s. The group (now essentially just Philip, Susanne and Joanne, plus collaborators) have also scored hits with most subsequent albums and singles. Adrian eventually left the League after the making of 1986's Crash album, during which he found that producers Jimmy Jam and Terry Lewis had no need for his keyboard contributions, having drafted in session musicians. Adrian returned to film-making and has worked as a director in the fields of both film and music video.


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The trio of Ian Craig Marsh, Martyn Ware, and Philip Oakey all handled vocals and synthesizers to create a set of grim, rigid tracks that revealed a greater lack of humanity than even Kraftwerk. Reproduction contains nine tracks of electronic music/synthpop with some elements of industrial music, and was recorded during six weeks at The Human League's studio in Sheffield. The recordings were produced by Colin Thurston, who had previously worked on some key new wave recordings such as Iggy Pop's Lust for Life and the second Magazine album, and would go on to produce numerous hit albums of the 1980s, most notably for Duran Duran.

The album was a commercial failure upon its initial release in October 1979, but it was re-issued and charted almost two years later in August 1981, earning a Silver disc by the end of the year and peaking at no.34 in early 1982. The album spent a total of 23 weeks on the album chart and was later certified Gold by the BPI in 1988.

The Human League ‎– Reproduction (flac  409mb)

01 Almost Medieval 4:34
02 Circus Of Death 3:51
03 The Path Of Least Resistance 3:27
04 Blind Youth 3:16
05 The Word Before Last 3:56
06 Empire State Human 3:10
07 Morale... You've Lost That Loving Feeling 9:30
08 Austerity/Girl One (Medley) 6:38
09 Zero As A Limit 4:01
10 Introducing 3:13
11 The Dignity Of Labour Part 1 4:21
12 The Dignity Of Labour Part 2 2:46
13 The Dignity Of Labour Part 3 3:49
14 The Dignity Of Labour Part 4 3:49
15 Flexi Disc 4:08
16 Being Boiled (Fast Version) 3:45
17 Circus Of Death (Fast Version) 4:47

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Dare! captures a moment in time perfectly -- the moment post-punk's robotic fascination with synthesizers met a clinical Bowie-esque infatuation with fashion and modern art, including pop culture, plus a healthy love of songcraft. The Human League had shown much of this on their early singles, such as "Empire State Human," but on Dare! they simply gelled, as their style was supported by music and songs with emotional substance. That doesn't mean that the album isn't arty, since it certainly is, but that's part of its power -- the self-conscious detachment enhances the postmodern sense of emotional isolation, obsession with form over content, and love of modernity for its own sake. That's why Dare! struck a chord with listeners who didn't like synth pop or the new romantics in 1981, and why it still sounds startlingly original decades after its original release -- the technology may have dated, synths and drum machines may have become more advanced, but few have manipulated technology in such an emotionally effective way.

Of course, that all wouldn't matter if the songs themselves didn't work smashingly, whether it's a mood piece as eerie as "Seconds," an anti-anthem like "The Things That Dreams Are Made Of," the dance club glow of "Love Action (I Believe in Love)," or the utter genius of "Don't You Want Me," a devastating chronicle of a frayed romance wrapped in the greatest pop hooks and production of its year. Yet, for all of its shining brilliance, it wasn't a pop supernova -- it's simply the brightest star on this record, one of the defining records of its time.

Credited to "The League Unlimited Orchestra" in homage to Barry White's Love Unlimited Orchestra, Love and Dancing carried a sleeve note that read, "This album contains instrumental versions of previously released songs by the Human League specially remixed and produced by Martin Rushent." (Actually, one song was new, and there are a few vocal choruses.) The songs had been released previously on Dare, so if you always thought "Don't You Want Me" was a great track with obnoxious vocals, this is the album for you.

The Human League - Dare / Love And Dancing (flac  520mb)

01 The Things That Dreams Are Made Of 4:18
02 Open Your Heart 3:56
03 The Sound Of The Crowd 4:07
04 Darkness 3:59
05 Do Or Die 5:25
06 Get Carter 1:02
07 I Am The Law 4:08
08 Seconds 4:59
09 Love Action (I Believe In Love) 5:02
10 Don't You Want Me 4:01

League Unlimited Orchestra - Love And Dancing

11 Hard Times 5:42
12 Love Action (I Believe In Love) 5:12
13 Don't You Want Me 7:13
14 The Things That Dreams Are Made Of 5:09
15 Do Or Die 4:36
16 Seconds 2:26
17 Open Your Heart 2:50
18 The Sound Of The Crowd 2:40

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A grab bag of extended mixes and otherwise neglected moments from the Human League's catalog, focusing on Dare! through Romantic?, Original Remixes and Rarities is a useful accessory for fans but -- unsurprisingly -- it's not the least bit essential for anyone else. Highlights include the extended versions of "Sound of the Crowd," "Don't You Want Me" (which is also instrumental), "Life on Your Own," and "The Lebanon," as well as a dub of "(Keep Feeling) Fascination" and the relatively irascible version of "Being Boiled" that appeared on Travelogue (the only inclusion that dates from the League's pre-coed lineup).

The Human League - Original Remixes and Rarities (flac  487mb)

01 Being Boiled (Album Version) 4:16
02 The Sound Of The Crowd (12" Version) 6:30
03 Hard Times 4:55
04 Non-Stop 4:18
05 Don't You Want Me (Dance Mix) 7:29
06 Mirror Man (Extended Version) 4:22
07 You Remind Me Of Gold 3:38
08 (Keep Feeling) Fascination (Improvisation) 6:10
09 Total Panic 3:29
10 The Lebanon (12" Extended) 5:53
11 Life On Your Own (Extended) 5:47
12 Together In Electric Dreams (Giorgio Moroder With Philip Oakey) 6:23
13 Human (Extended Version) 5:05
14 Heart Like A Wheel (Extended Mix) 6:49

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YMO Versus The Human League is an EP released in Japan and Asia in April 1993. It was released by Alfa Records and is a collaboration between Japanese electropop/synthpop band Yellow Magic Orchestra and British synthpop band The Human League.
It features 4 tracks including the song "Kimi Ni Mune Kyun" (Trans: I Love You) by Yukihiro Takahashi featuring English lyrics written by Philip Oakey and vocals by Susan Ann Sulley and Joanne Catherall. It was the first release by The Human League after their abrupt dismissal from their 14 year long recording contract with Virgin Records 10 months previously. The song was later included in The Human League's "Tell Me When" in 1994.

YMO Versus The Human League (flac  141mb)

01 Behind The Mask 3:48
02 Kimi Ni Mune Kyun 3:54
03 Kimi Ni Mune Kyun (Extended Version) 5:52
04 Fire Cracker - Tong Poo 7:51

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RhoDeo 1239 Roots

Hello, as i checked the Emmys last night it seems to have been a very politically motivated event with Homeland picking up all the big prices ( btw season 2 starts next week) , the Sarah Palin story in "Game Change" and even the other big winner in comedy "Modern Family" can be seen as politically correct, the rest of the attendants got to divide the scraps. Hey Ho

This week another ON U supergroup, African Head Charge, I might add Off The Beaten Track was one of my favourite albums that year (86)

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African Head Charge started life as a studio recording project in 1981 when the percussion talents of Bonjo Iyabinghi Noah combined with the studio wizardry of Adrian Sherwood. The first recordings were initially inspired by Brian Eno.  Eno, having read an interview about his album with David Byrne “My Life in the Bush of Ghosts” stated ‘I have the vision of a Psychedelic Africa’. Sherwood, who was spending most nights at the time producing music in a basement studio off Clerkenwell road in London thought ‘hmmm’ …..  He had previously worked with Bonjo from late 1979 with Creation Rebel and Prince Far I doing live shows. Bonjo had also worked in other artists such as Desmond Dekker, “he was like a father to me” says Bonjo, and Freedom Fighters, backing legendary artistes like Dillinger, Trinity and many other touring Jamaican acts.

Bonjo had come to England from a Rasta camp in the hills of Clarendon, Jamaica. From as early as he can remember he studied and played percussion, learning not only Rasta/Nyabinghi drums but also African and Afro Cuban rhythms. He also loved to experiment, which made working with Sherwood perfect….  Bonjo and Sherwood created their interpretation of Enos “vision”. Working with tape loops, manipulated and vari-speeded 1/4 inch tape that was re-recorded back to the multi track tape, reverbs and delays which were then applied to the performances of the musicians. So the seminal and aptly named “My Life In A Hole In The Ground” ” was created. This was released on the then newly formed ON-U sound label.  Three more largely experimental studio albums followed throughout the 80′s…”Environmental Studies”, “Drastic Season” and the more accessible “Off The Beaten Track”.

It was not until the late 1980s that African Head Charge made its first appearance as a live band. This took place at the University of London (ULU) and it was an instantly sold out roadblock of a success. What followed in the next few years gave them semi-legendary status, with performances from Glastonbury and the wonderful Essential music festival, to visits to Australia, New Zealand and Japan – all to great acclaim.  1991 saw the release of an album “Songs Of Praise” recorded at Manor Studio, Oxford. It featured religious chants set to an African dub backdrop of percussion, with a mighty sonic and great musicianship. It was truly a landmark record both for African Head Chargeand ON-U sound. Their 1993 classic album “In Pursuit Of Shashamane Land” was to be the last ON-U produced recording for 12 years.

In 1995 Bonjo left London to start a new life in Ghana, so fulfilling “The dream of every Rastaman to return to Africa”. It was not until 2003 that he made a return visit to London and it was during this time that plans were made to record a new album. The following year saw the creation of “Vision Of A Psychedelic Africa”…full circle you may think, well almost…  Bonjo and Sherwood are both fiercely proud of this work, but after its initial release in Japan in 2005, it’s release in the rest of the world on ON-U SOUND via E.M.I. was held up by the near collapse of that organization and the album only became generally available in 2010.

In 2011, the 30th year of the ON-U SOUND label, feeling there is much more than just a point to prove here, and how important it is that the African Head Charge project be given due respect, their first new release of 2011 will be African Head Charge 's brand new “ Voodoo Of The Godsent” .  Both Bonjo and Sherwood regard this as being the culmination of 30 years of endeavour. A unique, challenging and always original slice of Psychedelic African Dub.

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This album -- which collects select tracks from the group's first two albums, 1981's My Life in a Hole in the Ground and 1982's Environmental Studies -- is more musical than a minimalist album with a heavy reliance on African percussion.   Some of the tunes on Great Vintage Volume 1 are, like Grounation, little more than repetitive, monotonous drums, but most of the tracks here throw at least something in to spice it up.  Sometimes these spices work, sometimes they don't, but at least they try.  Some tracks -- like "Stebeni's Theme" and "Primitive" -- rely heavily on African rhythms, while others -- "Family Doctoring" and "Breeding Space" -- have an Eastern/Asian feel, while others -- "Hole in the Roof" and "Beriberi" -- are more like Western jazz fusion.  For the most part, the unifying element in these disparate styles is the African drum, present in most of the songs.  Although this album is categorized as reggae (well, dub, to be specific), you'll have a hard time defining many of these tunes as such.  Still, there are tracks like "Far Away Chant" that feature reggae elements.  This cut, with its cool warped vocals over African drums and a reggae bass line, is the best on the collection.  But even the not-so-much-like-reggae songs are occasionally enjoyable -- like the funk of "Snakeskin Tracksuit" and "Primal One Drop" or the echoing strings of "Dinosaur's Lament."  Great Vintage Volume 1 pushes the envelope of sound, stretching the definition of dub to intriguing new realms.

African Head Charge - Great Vintage Volume 1 (flac  336mb)

01 Elastic Dance 4:00
02 Family Doctoring 4:21
03 Stebeni's Theme 3:33
04 The Race 3:37
05 Far Away Chant 4:03
06 Primal One Drop 3:31
07 Hole In The Roof 3:11
08 Crocodile Hand Luggage 5:23
09 Dinosaur's Lament 4:46
10 Beriberi 6:12
11 Snakeskin Tracksuit 6:38
12 High Protein Snack 3:49
13 Breeding Space 4:04
14 Primitive 3:39

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This volume -- featuring tracks from African Head Charge's third and fourth albums, 1983's Drastic Season and 1986's Off the Beaten Track -- is less musical than the first.  While neither volume is terribly musical, some of the tracks here, like "I Want Water," sound like just plain noise.  This second volume has the same general sound as the first -- African drums with Indian/Asian elements, chanting, and various other non-Western elements -- but it lacks the aesthetically pleasing aspect that some (I reiterate, some) of the tunes on Volume 1 had.  Some of this has to do with the fact that the moderately enjoyable jazz fusion experiments of the first collection are absent here.  It's not completely without interesting tracks, however: "Off the Beaten Track" is nice, with its Indian strings, African drums, and funky bass, while the horn and drum-driven "Fruit Market" is also somewhat enjoyable.  A couple of other songs are particularly unique: "Language and Mentality" features a slow, airy rhythm backing some German professor-type guy giving a lecture on language, and "African Hedge Hog" combines an assortment of odd sounds -- snippets of horns, drums, whistles, cymbals, bells, crashes, etc. -- into a cohesive (well, cohesive enough) tune. The 3 omitted original album tracks ar added here.

African Head Charge - Great Vintage Volume 2 (flac  385mb)

01 Off The Beaten Track 5:03
02 Some Bizarre 5:05
03 Belinda 3:40
04 Language And Mentality 4:22
05 Throw It Away 3:36
06 Conspiring 4:38
07 Release The Doctor 3:34
08 Down Under Again 3:07
09 Timbuktu Express 4:35
10 I Want Water 6:04
11 Bazaar 5:09
12 African Hedge Hog 5:38
13 Depth Charge 4:07
14 Fruit Market 5:03
15 Snake In The Hole 5:17


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After a 5-year hiatus, African Head Charge returns with a revamped and rejuvenated sound on Songs of Praise.  The second one pushes "play" for the first time with this album, it will blow you away.  The sound is so unique and entrancing, with its electric mix of ancient chants and modern rhythms, it could floor one.

Imagine someone coming up to you, showing you the cover, and saying, "Yo man, 'Free Chant (Churchical Chant of the Iyabinghi)' is the jam!"   Indeed, I'd imagine that there's not a big market for religious African chanting, but Songs of Praise is easily more accessible than African Head Charge's earlier albums, as it incorporates a tighter, more cohesive, more musical sound.  Much more than just African drums or chants, these songs are alternately funky, catchy, and beautiful.  "Free Chant" is the first song you hear on the album, its drums and vocals doling out a great solemn melody backed by an unexpected Western piano and guitar.  Following it is "Orderliness, Godliness, Discipline and Dignity," a funky East Indian-esque chant peppered with digital blips.  "Hold Some More" and "Healing Father" are similarly funky, with the former actually containing coherent lyrics!  "Dervish Chant," My God," "Chant for the Spirits," and "God Is Great" are also quite enjoyable and fun in their own way.  Songs of Praise, like African Head Charge's previous albums, is a diaspora of sound, incorporating the feel of African, East Indian, reggae, dub, and Native American music rolled into one.

African Head Charge - Songs Of Praise (flac  346mb)

01 Free Chant 3:30
02 Orderliness, Godliness, Discipline And Dignity 3:16
03 Hymn 5:30
04 Dervish Chant 7:50
05 Hold Some More 6:18
06 Healing Father 4:46
07 Healing Ceremony 3:48
08 Cattle Herders Chant 4:15
09 Ethiopian Praises 1:28
10 My God 4:11
11 Gospel Train 3:02
12 Chant For The Spirits 4:08
13 God Is Great 4:16
14 Deer Spirit Song 2:22

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RhoDeo 1239 Atlantis 5

Hello, another sunday gave us a new worldchampion cycling, another victory by Vettel, another win for lucky Man U again, no big surprises then, nothing to raise the bloodpressure, even tonights Emmy's are likely to be predictable, that said most of the shows that got nominated have been watched by me. Ah yes...


 Ok for entertaining, some ghosts of ancient past, the final part of the legend of Atlantis.

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In cooperation with the author, producer Gerd Elion von Attiqua(Germany) has worked out a masterpiece about the secret history of the Atlantic Freemasons and Illuminati in this video series. The series was shot in five different countries (Australia, Austria, Tasmania, Germany, USA) and in 1996 it was produced in both German and English.  The series was faced tremendous opposition from secret political networks and both the producer and the author were threatened.

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Thousands of years ago the gods came down to Earth from the stars to initiate a genesis. Human civilization was formed and reached a peak with Atlantis. A dark age began and the battle of Atlantean gods led to its fall. A secret brotherhood brought Atlantean secret teachings before the fall to Egypt. Through all civilizations and with inspiration from extraterrestrian guards, the secret Atlantean brotherhood managed all political systems with an educational mission. The thrilling documentation shows for the first time the secret activities of a brotherhood in relations with invisible masters from Shambhala and Agartha and the secret about the hollow earth. Following the catastrophe in Atlantis all nations were dispersed. A part of the Atlantean brotherhood's secret knowledge survived in Egypt, in India and in Tibet. The heirs of these secret brotherhoods led mankind during the dark age...through Atlantean knowledge and through all ages. In modern times the Freemasons, Templars and Illuminati brotherhoods were formed. After World War I the Neutemplerorden and Thule society emerged in Munich and Vienna. New occult sects which saw 'satan' in the old Freemason lodges. With Hitler these occult sects came to power. This thrilling documentation shows for the first time the background of the Third Reich and its intellect which led to the catastrophe of World War II. Millenniums have passed... since the high culture of Atlantis sank with a catastrophe through power abuse of some corrupt scientists. All humans of that time, who also experienced the descent into the dark age, are being reincarnated today. The thrilling documentation shows the return of the Atlantean light children and allows deep insight into the role of the Lightworkers and brotherhoods of Atlantis. It shows why some souls reincarnate today and act as environmental protectionists, therapists, artists, esoterics, etc. for the healing of the earth.

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Legend of Atlantis part 5 - Battle of Armageddon ( 217mbmb)

1 Battle of Armageddon part1 (40:25)
2 Battle of Armageddon part2 (31:48)

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previously

Legend of Atlantis part 1 - Dawn of the Gods ( 153mb)
Legend Of Atlantis part 2 - Secret Brotherhood ( 258mb)
Legend of Atlantis part 3 - Secret Prophecies ( 380mb)
Legend of Atlantis part 4 - Return of the Lightmasters ( 196mb)

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Sundaze 1239

Hello, as announced yesterday, the more ambient side to Rod Modell, surround headphone space. Njoy

On a side note how are my hosts, Netkups, Filecoud.io and for ogg, Smashupload serving you ? Any problems i'd like to know.

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The birth of his path dates back to the vibrant cultural paroxysm that was Detroit in the mid to late 80′s which choreographed a timeless blueprint thats true soul is easily recognisable in any performance or release that’s made its way from his world.

Now even though he’s confessed that much of that segment in his life has been pseudo-erased, unintentionally or otherwise, it delivered the infrastructure that supported the exposure for ‘The Autonomous Music Project’, sub explorations with Echospace/CV31

I think that viewing my sound outside of a musical context was profound and liberating.  I don’t consider what I do music.  Maybe more sound design.  I really never wanted to create music.  In fact… I always pondered if I was a music hater, or a music lover.  Probably a music hater.  I view what I do as creating soundscapes for stimulating higher thinking.

20 years ago, I was involved with the Hare Krishna’s.  I would chant at the temple everyday.  I loved this and looked forward to it.  It’s all I wanted to do.  I would go into the temple, and start chanting the mantra, and about 10-15 minutes into it, something would snap in my brain.  Chanting this loop over and over caused a profound positive change in my head.  My system was flooded with endorphins, and I had a euphoric sensation like floating in space.

The looks on peoples faces in a crowded club at 4am is extremely similar to the faces at 4pm in the Krishna temple
Later, I moved away from the Krishna’s and wanted to recreate this sensation.  I found I could do it by making these loops in my studio.  A similar effect was obtained.  The looks on peoples faces in a crowded club at 4am is extremely similar to the faces at 4pm in the Krishna temple.  The Krishna’s mantra is causing the same psychological effect as a club’s sound system.  My job is to make new software to run on the club’s hardware.  This is how I view it.  I think understanding this loop-aesthetic via my association with the Krishna’s was profound for me. 

Honestly, right now I’m most into field recordings.  It’s almost all I play in my home.  I carry a small wav recorder with me everywhere, and record whenever I can.  I like playing these all day around the house while doing other things.  Like the Tokyo recordings in Liumin and the Amsterdam recordings in Hash Bar Loops.  It’s better than photos for recalling a place.  But it’s an acquired taste.

So, with all this in mind, Modell’s interest in a wider world of audio and inclination towards analogue processes can be seen as properly “organic,” sprung not from passing fad but from enduring love of sound in itself, miles from the abstracted template fetishism of minimal.

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Channel Modell: in the 80s/90s there was electro-acoustic experimentation – musique concrète, 4-track adventures in lo-fi and field recordings, dabblings in industrial soundscapes and installation work. This issued in the likes of v1.0-1.9 (Silent, 1996), which explored the impact of sound on the human psyche using earth frequencies from NASA, microwave, paranormal recordings, field recordings and both analogue and digital synths to create an esoteric dark ambient opus.

Transmission 1.1 through 1.9 are recorded live. They were assembled in a small, dark room in the basement of WSGR FM 91.3, Port Huron, Michigan, while on the air 10/29/95 11pm-1am.

Chris Troy  [Analog Tone Engineering And Realization, Location Recording, Para-normal Research, Recordings Of The Dead]
Rod Modell [Digital Audio Graphs, Granular Synthesis, Microwave Communications, Psycho-acoustics]

Waveform Transmission (Rod Modell and Chris Troy) ‎- V 1.0-1.9 (flac  230mb)

1 V 1.0 6:47
2 V 1.1 9:11
3 V 1.2 5:51
4 V 1.3 9:22
5 V 1.4 5:01
6 V 1.5 4:18
7 V 1.6 13:56
8 V 1.7 4:58
9 V 1.8 11:00
10 V 1.9 5:53

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Sonic Continuum is a set of deep, lush minimalism from Rod Modell and Michael Mantra. The CD has two long-form compositions, each over 35 minutes. This is a different kind of organic ambience. Modell and Mantra build dense atmospheres from walls of sound. The walls consist of drones and samples interwoven with atmospheres. It is an exponential sound design; Modell and Mantra are using the atmospheres to build the atmospheres. This somewhat enigmatic soundworld is hypnotic and psychoactive. The disc is "an auditory gradient for changing states (and) is dedicated to the spiritual liberation of all sentient beings." This is best when experienced in solitude with headphones.

Rod Modell and Michael Mantra - Sonic Continuum flac (flac  333mb)

01 Vitamin M 35:54
02 Vitamin K 35:16

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The Autonomous Music Project (Soleilmoon sub-label, Lunar, 1998), which harboured a batch of fabulously suggestive dark-light soundscapes incorporating “electro-organic, virtual reality audio textures” into a recording which, in the current climate of texturally abraded digital-denying ambient, sounds freshly contemporary.

Rod Modell - The Autonomous Music Project (flac  271mb)

01 Inside The Rain Maker 6:10
02 The Solar World 4:50
03 Cool Watery Depths 11:04
04 Air Flow (Between High And Low Pressure Zones) 15:33
05 Tribal Air-Spirit Tracking 9:04
06 Equator 10:32
07 Conger Beach Late Night (Under The Blue Water Bridge) 5:40

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Rhodeo 1238 Beats

Hello, it's going to be a Rod Modell weekend, tomorrow in Sundaze his more contemplative ambient work and today his more beats orientated work. Make some space on your hard disk and be prepared to have your eardrums massaged.

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Rod Modell is best known as DeepChord, the creative force behind popular dub techno records such as Vantage Isle and The Coldest Season, but that moniker is just the tip of the iceberg. Modell’s back catalogue is enormous, encompassing ambient and sound-art releases on obscure labels which even the Discogs radar doesn't pick up: imprints such as Silentes, Hypnos, Amplexus, Linear Logic and Silver to name a few.

Rod was in Detroit during the birth of techno in the mid-to-late ‘80s. Charles Johnson’s Mothership landings (10 pm) and his Midnight Funk Association were rarely ever missed. I experienced the Music Institute first-hand, and was buying tons of vinyl at Buy Rite Music years before Record Time sold a single techno record. I was there. Ditto for Steve in regards to Chicago. He personally knows many of the original purveyors of the Chicago house and acid sound. I think it would be impossible to ignore the obvious fact that there is some definite significance to this allegory. We are all a product of our experiences whether we want to be or not. The things that we’ve seen are part of our fabric. Chicago House is part of Steve’s makeup, as is Detroit Techno for me. Add in the Berlin element, and you have the holy trinity of underground dance music represented.

Rod & Steve like analog because it’s alive. Rod" I used to love putting my old Korg MS-20 outside in the cold garage for a few hours during the winter months. I would then bring it inside the warm house, power it up, and program something simple with a SQ-10 sequencer, and that little twelve-step sequence would mutate for two hours. Constantly changing. It was amazing to me. You would leave the room, and come back and it would sound totally different. So organic and so alive. Its personality would change as it warmed up and became more comfortable, just like a human being’s would.A lso, this old gear generates amazing harmonics and overtones that I’ve never heard from a computer. Even algorithms designed to emulate this analog side-effect fail miserably. These elements add up to a sound quality that’s impossible to achieve without this old gear and, as this sound is an integral part of Echospace, we don’t have an option: it’s either use the old stuff, or don’t make music."

If imitation is the sincerest form of flattery, the fellows in Berlin's Rhythm & Sound camp will have no problem endorsing Detroit-based Deepchord as their dub-techno heir apparent. Already an established ambient producer, Rod Modell partnered with Mike Schommer, quietly releasing their first 12" together in the late '90s. Like Rhythm & Sound, Deepchord based their compositions around minimal arrangements: repetitive rhythms inspired by dub, faint traces of white noise, and warm synth stabs. The group retained a loyal cult following, releasing several more singles in the early 2000s as well as a limited-run CD version of their first six releases (originally pressed up in extremely limited quantities). The duo's production went from prolific to a screeching halt around 2002, making a remarkable and rare live performance at the Detroit Electronic Music Festival and releasing singles in a scarce fashion (the group's 2006 single was only pressed to 100 copies). A retrospective of the group's work, Vibrasound: 1999-2004, was issued under Modell's name and released on the Silentes label in 2005. Later that year, Modell teamed with Kevin Hanton to release Illuminati Audio Science and used a generous portion of the group's output, looped and sliced into small segments (much like Richie Hawtin's DE9 experiments), for a continuous 70-minute mix CD. Their big break came with  " The Coldest Season" the ultimate chill out, net contend with being pigeonholed the follow up was much more beats orientated as you could check out here, " Liumin"  . Their latest album "Hash-Bar Loops" was released last year.

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When thinking of mix albums that have succeeded in giving the listener a smooth, seamless block of music, I can’t think of another that has done as well as this. Here is the premise of the album.  Kevin Hanton takes tracks from the Deepchord (Rod Modell) archives, and mixes them together, “reconfiguring” them as he sees fit.  Much of the material on Illuminati Audio is found on Rod Modell’s Vibrasound compilation.

From a bpm standpoint, most dub techno is anywhere from extremely slow, to middle of the road.  Illuminati Audio is, at least for its first three-fourths, pretty fast. Along with the speed, another factor that dramatically changes the listening experience is the way traditional dub sounds are used.  The phenomenon of convergent evolution is that two species that are only distantly related develop very similar traits, often through different routes.  The same principle can be applied with Illuminati Audio and its dub sounds. Many of the dub sounds used here sound like they belong on a deep progressive trance track.  Those who know dub techno will recognize specific Deepchord sound effects, but the tweaking done to these tracks, as well as the speed of the bassline, give the whole package a decidedly different feel. Illuminati Audio Science is a masterful mix album, one long track really, there are no seams or rivets here; this is flawless.

Rod Modell and Kevin Hanton - Illuminati Audio Science (flac  355mb)

Deepchord Continuous-Flow Mix (76:12)

01 Untitled 2:09
02 Untitled 2:16
03 Untitled 4:44
04 Untitled 0:49
05 Untitled 3:20
06 Untitled 7:28
07 Untitled 1:58
08 Untitled 2:06
09 Untitled 4:45
10 Untitled 2:17
11 Untitled 4:06
12 Untitled 3:20
13 Untitled 4:37
14 Untitled 1:57
15 Untitled 6:45
16 Untitled 7:18
17 Untitled 1:21
18 Untitled 4:45

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More abstract than his gentle dub atmospheres, more varied and violent than his ambient work, it is a record of hissing, coiling atmospheres that stands as a cross section of his output, taking in everything from the glitchy drones of his releases on Silent Records to the hard-edged techno of recent live DeepChord performances. Based on ten field recordings made during a single night (presumably in Japan), the album is ten discrete snapshots rather than a cohesive whole or narrative. Many of the tracks sound like they were performed in a dark ally during a rainstorm. This album is so icy and tar-on-coal dark, your brain will get frostbite listening to it ( “Temple”). “Aloeswood” sets the tone with muffled 4/4 kicks scudding like walruses over tundra while glaciers crackle in a polar cave. “Body Sonic” allows slivers of sunlight into the tenebrous mix; it’s one of the few cuts among the 10 here that’s more about moving asses than paralyzing limbs. Incense and Black Light is both soothing and harrowing in equal measure, and it has a breadth that will appeal to fans of Modell’s abstract works as well as those interested in the darker side of DeepChord.

Rod Modell ‎- Incense and Black Light (flac  405mb)

01 Aloeswood 3:49
02 Hotel Chez Moi 6:57
03 Body Sonic 5:56
04 Cloud Over 6:09
05 Temple 5:56
06 Ultraviolet World 6:42
07 Subway 5:14
08 Red Light 6:21
09 Into Day 5:47
10 Morning Again 5:01

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Liumin should be described as incredibly simplistic, yet awesomely complex percussion is drenched in vaporous white noise, as it envelopes the chords that swirl around in the stereo field of infinite dimensions. Complimented with a touch of field recordings captured by Modell in Tokyo, Japan, the kick trends on, falling out of the foreground of the typical warehouse sound system, into the ether of organic pulse. The absolute masterpieces on the album include "BCN Dub" and "Maglev". The latter, in particular, takes me to a mysterious place, elusive in its existence, with hidden doors and passages that only open up somewhere in the middle of the track. Liumin is the duo's second full length album. This double-disk release, contains a bonus 80-minute CD with the original field recordings from Tokyo. This second place is only accessible after you've made the journey through the hollow caverns of Liumin, revealing itself like a secret garden hidden deep beneath the earth. This is indeed a surreal, almost narcotic, experience, which, like that most treasured childhood memory, is a momentous trip.

DeepChord Presents Echospace - Liumin (flac  487mb)

01 In Echospace 5:42
02 Summer Haze 7:33
03 Sub-Marine 9:24
04 Burnt Sage 10:23
05 BCN Dub 12:04
06 Firefly 6:44
07 Maglev 10:28
08 Float 10:13
09 Warm 7:00

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DeepChord Presents Echospace - Liumin Reduced (flac  491mb) re-upped

10 Untitled 1 8:06
11 Untitled 2 6:46
12 Untitled 3 4:32
13 Untitled 4 4:22
14 Untitled 5 3:57
15 Untitled 6 6:55
16 Untitled 7 6:11
17 Untitled 8 6:39
18 Untitled 9 13:43
19 Untitled 10 4:07
20 Untitled 11 7:54
21 Untitled 12 6:31

DeepChord Presents Echospace - Liumin Reduced (ogg  183mb)

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RhoDeo 1238 Goldy Rhox 75

Hello, today the 75th post of Goldy Rhox, classic pop rock. In the darklight today a UK seventies prog rock band, their name was derived from the "ship of the desert". As a result of a business agreement between the band and a cigarette company, the 2nd album's cover art very closely resembles the cover of its cigarettes packet.  Later it got them into some trouble as smoking got increasingly frowned upon, specially in the US and the writer Paul Gallico actually sued them after they used one of his stories as inspiration to their 3rd and instrumental concept album.

The band has seen many changes and by 81 the only one left of the starting line up was guitarist and flutist Andrew Latimer who has been the only constant factor in the decades that followed. 2003 saw their farewell tour , Latimir meanwhile had been falling ill preventing release of new material, these days he's doing better again so who knows... The band has spawned plenty of tribute bands.

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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.

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Todays mystery album was released in March 1976 . It was their fourth album and the last to feature the band's original line-up (Latimer, Bardens, Ferguson, Ward). After the success of the instrumental The Snow Goose in 1975, the band added vocals to their music again.

The album has an overall theme, just as their previous one did, but doesn't follow a storyline since it's mostly based on the band members themselves. Overall, the tracks comprising the album were conceived as a loose concept based on the individual personalities that made up Camel; "Air Born" about Andrew Latimer, "Lunar Sea" about Andy Ward, "Chord Change" about Peter Bardens and "Another Night" about Doug Ferguson. It's cover was designed by Field. It was to be the last album recorded by the original line-up.

In the Q & Mojo Classic Special Edition Pink Floyd & The Story of Prog Rock, the album came number 23 in its list of "40 Cosmic Rock Albums". Here in the remastered extended version.



Goldy Rhox 75   (flac 331mb)

Goldy Rhox 75   ( ogg 132mb)


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