RhoDeo 1952 Vendetta 4

Hello,


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Astral Travel

    Explore non-physical realities
    Discover your multidimensional nature
    Increase recall of out-of-body experiences
    Overcome fear and gain more control

Astral travel is one of the most profound awakening experiences you can have. But for most people, developing this natural ability requires a specific mindset, a revised set of beliefs and regular practice. Astral Travel subliminal messaging is designed with Theta binaural beats to entrain your brain and imprint your subconscious with the ideal mindset for out-of-body experiences—making it easier for you to travel beyond the boundaries of the physical plane. Embedded within the soothing sound of ocean waves, Theta waves and carefully chosen subliminal messages address all the common mental obstacles to astral projection such as; separation, vibrations, safety issues, recall and control while you’re out-of-body.

Brainsync Astral Travel ( flac   137mb)

01 Brain Sync - Astral Travel - 1 - Listen Anytime
02 Brain Sync - Astral Travel - 2 - Use Headphones

Subliminal Affirmations on this Program:

    Infinite realities exist beyond the physical plane. The gateway to the inner world is always open to me.
    I already know how to travel freely through the inner planes.
    I am more than my body. I am a powerful spiritual being, a multidimensional being.
    I am always exploring the mystery and majesty that lies beyond the material plane. Only now I am more aware.
    I am willing to enjoy intensity of traveling through the other dimensions.
    Transferring awareness to my light body is as natural to me as breathing.
    Activating my energy body is natural and feels good.
    I remain calm and relaxed when vibrations begin.
    Exit-related distractions are natural, I stay calm, detached and just let them happen.
    Sensations of resonating at a higher vibrational frequency feel good. I stay calm and serene.
    The calmer I remain, the easier it is to separate.
    I allow the energies to expand and propel me where I want to go.
    I am aware at the exact moment to separate quickly, easily and effortlessly.
    Go! I say explore the universe. Expand awareness. Return with full memory.
    It is my destiny to embody full spiritual power. I am ready now.
    In higher dimensions phenomena is natural. I enjoy everything new and unusual.
    I insist on remembering my out of body experiences. I remember my journeys.
    I travel through many dimensions every night. Only now I am training my mind to focus and remember.
    The more I practice remembering, more memories return to me.

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Here we offer a brief preview of our directions in 2020 and beyond, supporting a revolutionary interpretation of the mythic and symbolic archetypes. Our purpose is to demonstrate that the documented archetypes are explicitly and inseparably connected to the themes we’ve repeatedly affirmed in these Discourses. Our claim is that the archetypes as a whole can be fully and persuasively explained in terms of the extraordinary natural world from which the ancient civilizations themselves arose. No archetype can then be excluded, and CONSISTENCY between wide-ranging archetypes becomes an acid test.

In this third of the Discourses series, Dave Talbott offers a few glimpses of the mythic subject matter and the reasoning protocol for drawing reliable conclusions from ancient witnesses. .



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The subject of this video series is the ancient experience of towering celestial forms that are no longer present. From a single snapshot of the configuration, we can work backwards to the first appearance of these bodies out of an undifferentiated cloud or sea of dusty plasma. We can then follow the configuration’s evolution through phases that range from quasi-stability to earth shaking catastrophe.




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V for Vendetta is a dystopian political thriller based on the 1988 DC/Vertigo Comics limited series of the same name by Alan Moore and David Lloyd. Set in an alternative future where a Nordic supremacist and neo-fascist totalitarian regime has subjugated the United Kingdom, the book centers on V, an anarchist and masked freedom fighter who attempts to ignite a revolution through elaborate terrorist acts, Evey, a young, working-class woman caught up in V's mission and then there's a detective leading a desperate quest to stop V.

V for Vendetta has been seen by many political groups as an allegory of oppression by government; libertarians and anarchists have used it to promote their beliefs. David Lloyd stated: "The Guy Fawkes mask has now become a common brand and a convenient placard to use in protest against tyranny – and I'm happy with people using it, it seems quite unique, an icon of popular culture being used this way.

V for Vendetta sets the Gunpowder Plot as V's historical inspiration, contributing to his choice of timing, language, and appearance. For example, the names Rookwood, Percy and Keyes are used in the film, which are also the names of three of the Gunpowder conspirators. The film creates parallels to Alexandre Dumas's The Count of Monte Cristo, by drawing direct comparisons between V and Edmond Dantès. (In both stories, the hero escapes an unjust and traumatic imprisonment and spends decades preparing to take vengeance on his oppressors under a new persona.) The film is also explicit in portraying V as the embodiment of an idea rather than an individual through V's dialogue and by depicting him without a past, identity or face. According to the official website, "V's use of the Guy Fawkes mask and persona functions as both practical and symbolic elements of the story. He wears the mask to hide his physical scars, and in obscuring his identity – he becomes the idea itself.

As a tale about the struggle between freedom and the state, V for Vendetta takes imagery from many classic totalitarian icons both real and fictional, including the Third Reich, the Soviet Union under Stalin and George Orwell's Nineteen Eighty-Four. For example, Adam Sutler primarily appears on large video screens and on portraits in people's homes, both common features among modern totalitarian regimes and reminiscent of the image of Big Brother. The slogan "Strength through Unity. Unity through Faith" is displayed prominently across London, similar in cadence to "War is Peace. Freedom is Slavery. Ignorance is Strength" in Orwell's book. There is also the state's use of mass surveillance, such as closed-circuit television, on its citizens. The name Adam Sutler is intentionally similar to Adolf Hitler. Like the so-called Führer, Sutler is given to hysterical speech. Also like Hitler, Sutler is a racial purist, although Jews have been replaced by Arabs and Muslims as the focus of Norsefire ethnoreligious propaganda and persecution.

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In 2032, the world is in turmoil. The United Kingdom is ruled as a fascist police state by the Norsefire Party, under the all-powerful High Chancellor Adam Sutler.

On November 4, a vigilante in a Guy Fawkes mask identifying himself as "V" rescues Evey Hammond, an employee of the state-run British Television Network, from members of the "Fingermen" secret police while she is out past curfew. They watch his demolition of London's main criminal court, the Old Bailey, accompanied by fireworks and the "1812 Overture". Inspector Finch of Scotland Yard investigates V's activities. The BTN declares the Bailey's destruction an "emergency demolition", but V interrupts the broadcast to claim responsibility, encouraging the people of Britain to rise up against their government and meet him on next year's Guy Fawkes Night outside the Houses of Parliament. The police attempt to capture V. Evey helps him escape, but is knocked unconscious.

V takes Evey to his home, where she is told she must remain for one year. V kills Lewis Prothero, Norsefire's chief propagandist, and Anthony Lilliman, the Bishop of London. Evey offers to help, using the opportunity to escape to the home of her boss, talk show host Gordon Deitrich. In return for Evey trusting him, Gordon reveals prohibited materials, including subversive paintings, an antique Quran, and homoerotic photographs. V confronts Dr. Delia Surridge, who had experimented on him and other "undesirables" at Larkhill concentration camp; seeing her remorse, he kills her painlessly.

After Gordon performs a satire of the government on his show, his home is raided and Evey is captured. She is imprisoned and tortured for information about V, with her only solace being a note written by Valerie Page, a former prisoner tortured and killed for being lesbian. Evey is to be executed unless she reveals V's location. When she says she would rather die, she is released, only to find herself in V's home. V was the one who captured her at Gordon's home, and staged her imprisonment to free her from her fears. The note was real, passed from Valerie to V when he was imprisoned. He informs her that Gordon was executed when the Quran was found in his home. While Evey initially hates V for what he did to her, she realizes she has become a stronger person. She leaves him, promising to return before November 5.

V For Vendetta 4 ( 75min mp3  34mb).


A novelisation of the film, written by Steve Moore and based on the Wachowskis' script, was published by Pocket Star on January 31, 2006 , and read here by Simon Vance.


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previously

V For Vendetta 1 ( 75min mp3  34mb).
V For Vendetta 2 ( 75min mp3  34mb).
V For Vendetta 3 ( 75min mp3  34mb).

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RhoDeo 1952 Re Up 219

Hello,


Only 6 correct requests for this week, 2x Roots unavailable,  1 twice same artist, whatever another batch of 27 re-ups (10.0 gig)


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 Decemberrrr   29 th... N'Joy

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4x Aetix Back In Flac (Nikki Sudden - Waiting On Egypt, Nikki Sudden - The Bible Belt, Nikki Sudden & Revolution - Groove, Nikki Sudden ‎- The Last Bandit )



4x Sundaze  Back in Flac (Flying Saucer Attack - Flying Saucer Attack, Flying Saucer Attack - Further, Flying Saucer Attack - Distance, Flying Saucer Attack - Distant Station )



11x Scotland  NOW In Flac (Jesus & Mary Chain - Darklands, Shamen - Axis Mundi, Shamen - Arbor Bona Arbor Mala, Angelfish - Angelfish, Billy Mackenzie - Outernational, Billy MacKenzie - Beyond The Sun, Wolfstone - Pick of the Litter, Midge Ure - If I Was, VA - Slam - Soma MuzikMix, Simple Minds - Empires and Dance, Simple Minds - Sister Feelings Call)


4x Aetix Back in Flac ( Die Krupps - Stahlwerksynfonie, Die Krupps - Volle Kraft Voraus, Die Krupps - Volle Kraft Voraus Remixed, Die Krupps - Entering The Arena )



2x Alphabet Soup Back in Flac (Xymox - Phoenix, Xploding Plastix - Amateur Girlfriends)



2x Aetix Back in Flac ( The JAM's - 87, What The Fuck's Going On, The Justified Acients of Mu Mu - Shag Times)


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Sundaze 1952

Hello,  more soundtracks by Max not just movies but TV sound tracks too, anyway its the penultimate post on a composer who really takes his work very seriously, and meticulously creates his work and despite having lived and worked in the Anglo-Saksen world, clearly his German DNA is very present I guess what we get is the best of both worlds.. .......


Today's artist is is a German-born British composer who has been an influential voice in post-minimalist composition and in the meeting of contemporary classical and alternative popular musical styles since the early 2000s. Richter is classically trained, having graduated in composition from the Royal Academy of Music and studied with Luciano Berio in Italy.Richter also composes music for stage, opera, ballet and screen. He has also collaborated with other musicians, as well as with performance, installation and media artists. He has recorded eight solo albums and his music is widely used in cinema.  .......N-Joy

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Combining the discipline of his classical background with the inventive spirit of electronic music, Max Richter's work as a producer and composer speaks to -- and frequently critiques -- 21st century life in eloquent and evocative ways. On early masterworks such as 2002's Memoryhouse and 2003's The Blue Notebooks, he united his childhood memories and commentary on war's devastating aftermath into gorgeous, aching music; with 2015's eight-hour Sleep, he challenged the increasing disposability of art and music as well as audiences' ever-decreasing attention spans. Richter's fascination with the growing role of technology in everyday life was a major theme of releases spanning 2008's collection of bespoke ringtones to the music for a particularly paranoid 2016 episode of the TV series Black Mirror. Despite the high-concept nature of much of his work, Richter always maintains a powerful emotional connection with his listeners; 2012's Recomposed: The Four Seasons, an experimental reimagining of Vivaldi's violin concertos, topped classical charts in over 20 countries. The emotive quality of his music translated perfectly to scoring and soundtrack work, which ranged from documentaries such as Waltz with Bashir (2008); feature films including Mary Queen of Scots (2018); television series like Taboo (2017); and stage productions including Infra (2008) and Woolf Works (2015), both projects with Richter's longtime collaborator, choreographer Wayne McGregor. Richter's mix of modern composition, electronic music, and field recordings was as influential as it was innovative, and paved the way for like-minded artists such as Nico Muhly and Jóhann Jóhannsson.

Born in West Germany in the mid-'60s, Richter and his family moved to the U.K. when he was still a little boy, settling in the country town of Bedford. By his early teens, he was listening to the canon of classical music as well as modern composers including Philip Glass, whose music was a major influence on Richter. The Clash, the Beatles, and Pink Floyd were also important, along with the early electronic music scene; inspired by artists such as Kraftwerk, Richter built his own analog instruments. He studied composition and piano at Edinburgh University, the Royal Academy of Music, and in Florence with Luciano Berio. He then became a founding member of the Piano Circus, a contemporary classical group that played works by Glass, Brian Eno, Steve Reich, Arvo Pärt, and Julia Wolfe, and also incorporated found sounds and video into their performances. After ten years and five albums for Decca/Argo, Richter left the group and became more involved in the U.K.'s thriving electronic music scene, collaborating with the Future Sound of London on 1996's Dead Cities (which features a track named after him) and The Isness; he also contributed orchestrations to Roni Size's 2000 album In the Mode.

Richter's own work evolved from the Xenakis-inspired music of his early days into something that included his electronic and pop influences. His 2002 debut album, Memoryhouse, introduced his mix of modern composition, electronica, and field recordings. Recorded with the BBC Philharmonic Orchestra, the album explored childhood memories as well as the aftermath of the Kosovo War in the 1990s and was hailed as a masterpiece. Two years later, Richter made his FatCat debut with The Blue Notebooks, which incorporated readings from Franz Kafka's Blue Octavo Notebooks and Polish writer Czesław Miłosz by actress Tilda Swinton into dreamlike pieces for strings and piano that touched on the Iraq War and Richter's early years. Released in 2006, Songs from Before paired his plaintive sound with texts written by Haruki Murakami and delivered by Robert Wyatt. In 2008, he issued 24 Postcards in Full Colour, a collection of intricate ringtones envisioned by Richter as a way to connect people around the world. That year also saw the release of his music for Ari Folman's Golden Globe-winning film Waltz with Bashir. Focusing on electronics instead of a typical orchestral score, it was Richter's highest-profile soundtrack project to date. He then worked on several other film scores, including music for Benedek Fliegauf's Womb, Alex Gibney's My Trip to Al-Qaeda, and David MacKenzie's Perfect Sense. Another scoring project, Infra, marked the beginning of Richter's enduring collaboration with choreographer Wayne McGregor. Commissioned by the Royal Ballet in 2008, Infra was a ballet inspired by by T.S. Eliot's classic poem "The Wasteland," and the the 2005 London terrorist bombings. Richter re-recorded and expanded his music for the 2010 album Infra, his fourth release for FatCat Records.


Richter began the 2010s with soundtrack work that included the award-winning scores to Die Fremde (2010) and Lore (2012). The composer reunited with McGregor for 2012's Sum, a chamber opera based on Sum: Forty Tales of the Afterlives, a collection of short stories by neuroscientist David Eagleman about the possibility of life after death. That year also saw the release of one of Richter's most popular albums, Recomposed by Max Richter: Vivaldi - The Four Seasons. An avant-garde, loop-based reworking of the composer's timeless set of violin concertos, it topped the classical charts in 22 countries, including the U.K., the U.S., and Germany. In turn, McGregor choreographed a ballet, Kairos, to Richter's recomposition. Disconnect, the score to Henry-Alex Rubin's film about the impact of technology on relationships, arrived in 2013. His other releases that year included the score to Wadjda, which was the first feature-length film made by a Saudi Arabian woman (director Haifaa Al-Mansour); the music to Ritesh Batra's The Lunchbox and Ruairí Robinson's sci-fi excursion The Last Days on Mars. Richter also worked with Folman again on the music to The Congress, an adaptation of Stanislaw Lem's novel The Futurological Congress.


In 2014, Richter launched a mentorship program for aspiring young composers and wrote music for HBO's The Leftovers, which also featured pieces from Memoryhouse and The Blue Notebooks. The following year saw the arrival of Sleep, an eight-hour ambient piece scored for piano, strings, electronics, and vocals that Richter described as a "lullaby for a frenetic world and a manifesto for a slower pace of existence." The piece premiered at a Berlin performance where the audience was given beds instead of seats. Sleep and From Sleep, a one-hour adaptation, were released in September 2015. The following year, Richter provided the score to the sci-fi/horror film Morgan and the disturbingly cheery music for "Nosedive," an episode of Black Mirror that took the all-consuming nature of social media to extremes. Released in January 2017, Three Worlds: Music from Woolf Works drew from his score for McGregor's 2015 Royal Ballet production inspired by three of Virginia Woolf's most acclaimed novels. It was followed that May by the soundtrack compilation Out of the Dark Room. That September, Richter's Emmy-nominated music for the BBC One drama Taboo was released.


Richter remained busy on soundtrack work in 2018, with projects including the music for the HBO TV series My Brilliant Friend as well as the scores to films like Hostiles, White Boy Rick, and Mary Queen of Scots, which won a Best Original Score -- Feature Film Award at the Hollywood Music in Media Awards. In October 2019, Deutsche Grammophon issued Voyager: Essential Max Richter, an expansive retrospective that included two previously unreleased pieces written for Sleep.


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The first season of the HBO drama series The Leftovers featured an original score by composer Max Richter. With a plot involving the sudden unexplained disappearance of tens of millions of people, the show's main title has weeping solo violin, choir, and orchestra. Solemn, delicate piano themes constitute much of the season's music, underscored by light, sustained strings. Tense dissonance from subdued strings also marks the soundtrack, and at times, celesta, ethereal vocals, timpani, and other instruments enter the solemn soundscape. The score was nominated for an International Film Music Critics Award in 2014.

Max Richter - The Leftovers (Season 1-3) (flac 340mb)

1 The Leftovers (Main Title Theme) 1:35
2 The Departure 1:15
3 Afterimage 1 1:31
4 De Profundis 5:05
5 Only Questions 1:17
6 Dona Nobis Pacem 1 3:48
7 Afterimage 2 1:09
8 Departure (Reflection) 1:54
9 Dona Nobis Pacem 2 3:20
10 Family Circles 1:01
11 A Blessing 2:32
12 She Remembers 3:49
13 Departure (Lullaby) 1:57
14 Illuminations / Clouds 1:32
15 Afterimage 3 3:05
16 Departure (Home) 1:54

The Leftovers Season 2
17 Entropy for Meg 2:02
18 The Departure (Diary) 1:52
19 Crossings 2:56
20 Storybook 2:07
21 A Bird in a Box 3:12
22 Tenebrae 1:15
23 Dark Cloud for Nora 1:58
24 The Departure (Phone Call) 2:37
25 A Crowd of People Turned Away 2:08
26 Bright Cloud for Jill 1:30
27 Tom's Lullaby 2:04
28 That Solitary Moment Together 1:59
29 Dona Nobis Pacem 3 (Evie) 4:34
30 The Departure (Persistence of Vision) 1:49
31Dark Cloud for Kevin 2:24
32 Erika and John 1:42
33 The Quality of Mercy 4:12
34 The Leftovers Main Titles Season 1 (Small Ensemble Version) [bonus track] 3:37

The Leftovers Season 3 (EP)
35 The End Of All Our Exploring 3:35
36 Either Fire Or Fire 1:34
37 The Spectre Of A Rose 1:47
38 Nothing’s Gonna Stop Me Now 2:45
39 And Know The Place For The First Time 2:55

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Taboo is a 2017 British television drama series created by Tom Hardy, Edward Hardy & Steven Knight and starring Tom Hardy, Leo Bill & Oona Chaplin. Adventurer James Keziah Delaney, long believed to be dead, returns home to London from Africa in 1814 in order to inherit his late father’s shipping empire. All is not what it seems, however, as Delaney encounters numerous enemies intent on making his life back in the United Kingdom very difficult. Focused on building a shipping empire to rival the imperious East India Company, Delaney’s other wish to seek vengeance for his father’s death means conspiracy, betrayal and bloodshed are also in the cards. As he works to accomplish that, Delaney must also navigate increasingly complex territories in order to avoid his own death sentence. The score is composed by Max Richter.

The score opens with the ‘Openings’ a haunting emotional theme built on moods and strings. It’s very powerful, and pretty much what I had hoped and partially expected from Richter. In the episode that I saw, the music sort of phased in and out, but I couldn’t quite get a handle on how great and powerful the music was, but on album it impresses again and again. The moods Richter creates are truly perfect for the darkness of London in the early 18 hundreds. In ‘The Inexorable Advance Of Mr. Delaney’ there’s a similar pattern with a superb finale. It’s not the only one either. Like Bernard Herrmann, Richter is spinning us into madness in a beautiful way. Sometimes it feels like a horror story and sometimes, it feels like a somber drama. There’s very little happiness on this score and if the first episode is anything to go by, it’s not very present in the show. I saw Hardy smile once and I got scared. Richter is fully embracing the darkness of the show with some incredible soundscapes, some immense moods and textural music while giving us these little bites of thematic scoring. And sometimes, he surprises with a more timely piece of music for the era. Richter has saved the main theme for the end with a couple of versions. It all works pretty great and turn this score into a must-listen.

Max Richter wrote the soundtrack for the "Nosedive" episode of Black Mirror, which is a television anthology series that shows the dark side of life and technology. "Nosedive" focuses on Lacie who lives in a world where people's status is governed by their rating on social media. She is a 4.2 and needs to be a 4.5 to be able to afford to rent an apartment at the plush Pelican Cove compound.  Here, the seven short pieces, adding up to just 24:40 minutes in length, feature solemn piano, gentle atmospherics, and soaring strings. It is delightfully Max Richter at his best, nearly discernible, even as a random or blind listen. This is remarkably evident on “The Journey, No The Destination” with high legato violins, poignant keys, and electronic buildups, that finally subside (and nosedive?) into a weeping and memorable theme. On Nosedive Richter captures the not-so-distant anxiety beneath the scrolling ratings of our lives. “Everything is very shiny and perfect, and it sort of glows and everyone is smiling because they can’t afford not to smile. […] It’s a dystopia, but it’s one that appears to be benign.” Don’t miss this one!

Max Richter - Taboo +  Nosedive (Black Mirror soundtrack) (flac 282mb)

01 Openings 2:14
02 The Inexorable Advance Of Mr. Delaney 2:56
03 Song Of The Dead 5:18
04 Zilpha 4:31
05 A Lamenting Song 1:50
06 Shadows 2:53
07 This Little Pig Went To Market 1:02
08 Zilpha (Recollection) 2:45
09 Song Of The Beyond 2:37
10 I'd Hoped To Settle This… 2:07
11 Nocturnal 4:07
12 The Onrush Of Events 2:06
13 Zilpha Alone 2:19
14 Attend To The Matter 1:27
15 Lamentation For A Lost Life 2:22
web bonus
16 Taboo Lament (Antimatter Fellini Waltz) 1:59
17 Celesta Taboo Lament (Title Edit) 1;34

Nosedive (Black Mirror soundtrack)

01 On Reflection 7:15
02 Dopamine One 0:50
03 The Sorrows Of Young Lace 1:50
04 Dopamine Two 2:17
05 The Journey, Not The Destination 4:37
06 Nocturne 2:14
07 The Consolations Of Philosophy 5:37



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The title character of Morgan, a sleek sci-fi/horror hybrid, is herself a hybrid: a humanoid made from synthetic DNA. She’s a biological organism, a scientific experiment, a corporate product. To some, fatefully, she’s a person. They’re the ones who call her “she” rather than “it” — a divide that neatly encapsulates the philosophical questions propelling writer Seth Owen’s high-concept scenario, among the most memorable screenplays on the 2014 Black List. To the unsettling drone of Max Richter's fine score, the seeds of mutiny are deftly sown. ... Morgan is less about the conflict between technology and messy human emotion than their entanglement, a mashup both exhilarating and terrifying.

Max Richter - Morgan (O.S.T.)   (flac 178mb)

01 Sketch for a Portrait #1 1:08
02 Morgan (Main Title) 3:20
03 The Unfamiliars 1:30
04 An Artificial Heartbeat 1:00
05 Our First Experiments / Birth 3:11
06 The Laboratory of Artificial Souls 1:44
07 Magnetic Resonance / We Have a Problem 2:12
08 De natura sonoris / Meeting 5:28
09 Sketch for a Portrait #2 1:06
10 Welcome / Moro Lasso al Mio Duolo 2:11
11 Night Vision / One by One 5:02
12 Remnant 3:09
13 A Wake 2:41
14 Hyperophelia 5:40
15 Blast Radius / Cardiogram 4:22
16 Dark Matter / Reflection 4:32
17 Sketch #1 Morgan (Main Title) 3:24

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Hostiles, directed by Scott Cooper evokes with beauty and restraint the wild landscapes of a world in which individuals collide with forces beyond their control. Set in the American West of the early 1890s, and based on the original story by Academy Award-winning screenwriter Donald E. Stewart, the film follows the relationship between a cavalry captain Joseph Blocker (Christian Bale), and Yellow Hawk (Wes Studi), a Northern Cheyenne chief held prisoner by Blocker at Fort Berringer, a dismal, dust-blown outpost in New Mexico. Max Richter’s score combines a haunting stillness and elegiac beauty with a noir-like instensity. Tracks such as the plaintive “A Woman Alone”, recalled and varied throughout, mirror the film’s hard psychological edges and the transformation of conflict and ill-will into compassion and love. The score is perfect "Hostiles" is an awesome picture to begin with and Max Richter's score complements. Very spiritual, in a sense, as the music creates the emotion of the pain and loss and love. Some of the tracks brings tears to the eyes. It's a brilliant contribution to a wonderful picture.
"Hostiles opens with an immediate gut punch in "The First Scalp", as we watch a band of Apaches brutally murder Rosalie's husband and kids. Musically, this 7+ min, track evolves from the solemn to the jarring, quite amazing. It is one of the best tracks on here, period. "Leaving the Compound" is a bit slower, as the group gets ready to hit the trails to Montana. "Scream At the Sky" is another long (6+ min.) track, in which the orchestra gets to emphasize its warm sounds. "River Crossing" builds up the tension. "Leaving Fort Winslow" is fronted by a sparse acoustic guitar, and feels very intimate. Ryan Bingham's "How Shall A Sparrow Fly" (the only track with vocals) follows. Then we get back into the score."The Lord's Rough Ways" is a beautiful piano-fronted piece (as Rosalie laments that "the Lord's rough ways are hard to understand"). That same musical theme returns later in "Rosalie's Theme". But before we get that far, there is yet one more epic tune, the 8 min. "Never Goodbye" that seems to sum up everything that makes this orchestral score such a pleasure to listen to.

Max Richter - Hostiles (O.S.T.) ( flac   264mb)

01 The First Scalp 7:24
02 A Woman Alone 1:50
03 Leaving the Compound 4:29
04 Cradle to the Grave 4:11
05 Scream at the Sky 6:05
06 Camanche Ambush 4:45
07 Where We Belong 2:56
08 River Crossing 2:53
09 A New Introduction 2:44
10 Leaving Fort Winslow 1:48
11 Ryan Bingham - How Shall a Sparrow Fly 3:46
12 What Did They Die For? 3:58
13 The Lord's Rough Ways 3:22
14 Something to Give 2:18
15 The Last of Them 3:52
16 Appeasing the Chief 2:42
17 Yellow Hawk's Warning 2:35
18 Never Goodbye 7:35
19 Rosalee Theme 4:14


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Composer Max Richter has written a compelling and dramatic score for the upcoming historical drama, Mary Queen of Scots. Directed by Josie Rourke and starring Margot Robbie and Saoirse Ronan, the movie explores the turbulent life of the charismatic Mary Stuart and her attempt to overthrow her cousin, Elizabeth I, Queen of England. The lavish orchestral score features a full orchestra and eclectic vocal pieces. in short, this score by Max Richter is phenomenal. He is an intellectual composer and so a lot of the detail in the score is very deeply thought out. It was recorded in London with a 110-piece orchestra, plus choral parts performed by the London Voices Choir and a solo female vocalist. However, a lot of the lead instrumental ideas are based around the ancient sound of the renaissance. The main theme is performed by both a cor anglais bass oboe and a viol, a period string instrument which Richter processed in post-production to give it a richer, more expansive sound. Drums also play a major part in the score, which Richter says are intended to be a foreshadowing of Mary’s fate – the drums he uses often feel like a militaristic tattoo, appropriate for war, but also have a funereal sound, like a final death march accompanying one of the condemned as they climb the steps to the executioner’s block. Finally, as a textural acknowledgment of Mary’s Scottish heritage, Richter makes frequent use of a clàrsach, a Celtic harp which was in common use at the time. There is just something enrapturing about this music right from the start. Perhaps it is in the way Richter takes the classical renaissance composing style and re-frames it for contemporary audiences; perhaps it’s the beauty of the main theme, and the delicacy of the recurring cor anglais performance of it; perhaps it’s something in the drama inherent in the story of these two strong, powerful women being forced into conflict with each other Very moving, powerful and simply beautiful. Anyway, the "Finale" will take your breath away!

Max Richter - Mary Queen Of Scots (O.S.T.)   (flac   306mb)

01 The Shores of Scotland 1:51
02 Elizabeth's Portrait 3:40
03 A Claim to the Throne 3:05
04 If Ye Love Me 2:10
05 My Crown 2:51
06 The Poem 2:23
07 Darnley's Visit 2:05
08 The Wedding 2:44
09 Knox 3:14
10 The Hilltop 1:55
11 Rizzio's Plea 1:48
12 The Ambush 2:06
13 Pray for Me 5:50
14 A New Generation 2:48
15 Darnley's Dismissal 3:43
16 Outmaneuvered 5:27
17 The Assassination 2:29
18 Finale 8:23

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RhoDeo 1951 Grooves

Hello, with over 170 million records sold globally, Marshall Bruce Mathers III is among the best-selling music artists of all time. He was the best-selling music artist in the United States in the 2000s, sigh..such a confused country. Trash sells in America !, but what about all that plastic ?




Today's Artist is another case of rags to riches the US always drools over."At the dawn of the 21st Century, Slim Shady had the biggest mouth in the music biz. And man oh man were people upset about the words coming out of it. Drugs, murder, rape, and attacks on pop culture icons were casual topics; and no matter how ridiculous his stories were he made sure you believed every. single. word. However, his praise was just as large as the controversy, not to mention sales. Clever wording coupled with vicious delivery made him perhaps the most technically skilled MC ever within the mainstream.  . ....... N Joy

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To call Eminem hip-hop's Elvis is correct to a degree, but it's largely inaccurate. Certainly, Eminem was the first white rapper since the Beastie Boys to garner both sales and critical respect, but his impact exceeded this confining distinction. On sheer verbal skills, Eminem was one of the greatest MCs of his generation -- rapid, fluid, dexterous, and unpredictable, as capable of pulling off long-form narratives as he was delivering a withering aside -- and thanks to his mentor Dr. Dre, he had music to match: thick, muscular loops that evoked the terror and paranoia Em's music conjured. And, to be certain, a great deal of the controversy Eminem courted -- and during the turn of the millennium, there was no greater pop cultural bogeyman than Marshall Mathers -- came through in how his violent fantasias, often directed at his mother or his wife, intertwined with flights of absurdity that appealed to listeners too young to absorb the psychodramas Eminem explored on his hit albums, The Slim Shady LP and The Marshall Mathers LP. With hits "My Name Is" and "The Real Slim Shady," he ruled the airwaves, but it wasn't long before some detractors acknowledged his depth, helped in part by singles like the mournful "Stan," written from the perspective of an obsessed fan. Eminem capitalized on this forward momentum by crossing over onto the big screen with 8 Mile, earning acclaim for his performance and an Oscar for the film's anthem "Lose Yourself," but a number of demons led him to shut down for the second half of the decade, an absence that proved life was indeed empty without Em, before he returned in 2009 with Relapse.

Born Marshall Mathers in the Kansas City, Missouri suburb of St. Joseph, Eminem spent his childhood between Missouri and Michigan, settling in Detroit by his teens. At the age of 14, he began rapping with a high-school friend, the two adopting the names "Manix" and "M&M," which soon morphed into Eminem. Under this name, Mathers entered battle rapping, a struggle dramatized in the fictionalized 8 Mile. Initially, the predominantly African-American audience didn't embrace Eminem, but soon his skills gained him a reputation, and he was recruited to join several rap groups. The first of these was the New Jacks, and after they disbanded, he joined Soul Intent, who released a single in 1995. This single also featured Proof, and the two rappers broke off on their own to form D-12, a six-member crew that functioned more as a Wu-Tang-styled collective than a regularly performing group. As he was struggling to establish his career, he and his girlfriend Kim had a daughter, Hailey, forcing him to spend less time rapping and more time providing for his family. During this time, he assembled his first album, Infinite, which received some underground attention in 1996, not all of it positive. After its release, Eminem developed his Slim Shady alter ego, a persona that freed him to dig deep into his dark id, something he needed as he faced a number of personal upheavals, beginning with a bad split with Kim, which led him to move in with his mother and increase his use of drugs and alcohol, capped off with an unsuccessful suicide attempt. All this Sturm und Drang was channeled into The Slim Shady EP, which is where he first demonstrated many of the quirks that became his trademark, including his twitchy, nasal rhyming and disturbingly violent imagery.

The Slim Shady EP opened many doors, the most notable of them being a contract with Interscope Records. After Eminem came in second at the 1997 Rap Olympics MC Battle in Los Angeles, Interscope head Jimmy Iovine sought out the rapper, giving the EP to Dr. Dre, who proved eager to work with Eminem. They quickly cut Em's Interscope debut in the fall of 1998 -- during which time Marshall reconciled with Kim and married her -- and The Slim Shady LP appeared early in 1999, preceded by the single "My Name Is." Both were instant blockbusters and Eminem turned into a lightning rod for attention, earning praise and disdain for his violent, satirical fantasias. Eminem quickly followed The Slim Shady LP with The Marshall Mathers LP in the summer of 2000. By this point, there was little doubt that Eminem was one of the biggest stars in pop music: the album sold by the truckload, selling almost two million copies within the first two weeks of release, but Mathers felt compelled to tweak other celebrities, provoking pop stars in his lyrics, and Insane Clown Posse's entourage in person, providing endless fodder for tabloids. This gossip blended with growing criticism about his violent and homophobic lyrics, and under this fire, he reunited his old crew, D-12, releasing an album in 2001, then touring with the group.

During this furor, he had his biggest hit in the form of the moody ballad "Stan." Performed at the Grammys as a duet with Elton John, thereby undercutting some accusations of homophobia, the song helped Eminem to cross over to a middlebrow audience, setting the stage for the ultimate crossover of 2001's 8 Mile. Directed by Curtis Hanson, best known as the Oscar-nominated director of L.A. Confidential, the gritty drama fictionalized Eminem's pre-fame Detroit days and earned considerable praise, culminating in one of his biggest hits with the theme "Lose Yourself," which won Mathers an Oscar. After all this, he retreated from the spotlight to record his third album, The Eminem Show. Preceded by the single "Without Me," the album turned into another huge hit, albeit not quite as strong as its predecessor, and there were some criticisms suggesting that Eminem wasn't expanding his horizons much. Encore, released late in 2004, did reach into more mature territory, notably on the anti-George W. Bush "Mosh," but most of the controversy generated by the album was for behind-the-scenes events: a bus crash followed by canceled dates and a stint in rehab. Rumors of retirement flew, and the 2005 appearance of Curtain Call: The Hits did nothing to dampen them, nor did the turmoil of 2006, a year that saw Mathers remarrying and divorcing Kim within a matter of four months, as well as the shooting death of Proof at a Detroit club.

During all this, Em did some minor studio work, but soon he dropped off the radar completely, retreating to his Detroit home. He popped up here and there, most notably debuting the hip-hop channel Shade 45 for Sirius Satellite Radio in September 2008, but it wasn't until early 2009 that he mounted a comeback with Relapse, an album whose very title alluded to some of Mathers' struggles with prescription drugs, but it also announced that after an extended absence, Slim Shady was back. While not quite a blockbuster, the album went platinum, and Eminem followed it at the end of the year with an expanded version of Relapse (dubbed Relapse: Refill) that added outtakes and new recordings. Recovery, initially titled Relapse 2, was issued in June 2010. The album debuted on top of the Billboard 200 chart, where it remained for five consecutive weeks, while its leadoff single, "Not Afraid," debuted on top of the magazine's Hot 100 singles chart.
The year 2010 also brought Eminem back together with Royce da 5'9" under the Bad Meets Evil moniker. In turn, June 2011's Hell: The Sequel marked the release of their first EP as a duo and -- barring the previous month's release of key EP track "Fastlane" as a single -- was their first batch of new material since a 1999 double A-side. After an intense period of recording, Eminem announced in August 2013 that his next solo album would be a nostalgically themed set of new material entitled The Marshall Mathers LP 2, which landed in early November. The album featured the singles "Berzerk," "Rap God," and "Survival," plus the chart-topping hit "The Monster" with Rihanna. In 2014, new tracks landed on the double-disc set Shady XV, which celebrated the Shady label's 15th birthday. The singles "Phenomenal" and "Kings Never Die" featuring Gwen Stefani arrived a year later, both taken from the Southpaw soundtrack.

Eminem resurfaced in October 2017 with a freestyle anti-Trump rap. The track didn't appear on Revival, the December 2017 album that was filled with cameos, including appearances by Beyoncé ("Walk on Water"), Ed Sheeran ("River"), and P!nk ("Need Me"). His seventh straight chart-topper, it ultimately failed to match the sales heights of past efforts, despite the international success of the "River" single. The next year, without warning, Eminem issued his surprise tenth album, Kamikaze. The set featured appearances by Joyner Lucas, Royce da 5'9", and Jessie Reyez, as well as "Venom," from the film of the same name.

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Most people are aware of Eminem’s breakthrough album The Slim Shady LP. It was this album that contained worldwide famous hits like “My Name Is” and catapulted him to platinum-certified fame. However, very few are aware that prior to SSLP, Eminem had another album, one that was less critically acclaimed and considerably less commercially successful. That album? Infinite, the 1996 debut which reportedly only sold around 1,000 copies during its initial release. The album has since received more attention thanks to its limited re-release in 2009 to promote Em’s Relapse album, but since it isn’t available on any streaming or digital download services, most people aren’t aware it exists.
 Infinite is an interesting listen to those who want to hear where Eminem came from, and that's about it.

Eminem's rapping isn't particularly bad or anything, but it smacks of someone who hasn't carved out any kind of unique style or identity yet. Just another rapper doing his thing, bragging about his skills, etc. Eminem isn't bad as a rapper here, but not much interesting stuff is going on. The most interesting things to hear are Eminem's early revering of A Tribe Called Quest, when he shouts out Phife Dawg twice on the album. Em would mention this once again 18 years later on MMLP2's "Legacy". Lot of his naysayers claimed he sounded like Nas or AZ, I don't hear the Nas, maybe a little bit of the AZ, but you be the judge. Eminem isn't awful here, the production is. This sounds like something that was made in someone's home garage. And yes I understand that it was cheap and that was all they could do so I don't hold it against them, but that doesn't make the music any better. Eminem needed some real production, there's not really any track here standing out. This is worth a look for hardcore Eminem fans just because there's an inherent fascination at looking at where Eminem came from.

 Eminem - Infinite  (flac   237mb)

01 Infinite 4:01
02 W.E.G.O. (feat. DJ Head & Proof) 0:22
03 It's O.K. (feat. Eye-Kyu) 3:31
04 313 (feat. Eye-Kyu) 4:11
05 Tonite 3:43
06 Maxine (feat. Denaun Porter & 3) 3:55
07 Open Mic (feat. Thyme) 4:02
08 Never 2 Far 3:38
09 Searchin' (feat. Denaun Porter) 3:44
10 Backstabber (feat. Denaun Porter) 3:24
11 Jealousy Woes II 3:19

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There is no doubt the impact Eminem's second studio album and major label debut "The Slim Shady LP" had on hip hop and pop culture was so huge the record rightly holds the state of being one of the most important albums of the late nineties. It also catapulted Eminem to unlikely stardom, a white rapper from the trailers, whose songs range from killing fantasies of his ex wife to darkly humorous self-destruction anthems and bad taste attacks against pop culture, with the lyrical skills of a dictionary, plus the rare charisma of a self-aware schizophrenic bad role model, equally making fun of himself and others.

Given his subsequent superstardom, culminating in no less than an Academy Award, it may be easy to overlook exactly how demonized Eminem was once his mainstream debut album, The Slim Shady LP, grabbed the attention of pop music upon its release in 1999. Then, it wasn't clear to every listener that Eminem was, as they say, an unreliable narrator, somebody who slung satire, lies, uncomfortable truths, and lacerating insights with vigor and venom, blurring the line between reality and parody, all seemingly without effort. The Slim Shady LP bristles with this tension, since it's never always clear when Marshall Mathers is joking and when he's dead serious. This was unsettling in 1999, when nobody knew his back-story, and years later, when his personal turmoil is public knowledge, it still can be unsettling, because his words and delivery are that powerful. Of course, nowhere is this more true than on "97 Bonnie and Clyde," a notorious track where he imagines killing his wife and then disposing of the body with his baby daughter in tow. There have been more violent songs in rap, but few more disturbing, and it's not because of what it describes, it's how he describes it -- how the perfectly modulated phrasing enhances the horror and black humor of his words. Eminem's supreme gifts are an expansive vocabulary and vivid imagination, which he unleashes with wicked humor and unsparing anger in equal measure. The production -- masterminded by Dr. Dre but also helmed in large doses by Marky and Jeff Bass, along with Marshall himself -- mirrors his rhymes, with their spare, intricately layered arrangements enhancing his narratives, which are always at the forefront. As well they should be -- there are few rappers as wildly gifted verbally as Eminem. At a time when many rappers were stuck in the stultifying swamp of gangsta clichés, Eminem broke through the hardcore murk by abandoning the genre's familiar themes and flaunting a style with more verbal muscle and imagination than any of his contemporaries. Years later, as the shock has faded, it's those lyrical skills and the subtle mastery of the music that still resonate, and they're what make The Slim Shady LP one of the great debuts in both hip-hop and modern pop music.

 Eminem - The Slim Shady LP Special Ed    (flac   371mb)

01 Public Service Announcement 0:34
02 My Name Is 4:29
03 Guilty Conscience (feat. Dr. Dre) 3:21
04 Brain Damage 3:48
05 Paul 0:17
06 If I Had 4:05
07 97' Bonnie & Clyde 5:14
08 Bitch 0:21
09 Role Model 3:26
10 Lounge 0:48
11 My Fault 4:00
12 Ken Kaniff 1:18
13 Cum on Everybody 3:39
14 Rock Bottom 3:34
15 Just Don't Give a Fuck 4:02
16 Soap 0:36
17 As the World Turns 4:26
18 I'm Shady 3:33
19 Bad Meets Evil (feat. Royce da 5'9") 4:15
20 Still Don't Give a Fuck 4:09
Bonus
21 Hazardous Youth (Acapella Version) 0:44
22 Sway & King Tech - Get You Mad 4:22
23 Greg (Acapella Version) 0:54

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The Marshall Mathers LP takes the dark shock humor of its predecessor and adds an unexpected emotional depth, painting Eminem as not just a sadistic hellraiser but also a father, husband and normal guy struggling to cope with his fame. Here, Em ditches the black-and-white attitude to morals, relishing in the ambiguity and uncertainty of the grey areas - it’s never clear when he’s joking and when he’s not. It's hard to know what to make of Eminem, even if you know that half of what he says is sincere and half is a put-on; the trick is realizing that there's truth in the joke, and vice versa. Many dismissed his considerable skills as a rapper and social satirist because the vulgarity and gross-out humor on The Slim Shady LP were too detailed for some to believe that it was anything but real. To Eminem's credit, he decided to exploit that confusion on his masterful second record, The Marshall Mathers LP. Eminem is all about blurring the distinction between reality and fiction, humor and horror, satire and documentary, so it makes perfect sense that The Marshall Mathers LP is no more or no less "real" than The Slim Shady LP. It is, however, a fairly brilliant expansion of his debut, turning his spare, menacing hip-hop into a hyper-surreal, wittily disturbing thrill ride. It's both funnier and darker than his debut, and Eminem's writing is so sharp and clever that the jokes cut as deeply as the explorations of his ruptured psyche. The production is nearly as evocative as the raps, with liquid basslines, stuttering rhythms, slight sound effects, and spacious soundscapes. There may not be overpowering hooks on every track, but the album works as a whole, always drawing the listener in. But, once you're in, Eminem doesn't care if you understand exactly where he's at, and he doesn't offer any apologies if you can't sort the fact from the fiction. As an artist, he's supposed to create his own world, and with this terrific second effort, he certainly has. It may be a world that is as infuriating as it is intriguing, but it is without question his own, which is far more than most of his peers are able to accomplish at the dawn of a new millennium.

Eminem - The Marshall Mathers Ltd Ed (flac   618mb)

1 Public Service Announcement 2000 0:25
2 Kill You 4:24
3 Stan (feat. Dido) 6:44
4 Paul (Skit) 0:10
5 Who Knew 3:47
6 Steve Berman (skit) 0:53
7 The Way I Am 4:50
8 The Real Slim Shady 4:44
9 Remember Me? (feat. RBX & Sticky Fingaz) 3:38
10 I'm Back 5:10
11 Marshall Mathers 5:20
12 Ken Kaniff (Skit) 1:01
13 Drug Ballad 5:00
14 Amityville (feat. Bizarre from D-12) 4:14
15 Bitch Please II  (feat. Dr. Dre, Snoop Dogg, Xzibit, Nate Dogg)4:48
16 Kim 6:17
17 Under the Influence feat. (D-12) 5:22
18 Criminal 5:13
Bonus
19 The Real Slim Shady (Instrumental) 4:46
20 The Way I Am (Instrumental) 4:53
21 Stan (Instrumental) 6:46
22 The Kids (Explicit Version) 5:07
23 The Way I Am (Danny Lohner Remix) 4:59

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Wherever rapper Eminem goes, controversy and headlines are sure to follow. With so many people unsure about whether to love him or hate him, five young rappers have decided to join him on his latest project, D12. Also known as the Dirty Dozen, D12 is a sextet of Detroit-based rappers -- all between the ages of 23 and 25. Members Bizarre, Swift, Kon Artis, Proof, and Kuniva claim they are "here to bring the sick, the obscene, the disgusting." With this agenda in tow, D12 could prove to be the sequel to the controversial parade that Eminem started with the explicit lyrics on his solo album Slim Shady (Interscope, 1999) and the in-your-face single "Way I Am" (2000, Interscope).

It's tempting to dismiss D12's debut album, Devil's Night, as exploitative juvenilia, similar to how fellow Detroit hardcore rap acts such as ICP and Esham had been treated in the past. In fact, it's hard not to dismiss this album as shock rap because that's exactly what it is -- there's no denying it. As witty as Eminem may be -- and he's by far the most creative member of the group -- the countless forays into theatrical perversity far outnumber the more literate moments. But to dismiss the album strictly because of its themes would be unfortunate. As challenging as it may be for many to stomach the constant and incredibly explicit sex, violence, and drug references, there is a stunning album lurking beneath that deserves recognition. Functioning as the album's executive producer and as the producer for most of the album's beats, Eminem has done a wonderful job crafting this album and its foreboding feel. Influenced by the style of sparse beats Dr. Dre employed on Eminem's past solo hits, the troublemaking MC's beatmaking steals the show here, particularly on the album's standout moment, "Purple Pills." In fact, Eminem's beats often contest the couple equally impressive tracks that Dre contributes. Besides the remarkable production, Eminem also showcases his songwriting genius on several of the song's hooks, bringing a catchy pop-rap approach to hardcore lyrics. Yet no matter how accomplished this album is from a production and songwriting angle, it's impossible to look past the disturbing lyrics, especially those of Bizarre, and also Eminem's moments of unnecessary instigation. This album is obviously targeting those with a taste for perversity. If that means you, then you'll love this; if that doesn't mean you, then the album is still worth investigating, if only for Eminem's show-stealing performance as not only an MC but also as an adept producer and songwriter.

D12 - Devil's Night  (flac   478mb)

01 Lolo (Intro) 0:40
02 The Watcher 3:28
03 Fuck You 3:25
04 Still D.R.E. 4:28
05 Big Ego's 4:01
06 Xxplosive 3:35
07 What's The Difference 4:04
08 Bar One 0:51
09 Light Speed 2:30
10 Forgot About Dre 3:54
11 Next Episode 2:42
12 Let's Get High 2:27
13 Bitch Niggaz 4:14
14 Murder Ink 2:28
15 Some L.A. Niggaz 4:25
16 Pause 4 Porno 1:33
17 Housewife 4:03
18 Ackrite 3:40
19 Bang Bang 3:42
20 The Message  5:11

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RhoDeo 1951 Happy Holidaze

Hello, a merry Christmas and yes a Happy New Year to you all, on that latter who knows it might be the year of the Apocalypse, after all it's not every year that everyone is bestowed with 20/20 vision. Unlike what Hollywood and reli-nutters are telling us the Apocalypse simply means the unveiling (of that what's been hidden). Obviously there's much hidden and frightning global disasters are well enshrouded in myths, which our too smart scientists say never happened anyway, coz they are all uniformitarians, silly boys. Anyway plenty of local disasters coming up-as always but global disasters will be as rare as ever, in fact it's only the sun that could do us in...any time. That's to say just getting rid of us humans would be prefarble to Mother Earth, it could come through some mad man creating a deadly virus with extreme infectivity. Nevertheless, a Happy New Year to you all...

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Remember, there's nothing to fear but fear itself, you can get your vaccination shot right here

Xmas vaccination for 2020 ( flac   445mb)

A long awaited album, but just in time....

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RhoDeo 1951 Vendetta 3

Hello,


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Brainwave Entrainment is a safe and powerful method of calming the activity in your mind so that you can achieve a state of complete relaxation and mental clarity. It is an extremely effective way of training the mind to enter a state of deep meditation or sleep without years and years of practice.  By listening to specially prepared sounds known as binaural beats, your mind will gradually adjust its natural rhythms, helping you to become serene and clear minded. It really is that simple. Binaural beats are a scientifically proven technology for achieving profound relaxation and they can improve your overall health by dramatically reducing the effects of stress in your life.

Think about it for a moment...your mind is at work all day, every day. Every decision you make, every challenge that you face, every moment you go through in life, your mind is your constant companion, and it can be your best friend or your worst enemy. Your mind is something you need to take good care of, because your quality of life is directly related to your "quality of mind".

Here you'll find two 30 minute brainwave entrainment tracks. The pulse frequency for both tracks is 6 Hz (theta). The pulse is generated by isochronic, monaural, and binaural waveforms. The two tracks differ only in terms of the ambient nature sounds and harmonic melodies accompanying each track. These Theta brainwave frequencies are associated with mind states of extreme relaxation, heightened suggestibility, and inner well-being. The brainwave entrainment pulses on this CD are effective when listened to through audio speakers or headphones. Use passive noise-isolating in-ear headphones for optimal audio reproduction of entrainment pulses. For further information on how to listen to Deep Mind Audio, click here.

Deep Mind - Theta Brainwave Entrainment ( flac   374mb)

01 Melodic River 30:00 includes the relaxing sound of flowing water with melodic bells.
02 Shower Refrain 30:00 includes the sound of gentle rain with a rich refrain of higher octave bells


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Here we offer a brief preview of our directions in 2020 and beyond, supporting a revolutionary interpretation of the mythic and symbolic archetypes. Our purpose is to demonstrate that the documented archetypes are explicitly and inseparably connected to the themes we’ve repeatedly affirmed in these Discourses. Our claim is that the archetypes as a whole can be fully and persuasively explained in terms of the extraordinary natural world from which the ancient civilizations themselves arose. No archetype can then be excluded, and CONSISTENCY between wide-ranging archetypes becomes an acid test.

In this first part of a two-part presentation, we look ahead to our upcoming comprehensive explanation of the mythic archetypes, running through 2020. The projected series will include the totality of identifiable archetypes under the acid tests of predictive ability.



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This series, Discourses on an Alien Sky, begins an extended exploration of ancient cultural themes introduced in the documentary, Symbols of an Alien Sky. The subject is the ancient experience of towering celestial forms that are no longer present. From a single snapshot of the configuration, we can work backward to the first appearance of these bodies out of an undifferentiated cloud or sea of dusty plasma. We can then follow the configuration’s evolution through phases that range from quasi-stability to earth-shaking catastrophe. The foundation of this reconstruction is provided by the points of agreement between ancient cultures the world over.






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V for Vendetta is a dystopian political thriller based on the 1988 DC/Vertigo Comics limited series of the same name by Alan Moore and David Lloyd. Set in an alternative future where a Nordic supremacist and neo-fascist totalitarian regime has subjugated the United Kingdom, the book centers on V, an anarchist and masked freedom fighter who attempts to ignite a revolution through elaborate terrorist acts, Evey, a young, working-class woman caught up in V's mission and then there's a detective leading a desperate quest to stop V.

V for Vendetta has been seen by many political groups as an allegory of oppression by government; libertarians and anarchists have used it to promote their beliefs. David Lloyd stated: "The Guy Fawkes mask has now become a common brand and a convenient placard to use in protest against tyranny – and I'm happy with people using it, it seems quite unique, an icon of popular culture being used this way.

V for Vendetta sets the Gunpowder Plot as V's historical inspiration, contributing to his choice of timing, language, and appearance. For example, the names Rookwood, Percy and Keyes are used in the film, which are also the names of three of the Gunpowder conspirators. The film creates parallels to Alexandre Dumas's The Count of Monte Cristo, by drawing direct comparisons between V and Edmond Dantès. (In both stories, the hero escapes an unjust and traumatic imprisonment and spends decades preparing to take vengeance on his oppressors under a new persona.) The film is also explicit in portraying V as the embodiment of an idea rather than an individual through V's dialogue and by depicting him without a past, identity or face. According to the official website, "V's use of the Guy Fawkes mask and persona functions as both practical and symbolic elements of the story. He wears the mask to hide his physical scars, and in obscuring his identity – he becomes the idea itself.

As a tale about the struggle between freedom and the state, V for Vendetta takes imagery from many classic totalitarian icons both real and fictional, including the Third Reich, the Soviet Union under Stalin and George Orwell's Nineteen Eighty-Four. For example, Adam Sutler primarily appears on large video screens and on portraits in people's homes, both common features among modern totalitarian regimes and reminiscent of the image of Big Brother. The slogan "Strength through Unity. Unity through Faith" is displayed prominently across London, similar in cadence to "War is Peace. Freedom is Slavery. Ignorance is Strength" in Orwell's book. There is also the state's use of mass surveillance, such as closed-circuit television, on its citizens. The name Adam Sutler is intentionally similar to Adolf Hitler. Like the so-called Führer, Sutler is given to hysterical speech. Also like Hitler, Sutler is a racial purist, although Jews have been replaced by Arabs and Muslims as the focus of Norsefire ethnoreligious propaganda and persecution.

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In 2032, the world is in turmoil. The United Kingdom is ruled as a fascist police state by the Norsefire Party, under the all-powerful High Chancellor Adam Sutler.

On November 4, a vigilante in a Guy Fawkes mask identifying himself as "V" rescues Evey Hammond, an employee of the state-run British Television Network, from members of the "Fingermen" secret police while she is out past curfew. They watch his demolition of London's main criminal court, the Old Bailey, accompanied by fireworks and the "1812 Overture". Inspector Finch of Scotland Yard investigates V's activities. The BTN declares the Bailey's destruction an "emergency demolition", but V interrupts the broadcast to claim responsibility, encouraging the people of Britain to rise up against their government and meet him on next year's Guy Fawkes Night outside the Houses of Parliament. The police attempt to capture V. Evey helps him escape, but is knocked unconscious.

V takes Evey to his home, where she is told she must remain for one year. V kills Lewis Prothero, Norsefire's chief propagandist, and Anthony Lilliman, the Bishop of London. Evey offers to help, using the opportunity to escape to the home of her boss, talk show host Gordon Deitrich. In return for Evey trusting him, Gordon reveals prohibited materials, including subversive paintings, an antique Quran, and homoerotic photographs. V confronts Dr. Delia Surridge, who had experimented on him and other "undesirables" at Larkhill concentration camp; seeing her remorse, he kills her painlessly.

After Gordon performs a satire of the government on his show, his home is raided and Evey is captured. She is imprisoned and tortured for information about V, with her only solace being a note written by Valerie Page, a former prisoner tortured and killed for being lesbian. Evey is to be executed unless she reveals V's location. When she says she would rather die, she is released, only to find herself in V's home. V was the one who captured her at Gordon's home, and staged her imprisonment to free her from her fears. The note was real, passed from Valerie to V when he was imprisoned. He informs her that Gordon was executed when the Quran was found in his home. While Evey initially hates V for what he did to her, she realizes she has become a stronger person. She leaves him, promising to return before November 5.

V For Vendetta 3 ( 75min mp3  34mb).


A novelisation of the film, written by Steve Moore and based on the Wachowskis' script, was published by Pocket Star on January 31, 2006 , and read here by Simon Vance.


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previously

V For Vendetta 1 ( 75min mp3  34mb).
V For Vendetta 2 ( 75min mp3  34mb).


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RhoDeo 1951 Re Up 218

Hello, new host today Solidfiles , hope you enjoy it.


Only 6 correct requests for this week,1 too early,  1 twice same artist, whatever another batch of 24 re-ups (7.8 gig)


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 Decemberrrr   22th... N'Joy

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4x Roots Back In Flac (Juana Molina - Son, Juana Molina - Un Dia, Juana Molina - Wed 21, Juana Molina - Halo)



24x Sundaze  Back in Flac (Angelo Badalamenti - The Edge of Love, David Lynch - Inland Empire, David Lynch - Crazy Clown Time, Badalamenti & Lynch Archive part 8 )



4x Grooves Back In Flac (Bill Withers - Just As I Am, Bill Withers - Still Bill,  Bill Withers - Live At Carnegie Hall,  Bill Withers -  +'Justments )



4x Beats Back in Flac ( VA - Artcore 3-1, VA - Artcore 3-2, VA - Artcore 4 (DnB Beat Tech)-1, VA - Artcore 4 (DnB Beat Tech)-2  ) = 11



3x Grooves Back in Flac (Bebo Best - Bossa & Sitar, Bebo Best ‎– D'Jazzonga, Bebo Best - Saronno On The Rocks)



5x Aetix NOW in Flac ( Cosey Fanni Tutti - Time to Tell, Chris and Cosey - Songs of Love and Lust, Chris And Cosey - Exotika + Take Five,  Chris and Cosey - Obsession EP, Chris and Cosey - Trust)


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Sundaze 1951

Hello,  more soundtracks by Max.......


Today's artist is is a German-born British composer who has been an influential voice in post-minimalist composition and in the meeting of contemporary classical and alternative popular musical styles since the early 2000s. Richter is classically trained, having graduated in composition from the Royal Academy of Music and studied with Luciano Berio in Italy.Richter also composes music for stage, opera, ballet and screen. He has also collaborated with other musicians, as well as with performance, installation and media artists. He has recorded eight solo albums and his music is widely used in cinema.  .......N-Joy

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Combining the discipline of his classical background with the inventive spirit of electronic music, Max Richter's work as a producer and composer speaks to -- and frequently critiques -- 21st century life in eloquent and evocative ways. On early masterworks such as 2002's Memoryhouse and 2003's The Blue Notebooks, he united his childhood memories and commentary on war's devastating aftermath into gorgeous, aching music; with 2015's eight-hour Sleep, he challenged the increasing disposability of art and music as well as audiences' ever-decreasing attention spans. Richter's fascination with the growing role of technology in everyday life was a major theme of releases spanning 2008's collection of bespoke ringtones to the music for a particularly paranoid 2016 episode of the TV series Black Mirror. Despite the high-concept nature of much of his work, Richter always maintains a powerful emotional connection with his listeners; 2012's Recomposed: The Four Seasons, an experimental reimagining of Vivaldi's violin concertos, topped classical charts in over 20 countries. The emotive quality of his music translated perfectly to scoring and soundtrack work, which ranged from documentaries such as Waltz with Bashir (2008); feature films including Mary Queen of Scots (2018); television series like Taboo (2017); and stage productions including Infra (2008) and Woolf Works (2015), both projects with Richter's longtime collaborator, choreographer Wayne McGregor. Richter's mix of modern composition, electronic music, and field recordings was as influential as it was innovative, and paved the way for like-minded artists such as Nico Muhly and Jóhann Jóhannsson.

Born in West Germany in the mid-'60s, Richter and his family moved to the U.K. when he was still a little boy, settling in the country town of Bedford. By his early teens, he was listening to the canon of classical music as well as modern composers including Philip Glass, whose music was a major influence on Richter. The Clash, the Beatles, and Pink Floyd were also important, along with the early electronic music scene; inspired by artists such as Kraftwerk, Richter built his own analog instruments. He studied composition and piano at Edinburgh University, the Royal Academy of Music, and in Florence with Luciano Berio. He then became a founding member of the Piano Circus, a contemporary classical group that played works by Glass, Brian Eno, Steve Reich, Arvo Pärt, and Julia Wolfe, and also incorporated found sounds and video into their performances. After ten years and five albums for Decca/Argo, Richter left the group and became more involved in the U.K.'s thriving electronic music scene, collaborating with the Future Sound of London on 1996's Dead Cities (which features a track named after him) and The Isness; he also contributed orchestrations to Roni Size's 2000 album In the Mode.

Richter's own work evolved from the Xenakis-inspired music of his early days into something that included his electronic and pop influences. His 2002 debut album, Memoryhouse, introduced his mix of modern composition, electronica, and field recordings. Recorded with the BBC Philharmonic Orchestra, the album explored childhood memories as well as the aftermath of the Kosovo War in the 1990s and was hailed as a masterpiece. Two years later, Richter made his FatCat debut with The Blue Notebooks, which incorporated readings from Franz Kafka's Blue Octavo Notebooks and Polish writer Czesław Miłosz by actress Tilda Swinton into dreamlike pieces for strings and piano that touched on the Iraq War and Richter's early years. Released in 2006, Songs from Before paired his plaintive sound with texts written by Haruki Murakami and delivered by Robert Wyatt. In 2008, he issued 24 Postcards in Full Colour, a collection of intricate ringtones envisioned by Richter as a way to connect people around the world. That year also saw the release of his music for Ari Folman's Golden Globe-winning film Waltz with Bashir. Focusing on electronics instead of a typical orchestral score, it was Richter's highest-profile soundtrack project to date. He then worked on several other film scores, including music for Benedek Fliegauf's Womb, Alex Gibney's My Trip to Al-Qaeda, and David MacKenzie's Perfect Sense. Another scoring project, Infra, marked the beginning of Richter's enduring collaboration with choreographer Wayne McGregor. Commissioned by the Royal Ballet in 2008, Infra was a ballet inspired by by T.S. Eliot's classic poem "The Wasteland," and the the 2005 London terrorist bombings. Richter re-recorded and expanded his music for the 2010 album Infra, his fourth release for FatCat Records.


Richter began the 2010s with soundtrack work that included the award-winning scores to Die Fremde (2010) and Lore (2012). The composer reunited with McGregor for 2012's Sum, a chamber opera based on Sum: Forty Tales of the Afterlives, a collection of short stories by neuroscientist David Eagleman about the possibility of life after death. That year also saw the release of one of Richter's most popular albums, Recomposed by Max Richter: Vivaldi - The Four Seasons. An avant-garde, loop-based reworking of the composer's timeless set of violin concertos, it topped the classical charts in 22 countries, including the U.K., the U.S., and Germany. In turn, McGregor choreographed a ballet, Kairos, to Richter's recomposition. Disconnect, the score to Henry-Alex Rubin's film about the impact of technology on relationships, arrived in 2013. His other releases that year included the score to Wadjda, which was the first feature-length film made by a Saudi Arabian woman (director Haifaa Al-Mansour); the music to Ritesh Batra's The Lunchbox and Ruairí Robinson's sci-fi excursion The Last Days on Mars. Richter also worked with Folman again on the music to The Congress, an adaptation of Stanislaw Lem's novel The Futurological Congress.


In 2014, Richter launched a mentorship program for aspiring young composers and wrote music for HBO's The Leftovers, which also featured pieces from Memoryhouse and The Blue Notebooks. The following year saw the arrival of Sleep, an eight-hour ambient piece scored for piano, strings, electronics, and vocals that Richter described as a "lullaby for a frenetic world and a manifesto for a slower pace of existence." The piece premiered at a Berlin performance where the audience was given beds instead of seats. Sleep and From Sleep, a one-hour adaptation, were released in September 2015. The following year, Richter provided the score to the sci-fi/horror film Morgan and the disturbingly cheery music for "Nosedive," an episode of Black Mirror that took the all-consuming nature of social media to extremes. Released in January 2017, Three Worlds: Music from Woolf Works drew from his score for McGregor's 2015 Royal Ballet production inspired by three of Virginia Woolf's most acclaimed novels. It was followed that May by the soundtrack compilation Out of the Dark Room. That September, Richter's Emmy-nominated music for the BBC One drama Taboo was released.


Richter remained busy on soundtrack work in 2018, with projects including the music for the HBO TV series My Brilliant Friend as well as the scores to films like Hostiles, White Boy Rick, and Mary Queen of Scots, which won a Best Original Score -- Feature Film Award at the Hollywood Music in Media Awards. In October 2019, Deutsche Grammophon issued Voyager: Essential Max Richter, an expansive retrospective that included two previously unreleased pieces written for Sleep.


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Susan (Eva Green, Cracks, Casino Royale) is a scientist whose research has caused her to neglect virtually everything else in her life, including love. That is until she meets Michael (Ewan McGregor, The Ghost Writer, Angels & Demons), a talented chef, and suddenly everything starts to change not just in Susan s life, but in the entire world. While Susan and Michael are experiencing new and unforeseen depths of feeling, all around the globe a new epidemic is causing people to lose their sensory perceptions. Are Susan and Michael s increasingly intense feelings for each other in spite of the epidemic, or because of it? A life-affirming look at what it means to love and be loved in turbulent times, director David Mackenzie s PERFECT SENSE is equal parts touching romance and chilling thriller.  The film premiered at the 2011 Sundance Film Festival. Max pushed the movie to another level here by this beautiful work Upon re-watching Perfect Sense it became clear that the music was a big part of what made the movie so powerful. Outstanding tracks Sorrow Atoms and Luminous.

Max Richter - Perfect Sense (O.S.T.) (flac 225mb)

01 On A Turning World 2:40
02 Faint Pulse 0:49
03 Sorrow Atoms 3:14
04 Frequencies, Detectors 0:50
05 Tenderly The Light 1:46
06 Monologue 1:33
07 The Dark Abysm Of Time 1:19
08 Love Song (Cascade) 1:03
09 Overlooked 2:10
10 Retinal 2:44
11 Fictions And Data 2:05
12 A Place We Were 1:09
13 Something Under Her Skin 3:02
14 All Around Us 2:44
15 A Lovers Complaint 3:35
16 Overload 2:33
17 Things Left Behind 3:22
18 Love Song (Nocturnal) 1:51
19 Eternal Flowers Question Stars 2:26
20 Requeim 1:46
21 Luminous 5:06

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One of the most beautiful and definitive tracks in Max Richter's ever-growing body of work is "On the Nature of Daylight" from The Blue Notebooks, the album that brought him to the attention of many critics and fans. Since that breakthrough, he's developed a niche as a composer ready and willing to revamp the classics, as he did with Vivaldi's The Four Seasons, as well as a sensitive and versatile composer of scores for films ranging from looks at the not-so-tame secret lives of domesticated animals (Die Fremde) to dystopian sci-fi (Perfect Sense). Richter's music for Disconnect is an intersection of those career paths: the score uses "Daylight" as its emotional and musical focus, surrounding it with pieces that echo and complement it. While Martin Scorsese's brain-twisting thriller Shutter Island also featured the piece prominently, here it's fundamental to the film and its exploration of how technology brings people together and (more often) pulls them apart. Cues like "The Swimmer" reprise "On the Nature of Daylight"'s beautifully somber violin melodies, while "Confrontation" pits them against pummeling electronic beats in a way that could be heavy-handed but maintains a dignified poignancy in Richter's hands. Elsewhere, the score borrows from other Blue Notebooks pieces like the lovely "Written on the Sky," or evokes them as on the mournful organ pieces "Hospital" and "The Gun." Given the film's tech fixation, most of the rest of Disconnect's music is more electronic and makes the most of Richter's minimalism, whether on brief, wash-like tracks such as "The Report" or more elaborate ones like "Zero Balance," which moves from delicate tones to more ominous ones as it progresses. Many of these tracks aren't as attention-getting as the ones that draw from Richter's classical roots, but his cues for Disconnect's action scenes are as tense as they are restrained; "Pursuit" and "Running" are just as taut, but far subtler, than a typical climactic score piece. Disconnect is of a piece with scores like Cliff Martinez's Traffic, where the music seems to just faintly tint the air with the proper mood. It may not be among Richter's richest works, but he provides what the film needs from its music with more depth and restraint than many other composers could have managed.

Max Richter - Disconnect (O.S.T.) (flac 232mb)

01 On the Nature of Daylight 6:14
02 Find Schumaker 0:47
03 Love Slave 2:49
04 Zero Balance 4:00
05 Clone the Hard Drive 1:20
06 Pursuit 1:35
07 Hospital 1:41
08 Running 7:04
09 The Report 0:58
10 Written on the Sky 1:38
11 Arrival 2:10
12 Drycleaner 1:46
13 Break In 3:29
14 Confrontation 11:01
15 Afghanistan 1:33
16 I Will Come and Get You 2:05
17 The Gun 2:07
18 Derek to El Paso 1:39
19 Unwritten 1:49
20 The Swimmer 2:07
21 Ni su nave (Bonus Track) 2:57


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Great score. Came up on a Pandora playlist a few times before I had even heard of the movie (which is a trip-fest, by the way). Never knew Robin Wright was a singer, but she nails the two songs she does on this. Drops a star for a few of the higher tempo songs, but if I was being honest, that's mostly because they remind me that I was pretty confused by what the hell was happening in the movie!
Heartachingly beautiful music and Robin Wright continues to surprise and delight with her talents. Fair warning though, a few of the pieces will bring tears to your eyes because they are just such pure aural bliss.

Max Richter - Le Congrès (O.S.T.)   (flac 246mb)

1 Beginning and Ending 4:54
Piano Trio No. 2 in E flat major
2 Andante con Moto from Trio in E-flat major, D.929 4:17
3 Winterreise 2:09
4 On the Road to Abrahama 1 4:14
5 In Her Reflection 1:18
6 On the Road to Abrahama 2 1:15
7 All Your Joys, All Your Pain 4:52
8 In the Cosmic Lobby 2:19
9 Out of the Dark 5:03
10 The Rebel Attack 3:14
11 Still Dreaming, Still Travelling 1:30
12 Forever Young 4:03

Nocturnes
13 Nocturne Op. 27, No. 1 in C# minor 1:15
14 In the Garden of Cosmic Speculation 3:55
15 Badass Agent Robin 1:03
16 She Finds the Child 3:39
17 If it Be Your Will 4:10

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The first 6 tracks from the score do a great job of creating this musical atmosphere of space. "Stormy Weather", track 1, introduces a theme that you'll hear throughout various points in the score. It's very ominous but also captures a sense of vastness. High pitched strings slowly moving back and forth over two notes repeatedly are joined like an echo by the low brass. You can't help but to imagine that you are looking over the strange landscape of the planet mars. The second track continues this same theme but adds twinkling flutes and violins to give you that classic "space" feel in the score. These opening three tracks are somewhat minimalistic but yet very effective in setting up this atmosphere for the story. Richter does an exceptionable job at being able to maintain this "space vibe" while tangling it with the feeling that something bad is going to happen. The composer begins to add tension building electronic pulse rhythms in "Final Briefing" (track 6) and occasionally toys around with other such sounds in the following tracks. The composer manages to fit everything together without losing sight of the already established tone of the score. The increasing "strangeness" of the instrumentation only heightens the effect of things growing more and more out of control within the story. "Dalby and Marko" (track 8) is a great example of this development within the music. It's a rather long piece running nearly 9 minutes but it gives plenty of time to evolve the music into new areas and becomes almost like a new chapter in the events to come. "They are still moving" (track 10), has a static fluttering effect that conveys the sense of movement and Richter continues to throw in other unique sounds throughout the following tracks that gives you the sense that events are spiraling out of control and getting more horrible by the minute. The composer also manages to find moments to sneak in some of the earlier themes in this escalating horror and I appreciate the reminders.

There are times when the score dips down into some excessively long sequences of almost silent ambience however. Cues like "Runaway" (track 17) are slow to develop and become less interesting until they are nearly over. Fortunately, we are rewarded with great tracks like "Ascent" (track 22) that is a very climatic piece that gradually "ascends" into a growing and powerful piece that suddenly and somewhat unexpectedly stops. The final track, "Its Full of Stars", is a more robust version of the theme that was introduced in the first track. It's a great sounding piece that becomes a great way to close the score.

Max Richter - The Last Days On Mars (O.S.T.) ( flac   282mb)

01 Stormy Weather 1:33
02 Aurora Mars Mission 2 1:06
03 Lost in Space 3:11
04 Airlock 1:12
05 Secret Plan 1:26
06 Final Briefing 1:15
07 After the Collapse 0:49
08 Dalby and Marko 8:50
09 The Return of Dalby and Marko 4:43
10 They Are Still Moving 2:36
11 Escape 0:30
12 The Plan 2:10
13 The Tunnel 4:09
14 Return to Base 5:31
15 We Got an Emergency Down Here 4:01
16 There Is No Escaping Out of Here 2:58
17 Runaway 4:01
18 Do You Think They Still Feel? 1:31
19 Please Respond 1:01
20 Lane 2:57
21 Do Not Open the Doors 2:20
22 Ascent 2:54
23 Its Full of Stars 5:34

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Testament Of Youth is a British drama telling the true story of Vera Brittan who served as a voluntary aid detachment nurse in London, Malta and France during World War I who later became a writer and a pacifist. It is based on the First World War memoir of the same name written by Vera Brittain. It’s directed by James Kent and the music is composed by Max Richter, whowrote a beautiful and engaging score to the film.
‘No More Fear’ somewhat puts me at ease. Fear no more. This is very nice. It’s a minimalistic cue with only a guitar like instrument and a solo violin underneath. Simple and nice. Pretty good start to hopefully another great score. ‘Prelude’ ups the tempo a little bit with a nice harp motif at the start. A lovely complementary violin adds so much to this cue. From 1:27 it takes off with some piano. This is the first goose bump moment of the score. Love it! ‘Love And Imagination’ is yet another winner in my book. It’s so simple, yet so beautiful. The first part of the score has been really good, mostly a bit dark, but good. There’s been quite a few highlights, in fact most of the cues are highlights of this great score. ‘Realities’ despite it’s name is quite uplifting, not unlike ‘The Rising Of The Sun’. It seems like it could take a positive turn musically now with ‘A Duet For Three’ which feels like a dance, a classical dance. It’s lightweight and quite catchy. I like it. More dance with ‘These I Send To You’, but a more slower experience. Max Richter is awesome, he is the composer who says the most with the least amount of music these days. This is another minimalistic score that appeals. There’s just no need to be very complex to get access to emotions. All you need it to hit that right note, the right motif and Richter has done it again. .

Max Richter - Testament of Youth (O.S.T.)   (flac   177mb)

01 No More Fear 1:05
02 Prelude 1:54
03 Love and Imagination 2:42
04 Pools of Gold 1:42
05 Never Did Run Smooth 1:40
06 The Triumph of Time 1:27
07 Each Others Minds 1:59
08 The Rising of the Sun 2:37
09 Anathemata 1:38
10 Departed 1:27
11 Action at a Distance 1:07
12 Realities 1:08
13 A Duet for Three 1:41
14 These I Send to You 2:33
15 Before the Ending of the Day 1:18
16 The Chambers of the Heart 0:56
17 Vergissmeinnicht 5:11
18 Mantegna / Entropy 0:55
19 Returning Over the Nightmare Ground 2:53
20 Et in Terra Pax 2:03
21 I Will Not Forget You 3:55

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