Sundaze 1313

Hello, ready for some more Future Sound, yesterday not enough? You want that Sundaze brain stimulated electronically ? Be my guest and... N'Joy

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Future Sound Of London (FSOL) was formed in Manchester, England, in the mid 1980s. Dougans had already been making electronic music for some time when they first began working in various local clubs. In 1988, Dougans embarked on a project for the Stakker graphics company. The result was Stakker Humanoid. Cobain contributed to the accompanying album. In the following three years the pair produced music under a variety of aliases. Stakker Humanoid re-entered the UK chart in 1992, followed by the breakthrough ambient dub track "Papua New Guinea" featuring a looping Lisa Gerrard vocal sample, which was their first official release. Virgin Records looking for electronic bands and quickly signed them. With their newfound contract they immediately began to experiment, resulting in the Tales of Ephidrina album, released in 93 under the Amorphous Androgynous moniker. Thus preceding FSOL 's first album release Lifeforms (94)

Lifeforms followed in 1994 to critical acclaim. The new work featured unconventional use of percussion interspersed with truly ambient segments. The eponymous single from the album featured Elizabeth Fraser of the Cocteau Twins on vocals. The album was a top 10 hit on the UK album chart. 1994 also saw the release of ISDN, which was as close to a live album as most electronic acts get - it featured live broadcasts FSOL had made over ISDN lines to various radio stations worldwide and to The Kitchen, an avant-garde performance space in New York. Its tone was darker and more rhythmic than Lifeforms.
In 1996, FSOL released Dead Cities. The new material was a curious mix of ambient textures and hard, gritty dance music. This album also featured a collaboration with the composer Max Richter. However, critics suggested that the duo's musical output seemed to dry up following this release, save for a few 12" singles and remixes.

After a long hiatus, and rumors of mental illness ( de facto mercury poisoning from teethfillings), Cobain and Dougans returned in 2002 with The Isness, a record heavily influenced by 1960s and 1970s psychedelia and released under their alias Amorphous Androgynous. It was preceded by Papua New Guinea Translations, a mini album which contained a mixture of remixes of FSOL's seminal track as well as new material from The Isness sessions. Three years on, Dougans and Cobain followed the album with a continuation of the Amorphous Androgynous project, Alice in Ultraland. Rumoured to be accompanied by a film of the same title, the album took The Isness' psychedelic experimentation and toned it down, giving the album a singular theme and sound, and replacing the more bizarre moments with funk and ambient interludes. The album was ignored by the press, but more favourable among fans than its predecessor. Unlike The Isness, which featured almost a hundred musicians over the course of it and the various alternative versions and remix albums, Alice in Ultraland featured a fairly solid band lineup throughout. In 2006 FSOL released a best of album, Teachings From The Electronic Brain, then a year later they released 4 Archives albums thru their own FSOL digital platform (yage.co.uk) where all their releases are available for .

In early March 2008, the band released a new online album as Amorphous Androgynous entitled The Peppermint Tree and Seeds of Superconsciousness, which they describe as "A collection of psychedelic relics from The Amorphous Androgynous, 1967-2007". The release retains the sound of their last two psychedelic albums, while expanding on the element of funk first introduced on 2005's Alice in Ultraland. They recorded their following album, The Woodlands of Old, under the alias of their imaginary engineer Yage. Unlike the techno work recorded as Yage in 1992, this new record was darker, more trip-hop and world music-oriented and featured ex-Propellerheads member Will White.

Following on from the band's 1997 DJ set of the same name, a series of "Monstrous Psychedelic Bubble Exploding In Your Mind" mix CDs were begun in 2006. The first two were released under the Amorphous Androgynous alias, subtitled "Cosmic Space Music" and "Pagan Love Vibrations" respectively, with the first taking over two years to compile, mix and gain sample clearance, both featuring the band's psychedelic influences. A third is set for release sometime in 2010, and will be more electronic, mixed by The Future Sound of London.Further mixes in the series are expected up to 6 now available on line (Pod Room) Aswell as 6 Kiss 100FM transmissions from theearly nineties.

Between 2008 and 2010, the band showcased a series of radio broadcasts and podcasts called The Electric Brain Storms. Proton Radio hosted the first on 16 June 2008, PBS radio in Australia were due to showcase the second, and Frisky Radio broadcast the third. The remaining shows appeared on the band's official site.The shows featured electronic, krautrock, experimental and psychedelic favourites of the band mixed in with known and unknown FSOL material, including newly recorded tracks, archived pieces, and new alias recordings such as EMS:Piano. Many of the new tracks featured on Environments 3, but some pieces remain unreleased and are planned for the next Future Sound of London album. They keep up a fascinating The Future Sound Of London YouTube Channel under the guise of the electronic brain.

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The second installment of the ongoing series. From The Archives is a collection of songs spanning the duo's 25 year recording career including rarities, remixes and previously unreleased recordings from FSOL's archives. Future Sound of London are one of the most respected international experimental ambient outfits, incorporating elements of many styles into their musical stew: Techno, Classical, Jazz, Hip Hop, Electro, Industrial and Dub are just a few of the aural touchstones that are often felt if not heard in their expansive, sample-heavy tracks. 21 tracks including 'Brujo', 'Fractional Difference', 'Distant Nebulus' and many more.

FSOL - Archives vol2 ( flac 425mb)

01 Brujo 5:38
02 Distant Nebulus 4:31
03 Wanting 5:26
04 Environment Thunder 0:39
05 Cellular Control 5:20
06 Insected 3:03
07 Night Lapsed 2:19
08 Slow Of Motion 1:21
09 Head Kick 4:15
10 Dark Matter 2:43
11 Mas X-XX-XX 2 3:29
12 Skinny Ribbed Fu**er 4:14
13 Fractional Difference 4:22
14 Offerings 3:37
15 Mains Interupt 1:46
16 Futura 2:18
17 Museum 5:09
18 Nadir 3:35
19 Were Not Here 3:07
20 Mumble 3:23
21 Insulin 2:28

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The third installment in an ongoing series. From The Archives is a collection of songs spanning the duo's 25 year recording career including rarities, remixes and previously unreleased recordings from FSOL's archives. Future Sound of London are one of the most respected international experimental ambient outfits, incorporating elements of many styles into their musical stew: Techno, Classical, Jazz, Hip Hop, Electro, Industrial and Dub are just a few of the aural touchstones that are often felt if not heard in their expansive, sample-heavy tracks.17 tracks including the highly sought after 'Space Squids' and many more.

FSOL - From The Archives Vol. 3 ( flac 409mb)

01 Empires 3:39
02 Long Shadows 7:35
03 Considered 4:51
04 Mango Tree 4:10
05 The Teeth Of The Wind 4:28
06 Room 207 5:58
07 Enviroments T1 0:48
08 Insides 4:08
09 La Tronik 1 2:07
10 Space Squids 6:25
11 Stomach Acid 5:27
12 Dream Sequence 4 2:09
13 Made Contact Internal 3:23
14 Rotation 3:47
15 Hardhead 3:50
16 Popadom 5:07
17 I A I A I A I A I A 2:40

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Yage, better known as producers of Ambient/Electronica duo Future Sound OfLondon. They have stepped out of the shadows to front this album, which sounds like World Musicmeets Psychedelia. From the deserts of the Middle East to the rain forests of Brazil, Woodsman Of Oldcontains odd rhythms and melodies like you have just entered a hashish bar in Morocco. The albumfeatures Propellaheads' Will White on three tracks. This is extremely good music, to be played when you have time to savor it, because there is a lot going on and too many opportunities to hear a track without really "hearing" it. Yeah it's dark and, at times, VERY dark. But this is not what I would consider a bad thing by any stretch.

Yage - The Woodlands Of Old (FSOL) ( flac 371mb)

01 The Woodlands Of Old 4:12
02 An Odd Question From A Forest Bird 3:33
03 From Thunder That Shakes 3:21
04 The Yage Letters 3:42
05 The Hunter's Moon 3:22
06 Mountain Cloud Descending 3:58
07 Procession 4:03
08 Crow Hushing The Floating Woods 5:18
09 The Mahogany Tree (Shelterd) 2:39
10 He Laughed Himself To The Centre 5:54
11 Unsettling Sky 2:44
12 Humbled Before Your Presence 3:24
13 Who Had Such Foolish Care 3:58
14 Circle The Corn 3:02
15 Centipede 3:01
16 Dry Wind Blown 3:44
17 Haxaal's Dream 4:03
18 Heavily He Flies 4:12
19 The Dark Pines 3:16
20 The Sun Lends Warmth And Comfort 2:32
21 A Welcome Beneath Night's Darkness 0:59

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previously

The Future Sound Of London - Lifeforms (flac 234mb)
The Future Sound Of London - Lifeforms (ogg 127mb)
re-up
The Future Sound Of London - Archives Vol 1 (flac 386mb)
The Future Sound Of London - Archives Vol 1 (ogg 127mb)
re-up
The Future Sound Of London - ISDN (flac 374mb)
The Future Sound Of London - ISDN (ogg 166mb)
re-up
The Future Sound Of London - Environments (flac 280mb)
The Future Sound Of London - Environments (ogg 113mb)
re-up
The Future Sound Of London - Environments II (flac 299mb)
The Future Sound Of London - Environments II (ogg 127mb)

re-up
Amorphous Androgynous - Alice In Ultraland (05 175mb)
re-up
The Amorphous Androgynous - A Monstrous Psychedelic Bubble Vol 1 - Cosmic Space Music 1 (153mb)
The Amorphous Androgynous - A Monstrous Psychedelic Bubble Vol 1 - Cosmic Space Music 2 (154mb)
re-up
The Amorphous Androgynous - A Monstrous Psychedelic Bubble Vol 2 - Pagan Love Vibrations 1 (148mb)
The Amorphous Androgynous - A Monstrous Psychedelic Bubble Vol 2 - Pagan Love Vibrations 2 (148mb)


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RhoDeo 1312 Beats

Hello, ready for some more fuzzy logic beats? Having that brain stimulated electronically ?

Their work covers most areas of electronic music, such as ambient techno, house music, trip-hop, ambient dub, acid techno and often involves extreme experimentation; for example they have, since the turn of the millennium, experimented with psychedelic rock under their Amorphous Androgynous alias. In addition to music composition, their interests have covered a number of areas including film and video, 2D and 3D computer graphics, animation. In making almost all their own videos for their singles they displayed their genius is not limited to manipulating sound, radio broadcasting and creating their own electronic devices for sound making further extended their understanding of the path they are on.. They have released works under numerous aliases.

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FSOL was formed in Manchester, England, in the mid 1980s. Dougans had already been making electronic music for some time when they first began working in various local clubs. In 1988, Dougans embarked on a project for the Stakker graphics company. The result was Stakker Humanoid. Cobain contributed to the accompanying album. In the following three years the pair produced music under a variety of aliases. Stakker Humanoid re-entered the UK chart in 1992, followed by the breakthrough ambient dub track "Papua New Guinea" featuring a looping Lisa Gerrard vocal sample, which was their first official release. Virgin Records looking for electronic bands and quickly signed them. With their newfound contract they immediately began to experiment, resulting in the Tales of Ephidrina album, released in 93 under the Amorphous Androgynous moniker. Thus preceding FSOL 's first album release Lifeforms (94)

Lifeforms followed in 1994 to critical acclaim. The new work featured unconventional use of percussion interspersed with truly ambient segments. The eponymous single from the album featured Elizabeth Fraser of the Cocteau Twins on vocals. The album was a top 10 hit on the UK album chart. 1994 also saw the release of ISDN, which was as close to a live album as most electronic acts get - it featured live broadcasts FSOL had made over ISDN lines to various radio stations worldwide and to The Kitchen, an avant-garde performance space in New York. Its tone was darker and more rhythmic than Lifeforms. In 1996, FSOL released Dead Cities. The new material was a curious mix of ambient textures and hard, gritty dance music. This album also featured a collaboration with the composer Max Richter. However, critics suggested that the duo's musical output seemed to dry up following this release, save for a few 12" singles and remixes.

After a long hiatus, and rumors of mental illness ( de facto mercury poisoning from teethfillings), Cobain and Dougans returned in 2002 with The Isness, a record heavily influenced by 1960s and 1970s psychedelia and released under their alias Amorphous Androgynous. It was preceded by Papua New Guinea Translations, a mini album which contained a mixture of remixes of FSOL's seminal track as well as new material from The Isness sessions. Three years on, Dougans and Cobain followed the album with a continuation of the Amorphous Androgynous project, Alice in Ultraland. Rumoured to be accompanied by a film of the same title, the album took The Isness' psychedelic experimentation and toned it down, giving the album a singular theme and sound, and replacing the more bizarre moments with funk and ambient interludes. The album was ignored by the press, but more favourable among fans than its predecessor. Unlike The Isness, which featured almost a hundred musicians over the course of it and the various alternative versions and remix albums, Alice in Ultraland featured a fairly solid band lineup throughout. In 2006 FSOL released a best of album, Teachings From The Electronic Brain, then a year later they released 4 Archives albums thru their own FSOL digital platform (yage.co.uk) where all their releases are available for .

In early March 2008, the band released a new online album as Amorphous Androgynous entitled The Peppermint Tree and Seeds of Superconsciousness, which they describe as "A collection of psychedelic relics from The Amorphous Androgynous, 1967-2007". The release retains the sound of their last two psychedelic albums, while expanding on the element of funk first introduced on 2005's Alice in Ultraland. They recorded their following album, The Woodlands of Old, under the alias of their imaginary engineer Yage. Unlike the techno work recorded as Yage in 1992, this new record was darker, more trip-hop and world music-oriented and featured ex-Propellerheads member Will White.

Following on from the band's 1997 DJ set of the same name, a series of "Monstrous Psychedelic Bubble Exploding In Your Mind" mix CDs were begun in 2006. The first two were released under the Amorphous Androgynous alias, subtitled "Cosmic Space Music" and "Pagan Love Vibrations" respectively, with the first taking over two years to compile, mix and gain sample clearance, both featuring the band's psychedelic influences. A third is set for release sometime in 2010, and will be more electronic, mixed by The Future Sound of London.Further mixes in the series are expected up to 6 now available on line (Pod Room) Aswell as 6 Kiss 100FM transmissions from theearly nineties.

Between 2008 and 2010, the band showcased a series of radio broadcasts and podcasts called The Electric Brain Storms. Proton Radio hosted the first on 16 June 2008, PBS radio in Australia were due to showcase the second, and Frisky Radio broadcast the third. The remaining shows appeared on the band's official site.The shows featured electronic, krautrock, experimental and psychedelic favourites of the band mixed in with known and unknown FSOL material, including newly recorded tracks, archived pieces, and new alias recordings such as EMS:Piano. Many of the new tracks featured on Environments 3, but some pieces remain unreleased and are planned for the next Future Sound of London album. They keep up a fascinating The Future Sound Of London YouTube Channel under the guise of the electronic brain. Their live ISDN Transmission  series in 320 kbps mp3 format are up to no 11 currently. Further Archives have been released up to vol. 7 currently, along with the fourth Environments (2012) album.

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This was the first release FSOL pushed after being silent since 1997, it was a full length album in which their first hit single gets a massive reworking.  Here, following sort of the “path” format from earlier singles, we get to explore longer, deeper and highly creative tracks that are quite varied.  This is not a remix album by any stretch of the imagination and it kind of takes FSOL’s ‘paths’ approach to a higher level.

At any rate, let’s move on to the music.  We open here with the 12” original cut of the title track.  This album really wouldn’t be complete without it, honestly.  Next, we’re off to “Papsico,” which does feature a few elements of the original track but evolves more than most remixes would, especially when you compare this to the original mixes from the 1991 single.  Next, we have “The Lovers,” a funky psychedelic track thick with fun guitar licks, jazzy vibes and some vocal samples.  This track really is great.  It’s so different from anything the band had done before.  I find it to be one of the most irresistible cuts.  And when the sitar hums in, you have a neo-psyche track that’ll live on forever. “Wooden Ships” slinks in with a rapid mixed sample from the original track that gets quickly layered with a soft breakbeat, a psyche organ and a blissfully distorted guitar.  We have a neo-psyche jam that flows like a dreamy river or an opioid vision.

“Things that Change like the Patterns and Shades from the Sun” and “Big Blue” round out the album.  The first track here feels sort of jazzy and sort of hints, to me, a bit of early DJ Shadow’s sound.  Despite the jazz feel, the track fills you with a sort of urgency that I can’t quite put my finger on. Fans of the original single most likely will not be disappointed.  You won’t get a whole lot of ambient house mixes like what was being offered up in the early 90s, but you get a unique full length piece of music that takes the track in completely new directions.

FSOL - Papua New Guinea Transitions ( flac 342mb)

01 Translation 1: 12" Original 4:58
02 Translation 2: Papsico 9:50
03 Translation 3: The Lovers9:05
04 Translation 4: Wooden Ships 6:02
05 Translation 5: The Great Marmalade Mama In The Sky 4:38
06 Translation 6: Requiem 6:05
07 Translation 7: Things Change Like The Patterns And Shades That Fall From The Sun 6:01
08 Translation 8: The Big Blue 7:39

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A COLLECTION OF RARITIES FROM THE FSOL ARCHIVES Highly anticipated collection of rare tracks pulled from the fsol archives. All of the tracks on this compilation were produced by Future Sound of London under various aliases, from the early days of the band. 16 of the 17 tracks here are previously unheard (the exception being Visual Attack, previously only available on download from the fsol site. It has to be said that the tracks in this release tend to be more acid than anything else, given the 12" single nature of this era of the band, it's no shock that many of these minimal pieces were never released, but as a singular album it flows surprisingly well. With some beautiful artwork contained inside

FSOL - By Any Other Name ( flac 440mb)

01 Mental Cube - Sightings 4:32
02 Indo Tribe - Just Look 4:41
03 Dope Module - We Bring It 5:34
04 Yage - 831AM 5:51
05 FSOL - Across The Rivers 4:29
06 Mental Cube - In A Cage 4:51
07 Smart Systems - Visual Attack 4:43
08 Indo Tribe - Great Danger 5:04
09 Mental Cube - Keep Walking 4:10
10 Yage - Travellers 4:14
11 Yage - Garden Bridge 3:04
12 Smart Systems - You Might 4:43
13 Dope Module - Kremlin Taped 1:47
14 Dope Module - She's So Automatic 4:27
15 Yage - Under The Rock 2:16
16 Yage - 1st Calling 4:19
17 Smart Systems - Corridor LM3 3:43

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The Pulse EPs gathers together some of the strongest tracks FSOL recorded before the release of Accelerator. Originally pressed as four 12" EPs between 1991 and 1992, the record collects 16 pieces under the band's more well known aliases of Mental Cube, Indo Tribe, Yage and Smart Systems, plus the first ever Future Sound of London tracks (which, Hardhead in particular, are far removed from the layered, abstract work the name is most famous for). On that level, there is little here for those wanting another Lifeforms or Dead Cities, but any fans of Accelerator are urged to get ahold of this. Highlights are the opening two Indo Tribe tracks Bring In The Pulse and In The Mind Of A Child, the surprisingly melodic Mental Cube piece I'm Not Gonna Let You Do It and any of the utterly silly Smart Systems rave workouts. With an artwork booklet featuring the original 12" sleeves to complete the package, The Pulse EPs is a strong and worthwhile addition to the recent trawl through the band's extensive back catalogue.

FSOL  - The Pulse EPs ( flac 511mb)

01 Indo Tribe - Bring In The Pulse (MFK Mix) 5:12
02 Indo Tribe - In The Mind Of A Child (First Born Mix) 5:05
03 FSOL - Hardhead (Frothin' At The Mouth Mix) 6:06
04 FSOL - Pulse State (831 AM Mix) 7:19
05 FSOL - Stolen Documents (Jazz Dub) 5:23
06 Smart Systems - Zip Code (Stress Ball Mix) 5:17
07 FSOL - 1-In-8 4:44
08 Indo Tribe - I've Become What You Were (Insider Mix) 4:19
09 Smart Systems - Tingler (Four By Four Mix) 4:35
10 Indo Tribe - Owl (I Can See You Mix) 4:56
11 Indo Tribe - Bite The Bullet Baby (Jaques Reynoix Mix) 4:33
12 Yage - Calcium (Elemental Mix) 4:53
13 Mental Cube - I'm Not Gonna Let You Do It 3:49
14 Smart Systems - The Creator 4:22
15 Indo Tribe - Shrink 4:14
16 Smart Systems - Space Virus 4:26

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previously, not updated 12-21-16

The Future Sound Of London - Lifeforms (flac 234mb)
The Future Sound Of London - Lifeforms (ogg 127mb)
re-up
The Future Sound Of London - Archives Vol 1 (flac 386mb)
The Future Sound Of London - Archives Vol 1 (ogg 127mb)
re-up
The Future Sound Of London - ISDN (flac 374mb)
The Future Sound Of London - ISDN (ogg 166mb)
re-up
The Future Sound Of London - Environments (flac 280mb)
The Future Sound Of London - Environments (ogg 113mb)
re-up
The Future Sound Of London - Environments II (flac 299mb)
The Future Sound Of London - Environments II (ogg 127mb)
re-up
Amorphous Androgynous - Alice In Ultraland (05 175mb)
re-up
The Amorphous Androgynous - A Monstrous Psychedelic Bubble Vol 1 - Cosmic Space Music 1 (153mb) The Amorphous Androgynous - A Monstrous Psychedelic Bubble Vol 1 - Cosmic Space Music 2 (154mb) re-up
The Amorphous Androgynous - A Monstrous Psychedelic Bubble Vol 2 - Pagan Love Vibrations 1 (148mb)
The Amorphous Androgynous - A Monstrous Psychedelic Bubble Vol 2 - Pagan Love Vibrations 2 (148mb)
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RhoDeo 1312 Goldy Rhox 101

Hello, today the 101st post of GoldyRhox, classic pop rock in the darklight are an American rock band formed in Los Angeles, California in 1971 by Glenn Frey, Don Henley, Bernie Leadon, and Randy Meisner. With seven number-one singles, six Grammys, five American Music Awards, and six number one albums, they were one of the most successful musical acts of the 1970s. At the end of the 20th century, two of their albums, ranked among the 20 best-selling albums in the U.S. according to the Recording Industry Association of America. and the band was ranked No. 75 on the magazine's 2004 list of the 100 Greatest Artists of All Time.

They have sold 150 million records worldwide—100 million in the U.S. alone—including 42 million copies of Their Greatest Hits (1971–1975). They are the fifth-highest-selling music act and highest-selling American band in US history. No American band sold more records than them during the 1970s.
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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.

Today's mystery album was released on 17th of April 1973 and it is the band's 2nd studio album. Desperado is the second studio album by the Eagles. It was recorded at Island Studios in London, United Kingdom and released in 1973. Desperado is a concept album, based on the Dalton gang and the Old West.

Today's mystery album, took Old West outlaws for its theme, drawing comparisons between their lifestyles and modern rock stars. This album was the first to showcase the group's penchant for conceptual songwriting. It was during these recording sessions Henley and Frey first began writing together. They co-wrote eight of the album's eleven songs, including "Tequila Sunrise" and "Desperado", two of the group's most popular songs. The bluegrass songs "Twenty-One," "Doolin-Dalton", and the ballad "Saturday Night" showcase guitarist Bernie Leadon's abilities on the banjo, guitar, and mandolin. The album reached #41 on the charts and sold 2 million copies.



Goldy Rhox 101   (flac 237mb)

Goldy Rhox 101   (ogg 92mb)

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earlier

Goldy Rhox 45   (flac 217mb)

Goldy Rhox 45   (ogg 96mb)

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RhoDeo 1312 Aetix

Hello, as the winter extends it's grip to Easter, our masters keep on blaming us for spewing out CO2, poppycock i say , the earth has had considerable temperature swings in the last 10,000 years and most of that time the human impact was zero. Anyway i prefer cold over heat any day....Meanwhile Aetix continues with females in the lead, and today a rather special 'lady' in the spotlight.

Dubbed "The Queen of Shock Rock," Williams was widely considered the most controversial and radical female singer of her day. Her stage theatrics included blowing up equipment, near nudity and chain-sawing guitars. She often sported a Mohawk haircut. She was nominated in 1985 for a Grammy in the Best Female Rock Vocal Performance category during the height of her popularity as a solo artist. Retiring in 1991, Williams moved to Storrs, Connecticut, where she lived with her long-time companion and former manager, Rod Swenson. Despite her reputation as a fearsome performer, Williams in her personal life was deeply devoted to the welfare of animals, a passion that included a vegetarian diet, working as a wildlife rehabilitator and being a natural foods activist. Williams had first attempted suicide in 1993 by hammering a knife into her chest; the knife lodged in her sternum and she changed her mind, calling Swenson to take her to hospital. She attempted suicide again in 1997 with an overdose of ephedrine. Williams died at age 48 on April 6, 1998 of a self-inflicted gunshot wound in a wooded area near her home. A special lady indeed...N'Joy

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In 1977, Rod Swenson, who received his MFA in 1969 from Yale where he specialized in conceptual, performance, and neo-dadaist art, held the view that the measure of true or high art is how confrontational it is. He began a series of counter-culture projects which, by the mid-70s, found him in the heart of Times Square producing experimental counter-culture theater as well as video and shows with the likes of the then-little-known bands The Dead Boys, The Ramones, Patti Smith, and others. It was there that he met Wendy O. Williams (her actual birth-given name, the O. standing for Orlean and her initials spelling "WOW") .

Wendy and Rod began auditioning potential band members in 1977 and, in July 1978, the "Plasmatics" gave their first public performance at what would later become the rock shrine CBGB on New York City's Bowery. The earliest version of the band was a three piece put together with a strong emphasis on visuals. The band quickly realized they needed another guitarist to hold them together musically. Guitarist Wes Beech joined the group; he would become, after Wendy, the only permanent member of the group playing or touring behind or involved in the production of every Plasmatics and Wendy O. Williams record ever recorded.

From their initial gig at CBGB, The Plasmatics quickly rose in the New York City punk underground scene of the time. From playing a single weekday night, they moved quickly to playing repeated stands of four nights straight with two sold-out shows each night. They had lines stretching around the block and brought more fans into CBGB's during this time than any other band in its history. The band's stage show soon became notorious, with acts such as chainsawing guitars in half part of their performance. Having then caught the full attention of the most important people in the entertainment world of New York City, the Plasmatics headlined the Palladium on November 16, 1979, the first group in history to do so at full ticket prices and without a major label recording contract.

The Plasmatics were soon selling out shows in Philadelphia, Boston, venues in New Jersey, and elsewhere in the Northeast. Chris Knowles of Classic Rock magazine wrote: The Plasmatics "were the biggest live attraction in New York... and the media was on them like white on rice... It's one thing to play at subversiveness, but The Plasmatics, unlike other Punk bands... put their Punk philosophy into action." Many U.S. record labels were afraid to sign the band; The band was signed by Stiff Records, a British label, in March 1980, and appeared on the cover of Sounds in June that year.

New Hope for the Wretched became their debut album, Jimmy Miller, former producer of The Rolling Stones, was the initial producer for the album, but he had a heroin addiction nearly bringing the whole project down with him. Stiff Records fired Miller, and the album was finished by engineer Ed Stasium and manager Rod Swenson over in England. In addition to songs like "Corruption" and "Living Dead", linked to TV smashing and automobile destruction, the song "Butcher Baby" featured, as with the live shows, a chainsaw sawing through a guitar in place of a guitar solo.

A second album was overdue but due to the ongoing legal battles and the Miller debacle with the first album, which was costly both in terms of time and money, it was agreed that this one had to be lean and mean. Bruce Kirkland at Stiff agreed to put up the funds as long as Rod produced and the album was done in less than 3 weeks at a quarter of the cost of the first. Given the recent turn of events, Rod proposed the name Beyond the Valley of 1984 and the tour, in 1981, became "The 1984 World Tour". In between touring drummers, Alice Cooper's Neal Smith was brought in to do the drumming for the record, and the album, with its Orwellian and apocalyptic theme and songs such as "Masterplan", "Pig is a Pig", and "Sex Junkie", was released a few months later.

During the last part of the tour Rod had been contacted by American singer, songwriter and record producer Dan Hartman's office asking that Dan have a meeting with Wendy and Rod. Dan came down to the Tribeca loft, met Wendy and Rod, and a month later he and Rod were working on the production of the Metal Priestess mini-LP. The band needed more product but another album was premature, partly because Capitol Records was now making overtures for the next one. Metal Priestess saw the band move closer to heavy metal, and also included new members Chris "Junior" Romanelli (replacing Jean Beauvoir) and Joey Reese.

By the spring of 1982, a worldwide deal was inked with Capitol Records, and Dan Hartman offered to produce a demo of the album for Capitol with Rod at Electric Lady Studios, Jimi Hendrix's old studio, in NY. The whole album was arranged, recorded and mixed within a week. Coup d'Etat was a breakthrough album that began to blend the punk and metal genres, something that would later be done time and time again by bands such as S.O.D., Anthrax, and the Cro-Mags by the end of the 1980s. Wendy also broke ground for her unique singing style. She pushed her vocals so hard she had to make trips into Cologne, Germany, where the album was being recorded, each day for treatments to avoid permanent damage to her vocal cords. As touring began, it became clear that Capitol was beginning to turn away from the group in favor of groups, who could generate the sales with none of the political liability and fallout. Soon after the album was released, Capitol Records dropped The Plasmatics.

In 1982, Kiss asked for Wendy and the Plasmatics to appear as a special guest on their tour. By the end of the tour with KISS it was clear that, although the formal notice that Capitol would not pick up their option for a second album.  Gene Simmons approached Wendy and Rod about producing the next Wendy O. Williams album. So as to avoid any wasted time in legal issues with Capitol Records, it was decided not to use the Plasmatics name on the record at all and was simply called W.O.W., the initials for Wendy O. Williams. Gene Simmons felt it would give him the freedom he wanted to add more new players to the album. There was tremendous excitement in tackling the project a kind of minimalist, stripped down concept, or rite of purification. The songs, including the lyrics would be also be minimalistic or archetypal again giving Wendy a chance to take her vocals step further. The tempo of the WOW album had been slower than previous albums in an effort to open it up, but the new album Kommander of Kaos (a.k.a. KOK) was to bring back the speed and then some.

Maggots: The Record was recorded in 1987 and set 25 years in the future where environmental abuse and the burning of fossil fuels have created a greenhouse effect leading to an end of the world scenario. Called by many the first "thrash metal opera", the central theme of the album is an end of the world scenario that follows from genetic engineering and global warming, something that was not at all part of the general public awareness of the time. Wendy did a performance piece to inaugurate the album at NYC's Palladium, which had been transformed from a proscenium theater into huge multi-level club where she sledgehammered and chainsawed to smithereens a facsimile all-American living room. Swenson and Williams folded the Plasmatics following a tour in support of Maggots, and after cutting a hip-hop-oriented album, 1988's Deffest! and Baddest! under the name Ultrafly and the Hometown Girls, Williams retired from music. Williams and Swenson remained a couple until she took her own life on April 6, 1998.

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You can't put an exploding car or a television that's been smashed to bits inside a record sleeve, which sums up the problem the Plasmatics had in capturing their appeal on vinyl -- so much of the band's initial reputation was based on their frantic and destructive live show, and divorced from the images, their first album, New Hope for the Wretched, simply had to get by on the band's music, which was a bit of a stretch. As musicians, the Plasmatics were tight and not without imagination; their attack suggests guys who had been playing metal or hard rock who figured this punk rock stuff was going to be the next big thing, but rather than disguise their roots, guitarists Richie Stotts and Wes Beech were more than willing to let their doomstruck metal influences shine through on the instrumental breaks to tunes like "Monkey Suit" and "Concrete Shoes," and parts of New Hope suggest thrash metal arriving a few years early. However, as songwriters Stotts, Beech, and Rod Swenson (the band's manager and idea guy) didn't have all that much to say and not an especially compelling way of saying it.  And while the album's great musical experiment -- the middle section of "Dream Lover," during which the musicians could neither see or hear one another -- may have been an interesting idea, the results suggest a roomful of college freshmen making their first stab at forming a noise band. New Hope for the Wretched is the work of a band struggling to make the excitement of their stage show work in the studio.

Plasmatics - New Hope for the Wretched  (flac 323mb)

01 Tight Black Pants 1:47
02 Monkey Suit 3:27
03 Living Dead 1:34
04 Test Tube Babies 1:54
05 Won't You 2:28
06 Concrete Shoes 2:56
07 Squirm (Live) 3:29
08 Want You Baby 1:56
09 Dreamlover 5:43
10 Sometimes I 3:58
11 Corruption 2:40
12 Butcher Baby 3:32
13 Tight Black Pants (Live) 1:56 
14 Living Dead (Live) 3:52 
15 Sometimes I (Live) 3:55 

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Dan Hartman, who produced acts such as 38 Special and James Brown, among others, had been working on a session in LA when he picked up a copy of Beyond the Valley of 1984 and couldn't stop playing it. It was "ground breaking," he said. "I knew I wanted to meet these people and do something with them." Dan came down to the Tribeca loft where he met Wendy O. Williams and Rod Swenson and a month later he and Rod Swenson were working on the production of the Metal Priestess EP.
The creation of the EP is a result of the need to release something due to their increasing popularity, with an album being premature, partly because Capitol Records was now making overtures for the next one. Metal Priestess was recorded at Dan's private studio off his schoolhouse turned home and studio in Connecticut and released early in the fall of 1981.

Plasmatics - Metal Priestess  (flac 176mb)

01 Lunacy 5:08
02 Doom Song 5:22
03 Sex Junkie (Live) 3:08
04 Black Leather Monster 3:41
05 12 Noon 3:30
06 Masterplan (Live) 4:48
 

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The Plasmatics got a lot more ambitious with their second long-player, 1981's Beyond the Valley of 1984. Opening with the arty gloom 'n' doom of the opening cut "Incantation," in which Wendy O. Williams and her bandmates chant in Latin (or something that sounds like it) over a plodding minor-key synthesizer line, Beyond the Valley of 1984 aims to sound bigger, more expansive and more "important" than the purposefully trashy debut, though as a consequence it also sounds a good bit more pretentious, especially when Williams launches a rant against cops, government and the press on the final cut "A Pig Is a Pig" The album also includes an oddball girl group homage, "Summer Nite," about Williams losing the man of her dreams at a rock show, and an eight-minute instrumental, "Plasma Jam," which wears out its welcome at the half-way mark. However, the band does sound noticeably tighter and more potent on this disc; Richie Stotts and Wes Beech's guitar work is strong enough to pull off the metal-influenced leads they were straining for on New Hope,  the addition of former Alice Cooper skinsman Neal Smith on drums was an inspired choice, with his solid, muscular hard rock chops. And Williams' vocals are much improved, having developed a welcome touch of nuance in the year separating the two LPs. Beyond the Valley of 1984 does reveal a more distinct musical personality than the group's earliest recordings.

Plasmatics - Beyond The Valley Of 1984 (flac 316mb)

01 Incantation 2:13
02 Masterplan  3:06
03 Headbanger 3:23
04 Summer Nite 4:42
05 Nothing 3:42
06 Fast Food Service 1:22
07 Hit Man (Live Milan) 3:06
08 Living Dead 4:30
09 Sex Junkie 3:06
10 Plasma Jam (Live Milan) 8:30
11 Pig Is A Pig 4:30

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Coup d'Etat hardly signals a band teetering on its last legs, sounding as fiercely uncompromising as its predecessors. The difference is Dieter Dirks' production, which more firmly than ever positions the band in the metal orbit. There's even a fine cover of Motörhead's "No Class," which sounds tailor-made for the band's punchy thrash attack, powered by Wendy O. Williams' harsh, masculine-sounding vocals. The group's musicianship has also evolved; this is hardly the club-footed bunch who debuted on 1980's New Hope for the Wretched (particularly Richie Stotts and Wes Beech, who've become a taut guitar team). But nobody here plays matters safe too long: "Stop," "Path of Glory," "The Damned," and "Just Like on TV" take an apocalyptic, politically charged worldview completely foreign to '80s metal -- which set the Plasmatics above their peers, but didn't sell records. The band revisits safer gross-out turf on "Mistress of Taboo," "Put Your Love in Me," and "Country Fairs," on which Williams aims her gravel-throated blunderbuss at mainstream society ("Be polite/Do what's right/Say your prayers/Don't stay out at night"). The final effect is strangely stilted, veering between gotta-get-airplay and gotta-stand-fast impulses, yet the group flashes enough of its old rowdiness for a reasonably worthwhile outing.

Plasmatics - Coup D' Etat (flac 402mb)

01 Put Your Love In Me 3:55
02 Stop 4:40
03 Rock N Roll 4:23
04 Lightning Breaks 3:58
05 No Class 2:36
06 Mistress Of Taboo 3:16
07 Country Fairs 3:37
08 Path Of Glory 4:45
09 Just Like On TV 3:17
10 The Damned 4:24
11 Uniformed Guards (Work-In-Progress Recording) 4:07

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RhoDeo 1312 Roots

Hello, last week we crossed the pond over to the world of skunk, that powerful marihuana, cultivated by Dutch agricultural students. With the liberal laws which lured so many foreigners to the dutch coffeshops one of those decided to stay close to his inspirational source is today's artist who decided to set up shop (his studio) in the Netherlands.

Twilight Circus is the Dub and reggae project of multi-instrumentalist Ryan Moore, former bassist & drummer of the Legendary Pink Dots. He originally started off producing dub albums, before recording vocalists such as Big Youth, Michael Rose of Black Uhuru and Ranking Joe. However, here we concentrate on his earlier dub work .... N'joy

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Born and raised in Vancouver, BC, Moore began playing bass at the age of 13 after his first exposure to Bob Marley's classic Natty Dread; Moore's fascination with dub began in the early 1980's, inspired by the nexus of punk rock and dub which film maker Don Letts forged in London, along with the futuristic possibilities hinted at by cyberpunk author William Gibson in Neuromancer. Throughout the 80's he obsessively collected every dub LP he could find, which included Jamaican dub from legends like King Tubby, Prince Jammy, Lee Perry and Scientist as well as 2cnd generation figures operating from London like Adrian Sherwood, Mad Professor, and Jah Shaka.  This fascination with dub continued in the years to follow despite working as a studio musician with Nettwerk Records and collaborating with industrial acts like Skinny Puppy, Download and Single Gun Theory. Joining the Legendary Pink Dots in 1991, two years later Moore relocated to the Netherlands, forming Twilight Circus in 1995 and issuing In Dub Vol. 1 on his own M Records label.
From 1994 to the present Moore has made recordings for Twilight Circus in Vancouver, London, Kingston-Jamaica, and The Netherlands - where he has his own studio.

Since being the opening act for Skinny Puppy side project Download on their 1996 World tour and several tours billed with the Legendary Pink Dots, Twilight Circus has maintained a busy schedule playing all over the World on nearly every continent, including major festivals like Dour Festival, Summerjam, Fuji Rock Festival, One Love (UK), Sierra Nevada World Music Festival.

With Twilight Circus, Ryan Moore has worked with a wide range of respected figures from the dub, reggae and electronic genres including: Sly and Robbie, Dean Fraser, Luciano, Michael Rose (Black Uhuru ) Big Youth, Mikey General, Big Youth, Skully Simms, Vin Gordon (Bob Marley), Earl "Chinna" Smith (Bob Marley), Eddie 'Tan Tan' Thornton ( Aswad), Buttons Tenyue /Matics Horns (UB40), Ansel Collins, Style Scott (Dub Syndicate), Bobby Ellis ( Studio One), Admiral Tibet, Jah Stitch, Sugar Minott, Queen Ifrica, Lutan Fyah, Fred Locks, Gregory Isaacs, Mafia & Fluxy, Cevin Key ( Skinny Puppy), DJ Spooky, and The Mad Professor.

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A dub plate is a unique acetate platter created specifically for a DJ sound system, but with the elementally deep bass generated by Twilight Circus' Ryan moore (a Canadian expatriate living in the Netherlands, who essentially is Twilight Circus), "tectonic plates" seems a more appropriate term. The bottomless bass and rubbery tempo of this music conjure images of massive primordial forces, the menace of a slow-moving lava flow. These dub plates originate from twilight Circus' dub performances, representing both new material and unreleased remixes of older tracks. They navigate the intersecting sound-spaces of reggae-patterned dub, jungle and ambient electronica, cavorting through cavernous reverb, otherworldly electronic effects and the ocassional deconstructed melodic fragment. Delightfully, this is no gratuitous elecronica samplefest - in fact it's not a samplefest at all - because Moore avoids the usual drum boxes and electronic toys in favor of fat bass lines and real drums (supplied ob three plates by no less than Sly Dunbar). So there's blood and sweat amongst the circuitry.

Twilight Circus Dub Sound System - Dub Plate Selection (flac  431mb)

01 The Ride 6:44
02 New Steppers 3:19
03 Filter 13 4:56
04 Trouble Dub Plate 4:51
05 Beneath The Valley Of The Ultra Dub 4:33
06 808 Dub Plate 7:39
07 Rocking Dub (12-Inch Version) 4:09
08 Lowell And Nine (Shaka Dub Plate) 5:02
09 Sir Dub Plate 3:21
10 Indian (Space Dub Plate) 4:26
Bonus Tracks
11 Filter 13 (Party Mix) 5:00
12 Lowell And Nine Dub Plate 4:53
13 Filter 13 (Wailers Tribute Mix) / Bong Loop (Paranoia Mix) (9:00) 13:41

Twilight Circus Dub Sound System - Dub Plate Selection (ogg 164mb)

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The indefatigable Ryan Moore keeps up the Dub pressure with this, his seventh album release as Twilight Circus, purveyor of fine Seventies-styled Dubs to the kids... and beyond. One of the first impressions of Dub Voyage, as is only to be expected, is the bass, Moore's production has rarely sounded this crisp. The Seventies classics are the obvious influence, with "Wareika" paying homage to the late Augustus Pablo via a melodica paean and some formidable bass acreage, but there's something indefinably contemporary about the TC sound which takes the template and makes it Moore's own. Squishy analogue synth lines whip like power cables in a desert storm or gurgle into the undertow, bleeps and whistling abound, electric pianos skank the melody before another wave of boom and beat crashes on the shorefront... such appropriate images on the sleeve, the shaking palm trees, the turbulent pounding of the sea.

Twilight Circus Dub Sound System - Dub Voyage (flac  238mb)

01 Acetate 4:25
02 Dub Voyage 3:26
03 Heavy 4:49
04 Wareika 4:21
05 Depth Charge 4:33
06 Fast 4:05
07 Blaster 3:18
08 K2000 3:28
09 Slicer 4:11
10 Silver 3:32
11 Massive 2:55

Twilight Circus Dub Sound System - Dub Voyage (ogg 83mb)

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Canadian dub master Ryan Moore releases his third set of special mixes cut for his rockin' live performances. Moore keeps things roots-oriented by focusing on pure reggae captured through tube gear like in the pioneering days. Twilight Circus dubs are mixed live for that vintage fat and spacious sound, garnering worldwide praise for their authenticity. The motivating groove is in the drums and the cool low bass lines, with melodic sprinkles of piano, organ and harmonica echoing throughout devastating versions like "Floor Plate," based on his tribute to producer Prince Jammy, "Floorshaker," from the Volcanic Dub release. What makes Moore's tracks so stunning is his ability through his instrumentation (all played and mixed himself) and careful panning arrangements to produce a sound that evokes the expansiveness of three-dimensional space. From the bass undulations to the high-flying whines and whirls, and the expansive mid-range effects, Dub Plates 3 is sonic depth exemplified and are working at the seismic level!

Twilight Circus Dub Sound System - Dub Plates Vol. 3 (flac 264mb)

01 Jah Steppa 3:28
02 Session Plate 4:20
03 Mega Hall 3:45
04 Mad Groove 4:04
05 Floor Plate 3:41
06 Slicer Dub Plate 4:38
07 A.P. Steppa 2:45
08 Dub Otaku 3:53
09 Travellin' 3:23
10 Depth Charge (Remix) 3:39
11 Binghi (Brain Melt Mix) 3:21

Twilight Circus Dub Sound System - Dub Plates Vol. 3 (ogg 95mb)

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RhoDeo 1312 Rings 8

Hello, so the F1 season got it's first big controversies because Vettel won after passing his poor teammate, Webber. He did so in a grandiose way after two laps of relentless tries, right from the moment Webber re-entered the track after his pit stop, had he yielded right away there would have been no controversy but he defended fiercely but lost out to who everybody knows is the better driver, silly arguments are made by the German/Vettel haters that the car was tuned down, pathetic Webber clearly playing the wronged man. Difficult day for the anything German haters as their man Hamilton had to be 'pushed' acrossed the line in third by his teammate Rosberg.

The coming months a tale with a proven trackrecord in the cinema , yet there's radioplays too and having listened to the first episode it strikes me that stories like these where the imagery is left to the listener and not prepared by others can have a bigger impact and dare I say deliver a much more satisfying experience as after all it's all in the mind ... NJoy

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In 1981 BBC Radio 4 broadcast a dramatisation of J. R. R. Tolkien's The Lord of the Rings in 26 half-hour stereo instalments. Like the novel on which it is based, The Lord of the Rings is the story of an epic struggle against the Dark Lord Sauron of Mordor, the primary villain of the work, who created a Ruling Ring to control the nineteen Rings of Power, and an alliance of heroes who join forces to save the world from falling under his shadow.

The 26-part series was subsequently edited into 13 hour-long episodes broadcast from 17 July to 9 October 1982, restoring some dialogue originally cut for timing (since each hour-long episode is actually around 57 minutes, as opposed to 54 minutes for two half-hour episodes with overlaps and extra credits removed), rearranging some scenes for dramatic impact and adding linking narration and music cues. Interestingly Ian Holm, who played Frodo Baggins in the radio serial, went on to play Bilbo Baggins in Peter Jackson's movie trilogy.

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The Voice Of Saruman ( 65mb)

801 Opening Titles
802 The Pipe-Smokers
803 Saruman Speaks
804 The Palantir
805 The Teeth of Mordor
806 The Stone of Orthanc

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previously

The Shadow Of The Past
The Black Riders
The Knife In The Dark
The Ring Goes South
The Mirror Of Gadladriel
The Breaking Of The Fellowship
The King Of The Golden Hall

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Sundaze 1312

Hello, Sundaze today brings you .some background music to those snowy fields brushed by icy winds

They have'nt gained a mainstream following. Their music, however, has not failed to garner positive reviews, they have experienced a fair amount of popularity at times.. .... NJoy

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Seefeel formed in 1992 in London, England, guitarist Mark Clifford and drummer Justin Fletcher met up at a London college, and by 1992 the duo had recruited vocalist Sarah Peacock and Mark Van Hoen (bass), during 1992, latter was replaced by Daren Seymour on bass. Seefeel began auditioning songs and was ready to record their first single for Too Pure Records, but experienced a change of heart, the quartet grew bored within the restraints of normal rock forms and started working with loops and programs rather than lyrics and choruses, this caused the resulting EP More Like Space to owe more of a debt to Aphex Twin than alternative rock.

They released their first EPs and first album on the British independent label Too Pure in 1993. Seefeel's music was stylistically situated at the intersection of dream pop/shoegaze and ambient techno/IDM. Seefeel's debut album Quique, turned out an even colder document of ambient indie techno than the previous EPs had predicted. The album was hailed as a techno album which indie kids could listen to, and it received an American release that same year on the dance label Astralwerks. During 1994, Astralwerks compiled the two early EPs as Polyfusia, and Seefeel made the leap from rock to techno as they signed with IDM label Warp Records, after which point Seefeel's music became darker and more minimal. Their 2nd album album, 1995's Succour, was something of a disappointment the record was a bit too skeletal for most rock critics or music fans. The music became less collaborative within the group after the move to Warp, as is made evident by the similarities between Succour, and subsequent Mark Clifford solo releases. This caused the temporary breakup of the group in 1996, when Mark Clifford's Disjecta project became his main occupation.

Peacock, Fletcher, and Seymour in turn joined Mark Van Hoen (aka Locust) for an EP and album of indie/trip-hop recorded as Scala. Though Seefeel returned in late 1996 with their third proper LP, Ch-Vox, the group took an open-ended hiatus after its release. Peacock and Seymour continued to record as Scala, while Clifford recorded an EP for Warp as Woodenspoon and later surfaced as Sneakster.
The band ceased making music as Seefeel in 1996 and performed their last live concert in October of 1997 alongside Boards of Canada. Members of Seefeel have continued to release new material under different aliases and projects.

On May 14, 2007, Seefeel's 1993 debut album Quique was re-released on UK-based label Too Pure as Quique (Redux Edition). The original tracks have been remastered and a second disc, which contains several rare remixes and previously unreleased tracks, has been added to the album. The album title refers to the band members having given their instruments french names; "Quique" referring to the kick-drum.

In 2008 Mark Clifford and Sarah Peacock relaunched Seefeel and were joined by Shigeru Ishihara (DJ Scotch Egg) and former Boredoms drummer Iida Kazuhisa (E-Da) who filled in the bass and percussive sections respectively. Daren Seymour and Justin Fletcher were not able to be a part of the reunion due to prior commitments and living outside the UK. On September 20, 2010 Seefeel released the Faults EP (their first new recording in 14 years) followed shortly after by an eponymous LP on January 31, 2011; both on Warp Records.

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Seefeel blisses out with dreamy soundscapes and dubby bass lines on Polyfusia under the guiding hand of guitarist/songwriter Mark Clifford. Picking up where My Bloody Valentine's Loveless--the blueprint for layered and sample-heavy ambient construction--left off, this album represents some of the band's most pivotal work. A 1993 release, it compiles two early EPs (Plain Song, More Like Space) along with a pair of classic Aphex Twin remixes. The better of the pair, the laissez-faire treatment of "Time to Find Me," is also a compelling testament to Aphex Twin's own enchantment both with the song and Sarah Peacock's ethereal vocals.

Seefeel - Polyfusia ( flac 370mb)

01 More Like Space 8:45
02 Time To Find Me (Come Inside) 5:07
03 Come Alive 5:06
04 Blue Easy Sleep 4:42
05 Plainsong 7:02
06 Moodswing 5:45
07 Minky Starshine 10:43
08 Time To Find Me (AFX Fast Mix) 7:35
09 Time To Find Me (AFX Slow Mix) 9:33
10 Plainsong (Sine Bubble Embossed Dub) 8:46

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Written, mixed and arranged by leader Mark Clifford, the album was a monumental musical step forward for the band. Like nothing that came before or since, Succour is an Electronic album that was born during the heights of Techno and Ambient music, yet moves beyond either of those genres. With a moody, gloom-filled atmosphere, Succour is an album unlike any other, it's a dark ambient masterpiece, a haunting beauty. The music suggests an architecture, not a landscape. And although these rooms are quite spacious and scarcely a trace of furniture in them, you are lured into them, but cannot avoid a sense of claustrophobia. The fairy-tale frailty of the Cocteau Twins at their strongest, translated into a world of .. er .. dubby post-rock.

Seefeel - Succour ( flac 274mb)

01 Meol 5:51
02 Extract 7:28
03 When Face Was Face 6:03
04 Fracture 5:52
05 Gatha 6:00
06 Ruby-Ha 6:08
07 Rupt 6:29
08 Vex 4:25
09 Cut 5:40
10 Utreat/Tempean 7:52

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Largely recorded at the same time as "Succour", and it is only 35 minutes long with 6 tracks, barely an album.  6 tracks - one is a version of "Utreat", and the other five are like the quieter moments of "Succour".  "Ashdecon", on first listen, is the only track showing signs of genius, the others are pretty good. It's pretty sparse but a lot more compelling than I've probably made it sound.

Seefeel - (Ch-Vox) +Starethrough (flac 245mb)

01 Utreat (Complete) 4:31
02 E-hix² 5:07
03 Ch-Vox 6:46
04 Hive 5:18
05 Ashdecon 5:25
06 Net 6:11
Starethrough EP
01 Starethrough 7:46
02 Air-Eyes 5:32
03 Spangle 7:21
04 Lux1 6:03

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RhoDeo 1311 Beats

Hello, some trouble again uploading to my regular host, Netkups,  oh well nothing compared to some of the problems the weather has been causing. Last week i reintroduced Rapidshare but apparently something didn't compute so I re-upped "Thinking About Myself" si in case you tried in vain last week you should try again..

Meanwhile the beats go on....  with more from the Wagner of Techno-trance, this time I have some of his EP's lined up for you, expect more then just trance. . .... NJoy

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Blüchel was born (February 19, 1963) in Nuremberg, Germany. At the age of 6, Blüchel started taking classes in classical piano. He began studying at the Hochschule für Musik Nürnberg one year later. His favourite composers soon were, amongst others, Béla Bartók and Igor Stravinsky. In 1976 he would discover electronic music and take an interest in playing the synthesizer. At the time he was listening to bands such as Kraftwerk and Tangerine Dream. Blüchel continued his studies in music. In 1986 he moved to West Berlin and entered into the Berlin Institute of Technology to study audio engineering, and also entered into the Berlin University of the Arts to study composition. While living in Berlin, he would soon meet producer Kid Paul. In 1988 he started to compose and take side in techno music and house music.

In 1991, Blüchel first appeared as "Cosmic Baby" in live acts. That year he signed with trance label MFS, where he released his first album Stellar Supreme in 1992. In 1992 he also paired up with Paul van Dyk for the project "The Visions of Shiva" under which name two EPs came out, Perfect Day (1992) and How Much Can You Take? (1993). The two then later went their separate ways. In late 1993, Blüchel left MFS and signed onto Logic Records, a record label owned by BMG.

At the beginning of the 1990s, Blüchel formed Energy 52 with Kid Paul. In 1993, Energy 52 released "Café del Mar", which is considered to be a trance classic and one of the most remixed songs in electronic music. In 1994, Blüchel released his single "Loops of Infinity" which stayed in the top 30 of the German charts for three months. In April 1994 he released his second album Thinking About Myself. He later also created a soundtrack for Futura, a musical dance act. This soundtrack features some material from Thinking About Myself and was released under the name Cosmic Inc. in 1995. Another soundtrack, Musik zu Andorra, for the stageplay Andorra by Max Frisch, appeared in 1997. Blüchel decided to become a music publisher and founded Cosmic Enterprises in 1994; he then created his own label Time Out of Mind Records in 1995. The third full-length album Fourteen Pieces was released in 1996, the fourth album Heaven followed in 1999. Throughout the late 1990s, Blüchel would perform as a DJ in the United States, Mexico and other places around the world.

Blüchel later started collaborating with Christopher von Deylen. Together they released two albums as Blüchel & Von Deylen in 2004: Bi Polar and Mare Stellaris. After this, Blüchel began releasing works under his real name, more ambient-like, minimalistic and experimental than his works as Cosmic Baby. The albums that appeared in the following years were part of the "Zauberberg" ("Magic Mountain") trilogy. Meanwhile, Blüchel also made a come-back as Cosmic Baby with the release of the album Industrie und Melodie at the end of 2006..

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From the beginning,  Loops Of Infinity was a balancing act between excessive romantic, excessive speed, excessive piano and excessive arpeggios. With a wink at my favorites from the 19th century, a play on the term "virtuoso" thoughts from the book, "Gödel, Escher, Bach" and the tongue for a hefty debate starting up between techno fundamentalists, I found my own path. "Heaven's Tears" documents two archetypical Cosmic Baby styles.  Strong piano motives in combination with sequencer arpeggios a la Tangerine Dream or Giorgio Moroder, with techno beats added, make for emotionally laden, directly accessible music, both in the club or at home.

Cosmic Baby - Loops Of Infinity/Heaven's Tears ( flac 400mb)

01 Loops Of Infinity (Axiomatic) 3:45
02 Loops Of Infinity (Expressionistic) 7:34
03 Loops Of Infinity (Impressionistic) 7:56
04 Loops Of Infinity (Arpeggiators Remix) 5:55
05 Loops Of Infinity (Triptomatic Fairytales Remix) 6:27

01 Heaven's Tears (Jam El Mar Visual Mix) 3:57
02 Heaven's Tears (DJ Kid Paul's Mix) 5:59
03 Heaven's Tears (Cosmic Baby's Remix) 7:53
04 Heaven's Tears (Jam El Mar Funny How The Time Flies Mix) 8:37

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Fantasia was the second single to be released from "Thinking" and it is easily my favourite piece. A fantasy on dreams, desires, hopes of a period of my life. Translating the world using the senses of a happy person. Six months later a five-piece suite from the original version was created over two nights and produced in three days. Actually, Fantasia deserved the same success as Loops of Infinity because it conveys sensual affairs more completely. Lisa Woynar's voice in Part 1 is a brilliant interpretation of the instrumental "Archityp zwei"

Cosmic Baby - Fantasia/Blade Runner ( flac 374mb)

01 Intro 4:03
02 Celestial Harmonies 9:13
03 Remix II 9:02
04 Talking Drums 9:03
05 Airplay 3:48
06 Outro 5:02

01 A Tribute To Blade Runner (Dance Title 2) 7:21
02 L.A. 2018 - Replicants Requiem 4:07
03 L.A. 2018 - Rachel And Deckard 7:59


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The back story
The destruction of the natural basis for all life on Earth is inevitable. Optimists see the separation of mind and body as the only way out. What begins with the emergence of created by computers, virtual worlds in the Phasedes of 'Cyber-Space', developed rapidly into new forms of consciousness and life opportunities. After the Earth has been poisoned and destroyed, humans have disappeared. All this is pre-history,  in "FUTURA" nature has recovered from the attack of the humans and given rise to a new, diverse flora and fauna on the planet. People have de-materialized and are disembodied as they move through the planet's sphere. However, some of these disembodied beings are now able to be reborn on Earth....
Fluorescent body and objects occupy the space and create virtual atmospheres until Futura appears. By her inner beauty and singing, she spread a harmonious, powerful aura. Cosmic Baby wrote the music, and expressed in singing in classical mezzo - soprano. 'FUTURA', by the PYRO SPACE BALLET (Conception & direction from Kerstin Rehberg) in the AKADEMIE DER KÜNSTE, Berlin. This soundtrack features some material from Thinking About Myself and was released under the name Cosmic Inc. in 1995.

Cosmic Baby - Futura mini ( flac 262mb)

01 Au Dessous Des Nuages 10:45
02 Brooklyn 5:21
03 Movements In Love 8:19
04 Futura (Voc Elisabeth Neiman) 5:03
05 Rebirth (Voc Elisabeth Neiman) 5:15
06 Transformations (Voc Elisabeth Neiman) 9:07

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Energy 52 was a project comprising Paul Schmitz-Moormann (Kid Paul) and Harald Blüchel. The 1993 track "Café del Mar" became one of the most heard trance songs in the world; its dozens of remixes have appeared on hundreds of compilation albums. In April 2011, the song was voted number one by BBC Radio 1 listeners in Pete Tong's Top 20 Dance Tracks of the last 20 years.

The background: I met Paul Schmitz-Moormann in 1989. A close friendship developed centred around non-stop music-making. From Paul I learned how to combine high-quality melodic material with rhythm sections in a way that was both transparent and effective and gave the compositions a clear structure. In return, I was a kind of contemporary "piano teacher" for Paul. In 1990 we spent some time together on Ibiza. We got some really good vibes in a white villa on the beach where we spent the evenings, the "Cafe del Mar".
 November 1992: Paul returns after an especially long summer holiday on Ibiza. At "Cafe del Mar" he had heard a solo piano composition that had made a big impression on him. I know the piece, it is from Wim Mertens, one of my favorite composers. In the coming weeks we dedicate ourselves as though inspired by a greater force to our own version of this masterpiece working minutely on every little detail until it feels right. In January we produce the two originals ("Kid Paul Mix" and "Cosmic Baby's Impression") in the studio in cooperation with Jens.

Energy 52 - Café Del Mar ( flac 352mb)

01 Café Del Mar (Marco V Remix Radio Edit) 3:04
02 Café Del Mar (Three N One Radio Mix) 3:51
03 Café Del Mar (Nalin & Kane Remix) 9:43
04 Café Del Mar (Marco V Remix) 8:31
05 Café Del Mar (Three N One Remix) 8:43
06 Café Del Mar (John 00 Fleming Remix) 10:03
07 Café Del Mar (Hybrid's Time Traveller Remix) 6:38
08 Café Del Mar (Humate Remix) 6:33

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