Sundaze 2105

 Hello,  final visit to Troum


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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the first full length album from TROUM in over 2 years. With this album, TROUM wanted to go in a completely different direction, creating a ‘harsher’ and more ‘Industrial’ sounding album as a contrast to previous releases. But through the trademark troumatic machining, the final result doesn’t sound at all like standard harsh noise – it’s rather industrial noise as if filtered through a feverish dream, through a deranged perception. The six long tracks of pestering transrational drones on “Acouasme” sound like an aural psychiatric symptom, a humming hallucination leaving the stable reality."

"Acouasme is the first proper full length in two years from these aQ beloved dronelords, and finds the duo attempting a harsher, more industrial sound, but harsh and industrial, at least in the hands of Troum, ends up sounding way more beautiful than brutal, a series of hypo-drone rituals, dense and dark, droney and dreamy.
Each of the six tracks here is a sprawling wash of groaning metallic buzz and grinding subsonic thrum, pocked with fleeting flecks of melody and driven by abstract rhythmic pulsations, again, not so much harsh, as sinister and cinematic, shadowy and ominous. In fact, much of Acouasme is actually quite lovely, albeit that grim, foreboding sort of loveliness that evokes all sorts of existential dread. Tracks unwind languorously, like a creeping black fog of abstract ambience, occasionally giving way to blurred choral shimmer, or collapsing into rib cage rattling sub-bass throb. Amidst these tranquil soundscapes, lurk both blurry bursts of blackened beauty, and heaving, churning tarpit rhythms, all wreathed in gristled swirls of decayed sound, getting downright heavy at times, but always seeming to settle back into more hazy, hypnotic black drift.
The closer is the most obviously rhythmic, an inky morass of layered swirl and roiled grey noise, wound around strange sonar pings, fractured sine waves, and distant melodies, all driven by a loping, lumbering slowcore beat, the end result sounding a bit like a drugged out, droned out Aluk Todolo, or some lost This Heat record spinning at 16rpm!"



<a href="https://mir.cr/EDNJ12US"> Troum - Acouasme</a> ( flac 311mb)

01 Aliens Laughing About Us 7:48
02 Acouasme 10:59
03 Omega Melancholicum 10:06
04 Outer Brain Outsourcing 12:59
05 Somnolenz 7:00
06 Signe Du Miroir 17:57

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This is the first part of the long planned & executed collaboration, all material got the final mix through Peter Andersson / raison d'etre.
The second part ( to be released later) will feature material with a final mixing done by Troum. "Ever wondered how a mix of Troum and raison d’être would sound like? Here is the long awaited answer.

Four years in the making, carefully forged between 2011 and 2014, De Aeris In Sublunaria Influxu showcases a magically crafted alchemy between these two titans of the drone and ambient realms.
Troum navigate through cavernous, subterranean spaces where cyclical sounds reverberate towards impressive crescendos of icy noise, luminous drones and dramatic, guitar-driven ghostly melodies. Their truly unique gorgeous soundscapes shine in a perfect symbiotic movement with the Swedish dark ambient maestro Peter Andersson. Engulfed in a hauntingly beautiful kaleidoscope of grey-ish melancholia, raison d’être comfortably walks deeply into Troum’s vast territory, delivering his very own trademark of eerie tones, ominous sacral ambience and crystal clear constructions. Airy lush enigmatic atmospheres live together with dark breathing, reverberant transformative drones. Rich and gorgeously layered.



<a href="https://www.imagenetz.de/HnL28">  Troum n Raison d'être - De Aeris In Sublunaria Influxu </a> ( flac 366mb)

01 Folia 3:01
02 Alio tempore 10:06
03 Oculum mundi 15:16
04 Atmosphaera 6:47
05 Meditationum 18:55
06 Flammae 3:17
07 Ad infinitum 11:16
Bonus Disc
08 Interiora Terrae 6:44
09 Momentum 9:35
10 Exiliora Aeris 7:29
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A collaboration of two legends of the dark ambient & drone arenas is the reason for our offering today; the new album from Raison d’etre & Troum; XIBIPIIO.In And Out of Experience courtesy of Transgredient Records & Drone Records.

From Drone Records: “Based on a notion of the fascinating Amazonian Piraha tribe, this is an excursion into nine different micro-worlds of perception and consciousness….Music that reaches for the eternal, but it only exists in the very moment.”This album represents the second installment of the duo’s collaboration which began in 2013.  In this particular release, Raison d’etre is responsible for all of the source material while Troum worked with guitars, voices, flutes, accordion, cello, violin, didgeridoo, dombra, tapes and found sounds.

The intriguing and intricate journey begins with a multi-layered piece like shards of ice sliding, melting down a pristine glass plane.  One thing that is incredibly clear with track 1, “In Den Wellen, Ein Sehnen” and even more-so in track 2, “The Machine Starts to Sing,” is the resulting mix like the sonic equivalent of a 3-D movie; one artist’s work in the foreground and the other, background.  Track 2, “The Machine Starts To Sing,” appears as virtual surround sound with gliding ambient waves in the background fluctuating in volume and degree of warmth.  Seemingly closer to the listener is a collection of repeated strikes of what appears as found or percussive objects.  Track 4, “Ardaga” is intriguing in its low-end drone background and high note ambient key dynamic followed then by a slowly-moving mid-range warm tone coming closer to the listener from the front.  This track is a great example of how haunting the album can be at times; in this track’s case sounding like some kind of a transcendental spectral transition.  There seems to be a very gray line between the real and the imaginary with this record.  Are those real voice samples emanating from the planes and walls of sound or are they simple results of the magical combination of sounds?  I’m certain we are better off leaving it to our own imaginations.

Regardless, it’s nice to know that in a sea of ambient, drone artists, there are still those out there who are willing (or are just plain natural magicians at) pushing barriers between sound an imagination, even breaking them down and building their own. For this album to truly be appreciated, it is advisable to listen to this through the headphones or in a surround-sound environment.  It really is like a journey with nine separate scenes or even states of consciousness.

<a href="http://depositfiles.com/files/27px3yqqe">   Troum n Raison d'être -  XIBIPIIO. In And Out Of Experience-</a> ( flac 299mb)

01 In Den Wellen, Ein Sehnen 5:05
02 The Machine Starts To Sing 4:48
03 Eigi Einhamr 6:45
04 Ārdaga 5:55
05 Hang'-E-Lah 10:57
06 Dreiklang Aus Äther 6:04
07 Ijä-Kyl 5:44
08 Expulsion Of The False Self 9:39
09 Epõdós 7:03


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Released on Russia’s Black Mara Records, Da-Pu-Ri-To-Jo is a collection comprising Troum’s 7″ vinyl releases (+1 digital); 12 tracks in all.  All tracks are fully remastered, united in the theme of a labyrinth.

From Black Mara: “It is a musical labyrinth in which we go from our earliest days, reliving every moment of the immense awe of the sublime. One topic gives way to another like the meandering paths. And revelation comes when seemingly no way out of a confusing puzzle. And if you’re a wanderer, your journey is complete. You’ve found yourself. “

Those unfamiliar with Troum’s journeys will find a unique blend and presentation of ambient (dark, cinematic) and drone along with experimental nuances.  Troum even experiments a little with noisy textures with tracks like “Betonwolke.”  Then tracks such as the appropriately titled, “Das Air” present much more of a minimalist composition.  While some tracks are more vast, others such as “Nargis” are considerably more claustrophobic and columnar-sounding.  Considering the former and latter tracks, Troum takes the listener from the beautiful to the haunting. “Victoria” represents another dimension of Troum’s skill in its ability to combine multiple layers of digital and analog sounding synth waves which bleed into one another to create their own notes on the spectrum.  “Unreleased Theme For River Endscene” is quite the stunning track which blends complex vocal-sounding drones with fluid ambient sounds to give an experience especially worthwhile while wearing earphones.

Black Mara takes an unparalleled amount of care and pride in the presentation of their releases and this is no exception.  Sonically and aesthetically their releases are always of the highest quality. The tracks are not chronologically sorted to get a new perspective inside this "labyrinth of music.




<a href="https://multiup.org/1022bce0697548638cc61ce02c51b843"> Troum ‎- Da-Pu-Ri-To-Jo   </a> ( flac 346mb)

01 Aerugo 04:53
02 Aetas Vetus 06:54
03 Agnus Dei 04:34
04 Betonwolke 08:44
05 Das Air 06:16
06 Gruoen 07:01
07 Nargis 08:14
08 Saiws 06:49
09 Segeler 04:15
10 Un / Mahts 06:29
11 Victoria 03:43
12 Unreleased Theme For River Endscene 02:59


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RhoDeo 2104 Grooves

 Hello,



Today's Artists are is an American husband-and-wife songwriting-production team and recording duo, that besides having great successes in the music industry maneged a successful mariage in the showbusinessworld (no mean feat), .........N Joy

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Ashford & Simpson were an American husband-and-wife songwriting-production team and recording duo of Nickolas Ashford (May 4, 1941 – August 22, 2011 and Valerie Simpson (born August 26, 1946).

Ashford was born in Fairfield, South Carolina, and Simpson in the Bronx, New York City. Afterwards, his family relocated to Ypsilanti, Michigan, where he became a member of Christ Temple Baptist Church. While there, he sang with a group called the Hammond Singers (named after the founding minister, James Hammond). Later, Nickolas attended and graduated from Willow Run High School in Ypsilanti, Michigan, before pursuing his professional career, where he would ultimately meet his wife, Valerie. They met at Harlem's White Rock Baptist Church in 1964. After having recorded unsuccessfully as a duo, they joined an aspiring solo artist and former member of the Ikettes, Joshie Jo Armstead, at the Scepter/Wand label, where their compositions were recorded by Ronnie Milsap ("Never Had It So Good"), Maxine Brown ("One Step at a Time"), as well as the Shirelles and Chuck Jackson. Another of the trio's songs, "Let's Go Get Stoned," gave Ray Charles a number one U.S. R&B hit in 1966. That same year, Ashford & Simpson joined Motown, where their best-known songs included "Ain't No Mountain High Enough," "You're All I Need to Get By," "Ain't Nothing Like the Real Thing," and "Reach Out and Touch (Somebody's Hand)." Ashford and Simpson wrote many other hit songs, including Chaka Khan's "I'm Every Woman" (1978) and Teddy Pendergrass's "Is It Still Good to You?"

As performers, Ashford & Simpson's best-known duets are "Solid" (1984) and "Found a Cure" (1979). The duo were inducted into the Songwriters Hall of Fame in 2002. They are also recipients of The Rhythm & Blues Foundation's Pioneer Award, ASCAP Founders Award, and the Grammy Trustee Award.[4][5] Rolling Stone ranked them No. 19 on its list of the 20 Greatest Duos of All Time
The Budos Band were also willing to assist on others' recordings. They backed Blundetto (Max Guiguet) on "Mustang," the B-side of his 2011 "Voices" single. They also contributed "Black Venom" to the Resistencia Soul compilation that also featured Nicole Willis, Lee Fields, Alice Russell, Charles Bradley, and others in 2012. Speaking of Bradley, in 2013 the group backed him on his cover of Black Sabbath's "Changes" on the A-side of a non-LP single. In October 2014, the Budos Band re-emerged with Burnt Offering, an album that diverged from the path they'd previously carved for themselves; the set was deeply steeped in psychedelia and soundtrack grooves as well as Afrobeat and funk. A four-continent world tour followed and kept the band on the road for more than two years.

The duo essentially had two careers: one as a successful writing and producing team and the other as singers and performers themselves. They started their career in the mid-1960s, writing for artists such as the 5th Dimension ("California Soul"), Aretha Franklin ("Cry Like A Baby"), and Ray Charles ("Let's Go Get Stoned" and "I Don't Need No Doctor"). Their work with Charles brought them to the attention of Motown chief Berry Gordy.

Upon joining the Motown staff in 1966, Ashford & Simpson were paired with the vocal duo Marvin Gaye and Tammi Terrell, and they wrote and/or produced all but one of the late-1960s Gaye/Terrell singles, including hits such as the original version of "Ain't No Mountain High Enough", "Your Precious Love", "Ain't Nothing Like the Real Thing", and "You're All I Need to Get By". According to Gaye in the book Divided Soul, Simpson did most of the vocals on the last album he did with Terrell, Easy, as a way for Terrell's family to have additional income as she was battling an ultimately fatal brain tumor. Though Louvain Demps, singer of the Andantes, has stated that she saw Terrell recording the album, and Simpson is quoted as saying, in a book written by Terrell's sister Ludie Montgomery, what they saw was her singing the guide tracks for the album, which were later replaced by Tammi's own vocals.

Ashford & Simpson wrote and produced almost all the songs on three 1970s albums for former Supreme Diana Ross, including her first solo album Diana Ross ("Reach Out and Touch (Somebody's Hand)")[7] and "Ain't No Mountain High Enough", Surrender ("Remember Me"), and The Boss. All three albums were critically acclaimed with Diana Ross, her 1970 album debut, and The Boss being certified platinum and "Surrender" certified Gold.

Other Motown artists whom Ashford & Simpson worked with include Gladys Knight & the Pips ("Didn't You Know You'd Have to Cry Sometime", and after Motown they wrote and produced for this group "Landlord", "Bourgie, Bourgie", and "Taste of Bitter Love"), Smokey Robinson & the Miracles ("Who's Gonna Take the Blame"), Syreeta Wright ("I Can't Give Back the Love I Feel for You"), the Marvelettes ("Destination: Anywhere"), Martha Reeves & the Vandellas ("Tear It On Down"), the Dynamic Superiors ("Shoe, Shoe Shine"), Blinky Williams ("I Wouldn't Change the Man He Is"), and the Supremes with the Four Tops (original duets, plus the production of a hit cover of Phil Spector's "River Deep-Mountain High").

Other artists with whom Ashford & Simpson had hits were Teddy Pendergrass ("Is It Still Good to You"), the Brothers Johnson ("Ride-O-Rocket"), Stephanie Mills ("Keep Away Girls"), Chaka Khan, both on her own ("I'm Every Woman" and "Clouds"), and with Rufus ("Keep It Comin'" and "Ain't Nothin' But a Maybe").
Performers

Ashford & Simpson's career as recording artists began in the early 1960s as part of the gospel group the Followers, with whom they recorded the album Gospel Meeting (on Forum Circle), later issued as Meetin' The Followers (on Roulette Records). The LP contains their vocals and also four Ashford compositions. In 1964, they recorded "I'll Find You", as "Valerie & Nick". That was followed by several obscure singles recorded by Ashford on the Glover, Verve and ABC labels, such as "It Ain't Like That" (later recorded by Martha Reeves & the Vandellas), "California Soul", and "Dead End Kids", backed by his own version of "Let's Go Get Stoned".

Simpson appeared (with Melba Moore) as part of the "Blood, Sweat & Tears Soul Chorus" on the band's debut album Child Is Father to the Man in 1968. After concentrating on working with other artists, Simpson was the featured soloist on the songs "Bridge Over Troubled Water" and "What's Going On" on the Quincy Jones albums Gula Matari in 1970, and its follow-up, Smackwater Jack.

Simpson subsequently recorded two solo LPs for Motown: Exposed in 1971, and, the following year, Valerie Simpson, which included the single "Silly, Wasn't I", which was later sampled on 50 Cent's "Best Friend" from the movie Get Rich or Die Tryin'. The song was also sampled by 9th Wonder on Murs's "Silly Girl" in the album Murray's Revenge. Ashford & Simpson were featured singing selections from Simpson's solo albums on the PBS TV show Soul!, hosted by Ellis Haizlip in 1971. In 1973, they left Motown after the albums Simpson recorded for the label received poor promotion and the company refused to release an album of the duo recording a collection of their most famous songs for other artists.

In 1974, Ashford and Simpson married after resuming their career as a duo with the Warner Bros. album Gimme Something Real released in 1973, followed in 1974 by I Wanna Be Selfish. In 1975 Simpson sang backing vocals on Paul Simon's number-one hit "50 Ways to Leave Your Lover", and in 1976 they released Come As You Are. 1977 saw the release of two albums – So So Satisfied and Send it. This was followed by the hit singles "Send It", "Don't Cost You Nothin'" (1977), "It Seems To Hang On" (1978), "Is It Still Good To Ya" (1978), "Found a Cure" (1979), "Street Corner" (1982), and their biggest hit, "Solid", released in 1984.

In 1978, they were featured as vocalists, along with Chaka Khan, on the hit single "Stuff Like That" from Quincy Jones' Sounds... And Stuff Like That album and contributed to the writing of the soundtrack to The Wiz. The duo appeared as themselves in "Nocturne", a 1986 episode of the popular television series The Equalizer.

On his own, Ashford (along with Frank Wilson) produced the hit "I'm Gonna Make You Love Me", which Diana Ross & the Supremes recorded in collaboration with the Temptations in 1968. He also appeared in the movie New Jack City (1991), as Reverend Oates, an ordained minister who was part of Nino Brown's entourage.

Simpson's brothers were in the record business as well: Ray Simpson replaced Victor Willis in the Village People and their brother Jimmy Simpson produced the group GQ (which had big hits with "Disco Nights (Rock-Freak)" and "I Do Love You"), and was in great demand as a mixing engineer during the disco era.
Recent years and Ashford's death

In latter times, Ashford & Simpson recorded and toured sporadically, and in 1996, they opened a restaurant and live entertainment venue, Sugar Bar in New York City, with an open mic on Thursday nights, where performers included Queen Latifah, Vickie Natale and Felicia Collins. Ashford & Simpson recorded the album Been Found with poet Maya Angelou in 1996. Around that time, they were also featured disc jockeys on New York radio station WRKS.

On August 16, 2006, Playbill Online reported that they were writing the score for a musical based on E. Lynn Harris's novel Invisible Life. In January 2007, they, along with Tina Turner, Mary J. Blige, Mariah Carey, Sidney Poitier, director Spike Lee, and comedian Chris Rock accompanied Oprah Winfrey when she opened her Leadership Academy for Girls in South Africa.

They were given writing credit on Amy Winehouse's 2007 CD Back to Black for the single "Tears Dry on Their Own". The track is based on a sample of Marvin Gaye and Tammi Terrell's 1967 Motown hit "Ain't No Mountain High Enough". They had begun performing their act in small, intimate venues, such as Feinstein's at the Regency in New York and the Rrazz Room in San Francisco, and in January 2009, they released a CD and DVD of their live performances titled The Real Thing. On June 22, 2009, they made a guest performance at a party at Tribeca Rooftop, New York, to celebrate Virgin Atlantic's birthday party. They also made their first appearance in Tokyo, Japan, in November 2009, and performed eight shows in four days at Blue Note Tokyo.

At President Barack Obama's 2009 inauguration, Ashford and Simpson rewrote their song, "Solid", as "Solid as Barack". They dedicated it to him at his inaugural festivities.

Ashford died in a New York City hospital on August 22, 2011, four days before Valerie Simpson's 65th birthday, of complications from throat cancer. His publicist, Liz Rosenberg, said that he had undergone radiation therapy to treat his illness.

Simpson released a new solo album in June 2012, called Dinosaurs Are Coming Back Again, which also features the last recorded performance of Nina Simone, a second duet with Roberta Flack and an instrumental version of "Ain't No Mountain High Enough".

In 2014, Simpson made a guest appearance on the title track to Kindred the Family Soul's album A Couple Friends.

In May 2014, Simpson was awarded an Honorary Doctorate of Music from Berklee College of Music.
Personal life

Nick Ashford and Valerie Simpson have two daughters, Nicole (born in 1975), and Asia (born in 1987). Nicole graduated from Wesleyan University in 1997.
Awards and nominations

In 1969, Ashford and Simpson won three BMI Awards for the songs "Ain't No Mountain High Enough," "Ain't Nothing Like the Real Thing," and "Your Precious Love."

Ashford and Simpson were inducted Songwriters Hall of Fame in 2002. They were also recipients of The Rhythm & Blues Foundation's Pioneer Award in 1999, and ASCAP's highest honor, the Founders Award, which they received in 1996
 

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In '77, Ashford & Simpson's sophisticated urban Soul is influenced by Disco but not overpowered by it. Few Soul artists were able to adapt to the glittering world of Disco without renouncing their original sound as this duo was. Valerie and Nick must have felt the surge of the moment as Send It sparkles with a gloss of accomplishment. They were doing the right thing and their audience acknowledged it at the cash desk. Valerie and Nick'd had a reputation as important songwriters, however, Solid finally proved that they were the ideal interpreters of their songs.

The basis of artistic success was their seemingly endless ability to write songs. Not all the album tracks turned into singles but there aren't any fillers. There's the faster and the slower songs; they sometimes take on the dramatic quality of an anthem. There's the fat Funk of Don't Cost You Nothin', the song we played every night at the club for at least three years and beyond - it would draw the dancers to the dance floor without fail. Nick and Valerie made the right choice when it came to choosing the musicians - Eric Gale, Francisco Centano, Ralph MacDonald and others create a warm yet super-professional sound. This album contains an instrumental cut, Bourgie Bourgie, a kind of Disco fantasy, where they show what a smooth sound they're capable of cooking up. Valerie takes care of the piano and keyboards - she's composer, singer, musician, producer, a Renaissance woman!



<a href="https://multiup.org/293dd2ee3e49e598e02781800a096965"> Ashford & Simpson - Send It  </a> (flac   411mb)

01 By Way of Love's Express
02 Let Love Use Me
03 Don't Cost You Nothing
04 Send It
05 Top of the Stairs
06 Too Bad
07 Bourgie, Bourgie
08 I Waited Too Long
09 Don't Cost You Nothing (12" Disco Mix)
10 Bourgie, Bourgie (Joe Claussell Classic Remix)
11 Send It (Single Version) [bonus track]
12 Don't Cost You Nothing (Single Version)

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Having written many popular numbers for various artists over the years, the dynamic duo retain that same tradition for this project. This husband and wife team are so talented and on this, their own album, boy does that talent shine, with great r&b, soul, disco tracks. On some tracks, like 'Is It Still Good To Ya' they sound Bee Gee like, Ashford is especially Bee Gee like, a long lost brother, both are excellent vocalists as well as being great writers and arrangers. It's worth mentioning the production is excellent on this album, these two know what they are doing, and their sexy heat leaps off the vinyl. Great album.

<a href="https://mir.cr/1GTBKA7R">  Ashford & Simpson - Is It Still Good To Ya </a> (flac   214mb)

01 It Seems to Hang On 5:11
02 Is It Still Good to Ya 3:50
03 The Debt Is Settled 3:51
04 Ain't It a Shame 4:54
05 Get Up and Do Something 4:52
06 You Always Could 3:30
07Flashback 3:55
08 As Long As It Holds You 3:59

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After some deep soul on their first two outings, and the birth of their daughter, Nic Ashford and Val Simpson return on the easy going Come As You Are. While the arrangements have a greater touch of light rock than those on their predecessors in particular the trumpet & sax solos on the A side there is some definite quality here. One of Ashford & Simpson's best Warner Bros. albums, especially from a production standpoint. The mix between up-tempo and slow, love songs and dance tunes was perfect, and their interaction had been honed to the point where each anticipated the other. Simpson's soaring vocals and Ashford's less-impressive but still strong support, plus their outstanding harmonizing, was at its peak. Certainly not. No duo ever impersonated the joy to be together as Ashford & Simpson did. The uptempo songs are exhilarating, the slow ones sensual, and their titles are often manifestos for a better life.



<a href="https://www.imagenetz.de/nN6Mg">  Ashford & Simpson - Stay Free</a> (flac   259m)

01 Found A Cure 7:03
02 Stay Free 5:22
03 Dance Forever 5:49
04 Nobody Knows 6:37
05 Crazy 3:41
06 Finally Got Me 4:44
07 Follow Your Heart 4:45


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The Ashford & Simpson sound was always lush, sentimental, and soulful, yet subdued. That's the case on this 1977 release. The title cut was a moderate hit, and, as always, the sweeping strings, lyrics, and production were first-rate. Ashford & Simpson albums could get extremely sappy, and at times this one did as well. But they were also usually superbly performed and constructed, and So So Satisfied was no exception.
Quite nice 1970s soul, now and then turning to disco. But mostly soul music. "Maybe I Can Find It" is one of my favourite Ashford & Simpson songs that I know so far. "If You're Lying" is a strong closing track, while "Tried, Tested and Found True" and "Over and Over" work quite finely on a dance floor. However, excluding "Maybe I Can Find It", So So Satisfied is a little bit too average all the way through to really become a significant or classic album within the scope of 1970s soul.



<a href="http://depositfiles.com/files/l343llpkf">  Ashford & Simpson - A Musical Affair  </a> (flac   225mb


01 Love Don't Make It Right 4:21
02 Rushing To 5:23
03 I Ain't Asking For Your Love 4:00
04 Make It To The Sky 3:52
05 We'll Meet Again 3:51
06 You Never Left Me Alone 3:47
07 Get Out Your Handkerchief 3:58
08 Happy Endings 5:14

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RhoDeo 2104 Re Up 270

 Hello,


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.


9 correct requests for this week , 2 ! too early, 1 double, whatever another batch of 32 re-ups (10.0gig)


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 January 18th... N'Joy

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<a href="https://rho-xs.blogspot.com/2013/11/rhodeo-1345-roots.html">3x Roots</a>  Back in Flac (VA - The Divas From Mali, Dimi Mint Abba - Songs of Mauritania, Malouma - Nour    )




<a href="https://rho-xs.blogspot.com/2013/07/rhodeo-1327-roots.html">2x Roots</a> Back in Flac (Desert Blues 1 - Ambiances du Sahara (1), Desert Blues 1 - Ambiances du Sahara (2) )




<a href="https://rho-xs.blogspot.com/2018/05/rhodeo-1821-aetix.html">dx Aetix </a> Flac (The Durutti Column - Without Mercy, The Durutti Column - Domo Arigato , The Durutti Column - Circuses n Bread, Durutti Column - The Guitar And Other Machines,,The Durutti Column - Vini Reilly   ,)




<a href="https://rho-xs.blogspot.com/2013/12/rhodeo-1352-roots.html">3x Roots</a> Back in Flac (Gétatchèw Mèkurya - Negus Of Ethiopian Sax , VA - Music Of Ethiopia , Abyssinia Infinite - Zion Roots  )




<a href="https://rho-xs.blogspot.com/2011/08/rhodeo-1134-aetix.html">4x Aetix</a>Back in Flac (VA - No New York, James Chance & The Contortions – Buy,  The Lounge Lizards - Lounge Lizards, Bush Tetras - Boom in the Night)

        


<a href="https://rho-xs.blogspot.com/2016/09/rhodeo-1636-grooves.html">4x Grooves</a> Back in Flac (Vanity 6 - Vanity 6, Jill Jones - Jill Jones, Wendy & Lisa - Wendy And Lisa , Wendy & Lisa - Fruit At The Bottom)




<a href="https://rho-xs.blogspot.com/2008/06/sundaze-38.html">3x Sundaze</a>  Back in Flac (Laswell & Namlook - Psychonavigation , Laswell & Jah Wobble - Radioaxiom, Golden Palominos - Drunk With Passion )



<a href="https://rho-xs.blogspot.com/2017/10/sundaze-1744.html">4x Sundaze</a> Back in Flac (Vidna Obmana - Act 1, Echoes of Steel, Vidna Obmana - Act 2, Phrasing The Air'     Vid Obmana - Act 3, Reflection On Scale    Vidna Obmana - Act 4, Bowing Harmony)




<a href="https://rho-xs.blogspot.com/2018/01/sundaze-1803.html">4x Sundaze</a>  Back in Flac (Monade - Socialisme Ou Barbarie (The Bedroom Recordings)  , Monade - A Few Steps Move, Monade - Monstre Cosmic, Little Tornados - We Are Divine)







As mentioned please return if you have it
  
Violeta Parra - En el Aula Magna de  Concepción..    207mb    
Violeta Parra - Magna de Concepción    088mb    

    

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Rhodeo 2104 Expanse 27

 Hello,

 

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

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A recent image of the Helix Nebula in the constellation Aquarius exposes more details of its electrical structure.

The new infrared image shows radial Birkeland currents (called “strands” in the press release) crossing the concentric rings and converging on the central star. (Will “strands” now replace the former “stringy things” in the consensus lexicon?) One can see especially well in the high-resolution image that these currents consist of double filaments that spiral around each other and are evenly spaced around the rings.

From an Electric Universe point of view, the image is looking down the axis of the hourglass-shaped galactic current that powers the star. If viewed from the side, the nebula would have a structure like that of the Ant Nebula. The hourglass shape is caused by the Bennett pinch from which the star originated and accumulated its matter.

The rings will constitute secondary circuits, subject to their own pinch effects, which explains the concentration of glowing matter in them. The outer ring especially appears to consist of double filaments that twist around each other, exactly what is expected of an electric current in magnetized plasma. The bipolar extension of luminosity in the radial filaments (to upper right and lower left) may indicate a diffusion of ring plasma into (or from) the further reaches of the hourglass.

The apparent inner ring actually may be located on the far side of the star, symmetric with the outer ring located on the near side. If viewed off-axis, the structure would be similar to that of SN1987a. Or perhaps the inner ring is located closer to the star in a more constricted part of the hourglass.

The main ring is estimated to be about 2 light-years in diameter, and the outer reaches of the nebula can be traced to about 4 light-years. This provides an order-of-magnitude sense of the dimensions of the pinch in the current powering the Sun, from which the recently discovered ring of energetic neutral atoms (ENAs) likely originates. The Sun’s plasma sheath, which the Voyager space probes are now entering, is located well inside the hourglass pinch. This sheath acts as the virtual cathode in the Sun’s discharge circuit and is coupled with the hourglass current in a manner yet to be determined.

Terrella-like experiments are needed to explore the mechanisms and details of such plasma interactions. The concentrating and centralizing of funding and research since the establishment of NASA and its sister agencies have resulted in a flood of discoveries. However, it has also resulted in the establishment of a monopolistic consensus that has driven out research into alternative hypotheses. The poster boy for this disturbing consequence is Halton Arp, who was denied telescope time in 1983 to pursue evidence of intrinsic redshift.

Experiments to refine the concepts of alternative hypotheses are unlikely to be done as long as the would-be investigators are exiles. They dig for spare minutes between the cushions of earning a living from other pursuits, and the few temporal coins they find are spent on conceptual outlines. Nothing is left for desperately needed experiments.

The once-proud Queen of the Sciences now offers herself for sale to the highest bidder on her street corner. The field of astronomy is no longer a seminar of science but a battlefield between mercenaries and exiles.

Mel Acheson

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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...
 

7 high quality mini docs on the EU.. don't miss them


<a href="https://multiup.org/8b3c2029879467ad0bddcf149cf2551d">Electric Universe S01E01 The Spark of an Electric Universe</a> ( 30min  503mb)
<a href="https://multiup.org/e4695243783841c895894bd57b5aaf09">Electric Universe S01E02 Modern Understanding of Ancient Cosmology</a> ( 30min  433mb)
<a href="https://multiup.org/56ebdd38eb280c89d808002f97a16732">Electric Universe S01E03  Electric Stars</a> ( 30min  420mb)
<a href="https://multiup.org/ad571d760a940a67dd205a3d742f8a61">Electric Universe S01E04  The Birth of Venus</a> ( 26:30min  372mb)
<a href="https://multiup.org/9c069a1b16a8b6c5b67cc1ae04591348">Electric Universe S01E05  Deep Memories of Mars</a> ( 28:02min  372mb)
<a href="https://multiup.org/a9df94797a5c15e515856a98800bc6e3">Electric Universe S01E06  Our Electrical Bonds to the Universe</a> ( 26:28min  442mb)
<a href="https://multiup.org/39262ebdccf15b8988103e7bb9bceec2">Electric Universe S01E07  Saturn and the Cosmic Tale of Humanity</a> ( 31:03min  442mb)


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The subject of this video series by Dave Talbott 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. We can then follow the configuration’s evolution through phases that range from quasi-stability to earth shaking catastrophe.

See the three full documentaries in the Symbols of an Alien Sky series:
Episode 1, Symbols of an Alien Sky
Episode 2, Symbols of an Alien Sky: The Lightning-Scarred Planet, Mars
Episode 3, Symbols of an Alien Sky: The Electric Comet

Discourses on an Alien Sky—Preface | The Meaning of Ancient Myths

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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.

Novels
#     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

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Cibola Burn is a 2014 science fiction novel by James S. A. Corey (pen name of Daniel Abraham and Ty Franck) and the fourth book in The Expanse series. It follows the crew of the Rocinante as they join the flood of humanity out into the galaxy, using the gates built by the ancient civilization that also produced the protomolecule. At the release of Cibola Burn, Orbit Books announced that James S. A. Corey would write three additional books in the series (adding to two that were already planned) to bring the series to nine novels and various short stories.

After the events of Abaddon's Gate, humanity has gained entry to thousands of new worlds and solar systems through the gate networks. At the start of Cibola Burn the United Nations, Martian and Outer Planets Alliance governments have thus far restricted exploration and colonization efforts to one corporate scientific survey mission to one of these planets. Complicating matters is the existence of a colonial settlement already on the planet from before the military blockade of the rings came into effect. Both sides claim ownership in a confrontation reflecting many colonial interactions throughout history. Jim Holden is sent to mediate the interactions between the colonists and scientists when political and racial tensions culminate in violence.

Still dogged by the disembodied presence of Miller, who wishes to investigate the disappearance of the planet's former inhabitants, Holden arrives on a world on the verge of war. Yet the biggest danger to the colonists, scientists and Holden is not the human disagreements that they have brought with them but the frontier. As with the settling of the American West and many colonial projects of Earth's past, the frontier into which humanity has ventured is vast, uncontrolled and full of dangers. When a mysterious disease and horrific disaster strike at the same time and threaten the lives of the colonists and those in orbit, Holden and Miller must brave the ruins of an alien civilization in search of the one thing that might save them all.
Major character arcs

Basia Merton is one of the refugees from Ganymede refused safe harbor in the Solar System. His ship pushed through the gate to be the first to settle a new planet. Called Ilus by the inhabitants, they found a rich vein of lithium that could provide a valuable trading commodity with other systems. The United Nations sends a scientific party to the planet with a legal charter to the land. This drives Basia to actions he never thought he would do, and it seems like he has a never-ending set of decisions between bad choices, while he's only trying to do what he thinks is best for his family.

Elvi Okoye is a scientist on the team sent by the United Nations. Her original task was to try to survey the planet in a pristine state but events make that impossible. Later, she tries to gain insight into the incredible things happening on the planet that make it seem like the most hospitable biosphere found away from Earth may kill them all.

Dmitri Havelock was Miller's partner on Ceres and is now deputy security chief for the UN mission to New Terra. Remaining aboard the ship that brought him while the security chief relocates to the surface, he becomes increasingly concerned about the actions of his supervisor. Later, the fortunate capture of a prisoner from the Rocinante sets a chain of events into motion with long-term repercussions for humanity.

James Holden Sensing trouble brewing on Ilus/New Terra, Chrisjen Avasarala sees the need for someone perceived as unbiased to negotiate and report on events there and chooses Jim Holden. After making the journey, the crew tries their best to balance colonial claims, government priority and the awakening creatures on the planet within a crisis greater than all their earlier concerns.

Miller is still trying to figure out his role within the alien construct, while maintaining his connection with Holden. Eventual clues come together allowing him to shut down the alien machinery and potentially save everyone. However, both the remnants of Miller and the Investigator are killed in the process.

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="https://multiup.org/a342a96876aac55f56cc4d6d19a82489">James S.A. Corey - The Expanse Cibola Burn (01-07) </a> ( 132min  61mb)

James S.A. Corey - The Expanse Cibola Burn 01-07    132min



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previously

<a href="https://multiup.org/ec2507a66facbe13b61c3d6aafd8b255">James Corey - The Expanse Caliban's War 01-07 </a> ( 139min  63mb)
<a href="https://multiup.org/7c2db1bc4c8f93ff45f2df6e5a901aca">James Corey - The Expanse Caliban's War 08-15 </a> ( 173min  78mb)
<a href="https://multiup.org/d627294ce680b55a5552ee26da80628d">James Corey - The Expanse Caliban's War 16-22 </a> ( 169min  64mb)
<a href="https://multiup.org/71ffc68a701740415df5806f6db5c405">James Corey - The Expanse Caliban's War 23-29 </a> ( 165min  64mb)
<a href="https://multiup.org/2ddc5eb96cece09aafae0029a72381fd">James Corey - The Expanse Caliban's War 30-36 </a> ( 167min  67mb)
<a href="https://multiup.org/b9bbcfa99bc55b573b00e3c0287fedb7">James Corey - The Expanse Caliban's War 37-43 </a> ( 149min  67mb)
<a href="https://multiup.org/37ee50c645c467428254dcfb0092550e">James Corey - The Expanse Caliban's War 44-50 </a> ( 150min  60mb)
<a href="https://multiup.org/1d286bb56f1c77caf49144115f918da1">James Corey - The Expanse Caliban's War 51-57 </a> ( 104min  48mb)
<a href="https://multiup.org/04e5eba5ae7d0b8714c747f135e97208">James Corey - The Expanse Abaddon's Gate 01-07 </a> ( 143min  66mb)
<a href="https://multiup.org/9d31e40248b2d9b26a7d0dbd9237ecb3">James Corey - The Expanse Abaddon's Gate 08-14 </a> ( 157min  72mb)
<a href="https://multiup.org/98823e0797656130ce7e51d3569dacfb">James Corey - The Expanse Abaddon's Gate 15-21 </a> ( 139min  64mb)
<a href="https://multiup.org/bc63015bb4e75014732fbd2558d1db22">James Corey - The Expanse Abaddon's Gate 22-28 </a> ( 158min  72mb)
<a href="https://multiup.org/66e48cef9a80992a672ae47c44cf7979">James Corey - The Expanse Abaddon's Gate 29-35 </a> ( 138min  63mb)
<a href="https://multiup.org/d643ce67098f78606be3c6209f56337b">James Corey - The Expanse Abaddon's Gate 36-42 </a> ( 131min  60mb)
<a href="https://multiup.org/a8ae55abe052929db05681aa453d8c65">James Corey - The Expanse Abaddon's Gate 43-49</a> ( 131min  60mb)
<a href="https://multiup.org/62fc21d2f4526401839898a34dba8c96">James Corey - The Expanse Abaddon's Gate 50-55</a> ( 99min  45mb)
<a href="https://multiup.org/f7f2f9b4f8c292baa4a10cc975434388">James Corey - The Expanse The Vital Abyss </a> ( 146min  67mb)

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Sundaze 2104

 Hello,  


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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.




<a href="https://bayfiles.com/N27ak5C5p1/Trm_Atpss_Nhtsct_zip"> Troum - Autopoiesis Nahtscato </a> ( flac 309mb)

Autopoiesis LP
01 Autopoiesis Pt. 1 (Part 2, 3)     4:47
02 Autopoiesis Pt. 2 (Part 3) 13:35
03 Autopoiesis Pt. 3 (Part 2, 4) 11:21
04 Autopoiesis Pt. 4 (Part 1, 2, 3) 6:55
Nahtscato 12"
05 O Choros Ton Epithymion 6:27
06 Tsal     8:03
07 Nahtscato 12:40
Bonus (Previously Unreleased)
08 Autopoiesis Pt. 4 (Different Version) 7:03
09 Bale Caps 8:09

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<a href="https://multiup.org/f5ff415c21d15e454ea736aba9d70d77">  Troum n Christian Renou - Dissolution </a> ( flac 366mb)

01 Christian Renou - Himmelweg (Le Chemin Du Ciel) Part 1 1:23
02 Christian Renou - Himmelweg (Le Chemin Du Ciel) Part 2 4:16
03 Christian Renou - Himmelweg (Le Chemin Du Ciel) Part 3 12:47
04 Christian Renou - Himmelweg (Le Chemin Du Ciel) Part 4 7:36
05 Troum & Christian Renou - Dissolution Part 1 6:32
06 Troum & Christian Renou - Dissolution Part 2 7:41
07 Troum - In-Galeikon 27:26

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This is the third & final part in the "Power Romantic" series, released end of 2013 on Transgredient Records as CD (TR-09).

"What comes with the Power Romantic trilogy (which pt. 1 and 2 are: Mare Idiophonika, Grote Mandrenke) is brooding from the core of Troum’s universe. Relating Troum with strong Romantic tropisms is like sewing an endless canvas. In every musical piece they work, the two musicians BarakaH and Glit[s]ch navigate a vast sea of sound, recalling the Romantic feeling in front of deep landscapes that reflect the very soul, threatening in a voluptuous appeal the observer to dissolve in the totality. Troum’s attraction to the notion of Dissolution is felt every time that the sound waves inflate to shape a luminous drone, every time that the pulsation melts into a magmatic rumbling. And what about the beauty of sadness, celebrated since the days of Maeror Tri…
That sea of sound, of profound melancholic drones and waves gets its monument with the Power Romantic trilogy in which Troum show their skill in harmony, but not only. Drones and harmony still reign but a clear way is designed for melody and rhythms (as it already was in Tjukurrpa pt. 3). The oceanic feeling is fueled by new movements, like a storm upon and under the fluid. Mare morphosis, pt. 3 of the Power Romantic trilogy, opens as the very building of a Sunken Cathedral, with heavy rhythms like stone columns gently embraced by subtle sharpened melodic phrases. The whole soundscape navigates then by the tide and lets the strong motion of sound rumbling and driving to surface the heavy layers of undercurrents, bringing up to light their deep melancholic germ of melody. Mare morphosis definitely gives Troum’s music a new dimension, reflecting ancient waves, amplifying the power of Sehnsucht, drumming the drowning hear.

<a href="https://mir.cr/ACIUAOEE">   Troum - Mare Morphosis-</a> ( flac 278mb)

01 Mare Morphosis 51:29

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"Syzygie: Zusammenkunft und Gegenschein zweier Planeten, or: an antithetic relationship between (personified) beings of the spiritual world and their shadows"

A collection of rare / deleted tracks from compilations Vol. II (1999-2002). Everything recorded between November 1999 and May 2002 on analogue 8-track.
Mastered at The Cage Studios, Coventry, England, August 2013.

<a href="https://www.imagenetz.de/jhRHL">Troum - Syzygie  </a> ( flac 313mb)

01 Ater 6:46
02 Makaria 8:03
03 Ganymed 9:12
04 Fantauma 5:34
05 Uegh[Cunabula] 6:20
06 S’engourdir 8:23
07 Khan-Arachnid 5:42
08 Wit Wists Fra-Qistjan 7:16
09 Thrausmata Enos Oneirou 12:19


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RhoDeo 2103 Grooves

 Hello,



Today's Artists are is an American husband-and-wife songwriting-production team and recording duo, that besides having great successes in the music industry maneged a successful mariage in the showbusinessworld (no mean feat), .........N Joy

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Ashford & Simpson were an American husband-and-wife songwriting-production team and recording duo of Nickolas Ashford (May 4, 1941 – August 22, 2011 and Valerie Simpson (born August 26, 1946).

Ashford was born in Fairfield, South Carolina, and Simpson in the Bronx, New York City. Afterwards, his family relocated to Ypsilanti, Michigan, where he became a member of Christ Temple Baptist Church. While there, he sang with a group called the Hammond Singers (named after the founding minister, James Hammond). Later, Nickolas attended and graduated from Willow Run High School in Ypsilanti, Michigan, before pursuing his professional career, where he would ultimately meet his wife, Valerie. They met at Harlem's White Rock Baptist Church in 1964. After having recorded unsuccessfully as a duo, they joined an aspiring solo artist and former member of the Ikettes, Joshie Jo Armstead, at the Scepter/Wand label, where their compositions were recorded by Ronnie Milsap ("Never Had It So Good"), Maxine Brown ("One Step at a Time"), as well as the Shirelles and Chuck Jackson. Another of the trio's songs, "Let's Go Get Stoned," gave Ray Charles a number one U.S. R&B hit in 1966. That same year, Ashford & Simpson joined Motown, where their best-known songs included "Ain't No Mountain High Enough," "You're All I Need to Get By," "Ain't Nothing Like the Real Thing," and "Reach Out and Touch (Somebody's Hand)." Ashford and Simpson wrote many other hit songs, including Chaka Khan's "I'm Every Woman" (1978) and Teddy Pendergrass's "Is It Still Good to You?"

As performers, Ashford & Simpson's best-known duets are "Solid" (1984) and "Found a Cure" (1979). The duo were inducted into the Songwriters Hall of Fame in 2002. They are also recipients of The Rhythm & Blues Foundation's Pioneer Award, ASCAP Founders Award, and the Grammy Trustee Award.[4][5] Rolling Stone ranked them No. 19 on its list of the 20 Greatest Duos of All Time
The Budos Band were also willing to assist on others' recordings. They backed Blundetto (Max Guiguet) on "Mustang," the B-side of his 2011 "Voices" single. They also contributed "Black Venom" to the Resistencia Soul compilation that also featured Nicole Willis, Lee Fields, Alice Russell, Charles Bradley, and others in 2012. Speaking of Bradley, in 2013 the group backed him on his cover of Black Sabbath's "Changes" on the A-side of a non-LP single. In October 2014, the Budos Band re-emerged with Burnt Offering, an album that diverged from the path they'd previously carved for themselves; the set was deeply steeped in psychedelia and soundtrack grooves as well as Afrobeat and funk. A four-continent world tour followed and kept the band on the road for more than two years.

The duo essentially had two careers: one as a successful writing and producing team and the other as singers and performers themselves. They started their career in the mid-1960s, writing for artists such as the 5th Dimension ("California Soul"), Aretha Franklin ("Cry Like A Baby"), and Ray Charles ("Let's Go Get Stoned" and "I Don't Need No Doctor"). Their work with Charles brought them to the attention of Motown chief Berry Gordy.

Upon joining the Motown staff in 1966, Ashford & Simpson were paired with the vocal duo Marvin Gaye and Tammi Terrell, and they wrote and/or produced all but one of the late-1960s Gaye/Terrell singles, including hits such as the original version of "Ain't No Mountain High Enough", "Your Precious Love", "Ain't Nothing Like the Real Thing", and "You're All I Need to Get By". According to Gaye in the book Divided Soul, Simpson did most of the vocals on the last album he did with Terrell, Easy, as a way for Terrell's family to have additional income as she was battling an ultimately fatal brain tumor. Though Louvain Demps, singer of the Andantes, has stated that she saw Terrell recording the album, and Simpson is quoted as saying, in a book written by Terrell's sister Ludie Montgomery, what they saw was her singing the guide tracks for the album, which were later replaced by Tammi's own vocals.

Ashford & Simpson wrote and produced almost all the songs on three 1970s albums for former Supreme Diana Ross, including her first solo album Diana Ross ("Reach Out and Touch (Somebody's Hand)")[7] and "Ain't No Mountain High Enough", Surrender ("Remember Me"), and The Boss. All three albums were critically acclaimed with Diana Ross, her 1970 album debut, and The Boss being certified platinum and "Surrender" certified Gold.

Other Motown artists whom Ashford & Simpson worked with include Gladys Knight & the Pips ("Didn't You Know You'd Have to Cry Sometime", and after Motown they wrote and produced for this group "Landlord", "Bourgie, Bourgie", and "Taste of Bitter Love"), Smokey Robinson & the Miracles ("Who's Gonna Take the Blame"), Syreeta Wright ("I Can't Give Back the Love I Feel for You"), the Marvelettes ("Destination: Anywhere"), Martha Reeves & the Vandellas ("Tear It On Down"), the Dynamic Superiors ("Shoe, Shoe Shine"), Blinky Williams ("I Wouldn't Change the Man He Is"), and the Supremes with the Four Tops (original duets, plus the production of a hit cover of Phil Spector's "River Deep-Mountain High").

Other artists with whom Ashford & Simpson had hits were Teddy Pendergrass ("Is It Still Good to You"), the Brothers Johnson ("Ride-O-Rocket"), Stephanie Mills ("Keep Away Girls"), Chaka Khan, both on her own ("I'm Every Woman" and "Clouds"), and with Rufus ("Keep It Comin'" and "Ain't Nothin' But a Maybe").
Performers

Ashford & Simpson's career as recording artists began in the early 1960s as part of the gospel group the Followers, with whom they recorded the album Gospel Meeting (on Forum Circle), later issued as Meetin' The Followers (on Roulette Records). The LP contains their vocals and also four Ashford compositions. In 1964, they recorded "I'll Find You", as "Valerie & Nick". That was followed by several obscure singles recorded by Ashford on the Glover, Verve and ABC labels, such as "It Ain't Like That" (later recorded by Martha Reeves & the Vandellas), "California Soul", and "Dead End Kids", backed by his own version of "Let's Go Get Stoned".

Simpson appeared (with Melba Moore) as part of the "Blood, Sweat & Tears Soul Chorus" on the band's debut album Child Is Father to the Man in 1968. After concentrating on working with other artists, Simpson was the featured soloist on the songs "Bridge Over Troubled Water" and "What's Going On" on the Quincy Jones albums Gula Matari in 1970, and its follow-up, Smackwater Jack.

Simpson subsequently recorded two solo LPs for Motown: Exposed in 1971, and, the following year, Valerie Simpson, which included the single "Silly, Wasn't I", which was later sampled on 50 Cent's "Best Friend" from the movie Get Rich or Die Tryin'. The song was also sampled by 9th Wonder on Murs's "Silly Girl" in the album Murray's Revenge. Ashford & Simpson were featured singing selections from Simpson's solo albums on the PBS TV show Soul!, hosted by Ellis Haizlip in 1971. In 1973, they left Motown after the albums Simpson recorded for the label received poor promotion and the company refused to release an album of the duo recording a collection of their most famous songs for other artists.

In 1974, Ashford and Simpson married after resuming their career as a duo with the Warner Bros. album Gimme Something Real released in 1973, followed in 1974 by I Wanna Be Selfish. In 1975 Simpson sang backing vocals on Paul Simon's number-one hit "50 Ways to Leave Your Lover", and in 1976 they released Come As You Are. 1977 saw the release of two albums – So So Satisfied and Send it. This was followed by the hit singles "Send It", "Don't Cost You Nothin'" (1977), "It Seems To Hang On" (1978), "Is It Still Good To Ya" (1978), "Found a Cure" (1979), "Street Corner" (1982), and their biggest hit, "Solid", released in 1984.

In 1978, they were featured as vocalists, along with Chaka Khan, on the hit single "Stuff Like That" from Quincy Jones' Sounds... And Stuff Like That album and contributed to the writing of the soundtrack to The Wiz. The duo appeared as themselves in "Nocturne", a 1986 episode of the popular television series The Equalizer.

On his own, Ashford (along with Frank Wilson) produced the hit "I'm Gonna Make You Love Me", which Diana Ross & the Supremes recorded in collaboration with the Temptations in 1968. He also appeared in the movie New Jack City (1991), as Reverend Oates, an ordained minister who was part of Nino Brown's entourage.

Simpson's brothers were in the record business as well: Ray Simpson replaced Victor Willis in the Village People and their brother Jimmy Simpson produced the group GQ (which had big hits with "Disco Nights (Rock-Freak)" and "I Do Love You"), and was in great demand as a mixing engineer during the disco era.
Recent years and Ashford's death

In latter times, Ashford & Simpson recorded and toured sporadically, and in 1996, they opened a restaurant and live entertainment venue, Sugar Bar in New York City, with an open mic on Thursday nights, where performers included Queen Latifah, Vickie Natale and Felicia Collins. Ashford & Simpson recorded the album Been Found with poet Maya Angelou in 1996. Around that time, they were also featured disc jockeys on New York radio station WRKS.

On August 16, 2006, Playbill Online reported that they were writing the score for a musical based on E. Lynn Harris's novel Invisible Life. In January 2007, they, along with Tina Turner, Mary J. Blige, Mariah Carey, Sidney Poitier, director Spike Lee, and comedian Chris Rock accompanied Oprah Winfrey when she opened her Leadership Academy for Girls in South Africa.

They were given writing credit on Amy Winehouse's 2007 CD Back to Black for the single "Tears Dry on Their Own". The track is based on a sample of Marvin Gaye and Tammi Terrell's 1967 Motown hit "Ain't No Mountain High Enough". They had begun performing their act in small, intimate venues, such as Feinstein's at the Regency in New York and the Rrazz Room in San Francisco, and in January 2009, they released a CD and DVD of their live performances titled The Real Thing. On June 22, 2009, they made a guest performance at a party at Tribeca Rooftop, New York, to celebrate Virgin Atlantic's birthday party. They also made their first appearance in Tokyo, Japan, in November 2009, and performed eight shows in four days at Blue Note Tokyo.

At President Barack Obama's 2009 inauguration, Ashford and Simpson rewrote their song, "Solid", as "Solid as Barack". They dedicated it to him at his inaugural festivities.

Ashford died in a New York City hospital on August 22, 2011, four days before Valerie Simpson's 65th birthday, of complications from throat cancer. His publicist, Liz Rosenberg, said that he had undergone radiation therapy to treat his illness.

Simpson released a new solo album in June 2012, called Dinosaurs Are Coming Back Again, which also features the last recorded performance of Nina Simone, a second duet with Roberta Flack and an instrumental version of "Ain't No Mountain High Enough".

In 2014, Simpson made a guest appearance on the title track to Kindred the Family Soul's album A Couple Friends.

In May 2014, Simpson was awarded an Honorary Doctorate of Music from Berklee College of Music.
Personal life

Nick Ashford and Valerie Simpson have two daughters, Nicole (born in 1975), and Asia (born in 1987). Nicole graduated from Wesleyan University in 1997.
Awards and nominations

In 1969, Ashford and Simpson won three BMI Awards for the songs "Ain't No Mountain High Enough," "Ain't Nothing Like the Real Thing," and "Your Precious Love."

Ashford and Simpson were inducted Songwriters Hall of Fame in 2002. They were also recipients of The Rhythm & Blues Foundation's Pioneer Award in 1999, and ASCAP's highest honor, the Founders Award, which they received in 1996
 

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A timely, yet timeless soul piece from husband and wife team, Nick Ashford and Valerie Simpson, Gimme Something Real is as chill and comforting as their later albums are stirring and energetic. Pure bliss. Every song is just perfect. Debut album from two of the best all-time composers, who also happened to be very fine performers. This album launched the soul duo Ashford & Simpson on a run of successful Warner Bros. albums. The title track and several other singles utilized the patented formula of gospel-tinged vocals; slick, polished backing; and alternately sentimental or earnest lyrics.



<a href="https://bayfiles.com/H14dK3B9pf/Ashfrd_n_Smpsn_Gmm_Smthng_Rl_zip"> Ashford & Simpson - Gimme Something Real</a> (flac   282mb)

01 Bend Me 3:18
02 Time 4:40
03 Have You Ever Tried It 3:24
04 Gimme Something Real 6:34
05 Can You Make It Brother 4:32
06 I'm Determined 3:17
07 Ain't That Good Enough 3:12
08I Need Your Light 3:41
09 Anywhere 6:00

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A wonderful record ! Generally in the same style as their debut album ("Gimme something real") but richer, both in melodies and instrumentation. Magic mid-seventies soul shines here on I Wanna Be Selfish from duo Ashford and Simpson. A laid-back smooth soul arrangement with buttery orchestration punctuates the confident presence from Nick & Valerie. Too much quality to pick just one or two highlights. Sweet harmony., Ashford & Simpson are on the top of their songriting skills here.Ashford & Simpson were in the midst of their hit string of Warner Bros. albums when they released this. They included bits and pieces of gospel-tinged R&B, disco, funk, and sophisticated pop, linking everything through their own energetic vocals and harmonies, plus skillful production and a good group of songs.




<a href="https://www.imagenetz.de/C22Au">  Ashford & Simpson - I Wanna Be Selfish </a> (flac   317mb)

01 Spoiled 3:00
02 Everybody's Got to Give It Up 2:27
03 I Wanna Be Selfish 3:13
04 I Had a Love 4:41
05 Main Line 3:13
06 Ain't That Somethin' 2:27
07 Don't Fight It 2:30
08 Ain't Nothin' But a Maybe 3:45
09 Over to Where You Are 4:10
10 Take All the Time You Need 5:07
Bonus Track
11 Main Line (Long Version) 4:23

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After some deep soul on their first two outings, and the birth of their daughter, Nic Ashford and Val Simpson return on the easy going Come As You Are. While the arrangements have a greater touch of light rock than those on their predecessors in particular the trumpet & sax solos on the A side there is some definite quality here. One of Ashford & Simpson's best Warner Bros. albums, especially from a production standpoint. The mix between up-tempo and slow, love songs and dance tunes was perfect, and their interaction had been honed to the point where each anticipated the other. Simpson's soaring vocals and Ashford's less-impressive but still strong support, plus their outstanding harmonizing, was at its peak. We get some Santana styled guitar soul on "One More Try", meanwhile, "Tell It All" testifies its pure gospel roots with rousing energy and Ashford's best vocals on the album. "Sell the House" is a very nice piece of deep soul, while "It Came to Me" closes things out successfully with a bit of 1976 strings and things disco.




<a href="https://multiup.org/7c66ed8ea9f2ef3ea784657a25dc65e9">  Ashford & Simpson - Come As You Are</a> (flac   337m)

01 It'll Come, It'll Come, It'll Come 2:53
02 One More Try 3:27
03 Believe In Me 5:20
04 Caretaker 3:54
05 Somebody Told A Lie 5:49
06 Tell It All 5:08
07 Sell The House 3:19
08 It Came To Me 3:56
Bonus Tracks
09 One More Try (12" Disco Mix) 5:11
10 Somebody Told A Lie (Single Version) 2:53
11 One More Try (Dimitri From Paris Re-Edit) 7:55

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The Ashford & Simpson sound was always lush, sentimental, and soulful, yet subdued. That's the case on this 1977 release. The title cut was a moderate hit, and, as always, the sweeping strings, lyrics, and production were first-rate. Ashford & Simpson albums could get extremely sappy, and at times this one did as well. But they were also usually superbly performed and constructed, and So So Satisfied was no exception.
Quite nice 1970s soul, now and then turning to disco. But mostly soul music. "Maybe I Can Find It" is one of my favourite Ashford & Simpson songs that I know so far. "If You're Lying" is a strong closing track, while "Tried, Tested and Found True" and "Over and Over" work quite finely on a dance floor. However, excluding "Maybe I Can Find It", So So Satisfied is a little bit too average all the way through to really become a significant or classic album within the scope of 1970s soul.

<a href="https://mir.cr/02ALQJZ1">  Ashford & Simpson - So So Satisfied   </a> (flac   261mb

01 Tried, Tested And Found True 5:27
02 Couldn't Get Enough 3:36
03 Maybe I Can Find It 5:16
04 Destiny 3:57
05 So So Satisfied 7:04
06 Over And Over 4:23
07 It's You 3:54
08 If You're Lying 5:12
Bonus
09 Tried, Tested And Found True (Single Version) 3:27

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RhoDeo 2103 Re Up 269

 Hello,



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.


10 correct requests for this week , 2 ! too early, 1 double, whatever another batch of 40 re-ups (12.7gig)


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 January 18th... N'Joy

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As mentioned please return if you have it




    

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