RhoDeo 1934 Grooves

Hello,


Today's Artists are all swallowed by the mist of time, yet they were all...fresh. ...... N Joy

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In one sense, you could call Morgan Khan an importer. That's basically what he did when he set up Street Sounds, the subsidiary to his dance label Streetwave, and released the first Street Sounds Electro compilation in 1983: here were eight tracks out of the United States that would've cost a couple of dozen quid for a UK buyer to import, all collected together for a price under five pounds. As a business decision, it was pretty shrewd, but as a scene-maker it was flat-out seismic: Thanks to the budget pricing and each volume's two sides of tight, continuous mixing from the likes of Herbie Laidley and the Mastermind sound system, the 22-volume Street Sounds Electro series-- later Street Sounds Hip Hop Electro and finally just Street Sounds Hip Hop-- was a major factor in defining what UK B-boys caught on to in the hip-hop world between 1983 and 1988.

Street Sounds Electro: In many ways, it's a fortunate time capsule that hits on a lot of the now-iconic electro and rap classics of the mid-late 1980s and what sort of context they came from. Yet it also offers a deeper, messier variation on the evolution of hip-hop, one that covers most of the major bases between the old school and the sample era-- Grandmaster Flash, Run-D.M.C., the Roxanne wars, the dawn of golden age icons like BDP and Eric B. & Rakim and EPMD-- then complicates it all by throwing in a lot of strange stuff that history completely forgot, for reasons both unfair and justified.

While the significant presence of classic early-mid 80s rap integrated itself into the tenor of each Street Sounds edition-- or sometimes clashed against it, like the slow, wobbly dubbed-out strut-bounce of Rammellzee vs. K-Rob's "Beat Bop" did amongst the otherwise uptempo pop-and-lock fodder of 1983's Volume 2-- it started to gradually dominate the series as a whole, swapping out the vocoders-and-Kraftwerk vibe of classic electro for the harder, sparser sounds of hip hop's first hardcore phase.

By 1987, the word "Electro" started disappearing from the compilation's now "Hip Hop"-focused titles, the 808s slowed down drastically and sample-based cuts by the Ultramagnetic MCs ("Traveling at the Speed of Thought"; "Funky") and J.V.C. F.O.R.C.E. ("Strong Island"; "Doing Damage") started making their way into the mix. By '88, the last year of the Street Sounds Electro series, the closest it got to uptempo electro-rap was Rob Base & DJ EZ Rock's "It Takes Two"-- by which time it was on its way to bypassing the whole "electro" thing entirely and getting identified as "hip-house." It's an illuminating history, an evolution of sound in a sort of beyond-canonical macrocosm.


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This is the one that started it all. Morgan Khan is a legend in my eyes for introducing this music across the pond to the U.K back in the day. A fantastic and diverse array of quality electro tunes

 VA - Street Sounds Electro 1  (flac   365mb)

01 The Packman - I'm The Packman (Eat Everything I Can) 6:35
02 Newcleus - Jam On Revenge (The Wikki-Wikki Song) 7:49
03 West Street Mob - Break Dancin' - Electric Boogie 5:02
04 C-Bank - Get Wet 7:52
05 K-9 Corp Featuring Pretty C - Dog Talk 9:35
06 G-Force (Feat Ronnie Gee & Captain Cee) - Feel The Force 7:24
07 Project Future - Ray - Gun - Omics 6:40
08 Captain Rock - Return Of Captain Rock 8:23


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This is the best of the SSE albums by a mile -- absolutely love this (and won't sell it, even though I could get a couple of quid for it). Xena's On The Upside is brilliant in an era when Shannon was just about to let the music play. This is superior. The B-Boys tracks are great -- Two Sisters are having great fun with some early sampling, and a brilliantly sequenced and dynamic piece. And of course it has White Lines at the end. Incredible stuff. This album took you off into the world of underground electronic music, away from all that was commercial. The stand out track on this compilation was definitely Al-Naafiysh which set quite a standard in the Electro genre. I think we have to thank Morgan Khan for introducing the Electro underground to a world of people who would never have got into this style of music.

PS. If you're a Shaun of the Dead fan, this album is being rocked by Simon Pegg and Nick Frost near the beginning of the film, before they later frisbee it at a zombie. Heartbreaking waste of vinyl! :)

VA - Street Sounds Electro 2  (flac   292mb)

01 The B-Boys - Two, Three, Break 5:01
02 The B-Boys - Cuttin' Herbie 4:36
03 Xena - On The Upside 5:53
04 Hashim - Al-Naafiysh (The Soul) 6:06
05 Rammellzee Vs K-Rob - Beat Bop 10:10
06 Two Sisters - B-Boys Beware (Club Mix) 5:50
07 Grandmaster Flash & Melle Mel - White Lines (Don't Don't Do It) 7:33

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Some more stinkin' Electro, sounds a lot more danceable with todays ears as it was back then, but then thist was o so 'fresh' - the perfect anti dote to global warming...

VA - Street Sounds Electro 3 (flac   266mb)

01 Divine Sounds - Dollar Bill 7:58
02 Imperial Brothers - We Come To Rock 5:44
03 Newcleus - Jam On It 6:09
04 Boogie Boys - Zodiac 6:09
05 Pumpkin - King Of The Beat 3:40
06 Davy DMX - One For The Treble (Fresh) 5:54
07 Fresh 3 MC's - Fresh 5:37

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t has been said on more than a few occasions that the UK embraced hip hop wholeheartedly and saw it largely as more of a United States phenomenon rather than a Five Boroughs thing. This meant that for us most US-based inter-borough/city/state politics were not factors as to whether we thought a record was hot or not, and may have helped form the ideas of how to make Electro/Hip Hop which are expressed through this LP.

Personally speaking, every track on UK Electro is a winner with my most(est) favourite of the time being Hip Hop Beat, produced by the Mastermind with scratching by the spectacular Whiz Kid no less, it's similar to Jazzy Jay's Def Jam but with added groove. Syncbeat's Music is another favourite, in fact the A Side starts off strong and ends just as strong.

It wasn't until years later that I found out that Morgan Khan manufactured it with session musicians, with the same ones all pretending to be different artists, in an effort to kick start the UK Hip Hop scene. None of them charted or were released, other than to appear on this. I suppose it has its charm.

VA - Street Sounds Electro UK (flac   236mb)

01 Zer-O - Real Time (Retrospective Dub)
02 Syncbeat - Music
03 Broken Glass - Style Of The Street
04 Forevereaction - U People
05 Zer-O - Real Time
06 Rapologists - Hip Hop Beat (Street Mix)
07 Forevereaction - B.E.D. '34

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RhoDeo 1934 Mystery Knight 3

Hello, In ancient Roman religion and myth, Mars was the god of war and also an agricultural guardian, a combination characteristic of early Rome. He was second in importance only to Jupiter and he was the most prominent of the military gods in the religion of the Roman army. Most of his festivals were held in March, the month named for him (Latin Martius), and in October, which began the season for military campaigning and ended the season for farming.

 Some quotes from wiki

The western hemisphere of Mars is dominated by a massive tectonic complex known as the Tharsis region or the Tharsis bulge. This immense, elevated structure is thousands of kilometers in diameter and covers up to 25% of the planet's surface. Averaging 7–10 km above datum (Martian "sea" level), Tharsis contains the highest elevations on the planet. Three enormous 'volcanoes', Ascraeus Mons, Pavonis Mons, and Arsia Mons (collectively known as the Tharsis Montes), sit aligned northeast–southwest along the crest of the bulge. The vast Alba Mons (formerly Alba Patera) occupies the northern part of the region. The huge shield volcano Olympus Mons lies off the main bulge, at the western edge of the province. (Note Mars is supposedly covered with vulconoes none show any activity, maybe not vulcanoes then but electric scars)

Landforms visible on Mars strongly suggest that liquid water has existed on the planet's surface. Huge linear swathes of scoured ground, known as outflow channels, cut across the surface in about 25 places. These are thought to be a record of erosion caused by the catastrophic release of water from subsurface aquifers, though some of these structures have been hypothesized to result from the action of glaciers or lava. One of the larger examples, Ma'adim Vallis is 700 km (430 mi) long, much greater than the Grand Canyon, with a width of 20 km (12 mi) and a depth of 2 km (1.2 mi) in places. It is thought to have been carved by flowing water early in Mars's history. The youngest of these channels are thought to have formed as recently as only a few million years ago. Elsewhere, particularly on the oldest areas of the Martian surface, finer-scale, dendritic networks of valleys are spread across significant proportions of the landscape (Note, Dendrites, also dendrons, are branched protoplasmic extensions of a nerve cell that propagate the electrochemical stimulation received from other neural cells to the cell body, or soma, of the neuron from which the dendrites project. =Electricity evolution at work)



The Lightning Scarred Planet, Mars (Full Documentary)






Most people just accept that our universe is ruled by gravity; an assumption that is wrong. Evidence instead shows that the force responsible for all of the objects and events we observe throughout the universe is the electric force that enables current flow and therefore magnetic fields to exist. If we consider that the electric force is fundamentally one thousand, billion, billion, billion, billion times more powerful than gravity and that the universe consists of 99.99% plasma; charged matter through which electric currents flow, then you have good reason to open your mind and watch what this video has to say.




Today, the 3rd and final  part of the third tale of Ser Duncan the Tall and his squire Egg, The Mystery Knight

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George R. R. Martin is the #1 New York Times bestselling author of many novels, including the acclaimed series A Song of Ice and Fire on which HBO based the world’s most-watched television series, Game of Thrones., A Clash of Kings, A Storm of Swords, A Feast for Crows, and A Dance with Dragons—as well as Tuf Voyaging, Fevre Dream, The Armageddon Rag, Dying of the Light, Windhaven (with Lisa Tuttle), and Dreamsongs Volumes I and II. His science fiction novella Nightflyers has also been adapted as a television series; and he is the creator of the shared-world Wild Cards universe, working with the finest writers in the genre. As a writer-producer, Martin has worked on The Twilight Zone, Beauty and the Beast, and various feature films and pilots that were never made. He lives with his wife the lovely Parris in Santa Fe, New Mexico.


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Tales of Dunk and Egg is a series of fantasy novellas by George R. R. Martin, set in the world of his A Song of Ice and Fire novels. They follow the adventures of "Dunk" (the future Lord Commander of the Kingsguard, Ser Duncan the Tall) and "Egg" (the future king Aegon V Targaryen), some 90 years before the events of the novels. Three novellas have been published – The Hedge Knight (1998), The Sworn Sword (2003), and The Mystery Knight (2010) – and Martin has stated his intention to continue the series.

The Mystery Knight

The third novella was published in 2010 in the anthology Warriors, edited by George R. R. Martin and Gardner Dozois.

Like The Sworn Sword, the book takes place during the reign of Aerys I and the aftermath of the Blackfyre Rebellion is examined in more detail.
Plot

The story begins with Dunk and Egg leaving Stoney Sept, to ask service with Lord Beron Stark against Greyjoy raids on the northern coast. On the way they encounter a septon beheaded for preaching treason; and later a group of knights and minor lords traveling to a tourney in honor of the wedding of Lord Butterwell of Whitewalls to a Frey of the Crossing, wherein the victor's prize is a dragon egg. Dunk takes a dislike to Gorman Peake, whom he believes the killer of his own mentor's former squire. Egg tells Dunk that Peake's arms of three castles on an orange field is because the Peake family owned three castles, but forfeited two to the Crown when Peake sided with Blackfyre. During the journey Dunk befriends three other itinerant knights: Ser Maynard Plumm, Ser Kyle the Cat of Misty Moor, and Ser Glendon Ball who claims to be the bastard son of the famous knight Quentyn "Fireball", who fought for Daemon Blackfyre.

The wedding is set at Whitewalls and Lord Frey arrives with his four-year-old heir, Walder Frey, and his fifteen-year-old daughter, who weds Lord Butterwell. Egg becomes increasingly suspicious when he sees that most of the competitors belonged to the rebel party. During the wedding Dunk is drafted by John the Fiddler to carry the bride to the bedchamber. Dunk does so and later hears from John that the latter once saw Duncan himself, in a dream, in the armor of the royal guard. Dunk enters the first match of the joust under the name of 'Gallows Knight' (for a new shield acquired after the loss of his own); but is defeated in the first tilt by Ser Uthor Underleaf, known as the Snail Knight for his sigil. Duncan later gives Underleaf his armor and horse as forfeit, and Underleaf informs Dunk that someone bribed him to kill Dunk in the final tilt. Before the jousting continues, word spreads through the castle that the dragon egg is missing, and the blame is placed on Ser Glendon Ball, who is imprisoned by Peake. In search of the absent Egg, Duncan is wounded by Alyn Cockshaw, who claims to have bribed Uthor Underleaf, and throws him into a well. Maynard Plumm comes to Duncan's aid, and it is discovered that Plumm is one of Brynden "Bloodraven" Rivers' many spies (or possibly Bloodraven himself), and that John the Fiddler is the eponymous son of Daemon Blackfyre. Dunk finds Egg in the sept with the cowering Lord Butterwell, who on discovering Egg's true identity is terrified for his life. Lord Butterwell's son-in-law Black Tom Heddle tries to kill Egg to incite a war, and is killed by Duncan, who thereupon tells Egg to flee with Butterwell. To buy time for Egg's escape Dunk confronts the younger Daemon Blackfyre, and accuses Gorman Peake of falsely charging Ball with the theft of the dragon egg.

Daemon allows Ball to prove his innocence in trial by combat, in which Ser Glendon soundly defeats Daemon. By this time a large army under Bloodraven, who is also the King's Hand, encircles Whitewalls, and Daemon is captured. Dunk and Egg meet Bloodraven, and Egg demands that Bloodraven reward Glendon, Duncan, and the other hedge knights. For surrendering to Bloodraven without a fight, Lord Butterwell is spared his life and allowed a tenth of his wealth; but his fortress is forfeit to the Iron Throne and torn down. Bloodraven, at Egg's request, gives Dunk the gold to ransom his armor. When Dunk asks Bloodraven what became of the dragon egg, Bloodraven tells Dunk it was taken by an agent of his (implied to be one of the performing dwarfs at the wedding).


George R. R. Martin - Song of Ice and Fire Prequel - The Mystery Knight 3 ( 84min mp3     34mb).


01 The Mystery Knight 3   84min

GraphicI Novel in full color

George R. R. Martin - Song of Ice and Fire Prequel - The Mystery Knight ( CBR 284mb).

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previously

George R. R. Martin - Song of Ice and Fire Prequel - The Hedge Knight 1 ( 103min mp3     35mb).
George R. R. Martin - Song of Ice and Fire Prequel - The Hedge Knight 2 ( 85min mp3     65mb).
GraphicI Novel in full color
George R. R. Martin - Song of Ice and Fire Prequel - The Hedge Knight  (CBR  265mb)


George R. R. Martin - Song of Ice and Fire Prequel - The Sworn Sword 1-4 ( 75min mp3     26mb).
George R. R. Martin - Song of Ice and Fire Prequel - The Sworn Sword 5-7 ( 60min mp3     21mb).
George R. R. Martin - Song of Ice and Fire Prequel - The Sworn Sword 8-11 ( 72min mp3     25mb).
GraphicI Novel in full color
George R. R. Martin - Song of Ice and Fire Prequel - The Sworn Sword ( CBR 283mb).


George R. R. Martin - Song of Ice and Fire Prequel - The Mystery Knight 1 ( 63min mp3     18mb).
George R. R. Martin - Song of Ice and Fire Prequel - The Mystery Knight 2 ( 106min mp3     43mb).
George R. R. Martin - Song of Ice and Fire Prequel - The Mystery Knight 3 ( 84min mp3     34mb).
GraphicI Novel in full color
George R. R. Martin - Song of Ice and Fire Prequel - The Mystery Knight ( CBR 284mb).


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RhoDeo 1934 Re-Up 202

Hello,


7 correct requests for this week, 1 wrong place, 2 unavailable (aetix-roots),  0 double (same artist) , whatever another batch of 24re-ups (7.1gig)


These days i'm making an effort to re-up, it will satisfy a smaller number of people which means its likely the update will  expire relatively quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section at the page where the expired link resides, or it will be discarded by me. ....requests are satisfied on a first come first go basis. ...updates will be posted here remember to request from the page where the link died! To keep re-ups interesting to my regular visitors i will only re-up files that are at least 12 months old (the older the better as far as i am concerned), and please check the previous update request if it's less then a year old i won't re-up either.

Looka here , requests fulfilled up to August 25th... N'Joy

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1x Goldy Rhox Back in Flac ( The Easybeats - Friday On My Mind)


4x Sundaze Back in Flac 1506 ( Yagya - Rhythm Of Snow, Yagya - Will I Dream During The Proces, Yagya - Will I Dream During The Process DeepChord Redesigns,  Yagya - Rigning  )



3x Sundaze  Back  in Flac (Deadbeat - Something Borrowed, Deadbeat - Drawn And Quartered , Deadbeat - Eight)



2x Sundaze Back In Flac (Steve Hillage - L, Steve Hillage - Rainbow Dome Musick )



5x Sundaze NOW in Flac (Arve Henriksen - Sakuteiki,  Arve Henriksen - Strjon, Arve Henriksen - Cartography, Arve Henriksen - Punkt 09 Festival, Arve Henriksen - Chiaroscuro )



5x Sundaze NOW in Flac (Schiller - Einlassmusik 4 (Sehnsucht ), Schiller - Einlassmusik 5 (Sehnsucht ) , Schiller - Einlassmusik 6 (Atemlos), Schiller - Einlassmusik 7 (Klangwelten), Schiller - Einlassmusik 8 )


4x Sundaze Back in Flac ( Mind Over MIDI - Elektrical Aktivity, Mind Over MIDI - Ice Acoustik, Mind Over MIDI - Project 3, Mind Over MIDI - Monopoly)


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Sundaze 1934

Hello,



If most artists in contemporary electronica are like islands unto themselves, turning out tracks in relative anonymity, Pete "Namlook" Kuhlmann was a whole continent. A dizzyingly prolific composer who steadily built up an entire industry around his Frankfurt-based Fax label, Namlook's name was inextricably linked with the post-rave resurgence of ambient music, and many of his solo and collaborative recordings with the likes of Mixmaster Morris, Tetsu Inoue, Klaus Schulze, Bill Laswell, Richie Hawtin, Geir Jenssen, Dr. Atmo, Burhan Ocal, Atom Heart, Jonah Sharp, Charles Uzzell-Edwards, and David Moufang, among many others, number among the most lauded and influential in new ambient. "...  ......N-Joy

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Pete Namlook (born 25 November 1960 as Peter Kuhlmann [phon koolman] in Frankfurt, Germany, died on 8 November 2012) was an ambient and electronic-music producer and composer., the extremely prolific Pete Namlook (1960-2012) was one of the high priests of new-school ambient, ie. ambient techno, trance, lounge and other related dance-music spinoffs. In its 20 year history his record label Fax Records released some of the definitive albums in these sub-genres and Namlook stands alongside a handful of other names such as The Orb, Biosphere and Mixmaster Morris as one of the originators of ambient's resurgence and reinvention via dance music in the late 80's and early 90's.

Intriguingly, he often favoured the sounds of analogue synthesisers over digital and - alongside fellow German e-musician Oliver Lieb - was reputed to have one of the most extensive collections of classic analogue equipment in Europe. And although he downplayed the linage, like many of his new-school peers his music has some of its roots in old-school electronica as varied as Brian Eno, psy rockers Pink Floyd, and Krautrock icons like Klaus Schulze and Tangerine Dream.

But Namlook was no imitator. He deepened and refined the sound of his predecessors with an injection of fresh ideas from the dance world, coupled with fine musicianship honed from many years of playing rock and jazz. In a 2007 interview with e-music magazine Slices he actually made a point of distancing his music from the conceptual influence of Eno particularly:

"You have to differentiate quite clearly between ambient in a techno sense, and on the other hand Brian Eno, a purely conceptual thing. I only knew of a collaboration between Brian Eno and Cluster [the German band], and him with Roxy Music. I only bought his ambient stuff later. Ambient as Eno defines it...is more or less musical wallpaper. It stays in the background and serves the environment rather than saying something about itself. In my definition of ambient, which has nothing in common with Eno's definition, it's about a journey, intense emotions that need to be transported - environmental music, jazz, ethno - depending on what project I'm working on".

The genesis of Fax Records

Although he had long dreamed of making a career from ambient electronica, in Fax Records' early days he was mainly pursuing a dance floor-oriented direction and releasing 12-inch vinyl singles to a warm reception from sectors of Europe's club scene.

But Namlook soon became dismayed at other artists' appropriation of the Frankfurt "hard trance" sound (developed through his genre-defining 4 Voice project). Thankfully his ambient B-sides to these singles - in hindsight a brilliant strategy - were also creating plenty of interest. Within a few years of the label's inception he had set about focusing Fax almost entirely on ambient and downtempo styles.

Up to his death in 2012 Namlook released an enormous number of solo and collaborative albums of widely varying quality both under his own name and various other project monikers. Collectors should be aware that many CD's were very limited pressings and some will be difficult to find, even more so now that Namlook has gone and the label is no more. Certain key titles were re-issued on CD and download from time to time, however, and much of the Fax catalogue is now spread widely online.

The Silence series

Silence (1992) is the one that started it all, Fax's first album release and one which caught the ear of both seasoned electronic boffins and dance fans looking for a chilled-out tonic after a night among the thumping beats of clubland. Both this album and Silence II (1993) are collaborations with close associate Dr Atmo and despite being at times almost new age in their choice of themes (a voice whispers sweet cosmic nothings like "we are all part of the universe") the music is outstanding. These beguiling, shimmering, reverberant landscapes are sometimes beatless and sometimes gently beaty with subdued live pads and cymbals. The 20 minute "Garden Of Dreams" is a particular mesmerising blend of slow Mid-Eastern rhythms with sighing and crying electronic chords.

Continuing the series is the the Persian-tinged Silence III (1998) which features Namlook on his own. Titles like "Mirage" "Into The Desert" and “A Ship On A Sea Of Sand” are just perfect; his sense of place is quite stunning and he understands the visual qualities of ambient sound exceptionally well. His creative range across entire series is impressive: from stately progressions of warm, organic-sounding orchestral synthscapes to atonal, purely atmospheric pieces of pure texture. When it comes to sound design Namlook’s attention to detail is faultless, which makes hearing his music on good hi-fi equipment especially rewarding. Silence III is followed by two more superb albums in the series.

The surreal, innovative first volume of Dreamfish (1993) with collaborator Mixmaster Morris is another genre-defining release, still cited today as a favourite by fans of early post-rave ambient. The environmental sound effects are deployed in a quirky way amongst the textured, gently rhythmic landscapes and the music brims with surprises and quiet invention. The jazzy bass notes on "Fishology", for example, move along at a good clip yet are so subtle that the track's calming qualities are never disturbed. The first three volumes of the Air series are also high-water marks for Namlook. Like the Silence series they show some rich ethnic and neo-classical leanings, and they remain particularly effective examples of how he uses live acoustic instruments in an electronic setting. The delicate, tinkling cymbals and soft tom-tom beats on "Je suis seule et triste ici" from Air I (1993), for instance, are utterly refreshing because Namlook is able to maintain a deep electronic ambient feel while still expanding electronica's instrumental vocabulary.

Air II (1994) is deeply psychedelic. An eleven-part "trip" subtitled "Traveling Without Moving", it takes it's thematic cue from Frank Herbert's cult sci-fi novel and movie Dune. Herbert's story posited a strange universe dependant on a life-extending, mind-altering spice drug. On Air II Namlook subtly draws on the story's themes to create a beautiful, creepy, intoxicating universe of his own. Again he utilizes acoustic instruments: didgeridoo, sighing woodwinds, flamenco guitar, Mid-Eastern flutes, and swooping vocal textures that rise and fall to striking effect. They're all integrated seamlessly, proving that despite the club music influences he thrived by exploring outside the rigid structures of electronic beats and sequencing.

Other collaborations

Although as an artist Namlook's focus was far broader than just club-influenced sounds, when he did get into more squelchy or bleepy techy-trance territory the results could be just as stimulating. On the brilliant two-part title track from The Fires Of Ork (1993) that thumping 4/4 kick drum is there alright, but somehow Namlook and cohort Gier Jenssen (aka Biosphere) have managed to mute it just enough to create a truly "ambient" dance music: thunderous yet shadowy and eerie, built around a voice sample of Rutger Hauer from Blade Runner. Also beats-based is the the superb first volume of From Within (1994), one of the pinnacles of ambient techno that marries Namlook's warm keys and spiralling synth sounds with the sparse bleeps and beats of Canadian techno guru Richie Hawtin. Again, the rhythms don't drive you into the ground but rather lull you into a gentle if uneasy trance, particularly on "Million Miles To Earth" and "Sad Alliance". The third in this series, From Within III (1997) is also outstanding

Namlook after the mid 90's

While many aficionados would agree that the early to mid 1990's produced most of Fax's - and Namlook's - most enduring releases, it would be unfair to dismiss some of Namlook's work since then. Highlights from 1995-2001 include the final volumes in what is probably Namlook's greatest series, the magnificent Silence IV (2000) and Silence V (2001). The luminous piano notes and warm orchestral synths of "The Night Before I Left" from Silence IV might just be the most emotional piece of music Namlook has ever made, an elegy that's at once incredibly sad and jaw-droppingly pretty. From the same album is the extraordinary "Bedouin Love", a dark, swirling epic with thunderous Moroccan drums, a strange spoken Arabic monologue and chilling yet beautiful synthesiser chords. In the same sonic universe as the Silence albums is From Within 3 from 1997, again made with Richie Hawtin but this time quite different from earlier volumes due to its softer, warmer sound. There's feather-soft lead guitar lines, lush strings, jazzy improvising and warm analogue melodies, all held together by subtle, intelligent drum programming. It's a fantastic example of accessible, soulful electronica.

In the 2000's and beyond Namlook continued with a busy release schedule of solo albums and collaborations but rarely with the same impact his music made in the previous decade. Not that there's lack of variety; for hardcore Fax fans there's plenty to explore. Experimental releases like New Organic Life (2002) are scarily unfamiliar, experimental, arguably unlistenable at times. Some outstanding individual melodic tracks appear on otherwise less-then-great albums such as Resonate (2006) and Namlook Le Mar (2009). However, some of his other collaborative albums made after the mid 90's - not listed on this page - are highly recommended including recordings with Tetsu Inoue, Klaus Schulze and Wolfram Spyra.

Death and legacy

Aged just 51, Namlook died unexpectedly in his sleep of a heart attack on 8 November 2012. Maintaining his intense work rate right up to the night he passed away, some wondered whether Namlook simply drove himself into the ground, literally living and dying for his art. Yet his sister told UK music journalist Mark Prendergast that "he went to bed happy" that day. Who are we to judge? Namlook left behind an extraordinary and enormous recorded legacy, as well as a generation of underground electronic producers and composers inspired by both his talents and his uncompromising independence. Fax Records is no more, though for the moment a good deal of his discography remains available. Hopefully a sensible licensing deal with the Kuhlmann estate will enable another publisher take on the best of his catalogue and keep it available in the coming decades. He deserves no less.

The tribute: Die Welt ist Klang

A superb Namlook tribute album appeared in 2013, almost as essential as any of the work released by the man himself. Die Welt ist Klang ("The World Is Sound") was put together in 2012-13 via a crowdfunding campaign by Dave Wade-Stein from EAR/Rational Music, the longtime North American distributor for Fax and related labels. The album is presented thus: four volumes of mostly new or unreleased music by former Fax artists, and four volumes of new material by mostly unknown musician-fans.

It's only fitting that one of the most prolific recording artists in the history of music - in all recorded music, not just a genre - should be honoured with a sprawling 8-volume tribute. It would take pages to review so much music in detail; suffice to say the standard of contributions overall is very high. Interestingly, most of the former Fax artists here don't seek to recapture peak moments from their past works. They just do what they do - from beatless ambient to bleepy dance grooves, from lounge to techno, from gentle dissonance to sweet, tender melodies. As for the the 40 or so musician-fan contributions, they were chosen from a large pool of submissions by a blind vote. Although there are some easy-to-spot pastiches among them, here too there is much freshness and surprise.

Die Welt ist Klang is a massive treasure chest of (mostly) new ambient and electronica. Some of it is the sound of now and some of it wistfully looks back. All of it acknowledges the contributions and example of one remarkable man.


Namlook" is "Koolman", a phonetic rendering of his real name, spelled backwards.

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Classic interstellar journey to the hidden depths of the human body, twenty thousand leagues under the sea to get to the exact center of the earth, make a couple of mystical knowledge and start again towards the borders of (one) galaxy (any), with not even too much wisdom in more but surely a dozen blisters under the feet. fly, also, away from us, without saying goodbye to anyone.In short cool, classic, and chilly piece of the bright side of ambient, created for those who simply like to hit play, let the spacious music buzz in the background and their thoughts drift away with it. On this particular one, Namlook and Inoue significantly add more spice not to let the listener fall sleep as the atmospheric sound with pseudo-beats flow around.

Pete Namlook • Tetsu Inoue - Shades Of Orion ( flac   313mb)

01 Biotrip 24:12
02 Shades Of Orion 12:37
03 Did You Ever Retire A Human...12:48
04 Liquid Shade 20:46

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This second Shades of Orion project is quite different from the first...a single relaxing, drifty, ethereal piece that will slow your body down and put you to sleep if you need it to. Meditative and very gentle, this recording is free of spoken word samples and sonic distractions, which makes it ideal for just chilling out to. Rather Eno-esque in its overall sound.

.Pete Namlook • Tetsu Inoue - Shades Of Orion II ( 260mb)

Orion Transfer 1:11:14
01 Untitled 5:01
02 Untitled 5:00
03 Untitled 5:00
04 Untitled 5:00
05 Untitled 5:00
06 Untitled 5:00
07 Untitled 5:00
08 Untitled 5:00
09 Untitled 5:00
10 Untitled 5:00
11 Untitled 5:00
12 Untitled 5:00
13 Untitled 5:00
14 Untitled 6:12


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You'll find the third and final installment of Shades of Orion quite the shadow of the 1993 original which was upbeat and rich with activity. Now the Shades of Orion are somewhat quiet, sullen and dark (apart from the loud tweaks on the brief "Betelgeuzian Ritual") much like the actual Rigel 3 where you'll be wandering for almost 40 min. Needless to say, crank up that sound system or you'll be missing out on what these two long spacious tracks have to offer. And there is quite a bit, believe it or not. With the long track times you'll have to delve quite aways into "Inouecent and Sirius" before things get lush and emotive. Sure gone are the Tetsu blips beats as he's at his transistion stage moving into his new phase of ambient music; the two artists now tend to sound alike, resulting in a pure space drift. It's a bit light and rushed but don't write this one off.

Pete Namlook • Tetsu Inoue - Shades Of Orion III (flac 324mb)

01 Beteigeuzian Ritual 6:55
02 Stranded On Riegel 3 38:26
03 Inouecent And Sirius 25:38

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Part I begins with Pete's classic movements and halfway through it pauses before Burhan's saz restarts the piece, this time with Pete's movement joining in as a compliment to the saz strumming. Osman is the best demonstration of this radical union of German synth and classical Turkish. Ocal still dominates the Sultan project, with Pete occasionally drifting into the background. Pretty different from other Pete's collaborations. Namlook is a bit timid here, shining mostly in part IV, but doing it greatly, and for long enough to mark his territory in the album. I highly recommend this one if you are interested in middle-eastern-influenced music, although it sounds more like an ambient-influenced middle-eastern-music record.

Pete Namlook • Burhan Ocal - Sultan Osman ( 273mb)

01 Part I 4:58
02 Part II 8:35
03 Part III 5:46
04 Part IV 11:42
05 Part V 9:40
06 Part VI 1:03
07 Part VII 5:54

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One of the most underrated, seldom spoken-of Fax releases, "Possible Gardens" finds Namlook and Prochir concocting a series of lengthy, halcyon works - just obtrusive enough to, y'know, "make you think". It's also got a really nocturnal vibe - mainly due to the presence of Namlook's elegant jazzy guitar licks and the unfettered trip-hop beats. The album is a significant departure from the duo's first collaboration, "Miles Apart", which was more deserving of its obscurity, being yet another indistinguishable member of Fax's "808's-and-delays" sub-catalog (for which Namlook should be severely reprimanded, him being the mastermind behind such abysmal records as "Air"...). Here we find steadily evolving works, with organic frameworks of lush, homely pads (which, rather than evoke the cosmos directly, tend towards a more familiar, human, "awe-inspired" atmosphere), earthy basslines, and a plethora of groans and twinkles, utilized tactfully (that is to say, this ain't IDM). Definitely an essential for a casual OR hardcore Fax connoisseur, otherwise, for the "secular" ones... if you like Calm, recent Biosphere (ie "Dropsonde"), Carbon Based Lifeforms, Solar Fields, Jean-Michel Jarre... you might say this is a conglomeration of the best of all those wonderful worlds! Ha.

Pete Namlook • Peter Prochir - Possible Gardens ( 257mb)

01 Possible Gardens 12:24
02 Breeding Machine 11:05
03 Terminal Beach 13:11
04 Memory Lagoon 11:00
05 Possible Gardens (Reprise) 5:37

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RhoDeo 1933 Grooves

Hello,


Today's Artist (born August 31, 1963 in Los Angeles, California), better known by his stage name Egyptian Lover, is an American musician, vocalist, producer and DJ, and was an important part of the L.A. dance music and rap scene in the early 1980s.. ...... N Joy

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Greg Broussard started out as a DJ in Los Angeles with Uncle Jamm's Army, DJing dances as large as the L.A. Sports Arena with 10,000 people. He began recording around Los Angeles in 1982 as a member of the Radio Crew, as well as Uncle Jamm's Army. As the Egyptian Lover he became one of the most innovative producers of the old-school/electro era.

He recorded a parade of singles during the mid-'80s that proved influential for decades. Influenced himself by Kraftwerk/hip-hop soundclashes like Afrika Bambaataa's "Planet Rock" and Man Parrish's "Hip-Hop Be Bop (Don't Stop)," as well as the extroverted black-lover soul of Prince and Zapp, Broussard began recording from his Los Angeles base in 1983. One year later, he emerged with the breakdancing anthem "Egypt, Egypt," released on the Freak Beat label. Similar to excellent tracks being produced all over America -- from Detroit (Cybotron) to New York (Mantronix) -- "Egypt, Egypt" and successors "What Is a DJ If He Can't Scratch," "And My Beat Goes Boom," and "Computer Love (Sweet Dreams)" spent much time in DJ crates during the '80s and '90s. Broussard also released several LPs from the mid-'80s through the '90s, highlighted by 1984's On the Nile (practically a greatest-hits compilation), 1986's One Track Mind, and 1994's Back from the Tomb. He returned in 2006 with Platinum Pyramids, continued to perform live -- including dates with M.I.A. -- produced a track for Rye Rye, and, in 2015, released the long-in-the-works 1984. The following year, Stones Throw compiled 1983-1988, a proper anthology of Broussard's early highlights. It included a couple re-edits from label boss Peanut Butter Wolf, who sampled "What Is a DJ If He Can't Scratch" during his early-'90s partnership with MC Charizma.

Most of the Egyptian Lover's successful recordings were 12" singles. He eventually released some of the earliest rap LPs, but they were less popular than his singles. On the strength of an alternate mix of his most popular single "Egypt, Egypt", 1984's On the Nile was moderately successful.

The Egyptian Lover also established his own record company, Egyptian Empire Records, which included artists such as Rodney O & Joe Cooley 2 Oclock & Te & Joezee.

His 2015 release, 1984, continues his tradition of using all analog equipment, including his famed Roland TR-808 (which he is widely known as "the king of"), along with much of the same gear used on his recordings of the 1980s. The name "1984" refers to his earlier albums. The album was recorded at Skip Saylor, Encore Studios, and at RUSK Studios, the same studio where On The Nile was recorded in 1984.

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The electro producer also known as Greg Broussard recalls the studio techniques and diverse influences that made his records club hits in the 80s, and explains why the sound will never die

He was inspired at first by early electro – Afrika Bambaataa’s Planet Rock, Twilight Kingdom by Electric 22 – and by the records that inspired those artists (Kraftwerk’s Numbers was a key track) as well as Prince’s lithe dawn-of-the-1980s synth-funk. He set about building his tracks in layers, starting with “drum machine, maybe a beat programmed. And I could play it really loud in the studio, until I could get something I really liked. Then I started adding the keys, the bassline, the strings. I would let the record play over and over again, sit in the studio and write the lyrics to the record while it was being played. Then go on to the microphone, do the vocals and the song was done.”

He learned how records work by spending time in clubs, which is why the vocals were the least laboured-over part of Egyptian Lover tracks. “I started out as a dancer,” he says, “and I used to go to the clubs to dance. Then I became a DJ, and I knew what records or what parts of the records to play. Everybody liked these certain parts, so I would extend the breakdowns, put more breakdowns over the breakdowns, then more breakdowns and beats, because that’s what I wanted to dance to. When I was watching the crowd dance to certain records, they’d love the beats, they didn’t need to have words. I put the words on there so people know the name of the song.”

The Egyptian Lover character was inspired by the imagery from Earth, Wind & Fire’s releases, and from Broussard’s trip to see the treasures of Tutankhamun’s tomb when they toured the US in the late 70s. “I saw the King Tut exhibit, with this young king with his own empire, and that’s why I called my label Egyptian Empire.”

And there was another singer who really fired Broussard up. “Dean Martin has inspired me more than anyone has ever known,” he says. “Dean Martin was that sexy, ‘I got women’ kind of guy. I was in love with that whole image, and that’s where a lot of the Egyptian Lover’s image came from. He had a song called Crying Time, and I took that and made I Cry (Night After Night). My dad had a collection of Dean Martin albums, and I could pick the very first one he made, one in the middle of his career and one at the end of his career, and every one of those albums sound the same. I said to myself, ‘If I ever became a singer’ – this was before rap – ‘I would do it exactly like that.’ Because now when you buy a Dean Martin album, you’re getting a Dean Martin album. So I’m not going to change my style.”

He’s still pursuing that style – he talks about the 12in singles he plans to release from last year’s album 1984, and his hope to write a film script based on his life story. Whatever comes next, he’s still dedicated to his sound, and sure he’ll always find his audience.

“When you feel that beat and hear that music,” he says, “it makes you want to dance, it makes you feel good and have a good time. To this very day, some people like this sound, some people looooove this sound, and they go way out in the field to hear it.”


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Fourth studio album from the recognised king of the 808, The Egyptian Lover. Get Into It, dropped in 1990 when Old School Electro had fallen out of favour, Greg Broussard stayed true to his roots and kept it real, it was released on June 2, 1990 for Egyptian Empire Records and was produced by Egytpian Lover. Get Into It was a mild success and marked the first time since 1988's Filthy that Egyptian Lover made it to the Billboard Charts, making it to #72 on the Top R&B/Hip-Hop Albums chart. The album, however, did not produce any hit singles.

 The Egyptian Lover - Get Into It  (flac   291mb)


01 Love Theme 4:16
02 Got Me Going Crazy 6:48
03 Me 3:32
04 90's Ladies 3:24
05 Let's Get It on 3:48
06 Get Into It 2:43
07 $ 5:06
08 Tear the Roof Off 4:40
09 Dance Music 5:12
10 Jam 4:09

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Pyramix has a continuous mix of all his greatest hits with new flavors added in. The music continues to be bumpin' and the hypnotic rhythm is nonstop. It is quite obvious from listening to this CD that The Egyptian Lover is adjusting to the signs of the times. However it's doubtful that the Egyptian Lover's music will last as long as the pyramids! Meanwhile skaters might well enjoy jumping to these beats.

The Egyptian Lover - Pyramix  (flac   268mb)

01 Pyramix Intro 1:57
02 Dance 1:54
03 The Lover 5:27
04 I Want Cha 2:19
05 Computer Power (Version II) 5:26
06 Kinky Nation (Kingdom Kum) 2:35
07 Egypt, Egypt 6:45
08 Planet E (Re-Mix) 7:05
09 Egypt's Revenge (Mega Mix) 5:28
10 Get High (Get X'd, Get Drunk, Get Sex'd) 5:49

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I listen to "Back from the Tomb" from 1995. I start, because Egyptian Lover will play at OFF, and I like listening to things at OFF. It starts with "I'm so Freaky" and I already know what this concert will look like. Predictably? If this is how you can call the best party at the festival, so be it! "Back from the Tomb" are songs with computer-transformed vocals, rap inserts, analogue recorded dance music, strong bass, strange sounds (those sighs), an attempt to create an erotic mood and not very fitting, but intriguing, but intriguing lyrics in the style of "bounce" that bootie! " Beats are harsh and very old school here, and the tempo doesn't slow down even for a moment. I would call the very style of "winding" something between DJing and the first steps in freestyle. Add to that asthmatic breath and computer-processed voice and attempts to be seductive, and we have before our eyes the vocal full frontal of Egyptian Lover. This record probably isn't even on the verge of shame; she is already crossing that border a bit. But what of it, if the legs go for it themselves, the foundations are really great, and the whole thing is just good fun (even if done seriously)? We feel like a real musical archaeologist who came across very strange excavations and even if we do not tell anyone about it, we have just experienced the trip of our lives.

The Egyptian Lover - Back From The Tomb (flac   316mb)

01 I'm So Freaky 4:19
02 Bounce That Booty 3:50
03 I Need a Freak 4:51
04 Gotta Have Ya 4:24
05 My Lil Telephone Freak (Dial-A-Freak, Part 2) 4:32
06 Make It Talk to Me Baby 3:35
07 Work, Freak, Pump That Body 7:52
08 Yea! 4:39
09 World of Girls 5:18
10 Release to the Beat 4:39

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The Egyptian Lover is an absolute legend of electro music. Perhaps not recognized as much in hip hop circles, he seems much more appreciated by techno producers for his (then) innovative productions and pushing the sound of electronic music forward. While Egyptian Lover hasn't been out of the music scene, he only releases a full album once a decade or so. So this brings us to his latest 1984, which as the title suggests, is a huge throwback to the classic electro sounds of the mid 80s.

As an electro lover, this is a blast to listen to. Electro in my opinion is one of the sounds that aged the best from the 80s, the blasting drums are just so nice and make for some pretty heavy banging music. Egyptian Lover hasn't lost his touch as a producer, he's still able to emulate his own sound just as good as he did it in his prime. Granted this isn't an album that redefines the genre or anything, but it's definitely a good slice of effective tunes in this sound. The lyrics are over the top silly, somehow part of his signature style too, and they don't add much to the songs but still matches with the overall fun of the record. There is no other on the planet still making this sound and Egypt returns after honing and perfecting the sound that belong sto him. Overall pretty good record, you'd have a hard time finding a better vintage electro record in the past few years, and does stack up pretty nicely next to the better albums of the genre too.  This is Electro. This is 1984!

The Egyptian Lover - 1984 (flac   385mb)

01 Into the Future 6:25
02 Killin' It 4:14
03 Seduced 4:12
04 Belly Dance 4:36
05 She's So Freaky 4:45
06 Dance 2 My Beat 6:15
07 Poppers Anthem 5:02
08 Got to Get It 3:47
09 P.E.L.F. 6:59
10 Freaky Deaky Machine 5:32
11 Zombies 3:33
12 Perfection 4:38

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RhoDeo 1933 Mystery Knight 2

Hello,

As the public has been threatened with for decades with comet impacts by science and blockbuster movies, aren't these interchangeable these days, personally i go as far that astrophysics displays an amount of fantasy most blockbusters lack. June 30th marked the annual celebration of Asteroid Day, and science media used the occasion to suggest the need for greater funding for planetary defense against such an intruder. But just how real is the danger to Earth from kinetic impacts from asteroids, comets and meteors? Here's 14 minutes to demystefy comet-terror.


Asteroid Impact – How Big a Threat to Earth?






Most people just accept that our universe is ruled by gravity; an assumption that is wrong. Evidence instead shows that the force responsible for all of the objects and events we observe throughout the universe is the electric force that enables current flow and therefore magnetic fields to exist. If we consider that the electric force is fundamentally one thousand, billion, billion, billion, billion times more powerful than gravity and that the universe consists of 99.99% plasma; charged matter through which electric currents flow, then you have good reason to open your mind and watch what this video has to say.

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Today, the 2nd part of the third tale of Ser Duncan the Tall and his squire Egg, The Mystery Knight

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George R. R. Martin is the #1 New York Times bestselling author of many novels, including the acclaimed series A Song of Ice and Fire on which HBO based the world’s most-watched television series, Game of Thrones., A Clash of Kings, A Storm of Swords, A Feast for Crows, and A Dance with Dragons—as well as Tuf Voyaging, Fevre Dream, The Armageddon Rag, Dying of the Light, Windhaven (with Lisa Tuttle), and Dreamsongs Volumes I and II. His science fiction novella Nightflyers has also been adapted as a television series; and he is the creator of the shared-world Wild Cards universe, working with the finest writers in the genre. As a writer-producer, Martin has worked on The Twilight Zone, Beauty and the Beast, and various feature films and pilots that were never made. He lives with his wife the lovely Parris in Santa Fe, New Mexico.


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Tales of Dunk and Egg is a series of fantasy novellas by George R. R. Martin, set in the world of his A Song of Ice and Fire novels. They follow the adventures of "Dunk" (the future Lord Commander of the Kingsguard, Ser Duncan the Tall) and "Egg" (the future king Aegon V Targaryen), some 90 years before the events of the novels. Three novellas have been published – The Hedge Knight (1998), The Sworn Sword (2003), and The Mystery Knight (2010) – and Martin has stated his intention to continue the series.

The Mystery Knight

The third novella was published in 2010 in the anthology Warriors, edited by George R. R. Martin and Gardner Dozois.[5]

Like The Sworn Sword, the book takes place during the reign of Aerys I and the aftermath of the Blackfyre Rebellion is examined in more detail.
Plot

The story begins with Dunk and Egg leaving Stoney Sept, to ask service with Lord Beron Stark against Greyjoy raids on the northern coast. On the way they encounter a septon beheaded for preaching treason; and later a group of knights and minor lords traveling to a tourney in honor of the wedding of Lord Butterwell of Whitewalls to a Frey of the Crossing, wherein the victor's prize is a dragon egg. Dunk takes a dislike to Gorman Peake, whom he believes the killer of his own mentor's former squire. Egg tells Dunk that Peake's arms of three castles on an orange field is because the Peake family owned three castles, but forfeited two to the Crown when Peake sided with Blackfyre. During the journey Dunk befriends three other itinerant knights: Ser Maynard Plumm, Ser Kyle the Cat of Misty Moor, and Ser Glendon Ball who claims to be the bastard son of the famous knight Quentyn "Fireball", who fought for Daemon Blackfyre.

The wedding is set at Whitewalls and Lord Frey arrives with his four-year-old heir, Walder Frey, and his fifteen-year-old daughter, who weds Lord Butterwell. Egg becomes increasingly suspicious when he sees that most of the competitors belonged to the rebel party. During the wedding Dunk is drafted by John the Fiddler to carry the bride to the bedchamber. Dunk does so and later hears from John that the latter once saw Duncan himself, in a dream, in the armor of the royal guard. Dunk enters the first match of the joust under the name of 'Gallows Knight' (for a new shield acquired after the loss of his own); but is defeated in the first tilt by Ser Uthor Underleaf, known as the Snail Knight for his sigil. Duncan later gives Underleaf his armor and horse as forfeit, and Underleaf informs Dunk that someone bribed him to kill Dunk in the final tilt. Before the jousting continues, word spreads through the castle that the dragon egg is missing, and the blame is placed on Ser Glendon Ball, who is imprisoned by Peake. In search of the absent Egg, Duncan is wounded by Alyn Cockshaw, who claims to have bribed Uthor Underleaf, and throws him into a well. Maynard Plumm comes to Duncan's aid, and it is discovered that Plumm is one of Brynden "Bloodraven" Rivers' many spies (or possibly Bloodraven himself), and that John the Fiddler is the eponymous son of Daemon Blackfyre. Dunk finds Egg in the sept with the cowering Lord Butterwell, who on discovering Egg's true identity is terrified for his life. Lord Butterwell's son-in-law Black Tom Heddle tries to kill Egg to incite a war, and is killed by Duncan, who thereupon tells Egg to flee with Butterwell. To buy time for Egg's escape Dunk confronts the younger Daemon Blackfyre, and accuses Gorman Peake of falsely charging Ball with the theft of the dragon egg.

Daemon allows Ball to prove his innocence in trial by combat, in which Ser Glendon soundly defeats Daemon. By this time a large army under Bloodraven, who is also the King's Hand, encircles Whitewalls, and Daemon is captured. Dunk and Egg meet Bloodraven, and Egg demands that Bloodraven reward Glendon, Duncan, and the other hedge knights. For surrendering to Bloodraven without a fight, Lord Butterwell is spared his life and allowed a tenth of his wealth; but his fortress is forfeit to the Iron Throne and torn down. Bloodraven, at Egg's request, gives Dunk the gold to ransom his armor. When Dunk asks Bloodraven what became of the dragon egg, Bloodraven tells Dunk it was taken by an agent of his (implied to be one of the performing dwarfs at the wedding).


George R. R. Martin - Song of Ice and Fire Prequel - The Mystery Knight 2 ( 106min mp3     43mb).


01 The Mystery Knight 2 106min



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previously

George R. R. Martin - Song of Ice and Fire Prequel - The Hedge Knight 1 ( 103min mp3     35mb).
George R. R. Martin - Song of Ice and Fire Prequel - The Hedge Knight 2 ( 85min mp3     65mb).

George R. R. Martin - Song of Ice and Fire Prequel - The Hedge Knight  (CBR  265mb)


George R. R. Martin - Song of Ice and Fire Prequel - The Sworn Sword 1-4 ( 75min mp3     26mb).
George R. R. Martin - Song of Ice and Fire Prequel - The Sworn Sword 5-7 ( 60min mp3     21mb).
George R. R. Martin - Song of Ice and Fire Prequel - The Sworn Sword 8-11 ( 72min mp3     25mb).

George R. R. Martin - Song of Ice and Fire Prequel - The Sworn Sword ( CBR 283mb).


George R. R. Martin - Song of Ice and Fire Prequel - The Mystery Knight 1 ( 63min mp3     18mb).





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RhoDeo 1933 Re-Up 201

Hello,


9 correct requests for this week, 1 now in flac, 3 unavailable (aetix-roots),  0 double (same artist) , whatever another batch of 32re-ups (9.8gig)


These days i'm making an effort to re-up, it will satisfy a smaller number of people which means its likely the update will  expire relatively quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section at the page where the expired link resides, or it will be discarded by me. ....requests are satisfied on a first come first go basis. ...updates will be posted here remember to request from the page where the link died! To keep re-ups interesting to my regular visitors i will only re-up files that are at least 12 months old (the older the better as far as i am concerned), and please check the previous update request if it's less then a year old i won't re-up either.

Looka here , requests fulfilled up to August 18th... N'Joy

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4x Grooves NOW in Flac ( Cameo - Cardiac Arrest, Cameo - We All Know Who We Are, Cameo - Ugly Ego, Cameo - Secret Omen)


3x Sundaze Back in Flac ( Celtic Cross - Hicksville, Kumba Mela Experiment - East Of The River Ganges , Dub Trees - Nature Never Did Betray The Heart That Loved Her  )



3x Sundaze  Back  in Flac (Alpha Wave Movement -  Transcendense, Alpha Wave Movement - The Edge Of Infinity , Alpha Wave Movement - Drifted Into Deeper Lands)



4x Sundaze Back In Flac (The Cinematic Orchestra - Motion, Cinematic Orchestra - Remixes 98-00 , Cinematic Orchestra - Everyday, Cinematic Orchestra - Man With A Movie Camera  )



3x Sundaze NOW in Flac (Bvdub & Ian Hawgood - The Truth Hurts, Bvdub - I Remember, Bvdub - Resistance Is Beautiful )



3x Grooves NOW in Flac (Savannah Band - Dr Buzzard's Original , Cory Daye  - Cory and Me, Kid Creole  - Off The Coast Of Me )


4x Sundaze Back in Flac ( Namlook-Mixmaster Morris - Dreamfish, Namlook-Mixmaster Morris - Dreamfish 2 , Mixmaster Morris & Jonah Sharp - Quiet Logic, Mixmaster Morris - The Morning After)



4x Grooves Back in Flac (Con Funk Shun - Touch, Con Funk Shun - 7, Con Funk Shun - To The Max, Con Funk Shun - Electric Lady)


4x Sundaze Back in Flac (All India Radio - Permanent Evolutions, All India Radio ‎– Fall exp, All India Radio - These Winter Dreams, All India Radio - Film Musik)


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Sundaze 1933

Hello,



If most artists in contemporary electronica are like islands unto themselves, turning out tracks in relative anonymity, Pete "Namlook" Kuhlmann was a whole continent. A dizzyingly prolific composer who steadily built up an entire industry around his Frankfurt-based Fax label, Namlook's name was inextricably linked with the post-rave resurgence of ambient music, and many of his solo and collaborative recordings with the likes of Mixmaster Morris, Tetsu Inoue, Klaus Schulze, Bill Laswell, Richie Hawtin, Geir Jenssen, Dr. Atmo, Burhan Ocal, Atom Heart, Jonah Sharp, Charles Uzzell-Edwards, and David Moufang, among many others, number among the most lauded and influential in new ambient. "...  ......N-Joy

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Pete Namlook (born 25 November 1960 as Peter Kuhlmann [phon koolman] in Frankfurt, Germany, died on 8 November 2012) was an ambient and electronic-music producer and composer., the extremely prolific Pete Namlook (1960-2012) was one of the high priests of new-school ambient, ie. ambient techno, trance, lounge and other related dance-music spinoffs. In its 20 year history his record label Fax Records released some of the definitive albums in these sub-genres and Namlook stands alongside a handful of other names such as The Orb, Biosphere and Mixmaster Morris as one of the originators of ambient's resurgence and reinvention via dance music in the late 80's and early 90's.

Intriguingly, he often favoured the sounds of analogue synthesisers over digital and - alongside fellow German e-musician Oliver Lieb - was reputed to have one of the most extensive collections of classic analogue equipment in Europe. And although he downplayed the linage, like many of his new-school peers his music has some of its roots in old-school electronica as varied as Brian Eno, psy rockers Pink Floyd, and Krautrock icons like Klaus Schulze and Tangerine Dream.

But Namlook was no imitator. He deepened and refined the sound of his predecessors with an injection of fresh ideas from the dance world, coupled with fine musicianship honed from many years of playing rock and jazz. In a 2007 interview with e-music magazine Slices he actually made a point of distancing his music from the conceptual influence of Eno particularly:

"You have to differentiate quite clearly between ambient in a techno sense, and on the other hand Brian Eno, a purely conceptual thing. I only knew of a collaboration between Brian Eno and Cluster [the German band], and him with Roxy Music. I only bought his ambient stuff later. Ambient as Eno defines it...is more or less musical wallpaper. It stays in the background and serves the environment rather than saying something about itself. In my definition of ambient, which has nothing in common with Eno's definition, it's about a journey, intense emotions that need to be transported - environmental music, jazz, ethno - depending on what project I'm working on".

The genesis of Fax Records

Although he had long dreamed of making a career from ambient electronica, in Fax Records' early days he was mainly pursuing a dance floor-oriented direction and releasing 12-inch vinyl singles to a warm reception from sectors of Europe's club scene.

But Namlook soon became dismayed at other artists' appropriation of the Frankfurt "hard trance" sound (developed through his genre-defining 4 Voice project). Thankfully his ambient B-sides to these singles - in hindsight a brilliant strategy - were also creating plenty of interest. Within a few years of the label's inception he had set about focusing Fax almost entirely on ambient and downtempo styles.

Up to his death in 2012 Namlook released an enormous number of solo and collaborative albums of widely varying quality both under his own name and various other project monikers. Collectors should be aware that many CD's were very limited pressings and some will be difficult to find, even more so now that Namlook has gone and the label is no more. Certain key titles were re-issued on CD and download from time to time, however, and much of the Fax catalogue is now spread widely online.

The Silence series

Silence (1992) is the one that started it all, Fax's first album release and one which caught the ear of both seasoned electronic boffins and dance fans looking for a chilled-out tonic after a night among the thumping beats of clubland. Both this album and Silence II (1993) are collaborations with close associate Dr Atmo and despite being at times almost new age in their choice of themes (a voice whispers sweet cosmic nothings like "we are all part of the universe") the music is outstanding. These beguiling, shimmering, reverberant landscapes are sometimes beatless and sometimes gently beaty with subdued live pads and cymbals. The 20 minute "Garden Of Dreams" is a particular mesmerising blend of slow Mid-Eastern rhythms with sighing and crying electronic chords.

Continuing the series is the the Persian-tinged Silence III (1998) which features Namlook on his own. Titles like "Mirage" "Into The Desert" and “A Ship On A Sea Of Sand” are just perfect; his sense of place is quite stunning and he understands the visual qualities of ambient sound exceptionally well. His creative range across entire series is impressive: from stately progressions of warm, organic-sounding orchestral synthscapes to atonal, purely atmospheric pieces of pure texture. When it comes to sound design Namlook’s attention to detail is faultless, which makes hearing his music on good hi-fi equipment especially rewarding. Silence III is followed by two more superb albums in the series.

The surreal, innovative first volume of Dreamfish (1993) with collaborator Mixmaster Morris is another genre-defining release, still cited today as a favourite by fans of early post-rave ambient. The environmental sound effects are deployed in a quirky way amongst the textured, gently rhythmic landscapes and the music brims with surprises and quiet invention. The jazzy bass notes on "Fishology", for example, move along at a good clip yet are so subtle that the track's calming qualities are never disturbed. The first three volumes of the Air series are also high-water marks for Namlook. Like the Silence series they show some rich ethnic and neo-classical leanings, and they remain particularly effective examples of how he uses live acoustic instruments in an electronic setting. The delicate, tinkling cymbals and soft tom-tom beats on "Je suis seule et triste ici" from Air I (1993), for instance, are utterly refreshing because Namlook is able to maintain a deep electronic ambient feel while still expanding electronica's instrumental vocabulary.

Air II (1994) is deeply psychedelic. An eleven-part "trip" subtitled "Traveling Without Moving", it takes it's thematic cue from Frank Herbert's cult sci-fi novel and movie Dune. Herbert's story posited a strange universe dependant on a life-extending, mind-altering spice drug. On Air II Namlook subtly draws on the story's themes to create a beautiful, creepy, intoxicating universe of his own. Again he utilizes acoustic instruments: didgeridoo, sighing woodwinds, flamenco guitar, Mid-Eastern flutes, and swooping vocal textures that rise and fall to striking effect. They're all integrated seamlessly, proving that despite the club music influences he thrived by exploring outside the rigid structures of electronic beats and sequencing.

Other collaborations

Although as an artist Namlook's focus was far broader than just club-influenced sounds, when he did get into more squelchy or bleepy techy-trance territory the results could be just as stimulating. On the brilliant two-part title track from The Fires Of Ork (1993) that thumping 4/4 kick drum is there alright, but somehow Namlook and cohort Gier Jenssen (aka Biosphere) have managed to mute it just enough to create a truly "ambient" dance music: thunderous yet shadowy and eerie, built around a voice sample of Rutger Hauer from Blade Runner. Also beats-based is the the superb first volume of From Within (1994), one of the pinnacles of ambient techno that marries Namlook's warm keys and spiralling synth sounds with the sparse bleeps and beats of Canadian techno guru Richie Hawtin. Again, the rhythms don't drive you into the ground but rather lull you into a gentle if uneasy trance, particularly on "Million Miles To Earth" and "Sad Alliance". The third in this series, From Within III (1997) is also outstanding

Namlook after the mid 90's

While many aficionados would agree that the early to mid 1990's produced most of Fax's - and Namlook's - most enduring releases, it would be unfair to dismiss some of Namlook's work since then. Highlights from 1995-2001 include the final volumes in what is probably Namlook's greatest series, the magnificent Silence IV (2000) and Silence V (2001). The luminous piano notes and warm orchestral synths of "The Night Before I Left" from Silence IV might just be the most emotional piece of music Namlook has ever made, an elegy that's at once incredibly sad and jaw-droppingly pretty. From the same album is the extraordinary "Bedouin Love", a dark, swirling epic with thunderous Moroccan drums, a strange spoken Arabic monologue and chilling yet beautiful synthesiser chords. In the same sonic universe as the Silence albums is From Within 3 from 1997, again made with Richie Hawtin but this time quite different from earlier volumes due to its softer, warmer sound. There's feather-soft lead guitar lines, lush strings, jazzy improvising and warm analogue melodies, all held together by subtle, intelligent drum programming. It's a fantastic example of accessible, soulful electronica.

In the 2000's and beyond Namlook continued with a busy release schedule of solo albums and collaborations but rarely with the same impact his music made in the previous decade. Not that there's lack of variety; for hardcore Fax fans there's plenty to explore. Experimental releases like New Organic Life (2002) are scarily unfamiliar, experimental, arguably unlistenable at times. Some outstanding individual melodic tracks appear on otherwise less-then-great albums such as Resonate (2006) and Namlook Le Mar (2009). However, some of his other collaborative albums made after the mid 90's - not listed on this page - are highly recommended including recordings with Tetsu Inoue, Klaus Schulze and Wolfram Spyra.

Death and legacy

Aged just 51, Namlook died unexpectedly in his sleep of a heart attack on 8 November 2012. Maintaining his intense work rate right up to the night he passed away, some wondered whether Namlook simply drove himself into the ground, literally living and dying for his art. Yet his sister told UK music journalist Mark Prendergast that "he went to bed happy" that day. Who are we to judge? Namlook left behind an extraordinary and enormous recorded legacy, as well as a generation of underground electronic producers and composers inspired by both his talents and his uncompromising independence. Fax Records is no more, though for the moment a good deal of his discography remains available. Hopefully a sensible licensing deal with the Kuhlmann estate will enable another publisher take on the best of his catalogue and keep it available in the coming decades. He deserves no less.

The tribute: Die Welt ist Klang

A superb Namlook tribute album appeared in 2013, almost as essential as any of the work released by the man himself. Die Welt ist Klang ("The World Is Sound") was put together in 2012-13 via a crowdfunding campaign by Dave Wade-Stein from EAR/Rational Music, the longtime North American distributor for Fax and related labels. The album is presented thus: four volumes of mostly new or unreleased music by former Fax artists, and four volumes of new material by mostly unknown musician-fans.

It's only fitting that one of the most prolific recording artists in the history of music - in all recorded music, not just a genre - should be honoured with a sprawling 8-volume tribute. It would take pages to review so much music in detail; suffice to say the standard of contributions overall is very high. Interestingly, most of the former Fax artists here don't seek to recapture peak moments from their past works. They just do what they do - from beatless ambient to bleepy dance grooves, from lounge to techno, from gentle dissonance to sweet, tender melodies. As for the the 40 or so musician-fan contributions, they were chosen from a large pool of submissions by a blind vote. Although there are some easy-to-spot pastiches among them, here too there is much freshness and surprise.

Die Welt ist Klang is a massive treasure chest of (mostly) new ambient and electronica. Some of it is the sound of now and some of it wistfully looks back. All of it acknowledges the contributions and example of one remarkable man.


Namlook" is "Koolman", a phonetic rendering of his real name, spelled backwards.

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The first in a series of collaborative improvisations by German experimentalists Pete Namlook & Atom Heart (Uwe Schmidt), 1995's Jet Chamber is a bit on the spotty side, but the tracks that work are sublime, some of the best ambient electronica of their era. The opening track, the 31-minute "Split Wide," is a bliss-out classic, with only a jarring midsection of atonal noise bursts from both members disturbing the placid beauty of the undulating keyboard lines. The comparatively brief "Chaos Impuls" (only four minutes, by far the shortest track on the hour-plus album) is a similarly environmental soundscape, but the remaining three tracks, "Rotor Cabinet," "Feedback Fluctuation," and "Streamline," are slightly more structured, with lolling beats and occasional washes of melody stretching out over Namlook's space rock-inspired keyboard and processor sounds. The last is a particular gem, as Atom Heart builds a teasingly repetitive groove that Namlook parries with for a good 11 minutes or so. All five volumes of the Jet Chamber series are strictly for ambient electronica fans, but those looking for an accessible entrée into Pete Namlook's dauntingly huge discography could do much worse than starting here.

Pete Namlook • Atom Heart - Jet Chamber ( flac   333mb)

01 Split Wide 30:51
02 Rotor Cabinet 12:25
03 Chaos Impuls 4:08
04 Feedback Fluctuation 10:13
05 Streamline 11:12

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Like a movie sequel that's basically a retread of the original, there's a definite "been there, done that" feel to the second entry in Pete Namlook & Atom Heart's Jet Chamber series of collaborative improvisations, but like the best movie sequels, there's just enough of a changeup in Jet Chamber II to keep it from becoming redundant. Where Namlook was clearly in control of 1995's Jet Chamber, Jet Chamber II is more of a showcase for his beat-making partner. Atom Heart is all over this album, making up for his subdued presence on its predecessor by creating a strange array of whirring, clicking, and chattering beats under Namlook's trademark Krautrock-inspired synths. The first and last of the three extended tracks, the 18-and-a-half-minute "Inner Rotation" and the nearly 27-minute "Outer Rotation," are driven by Atom Heart's beats and loops, with the latter track reaching moments of sheer atonality about two-thirds of the way through. In contrast, the aptly titled 17-minute "Calm Box" is almost all Namlook, a close relation to the sublime "Split Wide" from Jet Chamber, though with a slightly more structured and less amorphous feel akin to parts of Brian Eno's Discreet Music.

.Pete Namlook • Atom Heart - Jet Chamber II ( 280mb)

01 Inner Rotation 18:30
02 Rotation 17:20
03 Outer Rotation 26:56


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Pete Namlook and Uwe Schmidt (aka Atom Heart) hold each other up in the studio with an acceptable trio of sci-fidelity tracks. Like so many albums on the FAX record label, Jet Chamber V falls back on familiar strengths, filtered through the latest technology. Consequently it's a showcase for both the artists as well as the gear they plug into. "I Miss Green" spins out stuttering little robot beats with a gridwork of synth -- a very energizing and sterile track with stray beams of light shooting out from time to time, but the piece evolves primarily by way of adding and subtracting a dozen elements over the course of 21 minutes. It's reminiscent of early Spacetime Continuum material, but lengthier. "Tightness" is a darker groove, clicking and beeping with the same compositional state of suspended animation, under an ambient drone. Here, it's like the synchronized backdrop to a Kraftwerk song, rather than the song itself. It's the very picture of German engineering. "Voted Steady" squawks, gurgles, clunks, and chirps along, like a curious assembly of alien metronomes keeping time with harmonic keyboards floating overhead. It's the circuit boards of the equipment having a miniature drunken argument with themselves, and therefore a bit disposable. Jet Chamber V is essentially another notch in the very, very long belts of Namlook and Schmidt, an album that neither breaks new ground nor crashes into it. For collectors of the FAX outpouring, it's a finger on the label's pulse.

Pete Namlook • Atom Heart - Jet Chamber V (flac 242mb)

01 I Miss Green 21:26
02 Tightness 16:59
03 Voted Steady 13:40

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The Kool Man was one serious collaborator as the three albums he did with Russian sound collage outfit The New Composers should testify. 12 songs? What is this a box set. No, these are actually short and very entertaining pieces that go from odd space pop to abstract ambient. Worth checking out for more then just the Namlook fan.

Pete Namlook • New Composers - Planetarium ( 250mb)

01 Life on Mars 3:14
02 There Is Not Another World 6:48
03 Echnaton 3:27
04 Waters of Love 3:45
05 Tetra 5:55
06 Musika i slowa 3:22
07 Indigo 4:07
08 The Second Sector 3:22
09 In the Memory of Magnitola 3:16
10 Una 3:15
11 Bellan 2:37
12 Shadows of Shadows 7:00

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While Planetarium was more structured like something New Composers would release on their own, Planetarium 2 has Pete Namlook taking the pilot's wheel this time, attempting to get an intriguing space epic out of his work with the New Composers, starting with a rather lengthy intro "Moontrip", with a lot of repeated bleeps and NASA samples from Namlook. (later on, we hear some Russian sample that we assume are provided by New Composers) And thus, for the first half it's lot of spacey danciness that takes us back to the days of The Fires of Ork and Alien Community. Surprisingly, it's when the New Composers really come in that things actually get interesting. "Space Casino" is a goofy cheesy track made up of a lot of samples, most notably ones lifted from anime, I presume. Along with "Space Ballet", which is a sound collage piece featuring some disjointed piano along with various Russian TV samples, it's enough to make you wish they come out with a whole album in this style. "Spirit Preparation" and "225" have Namlook and New Composers finally coming to together to give us some great space ambient and have you looking forward to what this collaboration will bring in the future.

Pete Namlook • New Composers - Planetarium 2 ( 345mb)

01 Moontrip 11:45
02 Start Process 10:23
03 Urgent Message 2:54
04 MIR Station - Selektor 8:36
05 Space Casino 4:17
06 6 Beta 9 Answer 3:44
07 Spirit Preparation 8:53
08 Space Ballet 3:48
09 225 2:43

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