Dec 27, 2020

Sundaze 2052

 Hello,  just finished my fill up any leftover nookes and crannies, i guess i'm not the only one, after all ours is a world of plenty, alas we seem unable to see it most of the time we are cursed by that splinter in the eye unable to really enjoy this miraculous planet, it must be my god to have created it, no no no it was my god and i know just the way how to thank him, just listen to me or i'll be forced to remove you from this planet, ah yes there we go, let's agree that if there is a creator it isn't in it for the money or even gratitude, my guess it will be love and joy....

Today's Artists are a duo from Bremen, Germany and are sometimes considered to be the follow-up project to Maeror Tr   ..... N'Joy

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Troum is a German project of drone music, ambient music, noise music, and experimental music. It was founded in the late 1990s by Stefan Knappe (a.k.a. Baraka[H]) and Martin Gitschel (a.k.a. Glit[S]ch). It is sometimes considered to be the follow-up project to Maeror Tri. Stefan Knappe is also the founder and owner of Drone Records.

TROUM is a duo located in Bremen, Germany, established in early 1997. The two members "Glit[S]ch" and "Baraka[H]" were active before in the influential ambient/industrial group MAËROR TRI (which existed from 1988 to 1996). TROUM is the old German word for "DREAM". The dream is seen as a central manifestation of the unconscious, and symbolizes the aim of TROUM to lead the listener into a hypnotizing dream-state of mind, a pre-verbal and primal consciousness sphere. TROUM uses music as the direct path to the Unconscious, pointing to the archaic "essence" of the humans inner psyche. TROUM tries to create music that works like a direct transformation of unconscious matter.

TROUM's creations are influenced by post-industrial, minimal and drone-music. Both members use guitar, bass, voice, accordion, balalaika, flute, mouth-organ, melodica, gong, field recordings, pre-recorded-tapes and a diversity of sound-objects to build a kind of multi-layered and highly atmospheric dreaming-muzak. Their sound could be described as “dark atmospheric ambient industrial”, "transcendental noise" or just “Tiefenmusik”. TROUM doesn't work with samplers or computer-soundsources, the sounds are created "by hand" to reach a broader sensibility. TROUM uses a spiral as their logo, expressing the trance-inducing potential of the music and the wish to reach inner, deeper spheres of the mind with it. Music as a door to unknown & alien dimensions. Music as an expression of the mystery of existence itself.

The dream seen as a central manifestation of the UNconscious symbolizes the aim of TROUM to lead the listener into a hypnotizing dream-state of mind, a pre-verbal and primal consciousness sphere. TROUM uses music as the direct path to the Unconscious, pointing to the archaic "essence" of the humans inner psyche. TROUM tries to create music that works like a direct transformation of unconscious matter.
TROUMs compositions are influenced by post-industrial, dark ambient and minimal /drone-music. Both members use guitar, bass, voice, accordion, balalaika, flutes, pipes, mouth-organ, melodica, gongs, field recordings, loops, pre-recorded-tapes and a diversity of sound-objects to build a kind of multi-layered and highly atmospheric dreaming-muzak. Their sound could be described as “dark atmospheric ambient industrial”, "transcendental drone" or just “Tiefenmusik”. TROUM doesn't work
with synths, samplers or computer-soundsources, the sounds are created "by hand" to reach a broader sensibility. TROUM uses a spiral as their logo, expressing the trance-inducing potential of the music and the wish to reach inner, deeper spheres of the mind with it. Music seen as a door tounknown & alien dimensions with pre-verbal and pre-symbolic origins. Music as an expression of the mystery of existence itself: A tool for the eternal psychic renascence.Live appearances: TROUM performed several times at various venues and did small tours throughout Europe, Russia, USA & Canada, and played or toured with BAD SECTOR, CISFINITUM, SUNN O))),
AEOGA, AIDAN BAKER/NADJA, VOICE OF EYE, INADE, REUTOFF, KRENG, ZOVIET FRANCE, and many others. TROUM also performed at several bigger festivals

“These are dreams, dreamed by dreamers, who are awake”

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"Dreaming Muzak" is the first full-length material od TROUM duo originally released on tape in 1998 and later re-released on a limited CDR (100 copies only) in 2005. This edition is the first one on a regular CD. The material was thoroughly remastered by Łukasz Miernik (who is also responsible for the sound of the previous MAEROR TRI reissues on Zoharum.) "Dreaming Muzak" is composed of 2 drone ambient compositions so characteristic for the TROUM style. They were created as a muzak tuning our brainwaves into the proper dreaming stadium.

Sometimes oppressive in the extreme, if Part 1 of Dreaming Muzak doles out what Gitschel and Knappe’s sleeping imaginings are like, then perhaps they might more resemble nightmares for others. Put this on — as intended — on repeat at night in a darkened room while sleeping and the huge rumblings and drones will doubtless provoke some startling imagery behind closed eyes, the pulsations and shuddering low tones enough alone to send horripilations over the body’s hairs and skin surface, leavening goosebumps and an unsettling sense of unease along the way. If the purpose is somewhat along the lines of a dream machine but with sound rather than a rotating lightshow set to stimulate the listener’s subconscious reactions then — based on waking listens — then the effect would seem to be best appreciated when the music is given priority of sensory appreciation over all others: alone, in darkness, on headphones (or loud on good speakers) and in stillness.

There are undertows of rustlings and crepitations from the beyond which help build that feeling of disturbance and which tend towards an initial disinclination to let the music do what Muzak™ does, and surround without intruding upon the everyday. In this sense of course, Troum — the old German word for dream — are perhaps not necessarily aiming for the background but instead for the present foreground and to block out other inputs to allow the sleeping or overwhelmed brain to roam freer in its associations. Dreaming Muzak certainly works hard on the waking listener, demanding if not precisely attention then at least recognition of its audio less intense in its spectral domination
Part 2 (“The Dream Catcher”; a term now so benighted with associations of mashed-up appropriated spiritual twaddle that its Native American origins have long been obscured, at least in western consciousness) floats on somewhat less breathtaking sound waves which eddy and glide more than rush and roar, where something which resembles the sound of the listener’s own blood pulsing through their ears is almost restful rather than constrictive. By far the more varied track, Part 2 is also easier on the waking brain, though no less intense in its spectral domination; careful adjustment of levels and EQ can be required for Dreaming Muzak to avoid distortion and unexpected glitching.

While New Age sleep musics (and Muzaks) might variously aim to motivate the listener, stimulate their chakras, bring them closer to god(s) and/or Mammon, Dreaming Muzak‘s intent is purer, without a direct agenda on the part of Troum other than to provide a means to an psychological end (as they state on the sleeve: “You may hear melodies. You may hear voices. You may hear anything you like”) which the user and/or their subconscious is free to interpret as he or she will. That and shake the windows along the way.
The cover design is based on the artwork of Wiktor Jackowski

<a href="">Troum - Dreaming Muzak</a> ( flac 220mb)

01 Dreaming Muzak Part 1 26:17
02 Dreaming Muzak Part 2 (The Dream Catcher) 25:54

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Drone / ambient."...The general feel of the sounds here is reminiscent of the earth moving, tectonic plates in constant shuffle, the tracks building and then either shifting or worn away via attrition. Its as if Maeror Tri learned to fly through ingenuity, smoke and mirrors, while Troum has taken the ingenuity, smoke and mirrors and, somehow, grown wings. Amazing stuff!"

While the name of this duo was an archaic German word for dream, Troum's pursuit of unconscious symbolism through their heavily processed guitar drones still maintained the ashen darkness that Maeror Tri perpetuated, as was evident on their first CD release Ryna, which originally came out in 1998 on the Belgian label Myotis. It should be noted that Ryna is not the first Troum recording; that honor is held by a cassette called Dreaming Muzak that came housed in a tiny pillow. Ryna quickly went out of print, along with much of the Maeror Tri back catalogue; but thankfully, Troum have repressed this early gem through their own Transgredient imprint. An album of constantly billowing black clouds, Ryna achieves the same dark ambient / dronescape signature that had marked so many great Maeror Tri / Troum releases. On occasion, cracked / decayed loops of rhythmic surging emerged from beyond the horizon of Troum's guitar suites, alluding to a Norse mythological bellow of impending doom and apocalyptic battle. While I've not done the side-by-side taste test of the two albums, the 2007 redux of Ryna appears to much louder and cleaner. Regardless, it's a pleasure to hear this record once again!"

. Ryna is not a friendly sort of ambient. It's full of just long, creepy, unsettling drones and rumblings that fade in for six to eight minutes and then fade off without having changed very much. It's not the best formula exactly, as since the songs don't really go anywhere or do anything they don't come off as particularly interesting or memorable. The sounds are cool, yes, but that's about where it stops—something one might throw on just to hear at random but not pay any attention to; it's difficult to do so.

<a href="">  Troum - Ryna</a> ( flac 192mb)

01 Ennoia 8:15
02 Riqis 7:30
03 Tochar 6:40
04 Thalamus 8:00
05 Thumus 7:10
06 Ĝhutó-m 7:00
07 Agis 7:30
08 Riurja 8:30

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"SEN" is the 2nd full length Troum-album, it was originally released in Staalplaat's "Mort aux Vaches"-series as a CD in an edition of 600 copies,September 2000. The album was recorded 'live in the studio' in Amsterdam at the VPRO studios in December 1999 in one take with no overdubs. Much like their previous incarnation Maeror Tri, Troum are masters of the slow progression, be it in terms of intensity, volume, style, or all three, as in the case of this release. Sen, which consists of one hour-long track, begins quietly with delicate reverberations and soft metallic ringing: sonic architecture so subtle that one might not even notice the gradual accumulation of the duo's trademark sound. Troum's skill as artists in field of drones truly lies in their ability to craft them with such beauty. All too frequently are we besieged with power electronics artists who employ this technique in ways that are either overwhelming or boring. By layering dones with wistful electronic spirals, Troum lends them an undeniable prettiness. It isn't until twenty-five minutes into Sen that these almost gossamer soundscapes give way to the throb of a translucent beat, which in turn melts into rhythmic patches of distortion as the album takes on creepier, harsher textures. These twists and turns are, however, not ungraceful in the slightest, but dissolve into one another with fluid ease. Finally, stripping down to a solitary, nearly inaudible echo, Sen fades to an end just as gently as it began.

<a href="">  Troum - Mort Aux Vaches - Sen-</a> ( flac 220mb)

01 Sen 62:45  

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Framaþeis is Gothic for "stranger". Vār is Old Norse for "spring".

Symbiosis was released late 2002 on Troums label "Transgredient" with catalogue number TR-02 in an edition of 1000 copies.
200 copies of this ed. came in a special hand-sprayed pyramid box designed by 31RADJAN.
" 'Symbiosis' consists of 5 tracks that are entirely based on guitar-sounds, containing solo-tracks by each member of the band, Glit[s]ch and BarakaH, in order to create personal creative spheres that are melting in one at the same time. They range from short emotional guitar-fragments to fields of majestic static ambience up to mysterious minimal excursions. The title “Symbiosis” expresses the inner urge and yearning for fusion as the basis for the motivation of music-creation...”

<a href="">Troum - Framaþeis / Vār + Symbiosis </a> ( flac 178mb)

01 Framaþeis 11:57
02 Vār 9:44
01 [untitled] 2:12
02 [untitled] 7:42
03 [untitled] 5:26
04 [untitled] 4:43
05 [untitled] 2:28

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Dec 26, 2020

RhoDeo 2051 Grooves

 Hello, Xmas day was here, that is i totally confused my self it was the 24th so i didn't go to the supermarket and the planning was to go the 26th alas big mistake but admittedly of little consequence. In this time of lists and general nostalgia i have yet to light a candle, but then.....

Today's Artists are one of the most influential groups of the nineties, socially and musically. RZA's characteristic raw and grimy production style was ground-breaking, and is often imitated but rarely equalled. The group also emphasised the importance of individual and artistic liberty, and the members were free to pursue solo careers with labels of their choosing. With this in mind, the synergy between the members on their records is unrivalled.. .........N Joy

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Emerging in 1993, when Dr. Dre's G-funk had overtaken the hip-hop world, the Staten Island, New York-based Wu-Tang Clan proved to be the most revolutionary rap group of the '90s -- and only partially because of their music. Turning the standard concept of a hip-hop crew inside out, the Wu-Tang Clan were assembled as a loose congregation of nine MCs, almost as a support group. Instead of releasing one album after another, the Clan were designed to overtake the record industry in as profitable a fashion as possible, the idea being to establish themselves as a force with their debut album and then spin off into as many side projects as possible. In the process, the members would all become individual stars as well as receive individual royalty checks.

Surprisingly, the plan worked. All of the various Wu-Tang solo projects elaborated on the theme the group laid out on its 1993 debut, the spare, menacing Enter the Wu-Tang (36 Chambers). The collective's name was taken from a powerful, mythical kung fu sword wielded by an invincible congregation of warriors, and all nine members have worked under a number of pseudonyms, but they are best known as RZA (formerly Prince Rakeem; aka RZArecta, Chief Abbot, and Bobby Steels; born Robert Diggs), GZA (aka the Genius, Justice, and Maxi Million; born Gary Grice), Ol' Dirty Bastard (aka Unique Ason, Joe Bannanas, Dirt McGirt, Dirt Dog, and Osirus; born Russell Jones), Method Man (aka Johnny Blaze, Ticallion Stallion, Shakwon, Methical, and MZA; born Clifford Smith), Raekwon the Chef (aka Shallah Raekwon and Lou Diamonds; born Corey Woods), Ghostface Killah (aka Tony Starks and Sun God; born Dennis Coles), U-God (aka Golden Arms, Lucky Hands, Baby U, and 4-Bar Killer; born Lamont Hawkins), Inspectah Deck (aka Rebel INS and Rollie Fingers; born Jason Hunter), and Masta Killa (aka Noodles; born Elgin Turner).

Although RZA wasn't one of the two founding members -- GZA and Ol' Dirty Bastard were the first -- the vision of the Wu-Tang Clan undoubtedly arises from his musical skills. Under his direction, the group -- through its own efforts and the solo projects, all of which he produced or co-produced -- created a hazy, surreal, and menacing soundscape out of hardcore beats, eerie piano riffs, and minimal samples. Over these surrealistic backing tracks, the MCs rapped hard, updating the old-school attack with vicious violence, martial arts imagery, and a welcome warped humor. By 1995, the sound was one of the most instantly recognizable in hip-hop.

Although RZA wasn't one of the two founding members -- GZA and Ol' Dirty Bastard were the first -- the vision of the Wu-Tang Clan undoubtedly arises from his musical skills. Under his direction, the group -- through its own efforts and the solo projects, all of which he produced or co-produced -- created a hazy, surreal, and menacing soundscape out of hardcore beats, eerie piano riffs, and minimal samples. Over these surrealistic backing tracks, the MCs rapped hard, updating the old-school attack with vicious violence, martial arts imagery, and a welcome warped humor. By 1995, the sound was one of the most instantly recognizable in hip-hop.

It wasn't always that way. Like most rappers, they began their careers trying to get ahead whatever way they could. For RZA, that meant releasing a silly single, "Ooh, I Love You Rakeem," on Tommy Boy Records in 1991. On the advice of his label and producers, he cut the humorous lover-man single, which went absolutely nowhere. Neither did the follow-up single, "My Deadly Venom." The experience strengthened his resolve to subvert and attack record industry conventions. He found partners in GZA and Ol' Dirty Bastard. GZA had also released a record in 1991, the full-length Words from the Genius on Cold Chillin', which was preceded by the single "Come Do Me." Both records were unsuccessful. After the failure of his album, GZA teamed with an old friend, Ol' Dirty Bastard, to form the crew that would evolve into the Wu-Tang Clan within a year.

RZA quickly became part of the crew, as did several other local MCs, including Method Man, Ghostface Killah, Raekwon, U-God, Inspectah Deck, and Masta Killa. The nine rappers made a pact to a form an artistic and financial community -- the Wu-Tang Clan wouldn't merely be a group, it would be its own industry. In order to do this, they decided to establish themselves through a group effort and then begin to spread the word through solo projects, picking up additional collaborators along the way and, in the process, becoming stronger and more influential.

The first Wu-Tang Clan single, the hard-hitting "Protect Ya Neck," appeared on their own independent label and became an underground hit. Soon, record labels were offering them lucrative contracts. The group held out until it landed a deal that would allow each member to record solo albums for whatever label he chose -- in essence, each rapper was a free agent. Loud/RCA agreed to the deal, and the band's debut album, Enter the Wu-Tang (36 Chambers), appeared in November 1993. Enter the Wu-Tang (36 Chambers) was both critically acclaimed and commercially successful; although its financial success wasn't immediate, it was the result of a slow build. "C.R.E.A.M.," rele

The first Wu-Tang Clan single, the hard-hitting "Protect Ya Neck," appeared on their own independent label and became an underground hit. Soon, record labels were offering them lucrative contracts. The group held out until it landed a deal that would allow each member to record solo albums for whatever label he chose -- in essence, each rapper was a free agent. Loud/RCA agreed to the deal, and the band's debut album, Enter the Wu-Tang (36 Chambers), appeared in November 1993. Enter the Wu-Tang (36 Chambers) was both critically acclaimed and commercially successful; although its financial success wasn't immediate, it was the result of a slow build. "C.R.E.A.M.," released in early 1994, was the single that put them over the top and won them a devoted following. The group wasted no time in pursuing other projects, as a total of five of the members -- GZA, RZA, Raekwon, Method Man, and Ol' Dirty Bastard -- landed solo contracts as a result of the success of "C.R.E.A.M." RZA was the first to reenter the studio, this time as a member of the Gravediggaz, a group he founded; in addition to RZA, who was rechristened RZArecta, the group included De La Soul producer Prince Paul, Stetsasonic's Frukwan, and Brothers Grimm's Poetic. The Gravediggaz's album 6 Feet Deep appeared in August 1994; it eventually would go gold. Labeled "horrorcore" by the group, it was an ultra-violent but comical tour de force that demonstrated RZA's production prowess. Shortly after its release, Raekwon released his first single, "Heaven and Hell," on the Fresh soundtrack; the song was produced by RZA and featured Ghostface Killah.

The first Wu-Tang member to become a major solo star was Method Man. In November 1994, he released Tical, the first official Wu-Tang solo album. Again, RZA produced the album, creating a dense, dirty sonic collage. Tical became a big hit in early 1995, as did Meth's duet with Mary J. Blige, "I'll Be There for You/You're All I Need to Get By." Ol' Dirty Bastard followed Method Man's breakthrough success with Return to the 36 Chambers, which appeared in March 1995 on Elektra Records. Thanks to the hits "Brooklyn Zoo" and "Shimmy Shimmy Ya," the record became a gold success. Out of all the solo albums, it was the one that sounded the most like Enter the Wu-Tang, although it did have a more pronounced comic bent, due to Ol' Dirty's maniacal vocals. Tales from the Hood, a movie soundtrack featuring Inspectah Deck's first solo track, appeared in May.

Later in 1995, the two most critically acclaimed Wu-Tang records appeared: Raekwon's Only Built 4 Cuban Linx and GZA's Liquid Swords. Raekwon released his album on Loud/RCA in August 1995; the record featured extensive contributions -- a total of 12 songs -- from Ghostface Killah, his greatest exposure yet. GZA's solo album was released by Geffen Records in November 1995. In February 1996, Ghostface Killah's first solo track, "Winter Warz," appeared on the Don't Be a Menace to South Central While You're Drinking Your Juice in the Hood soundtrack. Later that October, he released his own solo debut, the critically acclaimed, '70s soul-flavored Ironman; the record was the first released on RZA's new Epic subsidiary, Razor Sharp Records.

The Wu-Tang Clan finally reconvened and returned with their second album, the double CD Wu-Tang Forever, in June of 1997. Hugely anticipated, the album entered the charts at number one -- selling over 600,000 copies in its first week alone -- and quickly spawned the hit single "Triumph." There were several contributions from guest associate Cappadonna (born Darryl Hill), who'd appeared on Only Built 4 Cuban Linx and Ironman, and would later become the tenth member of the Wu-Tang Clan. The group toured extensively in support of the album, getting into a few minor scuffles with the law along the way.

In the meantime, the next phase of the Wu-Tang plan started to take shape: unearthing new associates and spinning the resulting stable of talent into a brand-name franchise. A group of Wu protégés dubbed Killarmy released their debut album, Silent Weapons for Quiet Wars, on Priority Records in August 1997, drawing heavily upon the Clan's martial imagery. However, the real year for Wu-related side projects proved to be 1998. In March, Cappadonna released his solo debut, The Pillage, on Columbia. The same month, Killah Priest -- not an official part of the Clan, but a frequent guest and a member of another protégé group, the Sunz of Man -- made his solo debut on Geffen Records with Heavy Mental, an acclaimed album filled with spiritual imagery that established him as one of the more distinctive solo artists in the Wu-Tang orbit. In July the Sunz of Man released their own debut album, The Last Shall Be First, on Red Ant, and yet another group of up-and-comers dubbed the Wu-Tang Killa Bees released their first album, The Swarm, Vol. 1, on Priority, featuring a number of guest appearances by Wu members and associates. In August, Killarmy issued their second album, Dirty Weaponry.

 Also in 1998, Ol' Dirty Bastard began a long and bizarre saga of erratic behavior and run-ins with police that found him making headlines with alarming (and ridiculous) regularity. In February he interrupted Shawn Colvin's acceptance speech at the Grammy Awards to protest the Clan's loss in the Best Rap Album category; shortly thereafter, he announced he was changing his name to Big Baby Jesus, an idea that never picked up steam. This was only the beginning -- over the next year and a half, ODB would be arrested for a litany of offenses that included assault, shoplifting, making terrorist threats, wearing body armor after being convicted of a felony, possessing cocaine, and missing countless court dates. Plus, in early 1999, the whole Clan fell under suspicion of masterminding a gun-running operation between Staten Island and Steubenville, Ohio -- charges that were never proven to have any validity.

In the midst of this legal sideshow, the Clan kicked off a second round of solo projects in late 1998. This time around, RZA curtailed his activities somewhat, making appearances but often leaving the majority of the production duties to his protégés. Still, he released his own solo debut, the soundtrack-styled RZA as Bobby Digital in Stereo, in November 1998 on V2; the same month, Method Man's second album, Tical 2000: Judgement Day, debuted at number two on the charts. June 1999 saw the release of an excellent singles compilation, RZA Hits, which covered the first Wu-Tang album and the first round of solo albums (1994-1995); the very next week, GZA's second album, Beneath the Surface, was released. September brought plenty of new Wu product: Ol' Dirty Bastard's Nigga Please, released while the rapper was in rehab; Method Man's acclaimed duo album with Redman, Blackout!; and the first-ever solo album by Inspectah Deck, Uncontrolled Substance, which appeared on Relativity. Another Wu member made his solo debut in October, when U-God issued Golden Arms Redemption on Priority; Raekwon returned the following month with Immobilarity. Finally, Ghostface Killah issued his well-received sophomore set, Supreme Clientele, in January 2000.

 However, this second round of Wu-Tang solo albums didn't attract as much attention, either critically or commercially. True, Method Man remained a popular solo star (and, to a lesser degree, so did ODB), and reviews were highly positive for Ghostface Killah (and, to a lesser degree, GZA). But the Wu franchise was suffering from inconsistency, overexposure (they'd spawned a clothing line, a video game, a comic book, and more), and a flood of musical product that even diehards found difficult to keep up with. Their once-distinctive sound was becoming commonplace and diluted, not just through the collective's own releases but also RZA's many imitators; plus, by this time, Timbaland had taken over the mantle of hip-hop's most cutting-edge producer.

Indie filmmaker Jim Jarmusch commissioned RZA to compose a soundtrack for his acclaimed Ghost Dog: The Way of the Samurai, the results of which were unveiled in early 2000. Other than that, the Clan reconvened for a new album and were mostly quiet during much of 2000 -- aside from Ol' Dirty Bastard, who unfortunately continued to spiral out of control. He spent some time in a California jail for violating the terms of his probation, but appeared to be on the right track when suddenly, in October -- with just two months of rehab to go -- he escaped the California facility and spent a month on the run from the law. Fans were shocked when ODB turned up on-stage at the New York record-release party for the Clan's new album, The W, which was released with considerably less fanfare in November 2000. A leaner, more focused collection, The W featured only one track from ODB and pictured Cappadonna as a full-fledged member of the group (though he remained unnamed on their official contract with Loud).

In August 2001, RZA issued his second Bobby Digital album, Digital Bullet; November brought solo albums from Ghostface Killah (Bulletproof Wallets) and Cappadonna (The Yin and the Yang). This time, though, there was no full round of solo projects in between Wu albums; the full group (minus ODB) assembled for its fourth album, Iron Flag, which was released in December 2001, just one year after its predecessor. Despite a lot of activity for the various solo projects, Wu-Tang released only a live album, 2004's Disciples of the 36 Chambers, during the subsequent five years. That document was one of the last places to hear Ol' Dirty Bastard, who died of a heart attack in November 2004.

In early 2007, in anticipation for the Clan's upcoming album, 8 Diagrams, Nature Sounds issued the Mathematics-compiled Unreleased, a collection of new remixes and hard-to-find, previously unreleased songs from the group and some of its friends. It wasn't until the end of the year, however -- after a couple of delays and some criticism from Raekwon and Ghostface directed at RZA regarding the overall sound of the record -- that 8 Diagrams came out. Solo albums from most members would follow, but the Clan itself would remain dormant until 2011, when the Wu-related compilation Legendary Weapons landed with some new tracks from the full group. That year, it was also announced that the Clan were working on a new studio album that would be released in 2013 to celebrate their 20th anniversary.

However, the album failed to materialize as 2013 came and went, with production stymied by a further public beef between Raekwon and RZA over the new album's stylistic direction. Eventually they reconciled, and in 2014 the album was finally finished. Entitled A Better Tomorrow, it was released in December through Warner Bros. That year the Clan also made history with the announcement that they had recorded a secret album called Once Upon a Time in Shaolin, of which only one copy would be pressed and sold as a unique artwork, in a custom-made hand-carved nickel and silver box, to the highest bidder. In December 2015, controversial pharmaceuticals CEO Martin Shkreli purchased the album for two million dollars. In 2017, in addition to contributing "Don't Stop" to the Silicon Valley soundtrack, the Clan issued "People Say" with Redman. The DJ Mathematics-produced single was the first offering from their album The Saga Continues. The soundtrack EP Of Mics and Men arrived in May of 2019 and featured songs inspired by the group's Showtime documentary series.

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Along with Dr. Dre's The Chronic, the Wu-Tang Clan's debut, Enter the Wu-Tang (36 Chambers), was one of the most influential rap albums of the '90s. Its spare yet atmospheric production -- courtesy of RZA -- mapped out the sonic blueprint that countless other hardcore rappers would follow for years to come. It laid the groundwork for the rebirth of New York hip-hop in the hardcore age, paving the way for everybody from Biggie and Jay-Z to Nas and Mobb Deep. Moreover, it introduced a colorful cast of hugely talented MCs, some of whom ranked among the best and most unique individual rappers of the decade. Some were outsized, theatrical personalities, others were cerebral storytellers and lyrical technicians, but each had his own distinctive style, which made for an album of tremendous variety and consistency. Every track on Enter the Wu-Tang is packed with fresh, inventive rhymes, which are filled with martial arts metaphors, pop culture references (everything from Voltron to Lucky Charms cereal commercials to Barbra Streisand's "The Way We Were"), bizarre threats of violence, and a truly twisted sense of humor. Their off-kilter menace is really brought to life, however, by the eerie, lo-fi production, which helped bring the raw sound of the underground into mainstream hip-hop. Starting with a foundation of hard, gritty beats and dialogue samples from kung fu movies, RZA kept things minimalistic, but added just enough minor-key piano, strings, or muted horns to create a background ambience that works like the soundtrack to a surreal nightmare. There was nothing like it in the hip-hop world at the time, and even after years of imitation, Enter the Wu-Tang still sounds fresh and original. Subsequent group and solo projects would refine and deepen this template, but collectively, the Wu have never been quite this tight again.

<a href=""> Wu-Tang Clan - Enter The Wu-Tang (36 Chambers)</a> (flac   299mb)

Shaolin Sword:
01 Bring da Ruckus 4:10
02 Shame on a Nigga 2:57
03 Clan in da Front 4:33
04 Wu-Tang: 7th Chamber 6:05
05 Can It Be All So Simple / Intermission 6:53
Wu-Tang Sword:
06 Da Mystery of Chessboxin' 4:48
07 Wu-Tang Clan Ain't Nuthing ta F' Wit 3:36
08 C.R.E.A.M. 4:12
09 Method Man 5:50
10 Protect Ya Neck 4:52
11 Tearz 4:17
12 Wu-Tang: 7th Chamber - Part II 5:08
13 Method Man (Remix) Skunk Mix [bonus track] 3:09
14 Conclusion 1:00

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 After blowing up the entire New York rap scene with 36 Chambers and 5 incredible solo albums, Wu-Tang Clan was pretty much the biggest thing in hip hop and The RZA was the mastermind behind their world dominance. He decided it was for the greater good that he would step out from his position as the "de facto" leader of the Clan since they had already gotten everything they ever could get. Clansmen were on top of their game skill-wise, all they needed to do was take over the world of pop audiences. To make it happen, RZA and the company went on to record the last hurrah of the Wu-Tang Clan golden era titled Wu-Tang Forever, another of those rap double LPs that were literally everywhere in 1997. It's also one of the best albums in that category, and for me it's nowadays the Wu-Tang album that I'll probably get more excited about than 36 Chambers. Why is that? Well first of all this is pretty much the culmination of rapping, shortly the best rap performance of the 90s. You have a group of 9 rappers and all of them are pretty much on top of their game here, most even improving ridiculously over the ridiculously hyped up performances on 36 Chambers. Considering how good these emcees are on that album, Forever is incredibly like lightyears ahead in that department and you won't find rapping of this caliber on many other albums at least technically. Especially Ghostface Killah steps up, this is the moment when he captures the now-open position for the leading Wu member. He pretty much slaughters every single verse he gets and it's a really damn shame he gets his first verse on "Cash Still Rules". Raekwon, Method Man and Inspectah Deck are among my other favorites on this album, but damn if this isn't first and foremost Ghostface tearing shit up and starting to become my favorite rapper ever. RZA also delivers with those beats, he got a new innovative sound for this one and basically he has not been this good ever since producing two CDs of classic material. His work on Forever is pretty much the stepstone for Kanye West and 9th Wonder, their early style is highly influenced by cuts like "For Heaven's Sake". Third reason is that once again the double album format works for great results here, the first disc is really damn amazing but where 36 Chambers would have finished Forever instead kicks in a new gear and lets loose the "Triumph", one of the biggest rap songs ever and it got major airplay on the waves even though it had no hook (like many of the other tracks on Forever) and clocked in at almost 6 minutes. I would say that of the 27 tracks here I wouldn't leave too much out, sure not everything is on the level of "Triumph" or "Visionz" but on the other hand this album just shows no signs of slacking no matter how hard you try to find them.

<a href="">  Wu-Tang Clan - Wu-Tang Forever 1</a> (flac   290mb)

1.01 Wu-Revolution 6:17
1.02 Reunited 5:23
1.03 For Heavens Sake 4:13
1.04 Cash Still Rules / Scary Hours (Still Don't Nothing Move but the Money) 3:06
1.05 Visionz 3:09
1.06 As High as Wu-Tang Get 2:39
1.07 Severe Punishment 4:49
1.08 Older Gods 3:07
1.09 Maria 2:34
1.10 A Better Tomorrow 4:58
1.11 It's Yourz 4:15

<a href="">  Wu-Tang Clan - Wu-Tang Forever 2</a> (flac   504mb)

2.01 Intro 2:05
2.02 Triumph 5:38
2.03 Impossible 4:28
2.04 Little Ghetto Boys 4:31
2.05 Deadly Melody 4:03
2.06 The City 4:07
2.07 The Projects 3:15
2.08 Bells of War 5:12
2.09 The M.G.M. 2:39
2.10 Dog Sh*t 2:39
2.11 Duck Seazon 5:20
2.12 Hellz Wind Staff 4:52
2.13 Heaterz 4:19
2.14 Black Shampoo 3:50
2.15 Second Coming 4:35
2.16 The Closing 2:43

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After a host of disappointing solo albums and quickly diminishing celebrity (most of the latter devoted to the continuing extra-legal saga of Ol' Dirty Bastard), Wu-Tang Clan returned, very quietly, with 2000's The W. The lack of hype was fitting, for this is a very spartan work, especially compared to its predecessor, the sprawling and overblown Wu-Tang Forever. While the trademark sound is still much in force, group mastermind RZA jettisoned the elaborate beat symphonies and carefully placed strings of Forever in favor of tight productions with little more than scarred soul samples and tight, tough beats. The back-to-basics approach works well, not only because it rightly puts the focus back on the best cadre of rappers in the world of hip-hop, but also because RZA's immense trackmaster talents can't help but shine through anyway. Paranoid kung fu samples and bizarre found sounds drive the fantastic streets-is-watching nightmare "Careful (Click, Click)." Unfortunately, though, The W isn't quite the masterpiece it sounds like after the first few tracks. It falls prey to the same inconsistency as Forever, resulting in half-formed tracks like "Conditioner," with Snoop Dogg barely saving Ol' Dirty Bastard's lone appearance on the LP, a phoned-in vocal (in terms of sound and quality). When they're hitting on all cylinders though, Wu-Tang Clan are nearly invincible; "Let My Niggas Live," a feature with Nas, isn't just claustrophobic and dense but positively strangling, and singles material like "Protect Ya Neck (The Jump Off)" and "Do You Really (Thang, Thang)" are punishing tracks. Paring down Wu-Tang Forever -- nearly a two-hour set -- to the 60-minute work found here was a good start, but the Wu could probably create another masterpiece worthy of their debut if they spent even more time in the editing room.

<a href=""> Wu-Tang Clan - The W</a> (flac   349mb)

01 Intro (Shaolin Finger Jab) / Chamber Music 4:26
02 Careful (Click, Click) 4:56
03 Hollow Bones 3:37
04 Redbull 3:53
05 One Blood Under W 4:11
06 Conditioner 5:32
07 Protect Ya Neck (The Jump Off) 3:58
08 Let My Niggas Live 4:29
09 I Can't Go to Sleep 3:35
10 Do You Really (Thang, Thang) 5:22
11 The Monument 2:38
12 Gravel Pit 4:51
13 Jah World 3:51
- Clap [hidden track] 3:46

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Dec 24, 2020

RhoDeo 2051 Xmas Vaccination Gifts

 Hello, a merry Christmas and yes a Happy New Year to you all, last year's comment, sadly came a deadly virus got supported by a madman and his insane crew, that said the 20/20 vision came about too , when the world learned that black lives matter and president madman lost the election despite his insane support. 2021 will be a troublesome year, many more will pay the highest price from this virus, until vaccination will extinguish it in the latter part of the year. Despite all that, a Happy New Year to you all...

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Remember, there's nothing to fear but fear itself, you can get two shots to get vaccinated right here...

I started Sundaze 2020 with the final post on his work, but being a true artist, this year saw him get political....

<a href=""> Sundaze vaccination from 2020 </a> ( flac   437mb)

Kids of today being nostalgic in a very convincing way, a great new years party record, it will transport you right back in time surrounded by your friends....

<a href=""> Aetix vaccination from 2020 </a> ( flac   342mb)

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Dec 22, 2020

RhoDeo 2051 Re Up 268

 Hello, a reasonble amount of re ups this week.... n-joy

Here at Rho-xs visitor numbers have been stable but i did notice a big rise in re-up requests which points to my visitors spending more time at Rho-Xs (glad to be at service). Alas over the years i've lost access to a number of disks, specially the loss of my Aetix and Roots collection hinders my capability to re-up. Obviously the torrent world offers a solution, but this scene is dynamic and suffers the same fate as my posts , the hosts delete the file when demand has dropped, in the torrent world this even worse. Unfortunately this means whilst bigger names get revived the more obscure tend to completely disappear, a fate that is suffered by roots artists as an example Salif Keita a relative big name is nowhere to be found in flac these days (just one album) when a few years ago there were many titles to be had. Same goes for many a reggae artist and even in Aetix the choice of what is on offer is diminishing day by day. I'm doing my best to fulfill requests but it's difficult and in the future i will request you my visitor to give back the odd title that you downloaded via Rho-xs and repost it here.

7 correct requests for this week , 1 ! too early, no double, whatever another batch of 30 re-ups (9.62 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 December 14th... N'Joy

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<a href="">7x Aetix</a>  Back in Flac (In The Nursery - Koda, Human League - Travelogue, Cabaret Volltaire - Gasoline + Crackdown EP , Heaven 17 - Endless, Future-Human League Golden Hour,  Clock DVA - Thirst still in ogg  Hula - Cut From Inside )

<a href="">3x Aetix</a> Back in Flac (Skinny Puppy - Cleanse Fold And Manipulate, Skinny Puppy - VIVIsectVI,  Skinny Puppy - Rabies)

<a href="">4x Sundaze </a> Flac (Nathan Fake - Outhouse + Watlington+Sky  , Nathan Fake - Drowning in a Sea of Love+Rmxs,, Nathan Fake - Hard Islands + Iceni Strings,  Nathan Fake - Outhouse +U R Here+Xmas Rush)

<a href="">3x Roots</a> Back in Flac (Rough Guide - The Music Of North Africa    , Skinny Puppy - Bites, Skinny Puppy - Mind The Perpetual  Intercourse )

<a href="">5x Sundaze</a>Back in Flac (Zoviet France - Mort Au Vaches-Feedback, Zoviet France - The Decriminalization Of Country Music , Zoviet France - Collusion , Zoviet France - The Tables Are Turning, Zoviet France - What Is Not True )


<a href=" ">4x Aetix </a> Back in Flac ( Replacements - Pleased to Meet Me, Replacements - Don't Tell A Soul,  Replacements - All Shook Down, Replacements - Beat Girl)

<a href="">4x Sundaze</a>  Back in Flac ( Virginia Astley - From Gardens Where We Feel Secure, , Virginia Astley - Hope In A Darkened, Virginia Astley - All Shall Be Well , Virginia Astley - Had I The Heavens)

As mentioned please return if you have it

Milton Nascimento - Sentinela


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Dec 21, 2020

RhoDeo 2051 Expanse 22



Here today, naturally my mission of trying to breakthough the wall of nonsense build by the supposed smartest men on the planet is continuing as chinks start to appear, their arrogant stupidity set us back decades if not more, electro-magnetics is clean energy and would have delivered us not only flying cars, but flying saucers aswell and who knows a pathway into other dimensions..Meanwhile i got a request to continue the Expanse, and as this is one of the greatest SF series of our days and within it Abaddon's Gate one of it's highlights no reason to stop there then, so i won't...N Joy..

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Before Einstein created his unique theorems on relativity, deflating Newton’s theories on gravity, Nikola Tesla posited the idea that electricity and energy were responsible for almost all cosmic phenomena. Tesla saw energy and electricity as an “incompressible fluid” of constant quantity that could neither be destroyed nor created.

    If you want to find the secrets of the universe, think in terms of energy, frequency, and vibration.

— Nikola Tesla


The Sun is a plasma phenomenon.

The Solar Dynamics Observatory records coronal holes as they move across the Sun’s photosphere, causing storms of charged particles to blast toward Earth. Heliophysicists believe that coronal holes are regions of “open magnetic fields”.
The Sun’s temperature in its core is conventionally thought to be more than 15 million Celsius, with compressive strain greater than 340 billion times Earth’s atmospheric pressure. 700 million tons of hydrogen are said to fuse into helium every second. (Total Nonsense !)

The surface of the Sun is the photosphere, followed by the chromosphere, and then the corona. The chromosphere is about 2000 kilometers above the photosphere and is a very thin layer compared to the Sun’s diameter of 1.4 million kilometers. Plasma density in the chromosphere is low, more than a million times less dense than Earth’s atmosphere. Temperatures vary from 6000 Celsius near the photosphere to less than 4000 Celsius in its middle regions.
One of the Sun’s great mysteries is why its temperature rises to 20,000 Celsius at the top of the chromosphere. However, the greatest mystery of all is why the corona is two million Celsius! Why does the hottest region of the Sun begin at an altitude of 4000 kilometers, extending over a million kilometers from its surface, without any significant temperature drop?

Electricity flowing out of the Sun is balanced by electric charge flowing into it. Changes in temperature include changes in magnetic field polarity and electric field strength. Instead of open magnetic fields (magnetic reconnection), Electric Universe advocates propose that the Sun is connected to the galaxy by Birkeland current “transmission lines”. Therefore, its puzzling characteristics are most likely demonstrating fluctuations in electric charge arriving from the Milky Way’s generator.The Sun is a positively charged electrode in a circuit, while the negatively charged electrode is located far beyond the planetary orbits. The “virtual cathode” is known as the heliopause. Birkeland current filaments slowly move through the Solar System, supplying more or less power to an electric circuit that includes the Sun. The energy powering the Sun is focused from outside and not expelled from inside a thermonuclear core, so its inverted temperature gradient conforms to an electric discharge. The Sun is a gigantic electrical entity, not a ball of hot hydrogen gas.

As mentioned, in the electric model of stars, the Sun is a positively charged electrode in a circuit, while the negatively charged electrode is located far beyond the planetary orbits. The “virtual cathode” is known as the heliopause. The electric solar model predicts that sunspots, flares, coronal holes, and all other solar activity comes from fluctuations in galactic electricity.

Data from the now defunct Ulysses spacecraft, and confirmed by SDO’s ultraviolet studies, reveal that the solar wind speed varies inversely with coronal temperature—a completely unexpected result, since the opposite was predicted.

Electric Universe advocate Wal Thornhill wrote:

“Clearly, in the immense volume of the heliosphere an unmeasurably small drift of electrons toward the Sun and ions away from the Sun (the solar wind) can satisfy the electrical power required to light the Sun. It is only when we get very close to the Sun that the current density becomes appreciable and plasma discharge effects become visible. The enigma of the Sun’s millions-of-degrees corona above a relatively ‘stone cold’ photosphere is immediately solved when the Sun’s power comes from the galaxy and not the center of the Sun!” In the electric model of the Sun, its electric field is strongest in the coronal holes, since protons are accelerated away. Outside of coronal holes, where the electric field is weak, protons move more aimlessly, resulting in more collisions. That random movement equates to temperature. Therefore, the solar wind is fastest where the corona appears coolest and is slowest where it appears hottest.

Stephen Smith


Well Einstein was wrong, despite being a Jew which is why his nonsense is still accepted as the gospel, anyone dare to challenge can expect full on attack, specially by the likes of Jewish controlled/owned Wiki. Anyway EU's percieved weakspot is their deferance for Velikofsky, ironically the same man who won a bet with Einstein (about the electric noise Jupiter makes) which undoubtetedly hastened his demise (as he recognized how wrong he had been), but then Einstein was wrong again, his fanboys didn't want to know of electricity and kept singing the gospel of gravity to the detriment of the human race...

From now on the coming 7 weeks, 7 high quality mini docs on the EU.. don't miss them

<a href="">Electric Universe S01E03  Electric Stars</a> ( 30min  420mb)

<a href="">Electric Universe S01E01 The Spark of an Electric Universe</a> ( 30min  503mb)
<a href="">Electric Universe S01E02 Modern Understanding of Ancient Cosmology</a> ( 30min  433mb)


Author and Thunderbolts colleague Andrew Hall uses Earth’s geology, the planet Jupiter, and the fractal self similarities of charge diffusion as a living laboratory for evidence. This episode's focus is the San Andreas Fault.  River channels align with faults that are cracks in the Earth caused by the intense heat, pressure and charge depletion of an arc blast from surface conductive discharges. They are literally the dragon’s footprint. But not all dragon prints result in river channels. In some places, surface conductive discharges created faults that were later buried, or somehow isolated from a watershed, so no river resulted. The San Andreas Fault is one such beast.

<iframe width="560" height="315" src="" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>

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The Expanse is a series of science fiction novels (and related novellas and short stories) by James S. A. Corey, the joint pen name of authors Daniel Abraham and Ty Franck. The first novel, Leviathan Wakes, was nominated for the Hugo Award for Best Novel in 2012. The series as a whole was nominated for the Best Series Hugo Award in 2017.

As of 2019, The Expanse is made up of eight novels and eight shorter works - three short stories and five novellas. At least nine novels were planned, as well as two more novellas. The series was adapted for television by the Syfy Network, also under the title of The Expanse, then they dropped the ball despite the succes of the series, i suspect the whole thing got too serious (expensive) so once again Syfy network proved they can't handle success. Anyway fans were outraged and got Amazon Prime to pick it up for a fourth and fifth series and considering the mountain of money Jeff Bezos sits on i suspect several more as long as the fans keep cheering.

The Expanse is set in a future in which humanity has colonized much of the Solar System, but does not have interstellar travel. In the asteroid belt and beyond, tensions are rising between Earth's United Nations, Mars, and the outer planets.

The series initially takes place in the Solar System, using many real locations such as Ceres and Eros in the asteroid belt, several moons of Jupiter, with Ganymede and Europa the most developed, and small science bases as far out as Phoebe around Saturn and Titania around Uranus, as well as well-established domed settlements on Mars and the Moon.

As the series progresses, humanity gains access to thousands of new worlds by use of the ring, an artificially sustained Einstein-Rosen bridge or wormhole, created by a long dead alien race. The ring in our solar system is two AU from the orbit of Uranus, and passing through it leads to a hub of starless space approximately one million kilometers across, with more than 1,300 other rings, each with a star system on the other side. In the center of the hub, which is also referred to as the "slow zone", an alien space station controls the gates and can also set instantaneous speed limits on objects inside of the hub as a means of defense.

The story is told through multiple main point-of-view characters. There are two POV characters in the first book and four in books 2 through 5. In the sixth and seventh books, the number of POV characters increases, with several characters having only one or two chapters. Tiamat's Wrath returns to a more limited number with five. Every book also begins and ends with a prologue and epilogue told from a unique character's perspective.

#     Title             Pages     Audio     
1     Leviathan Wakes     592     20h 56m
2     Caliban's War         595     21h     
3     Abaddon's Gate     539     19h 42m
4     Cibola Burn         583     20h 7m
5     Nemesis Games     544     16h 44m
6     Babylon's Ashes     608     19h 58m
7     Persepolis Rising     560     20h 34m
8     Tiamat's Wrath         544     19h 8m
9     Unnamed final novel



James Holden and his crew on the salvaged Martian warship Rocinante played a role in two major events in human history: saving the Earth from the first direct proof of alien technology discovered in our solar system, and saving as many people as they could when a new form of the technology appeared on Jupiter’s moon Ganymede. As part of the first incident, the alien technology crashed on Venus, where it churned for months doing something unknown while the solar system watched. When complete, the semi-intelligent collection of chemicals flew away from Venus and built what could best be described as a Stargate, called "The Ring", beyond the orbit of Uranus.
Major character arcs

James Holden and his crew have been successful in their ship-for-hire business, cashing in on their celebrity and Rocinante’s power when needed. As the solar system prepares to mount its first large-scale exploration of the ring, Holden’s interaction with the alien consciousness in the form of an old friend named Miller convinces him that he wants to be as far away from the ring as possible. Greater forces have other plans, however, and the crew finds themselves at the ring with fleets of Earth, Mars, and Outer Planets Alliance (OPA) ships.

Clarissa Mao, younger sister of Juliette "Julie" Andromeda Mao and daughter of Jules-Pierre Mao, who was president of the multi-planet corporation "Mao-Kwikowski Mercantile" also known as "Mao-Kwik". Jules-Pierre was part of various conspiring organisations, all of whom wanted to use the protomolecule for profit. He was brought down by James Holden in the events that occurred during and after the near-destruction of the Ganymede colony, a major food supplier for the outer planets of the belt. The "Mao-Kwik" corporation was also destroyed by Jules-Pierre's actions and left the Mao family only a fraction of their former wealth. Clarissa wants revenge for the disgrace brought onto her family and the downfall of her father, for which she blames James Holden. She wants to discredit him publicly to redeem her father and plans to kill Holden afterwards. She has spent her entire fortune to change her identity and put the wheels of her plan in motion. Now pretending to be an electrochemical technician named "Melba Koh", she sets out to get her revenge in a well-planned scheme. She places a saboteur on the Rocinante, then hijacks the ship's communications system to send a faked 'Jim Holden broadcast' in which an animated image of Holden claims the alien-protomolecule-ring for the OPA and responsibility for the sabotage and near-destruction of the UNN Earth vessel Seung Un. The scheme to get Holden discredited and then killed fails, because Holden decides to avoid all hostilities with the other flotillas and chooses to enter the ring instead. Even after capture, Clarissa remains dangerous.

Carlos “Bull” de Baca is a former warfighter and friend to Fred Johnson. He’s given the job of third in command of the 'Behemoth', formerly known as the Generation Ship Nauvoo, which the OPA salvaged and repurposed as a warship. Not only is Bull absolutely loyal to Fred, he also is the most likely of the command crew to secure the mission's success, which is why Fred asks Bull to “make it work”. When Clarissa triggers her faked broadcast of James Holden, in which he claims responsibility for the sabotage of the Seung Un and to being ordered to do so by the OPA, Bull understands all the implications. He also understands that all of the human governments need to stand united in facing the alien ring and the possible threat coming from it. In order to avoid another open shooting war/battle among Mars, Earth, and the OPA at all costs, he convinces the Behemoth's captain that being the first to take hostile action against the Rocinante will stop the Behemoth from being seen as Holden's backup, and distance the OPA from Holden's statement about 'claiming the ring' for them. After the Behemoth fires a Torpedo at the Rocinante, the other flotillas join by also targeting Holden's ship - forcing him to travel into the ring as an attempt to escape.

Annushka “Anna“ Volovodov is a Methodist pastor from Europa who joined the expedition as part of a UN delegation of religious figures and artists selected to witness the start of a new epoch of human history. Her ship joins others following Rocinante into the gate, and she tries to pull fragile strings of common interest together against the gales of politics, self-interest, and madness driving others in the expedition.

Miller’s consciousness continues on in disembodied form, now part of the vast protomolecule matrix and used for his investigative capabilities. Talking to and trying to work with James Holden, he has limited insight into the actions taken by the gate, and knows there is a vast tapestry of opportunity and danger associated with it and those who built it, because someone destroyed them.

Abaddon's Gate won the 2014 Locus Award for Best Science Fiction Novel.

Abaddon's Gate was adapted into episodes 7 to 13 of the third season of the television series The Expanse in 2018, with its title taken for the final episode of that season. It was the last book in the series to be adapted before the show's move from Syfy to Amazon Prime. Meanwhile Amazon has signed a contract to film the complete series season 5,6 and possibly 7, btw season 5 starts this week....

<a href="">James Corey - The Expanse Abaddon's Gate 29-35 </a> ( 138min  63mb)

James Corey - The Expanse Abaddon's Gate 29-35    138min

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<a href="">James Corey - The Expanse Caliban's War 01-07 </a> ( 139min  63mb)
<a href="">James Corey - The Expanse Caliban's War 08-15 </a> ( 173min  78mb)
<a href="">James Corey - The Expanse Caliban's War 16-22 </a> ( 169min  64mb)
<a href="">James Corey - The Expanse Caliban's War 23-29 </a> ( 165min  64mb)
<a href="">James Corey - The Expanse Caliban's War 30-36 </a> ( 167min  67mb)
<a href="">James Corey - The Expanse Caliban's War 37-43 </a> ( 149min  67mb)
<a href="">James Corey - The Expanse Caliban's War 44-50 </a> ( 150min  60mb)
<a href="">James Corey - The Expanse Caliban's War 51-57 </a> ( 104min  48mb)
<a href="">James Corey - The Expanse Abaddon's Gate 01-07 </a> ( 143min  66mb)
<a href="">James Corey - The Expanse Abaddon's Gate 08-14 </a> ( 157min  72mb)
<a href="">James Corey - The Expanse Abaddon's Gate 15-21 </a> ( 139min  64mb)
<a href="">James Corey - The Expanse Abaddon's Gate 22-28 </a> ( 158min  72mb)

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Dec 20, 2020

Sundaze 2051


Today's Artist is a musician from Toronto, Ontario, Canada who has released numerous records both as a solo artist and as part of various side projects, including Nadja, ARC, Caudal and Mnemosyne. He has also written several books of poetry. He has toured around world, and has made appearances at the Unsound Festival, MUTEK, and South by Southwest. He is married to Nadja bandmate, Leah Buckareff. ..... N'Joy

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An accomplished writer and musician, Aidan Baker has his artistic fingers in many pies. After graduating from Montreal's McGill University with a degree in Literature and Religious Studies, Baker released a four-song acoustic cassette as "Aodhan" (the Gaelic spelling of his name). He also teamed up with two fellow Toronto musicians to create ARC, an ambient guitar-driven trio which garnered much praise for its innovation and integrity. The group released three albums, including Two in 2001. Having been published in major literary magazines nationally and internationally, Baker released his debut album Element in 2000. In 2001, he released his follow-up, Letters, a concept album based loosely around letters from both Jack the Ripper and the Marquis de Sade.
Aidan Baker is a classically-trained multi-instrumentalist using the electric guitar as his primary instrument. Using prepared and alternate methods of playing the guitar, along with various electronic effects, Baker creates music which generally falls within the ambient/experimental genre but draws on influences from rock, electronic, classical, and jazz. A highly prolific artist, Baker has released numerous recorded works, both solo and with various group projects, on such independent labels as Gizeh Records, Pleasence Records, Important Records, Alien8 Recordings, and his own imprint, Broken Spine Productions. Baker is also the author of several books of poetry. A regular live performer, Baker has toured extensively around the world, including appearances at such international festivals as FIMAV, SXSW, Incubate, Unsound, and Mutek, among others. Originally from Toronto, Canada, Baker currently resides in Berlin, Germany.

Mnemosyne was a trio formed in Toronto, Canada in 2002 featuring Aidan Baker on guitar, Richard Baker (ARC) on drums, and Rodin Columb on bass. The group created atmospheric post-rock and released one full-length album, The Air Grows Small Fingers, on Piehead Records.

ARC was a trio made up of Aidan Baker, Richard Baker, & Christopher Kukiel formed in Toronto, Canada in 2000. The group’s sound is centred on the melodic loops, textures, & samples provided by heavily-effected guitar & other melodic instruments. This is overlaid with tribal-esque rhythms provided by various percussive instruments, creating a roiling tapestry of both rhythmic & ambient sound, music simultaneously primeval & avant-garde.

Nadja is a duo of Aidan Baker & Leah Buckareff alternately based in Toronto & Berlin. The duo makes music that encompasses experimental/drone, ambient, industrail, & doom metal. Originally formed by Baker in 2003 as a solo project, Buckareff joined in 2005 to bring the project out of the studio & into a live setting. They have since released numerous albums on such labels as Essence Music, Hydrahead Records, & their own label, Broken Spine Productions.

B/B/S/, formed in 2012 in Berlin, Germany, is a trio of Aidan Baker (CA - Nadja, Whisper Room, ARC) on guitar, Andrea Belfi (IT - David Grubbs, Hobocombo, Il Sogno del Marinaio) on drums/electronics, and Erik Skodvin (NO - Svarte Greiner, Deaf Center) on guitar. The group makes improvisational music, combining abstract melodies and experimental drone textures. Their debut album Brick Mask was released in 2013 and their second full-length album Palace was released in 2016, both on Miasmah Records.

Hypnodrone Ensemble is Aidan Baker & Eric Quach (aka Thisquietarmy) joined by three drummers, Felipe Salazar (Caudal, Muerte En Pereira), Jérémie Mortier (Alice in the Cities, Lady Shot from a Tree), and Dave Dunnett (Man Meets Bear), to create propulsive, poly-rhythmic space rock. Hypnodrone Ensemble released their live debut in 2014 on Consouling Sounds & a studio-recorded follow up in 2015 on Calostro Recordings.

Whisper Room is a trio of Aidan Baker (guitar), Jakob Thiesen (drums/effects), & Neil Wiernik (bass/effects). The three members of Whisper Room moved in similar musical circles in Toronto & Montreal for many years, sporadically playing together &/or sharing stages, but did not actively come together as a group until late 2006. As an improvisational unit combining their disparate musical backgrounds, the trio creates music which explores the conjunction of electronic rhythms & textures with the pulsations & psychedelics of shoegaze & krautrock music. They released their debut full-length album, Birch White on Elevation Recordings and their follow-up The Cruelest Month on Consouling Sounds in 2014

Adoran is a duo consisting of Aidan Baker on drums & Dorian Williamson on bass. The project makes music combining elements of post-rock, drone, industrial, and sludge. Their self-titled debut album was released in 2012 and their second album Children of Mars is the autumn of 2015, both by Consouling Sounds.

Caudal was a trio featuring Aidan Baker on guitar, Gareth Sweeney on bass, & Felipe Salazar on drums. Baker’s multi-layered, heavily affected guitar overlays Sweeney & Salazar’s driving, propulsive rhythm section creating music equally influenced by krautrock, post-punk, and spacerock. Their debut album Forever In Another World was released in 2013 Oaken Palace Records. Their second full-length album Ascension was released by Consouling Sounds in 2014.

Infinite Light Ltd was a collaborative project between Aidan Baker, Nathan Amundson (Rivulets), and Mat Sweet (Boduf Songs). The trio released one album combining folk, ambient, and shoegaze sounds on the German label Denovali Records in 2011.

Scythling was a collaborative project between Aidan Baker and Josh Rothenburger of Bloody Panda exploring sounds conflating dark-ambient and doom metal. The group released one album, Smokefall, with various guest contributors on Aurora Borealis records in 2012.

WERL is a duo of Aidan Baker on guitar with Swedish drummer Tomas Järmyr creating improvisational music which explores noise, metal, drone, & freejazz. Their debut release came out in 2016 on Consouling Sounds and their follow-up is forthcoming September 2017 on Wolves&Vibrancy/Dio Drone Records.

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Obviously Adrian has a musical background against which he manifests his musical ideas....Rhythmic meditations of the highest caliber. At times the measured, pounding drums recall those you'd find on a GAS record, surrounded by ghostly vocals and electronic curiosities.

<a href="">VA - The Threshold Of Silence</a> ( flac 220mb)

01 Thalia - Offertorium 11:58
02 Aidan Baker - Untitled Guitar Drone 5:31
03 Seconds In Formaldehyde - I Could Have Painted You The Sky With Silence 8:35
04 Propeller Island - Saphir 8:38
05 Troum - Ultrachronos 9:49
06 Oophoi - In Deep Waters 11:43
07 Paul Bradley - Fissure 8:19

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Invisible Cities, the first collaboration between Aidan Baker (Nadja, B/B/S) and bass clarinetist Gareth Davis (Oiseaux-Tempête), offers the finest ambient/chamber jazz/subtle drones of a highly meditative quality.This marks Baker's first collaboration with Gareth Davis whose eclectic oeuvre spans contemporary classical, free improvisation, and orchestral music through to rock, noise, and electronica. The bass clarinetist is a steady member of the critically acclaimed post-rock formation Oiseaux-Tempête and A-Sun Amissa, interpreted compositions by Alvin Lucier with Machinefabriek, worked with Bernhard Lang and Peter Ablinger, performed with musicians like New York downtown veteran Elliott Sharp, Merzbow, or Robin Rimbaud (aka Scanner) and realized multimedia work with artists including Christian Marclay and Peter Greenaway. Recorded in November 2016 at Muziekhuis, Utrecht, the four tracks create a calm, even meditative atmosphere in their reduced manner that gives much room to the individual instruments/sounds, occasionally spiced up by field recordings that intensify the overall chamber jazz/ambient moods

<a href="">  Aidan Baker and Gareth Davis - Invisible Cities </a> ( flac 163mb)

01 Memory 11:42
02 Sky 11:40
03 Signs 7:21
04 Desire 15:30

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See Through is a mesmerising collaboration that sees the best of the very best of the instrumental underground school us in how collaborations should be done. Collaborations, by their very nature, are an inherently risky proposition. While we all have our own ever-expanding list of artists we’d pay good money to see, a meeting of the minds can just as often produce underwhelming results as it can produce gold – in fact, it’s probably more the former than the latter. Just because two artists work great individually does not mean that when you put them together it will instantly produce results that are the sum of their parts. Does anyone remember the horror show that was Lulu? Which means it’s almost a public duty to raise awareness about collaborations that actually justify their existence artistically beyond name recognition of the people involved. Which brings us to See Through, which is certainly deserving of such accolades.
On paper, the intriguing combination of experimental workhorse Aidan Baker (Nadja), ethereal vocal gymnast Faith Coloccia (Mamiffer), and noted percussive adventurer Jon Mueller makes for an an enthralling concept. Thankfully, in execution, it proves itself to be just as exciting. The record has a keen focus on texture and tone, opting for emotive triggers layered into complex structures, rather than opting for more traditional songwriting, allowing each of the collaborators to shine in their respective pursuit – giving each other more than enough breathing room to reach their accumulative goal. There is an organic grandeur to this record that is rarely heard, and it comes from the honesty poured into the exploratory nature of the project by the trio. While this may be a flash in the pan type of project, this collective are too good together not to give it another go.

<a href="">  Aidan Baker, Faith Coloccia, Jon Mueller - See Through-</a> ( flac 262mb)

01 Yellow 6:16
02 Repeat 8:34
03 Summer 8:39
04 See Through 11:34
05 Mauve 5:20
06 Harmony in Distance 6:27

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Aidan Baker (Nadja, b/b/s) and bass clarinetist Gareth Davis continue their fruitful collaboration with "invisible cities ii" - five new tracks of finest ambient / chamber jazz / subtle drones of a highly meditative quality.

"2 years ago, the canadian guitar player aidan baker and clarinetist gareth davis from belgium released their duo debut "invisible cities" that surprised many by its quiet, even meditative quality. davis had made himself a name in a wide range of fields, from the postrock of a-sun amissa or oiseaux-tempête, new music (peter ablinger, bernhard lang), or experimentation with the likes of elliott sharp, merzbow or scanner, while baker is mostly known for his drone / postmetal duo nadja, but that's just one out of several steady projects (e.g.b/b/s with andrea belfi and erik skodvin aka svarte greiner) and a multitude of solo albums. On "invisible cities" the duo explored the calmer side of things – from chamber jazz to ambient / drone and back, giving much space and air to breathe to their respective instrument. subtle guitar drones, sonore clarinet sounds, a sonic scenery of peacefullness and meditative introspection – all this you'll also find on the new album "invisible cities ii" which is an accomplished continuation and refinement of the duo's first collaborative effort from 2018. recorded between 2018 and 2019 in berlin and amsterdam, mastered and cut at d&m berlin by kassian troyer."

<a href="">Aidan Baker and Gareth Davis - Invisible Cities II-</a> ( flac 191mb)

01 Hidden
02 Eyes
03 The Dead
04 Continuity
05 Names

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Dec 18, 2020

RhoDeo 2050 Grooves

 Hello, as corona keeps spreading, confusing joe public who've heard about a vaccine being available but find it hard to grasp the limitations of vaccination, it takes time , months, many months in fact, it could be september 2021 before any semblance of normality has returned. Obviously there are those that think all this is make believe, usually having to deal with simpletons isn't much of an issue but these simpletons have been convinced they are the smart ones by schemers hell bent on de-stabilazing democracies, turning back the clock on so called liberal rights and threathening anyone dis agreeing with them. Of course there are some that dream of a fascist state with them in power but most simpletons are just that they don't understand the world any more and are looking for easy answers to complex problems, and as humans are known to be nostalgic and illogical, solving this serious issue could take time and many innocent lives...

Today's Artist, thanks to his introspective rap style, his sensitive R&B crooning, and his gold-touch songwriting, each one of his albums topped charts worldwide, and singles like the Grammy-winning "Hotline Bling" and many of his mixtapes did too. .........N Joy

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Canadian rapper and vocalist Drake sustained a high-level commercial presence shortly after he hit the scene in 2006, whether with his own chart-topping releases or a long string of guest appearances on hits by the likes of Lil Wayne, Rihanna, and A$AP Rocky. Thanks to his introspective rap style, his sensitive R&B crooning, and his gold-touch songwriting, each one of his albums -- from 2011's Take Care to 2018's Scorpion -- topped charts worldwide, and singles like the Grammy-winning "Hotline Bling" and many of his mixtapes did too. As his star rose, he helped others along, sponsoring the Weeknd's early work, starting the OVO Sound label, and giving features on his records to up-and-coming acts. By the second decade of his career, Drake's constant chart domination, his Grammy wins and nominations, and his meme-worthy cultural presence made him one of the world's most popular musicians.

Known initially for his role as Jimmy Brooks on Degrassi: The Next Generation, the Toronto-born Aubrey Drake Graham stepped out as a rapper and singer with pop appeal in 2006, when he initiated a series of mixtapes. A year later, despite being unsigned, he scored major exposure when his cocky and laid-back track "Replacement Girl," featuring Trey Songz, was featured on BET's 106 & Park program as its "Joint of the Day." He raised his profile throughout the next several months by popping up on countless mixtapes and remixes, and as rumors swirled about contract offers from labels, he gradually became one of the most talked-about artists in the industry. It did not hurt that he had support from the likes of Kanye West, Jay-Z, and Lil Wayne.

By the end of June 2009, "Best I Ever Had," a promotional single, had climbed to number two on Billboard's Hot R&B/Hip-Hop Songs chart. After a fierce bidding war, Drake signed with Universal Motown in late summer and released an EP, So Far Gone, made up of songs from his popular mixtape of the same title. It peaked at number six on the U.S. Billboard 200 chart and won a 2010 Juno Award for Rap Recording of the Year. Thank Me Later, a full-length featuring collaborations with the Kings of Leon, the-Dream, Jay-Z, Kanye West, and Lil Wayne, was issued through Young Money in June 2010. It debuted at number one on the U.S. Billboard 200 chart and was certified platinum by the Recording Industry Association of America. Still, the artist felt his debut was rushed, so its follow-up arrived in November 2011 with the title Take Care, referencing the increased time and effort put into the album's creation. Receiving critical acclaim, Grammy Awards, and the number one slot on the U.S. Billboard 200, Take Care cemented Drake's place as one of Canada's biggest exports.

While on tour in 2012, Drake announced that he had started work on what would be his third studio album; Nothing Was the Same was released the following September. It spawned many singles, topped charts around the world, was shortlisted for the Polaris Music Prize, and was nominated for a Best Rap Album Grammy Award. Soon after the album's release, Drake hit the road on an extended tour, took part in some collaborations, and released a few singles, including the Grammy-nominated "0 to 100/The Catch Up." His next release was planned as a free mixtape before Cash Money decided they would rather charge for it. The decidedly downbeat If You're Reading This It's Too Late was released in February 2015 and debuted at number one, while all 17 of its songs entered the Hot R&B/Hip-Hop Songs chart.

In late summer 2015, he dropped a trio of new tracks on his SoundCloud page. One of them, the Timmy Thomas-sampling "Hotline Bling," became a Top Five pop hit in Canada and the U.S. and something of a cultural phenomenon. Later that year, Drake hit the studio with Future for a six-day session that yielded the mixtape What a Time to Be Alive. Upon the album's September release, it became Drake's second recording of the year to debut at number one. After dropping three singles in the beginning months of 2016, Drake's fourth album, Views, was released in April and debuted at number one. It revolved lyrically around his hometown of Toronto and featured production by longtime cohorts Noah "40" Shebib and Boi-1da, among others. Late that year, Drake issued another trio of singles, including the chart-topping "Fake Love." They preceded the playlist More Life, released the following March with appearances from Kanye West, Quavo, Travis Scott, and Young Thug. The release became his seventh consecutive chart-topping album.

At the start of 2018, Drake issued the two-song EP Scary Hours. Both "Diplomatic Immunity" and "God's Plan" hit the Top Ten, the latter becoming his second solo chart-topper. It served as a precursor to his fifth album, the two-disc set Scorpion, which was broken into a rap side and an R&B side that featured the hit single "Nice for What." It was released in June and instantly went platinum, while also breaking records for most streams in a single day. At the 61st Grammy Awards, Drake took home the prize for Best Rap Song for "God's Plan."

In 2019, Drake raided the vaults for two archival releases: an official streaming release of the So Far Gone mixtape, and the Billboard 200-topping Care Package, which rounded up tracks that were leaked, discarded, or used as teasers, dating back to the Take Care era. Drake collected two Grammy nominations for the 2020 ceremonies, one for best rap song with his Rick Ross collaboration "Gold Roses" and another for best R&B song with his Chris Brown-assisted "No Guidance." That same year, he released another mixtape made up of demos and singles titled Dark Lane Demo Tapes. One of the tracks was "Toosie Slide," his third song to debut at number one on the Billboard Hot 100, making him the first male artist to accomplish that feat.

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Drake & Future are nice together but Drake & Wayne are still better. With both artists enjoying major success at the time, one can argue that the stakes are pretty low and it feels like that by Drake's rapping, which is good, but could be better.A surprise mixtape that went from announcement to the top of the Billboard charts within a matter of a few weeks, What a Time to Be Alive is also a worthy hang session from MCs Drake and Future, one that feels instant, spontaneous, and just messy enough to keep off the top shelf. Think of it as a less ambitious Watch the Throne and the listener's role is mapped out, as being in awe or living vicariously through these songs is the only option for anyone not signed to the OVO and Freebandz imprints. The mixtape comes alive with half-tempo club bangers like "Jumpman" (a druggy Future drops "Way too much codeine and Adderall" while a money-blowing Drake goes "Nobu, Nobu, Nobu....") and "Big Rings" (Drake says you better give his crew some money, while Future drops the weird "I got racks like Serena/All of my rings Aquafina, my bitch Aquafina"). Stoned-out and slow tracks like "Scholarships" offer something more interesting and impossibly emo, as Drake admits "I need acknowledgement/If I got it then tell me I got it then" because he doesn't read the papers. Drake also brings things to a close with a solo and self-aware kiss-off called "30 for 30 Freestyle," which gives up 2015's ultimate meta moment with "My plan was always to make the product jump off the shelf/And treat the money like secrets, keep that shit to ourselves." What a Time to Be Alive, indeed.

<a href=""> Drake & Future - What a Time to Be Alive</a> (flac   242mb)

01 Digital Dash 3:51
02 Big Rings 3:37
03 Live From the Gutter 3:31
04 Diamonds Dancing 5:14
05 Scholarships 3:29
06 Plastic Bag 3:22
07 I'm the Plug 3:00
08 Change Locations 3:40
09 Jumpman 3:25
10 Jersey 3:08
11 30 for 30 Freestyle 4:13

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Since the release of his last non-mixtape/non-collaboration album in 2013, Drake has solidified his position as a pop music icon, scaling the charts, dominating gossip columns, and generally living the good life. Or so it seems. 2016's Views is another in a string of dour transmissions from the dark night of Drake's soul. As before, he casts himself as both the melancholy bachelor looking out over the city from his penthouse manor, and the criminally underrated rap genius demanding his due, and it's one album too many for both personas. He's already delved deeply into his insecurities, lambasted all his exes, and displayed his fierce self-pride, never shying away from telling everyone exactly where he started and how far he's come. Frankly, it's become as boring and annoying as a needle stuck in a groove. No matter how ably the production casts his raps and ballads in the best possible light, no matter how well the frequent use of chopped and swirled samples from '90s R&B songs fit in the mix, no matter that the occasional song rises up from the narrative and makes a splash, the album is a meandering, dreary rehash of what Drake has done before in much better fashion. Of the songs that stand out, his uptempo, Caribbean-flavored duet with Rihanna ("Too Good") is the most enjoyable; "One Dance," another song with a Jamaican dancehall feel, is another fun track. Still, these poppy moments feature Drake as the wounded lover, being treated poorly yet again. A few other tracks connect, like the almost light-hearted "Feel No Ways," which makes good use of a stuttering Malcolm McLaren sample or, of course, the hugely catchy hit song "Hotline Bling." The nostalgic "Weston Road Flows" comes close, with the great Mary J. Blige sample running through the track, but stumbles when Drake name drops Katy Perry and brags about wrecking marriages. The track, like so many others made up of over-blown boasts, seems to be fighting a battle that was won long ago. Drake has not only arrived, he's taken over. And if he's never going to get the same respect that someone like Chance the Rapper gets, making records as self-pitying and self-serving as Views isn't going to do much to further Drake's career artistically, either. Basically, Drake needs to lighten up and add some new colors to the paintbox, whether it’s songs about something other than his bummer love life (like the good times before the inevitable breakup), or the fabulous things that come from all the money and fame he never lets anyone forget he's accrued. Eventually, people will get tired of the same old song if it's sung too often. On Views, Drake is starting to sound a little weary of it himself.

<a href="">  Drake - Views</a> (flac   441mb)

01 Keep The Family Close 5:24
02 9 3:58
03 U With Me?     4:51
04 Feel No Ways 4:00
05 Hype 3:27
06 Weston Road Flows 4:13
07 Redemption     5:33
08 With You m3:15
09 Faithful 4:44
10 Still Here 2:55
11 Controlla 4:05
12 One Dance 3:07
13 Grammys 3:40
14 Childs Play 4:01
15 Pop Style 3:32
16 Too Good 4:23
17 Summers Over Interlude 1:46
18 Fire & Desire 3:58
19 Views 5:05
20 Hotline Bling (Bonus) 3:49

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 Is there anything more tiresome than being at a party, or at work, or anywhere really, and finding yourself cornered by someone who tells the same story over and over and there's no chance to escape? On his last two albums, and the many singles and songs that surrounded them, Drake skated dangerously close to being exactly that kind of joy-killing, endlessly tiresome boor. On 2018's Scorpion, the ice finally cracks and Drake plunges headfirst into the icy depths of boredom and despair as the 25 songs go back and forth over the same lyrical territory and the monochromatic trap beats drag along slowly behind. Drake runs through his greatest hits yet again -- he's the best rapper yet no one will admit it, he's been treated wrong by every woman he's ever been with, he's rich as hell, and life is tough when you're on top -- to decidedly diminished returns. This time around, there is the matter of Pusha T's diss track to be dealt with and the existence of his freshly uncovered paternity to talk about, but even those tracks are filtered through Drake's tired lens that only seems to come into focus when it's directed inward. As the tracks slog past, one wishes for a feature to break the monotony or a song with a different tempo to break the trap spell, but it's not until the 11th track that Jay-Z shows up to give Drake a run for his money in the boredom stakes, and not until the 16th track that "Nice for What" -- the one song that gives any sense of the old Drake who wrote the occasional fun pop song -- comes along to inject some bounce into the mopey proceedings. Of course, that song is followed by the slowest, bleakest track on the record, and nothing else -- not even "Don't Matter to Me," which features a ghostly Michael Jackson sample -- manages to raise blood pressures or get feet moving or keep eyelids from drooping. At this point in his career, maybe it's not fair to expect Drake to be writing pop songs or having fun, but it was the balance between downcast, introspective soul raps and less cloudy, almost happy-sounding pop songs that made his best albums work so well. Scorpion doesn't even come close to being one of his best; instead, it's a one-trick record stretched out into 25 endless tracks by an artist who's so deep into the self-obsessed, self-pitying rut he created for himself that he can't see daylight anymore. Anyone who follows him there should be prepared to spend the next hour-plus buried deep in the inner self-loving/loathing depths of Drake's mind, where nothing else, not politics or humankind or the people around him who have yet to diss him, exists. It's a bleak and tiring place to spend time, and one can only hope that Drake himself gets weary of it soon, too.

<a href=""> Drake - Scorpion</a> (flac   484mb)

101 Survival 2:16
102 Nonstop 3:58
103 Elevate 3:04
104 Emotionless 5:02
105 God's Plan     3:19
106 I'm Upset 3:34
107 8 Out Of 10 3:15
108 Mob Ties 3:25
109 Can't Take A Joke 2:43
110 Sandra's Rose 3:36
111 Talk Up Feat. Jay-Z 3:15
112 Is There More 3:46

201 Peak 3:26
202 Summer Games 4:07
203 Jaded 4:22
204 Nice For What 3:30
205 Finesse 3:02
206 Ratchet Happy Birthday 3:27
207 That's How You Feel 2:37
208 Blue Tint 2:42
209 In My Feelings 3:37
210 Don't Matter To Me 4:05
211 After Dark 4:49
212 Final Fantasy 3:39
213 March 14 5:09

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After the release of 2017's double-disc Scorpion, Drake went for a deep dive into his vaults for his next record, 2019's Care Package. It's a 17-track collection of songs recorded but not used on albums or mixtapes, stretching back to the Take Care era in 2011. Many of the songs were used as teasers for upcoming projects, dangling out in front of the rabid public to get them excited. Ironically a lot of those tracks proved to be just as good as those actually used on the albums themselves. While that might have been disappointing to people wondering why they weren't included at the time, it does mean that Care Package is a surprisingly strong collection. It gathers up pounding, angry tracks like "Dreams Money Can Buy" from 2011 that shows Drake's rap skills were always sharp, lots of atmospheric late-night R&B, a bit of freewheeling hip-hop, and some slickly smooth balladry as on "Heat of the Moment." The tracks range from dark and introspective to loose and humorous ("Draft Day") with some biting diss tracks ("4pm in Calabasas," which rips on Puffy, Meek Mill, and Joe Budden), crooning remakes of TLC's "Fan Mail" ("I Get Lonely") and the Destiny's Child song "Say My Name" ("Girls Love Beyoncé"), and some avant-garde R&B ("My Side"). Through it all, the familiar Drake tropes (his self-belief, his rise from nowhere to the top, his broken heart and disdain for the people who did him wrong) are front and center, but unlike on recent albums where the sameness of the music and tone makes for difficult listening, the variety of styles, sounds, and beats means that this is one of the more satisfying albums Drake has issued. Despite it being made up of songs that were cast off, leaked, or used as bait, it serves as a kind of shadow career overview that gives a full picture of Drake as a talented, forward-thinking, frustrating, monomaniacal, and important artist.

<a href=""> Drake - Care Package </a>  (flac   416mb)

01 Dreams Money Can Buy 4:13
02 The Motion 4:01
03 How Bout Now 3:55
04 Trust Issues     4:41
05 Days In The East 5:53
06 Draft Day 4:26
07 4pm In Calabasas 4:00
08 5am In Toronto 3:25
09 I Get Lonely 4:13
10  My Side 4:54
11 Jodeci Freestyle 4:14
12 Club Paradise 4:43
13 Free Spirit 4:12
14 Heat Of The Moment     5:43
15 Girls Love Beyoncé 3:45
16 Paris Morton Music 4:11
17 Can I 3:09

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