Rho-Xs: 4/1/21

Apr 30, 2021

RhoDeo 2117 Grooves

Hello,

Today's Artists One of the most prolific rap groups, were also among the most progressive acts in contemporary music, from their 1993 debut through their conceptual 2010s releases. Despite the seemingly archaic practice of functioning as a rap band with several instrumentalists -- from 2007 onward, their lineup even featured a sousaphonist -- they were ceaselessly creative, whether with their own material or through their varied assortment of collaborations. They went platinum and gold with successive studio releases and won a handful of Grammy Awards. After they gained a nightly nationwide audience through a close partnership with television host Jimmy Fallon, they continued to challenge listeners with works free of genre restrictions.. N Joy

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Members
Black Thought (vocals), ?uestlove (drums), Malik B (vocals, 1987-99), Joshua Abrams (bass, 1988-90), Leonard Hubbard (bass, 1992-2007), Kid Crumbs (vocals, 1993), Scott Storch (keyboards, 1995), Kamal Gray (keyboards, 1995-present), Dice Raw (vocals, 1995-2000), Rahzel (human beatbox, 1995-99), Scratch (human beatbox, 1998-2003), Ben Kenney (guitar, 2000-03), Frank Walker (percussion, 2002-present), Martin Luther (vocals, 2003-04), Kirk Douglas (guitar, 2003-present), Damon Bryson (sousaphone, 2007-present), Owen Biddle (bass, 2007-11), Mark Kelley (bass, 2011-present), Stro Elliot (producer, sampling, 2017-present)

Organix The Roots' focus on live music began back in 1987, when rapper Black Thought (Tariq Trotter) and drummer ?uestlove (Ahmir Khalib Thompson) became friends at the Philadelphia High School for Creative Performing Arts. Playing around school, on the sidewalk, and later at talent shows (with ?uestlove's drum kit backing Black Thought's rhymes), the pair began to earn money and hooked up with bassist Hub (Leon Hubbard) and rapper Malik B. Moving from the street to local clubs, the Roots became a highly tipped underground act around Philadelphia and New York. When they were invited to represent stateside hip-hop at a concert in Germany, the Roots recorded an album to sell at shows; the result, Organix, was released in May 1993 on Remedy Records. With a music industry buzz surrounding their activities, the Roots entertained offers from several labels before signing with DGC that same year.

Do You Want More?!!!??! The Roots' first major-label album, Do You Want More?!!!??!, was released in January 1995. Forsaking usual hip-hop protocol, the record was produced without any samples or previously recorded material. It peaked just outside the Top 100 of the Billboard 200 and made more tracks in alternative circles, partly due to the Roots playing the second stage at Lollapalooza that summer. The band also journeyed to the Montreux Jazz Festival in Switzerland. Two of the guests on the album who had toured around with the band, human beatbox Rahzel the Godfather of Noyze -- previously a performer with Grandmaster Flash and LL Cool J -- and Scott Storch (later replaced by Kamal Gray), became permanent members of the group.

Illadelph Halflife Early in 1996, the Roots released "Clones," the trailer single for their second album. It hit the rap Top Five, and created a good buzz. That September, Illadelph Halflife appeared and made number 21 on the Billboard 200. Much like its predecessor, though, the Roots' second LP was a difficult listen. It made several very small concessions to mainstream rap -- the bandmembers sampled material that they had recorded earlier at jam sessions -- but failed to make a hit of their unique sound. Their third album, February 1999's Things Fall Apart, was easily their biggest critical and commercial success. Released on MCA, it went platinum, and "You Got Me" -- a collaboration with Erykah Badu -- peaked within the Top 40 and subsequently won a Grammy in the category of Best Rap Performance by a Duo or Group.

Phrenology The long-awaited Phrenology was released in November 2002 amid rumors of the Roots losing interest in their label arrangements with MCA. In 2004, the band remedied the situation by creating the Okayplayer company. Named after their website, Okayplayer included a record label and a production/promotion company. The same year, the band held a series of jam sessions to give their next album a looser feel. The results were edited down to ten tracks and released in July 2004 as The Tipping Point, supported by Geffen. A 2004 concert from Manhattan's Webster Hall with special guests like Mobb Deep, Young Gunz, and Jean Grae was issued in February 2005 as The Roots Present in both CD and DVD formats. Two volumes of the rarities-collecting Home Grown! The Beginner's Guide to Understanding the Roots appeared at the end of the year.

Game Theory A subsequent deal with Def Jam fostered a series of riveting, often grim sets, beginning with Game Theory (August 2006) and Rising Down (April 2008). In 2009, the group expanded their reach as the exceptionally versatile house band on Late Night with Jimmy Fallon. The new gig didn't slow their recording schedule; in 2010 alone, they released the sharp How I Got Over (June), as well as Wake Up! (September), where they backed John Legend on covers of socially relevant soul classics like Harold Melvin & the Blue Notes' "Wake Up Everybody" and Donny Hathaway's "Little Ghetto Boy." It earned Grammy Awards for Best R&B Album and Best Traditional R&B Vocal Performance. As they remained with Fallon, the Roots worked with Miami soul legend Betty Wright on November 2011's Betty Wright: The Movie, and followed it the next month with their 13th studio long-player, Undun, an ambitious concept album whose main character dies in the first track and then follows his life backward.

Wise Up Ghost and Other Songs Work on the group's next studio LP was postponed as an unexpected duet album with Elvis Costello took priority for the group in 2013. Originally planned as a reinterpretation of Costello's songbook, the record Wise Up Ghost turned into a full-fledged collaboration and was greeted by positive reviews upon its September 2013 release on Blue Note. Within six months, the band joined Jimmy Fallon in his new late-night slot, the high-profile Tonight Show program. Another concept album, the brief but deep ...And Then You Shoot Your Cousin, was released in May 2014. Rapper Malik B., a fixture on the Roots' early albums, died on July 29, 2020, at the age of 47.

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Releasing an album recorded live in concert makes more sense for the Roots than any other hip-hop artist, considering they've always concentrated on live prowess over their skills on the mic or in the production booth. The standard guitar/drums/bass/keyboards lineup of most rock bands is a reality for this group, and after years of requests from rabid fans, the Roots acquiesced with a document of their live experience, titled The Roots Come Alive. Recorded at two venues in New York and one in Paris, the album distills exactly what the Roots bring to the hip-hop world -- a live experience built on call-and-response vocals that bring the show to the audience like few other artists. The sound is fantastic, especially on early keyboard-driven tracks like "Proceed," "Essaywhuman?!???!!!," and "Mellow My Man." Though the raps themselves often suffer from the live setting, the rhythms are crisper than in the studio, and the bass-driven grooves are much beefier. The Roots' resident turntablist, Scratch, takes a large role as well, as does human beatbox Rahzel the Godfather of Noyze (though the latter only appears on about half of the album). This is a live album that not only satisfies fans, but offers neophytes more entertainment than any of the Roots' studio efforts. It's difficult to make any live album a first pick, but Come Alive displays the group doing exactly what it does best.

<a href="https://www.imagenetz.de/peE4L"> The Roots - Come Alive (Limited Edition) </a> (flac   620mb)

01 Live at the T-Connection 0:48
02 The Next Movement 3:49
03 Step Into the Realm 3:27
04 Proceed 2:45
05 Mellow My Man / Jusufckwithis 5:02
06 Love of My Life 3:44
07 The Ultimate 3:58
08 Don't See Us 5:22
09 100% Dundee 4:30
10 Adrenaline! 6:11
11 Essaywhuman?!! 5:15
12 Silent Treatment 7:19
13 The Notic 4:29
14 You Got Me 8:51
15 Encore 0;06

16 What You Want 4:07
17 We Got You 0:39
18 The Lesson - Part III (It's Over Now) 4:01
19 All I Know 4:02
20 Y'All Know Who 3:31
21 For The Love Of Money 2:06

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The easy-flowing Things Fall Apart made the Roots one of the most popular artists of alternative rap's second wave. Anticipated nearly as much as it was delayed, the proper studio follow-up, Phrenology, finally appeared in late 2002, after much perfectionist tinkering by the band -- so much that the liner notes include recording dates (covering a span of two years) and, sometimes, histories for the individual tracks. Coffeehouse music programmers beware: Phrenology is not Things Fall Apart redux; it's a challenging, hugely ambitious opus that's by turns brilliant and bewildering, as it strains to push the very sound of hip-hop into the future. Despite a few gentler tracks (like the Nelly Furtado and Jill Scott guest spots), Phrenology is the hardest-hitting Roots album to date, partly because it's their most successful attempt to re-create their concert punch in the studio. ?uestlove's drums positively boom out of the speakers on the Talib Kweli duet "Rolling With Heat"; the fantastic, lean guitar groover "The Seed (2.0)" (with neo-soul auteur Cody ChesnuTT); and the opening section of "Water." The ten-minute "Water" is the album's centerpiece, a powerful look at former Roots MC Malik B.'s drug problems that morphs into a downright avant-garde sound collage. Similarly, lead single "Break You Off," a neo-soul duet with Musiq, winds up in a melange of drum'n'bass programming and live strings. If moves like those, or the speed-blur Bad Brains punk of "!!!!!!!," or the drum'n'bass backdrop of poet Amiri Baraka's "Something in the Way of Things (In Town)" can seem self-consciously eclectic, it's also true that Phrenology is one of those albums where the indulgences and far-out experiments make it that much more fascinating, whether they work or not. Plus, slamming grooves like "Rock You," "Thought @ Work," and the aforementioned "The Seed (2.0)" keep things exciting and vital. If this really is the future of hip-hop, then the sky is the limit. [The two hidden bonus tracks are "Rhymes and Ammo," the Talib Kweli collaboration that appeared on Soundbombing, Vol. 3, and "Something to See," another techno-inflected jam.]

<a href="https://multiup.org/c0700120b7869cf19bd7102142da11b6">   The Roots - Phrenology </a> 478mb (flac   02)

1 Phrentrow 0:18
2 Rock You 3:12
3 !!!!!!! 0:24
4 Sacrifice 4:44
5 Rolling With Heat 3:42
6 WAOK (AY) Rollcall 1:00
7 Thought @ Work 4:58
8 The Seed (2.0) 4:27
9 Break You Off 7:27
10 Water 10:24
11 Quills 4:21
12 Pussy Galore 4:29
13 Complexity 4:47
14 Something in the Way of Things (In Town) 7:16
15 [untitled] 0:20
16 [untitled] 0:20
17 Rhymes & Ammo / Thirsty! [unlisted] 7:59
18 [untitled] 0:07

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The delivery of any new Roots album is rarely talked or written about without the words "highly" and "anticipated," and The Tipping Point is no exception. Besides the usual expectation for the band's superior lyrical skills and attention to detail, there's the previously announced concept that The Tipping Point would be recorded through free-spirited jams that would later be edited down. Sounds like a don't-care-about-the-final-package, music-for-music's-sake release, but the album is a well-constructed ride from start to finish that's perfect for a headphones-on, lights-out evening and a gift to fans who found 2002's Phrenology a bit mannered and forced. To paraphrase the album's "Pointro," the tracks here are mostly warm and organic "life music" that "thrusts its branches from the muck of wackness" without any overly calculated "hypnotic donkey rhythms." The ghost of Sly & the Family Stone is summoned for the opening "Star," an exuberant soul rocker that creeps along with a Timbaland-style beat, only it's live. On the other hand, there's the perfect for popping, locking, and robot-dancing "Don't Say Nuthin'" with its solid electro and Black Thought's quirky mumbled verse. The shifting from the sticky, stately reggae of "Guns Are Drawn" to the Cohiba-puffing swagger of "Stay Cool" is just one example of how the album overcomes its noncommitment to any particular groove by giving the listener nothing but fully formed, inspired tracks. The band's renewed love of head-bobbing jams also helps keep it together although the album's long stretches of rap-less jamming might alienate those just here for the message. For them there's the lyric-filled "Boom!," which may not be enough. Take off your academic backpack for a change and bask in an album that's comfortably loose and ends with an over-the-top, celebratory cover of George Kranz's "Din Daa Daa" that's unnecessary but extra fun. The Tipping Point is too modest to be the "idea that spreads like a virus" that's explored in the Malcolm Gladwell book the collection cops it title from. What the album lacks in ambition and social commentary, it makes up for with deep soul. That should be enough to make whatever this group does next "highly anticipated."

<a href="http://www.filefactory.com/file/1taq0zbyk3r6/Th_Rts%20Tppng%20Pnt.zip"> The Roots - The Tipping Point </a> (flac min 363mb)

01 Star / Pointro 7:36
02 I Don't Care 4:02
03 Don't Say Nuthin' 3:35
04 Guns Are Drawn 5:15
05 Stay Cool 3:34
06 Web 3:16
07 Boom! 2:57
08 Somebody's Gotta Do It 4:08
09 Duck Down! 3:56
10 - Why (What's Goin On?) 4:20
- [silence] 0:17
- The Mic [unlisted track] 3:50
- Dum Da Da [unlisted track] 8:14

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Game Theory is the Roots' equivalent of a Funkadelic playlist containing "Wars of Armageddon," "Cosmic Slop," "Maggot Brain," "March to the Witch's Castle," and "America Eats Its Young." It's a vivid reflector of the times, not an escape hatch (of which there are several readily available options). Spinning turbulence, paranoia, anger, and pain into some of the most exhilarating and startling music released in 2006, the group is audibly galvanized by the world's neverending tailspin and a sympathetic alignment with Def Jam. Batting around stray ideas and squeezing them into shape was clearly not part of the plan, and neither was getting on the radio. The songs flow into and out of one another to optimal effect, with an impossibly stern sense of peak-of-powers focus, as if the group and its collaborators instantly locked into place and simply knocked the thing out. With the exception of the elbow-throwing "Here I Come," nothing here is suitable for any kind of carefree activity. The extent of the album's caustic nature is tipped off early on, after glancing at the hangman on the cover and hearing Wadud Ahmad's penetrating voice run through lines like "Pilgrims, slaves, Indians, Mexicans/It looks real f*cked up for your next of kin." The point at which the album kicks into full gear, just a couple minutes later, arrives when tumbling bass drums and a Sly & the Family Stone sample ("This is a game/I'm your specimen") are suddenly overtaken by pure panic -- pulse-racing drums, anxious organ jabs, pent-up guitar snarls, and breathless rhyming from Black Thought and Malik B. "In the Music" exemplifies the deeply textured nature of the album's production work, with its rolling/roiling rhythm -- throbbing bass, clanging percussion, tight spirals of guitar -- made all the more claustrophobic by Porn's amorphous chorus and Black Thought's and Malik B.'s hunched-shoulder deliveries. Even "Baby," the closest thing to a breather in this patch of the album, arises from a sweltering jungle bog. After "Long Time," the ninth track, the levels of tension and volume decrease, yet the moods are no brighter, even if the surfaces leave a different impression. "Clock with No Hands" is introduced as a sweet slow jam with a light vocal hook from Mercedes Martinez, but it's as paranoid as anything else on the album. Jack Davey projects the chorus of the slower, Radiohead-sampling "Atonement" in a druggy haze while Black Thought speaks of "being faced with the weight of survival." The closer, an eight-minute suite titled "Can't Stop This," features a J Dilla production -- previewed on his Donuts, released the week he left this planet -- that opens and closes with testimonials to the musician's talent and humanity. Taken with or without this staggering finale, Game Theory is a heavy album, the Roots' sharpest work. It's destined to become one of Def Jam's proudest, if not most popular, moments.


<a href="https://mir.cr/0VYSKJB6"> The Roots - Game Theory </a> (flac min 320mb)

01 Dilltastic Vol Won(derful) 0:28
02 False Media 2:44
03 Game Theory 4:01
04 Don't Feel Right 4:08
05 In the Music 4:07
06 Take It There 2:50
07 Baby 2:50
08 Here I Come 4:11
09 Long Time 4:21
10 Livin' in a New World 1:47
11 Clock With No Hands 4:23
12 Atonement 2:36
13 Can't Stop This 8:35


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Apr 26, 2021

RhoDeo 2117 Expanse 39

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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This artist’s impression shows the Milky Way galaxy surrounded by impressionistic dark matter.

The missing matter that has to be there to account for the “fast” rotation of the Milky Way’s arms is missing.

Recent measurements of the velocities of stars within 13,000 light-years of the Sun have allowed astronomers to calculate the total mass of the matter in that volume. “‘The amount of mass that we derive matches very well with what we see—stars, dust and gas—in the region around the Sun,’ says [European Southern Observatory] team leader Christian Moni Bidin…. ‘But this leaves no room for the extra material—dark matter—that we were expecting.’”

As the press release states: “The blue halo of material surrounding the galaxy [shown above] indicates the expected distribution of the mysterious dark matter, which was first introduced by astronomers to explain the rotation properties of the galaxy and is now also an essential ingredient in current theories of the formation and evolution of galaxies. New measurements show that the amount of dark matter in a large region around the Sun is far smaller than predicted and have indicated that there is no significant dark matter at all in our neighbourhood.”

Most of the mass of the Milky Way (and of most spiral galaxies) is in the central bulge. If stars in the arms were revolving under the gravitational influence of what we see, they would slow down with distance from the center. Instead, the stars have fairly constant velocities. It’s called the “flat rotation curve.” (Astronomers can’t make up their minds whether to consider a galaxy a thing in itself, which rotates, or an assembly of stars, which revolve.) The accepted gravitational solution is to assert that there “must be” a halo of dark matter around the Milky Way placed “just so” as to cause the constant velocities. The dark matter is astronomers’ ideal substance: it projects only a gravitational force but not a trace of anything electromagnetic, so it can’t be seen. It’s anti-plasma!

Now the “must be” is colliding with the “what we see.” “‘Despite the new results, the Milky Way certainly rotates much faster than the visible matter alone can account for…. Our results contradict the currently accepted models.’” If astronomy were a science, “contradict” would mean “falsify,” and astronomers would start over. They would consider alternative hypotheses and other assumptions. But this would undermine textbooks, discredit papers, and jeopardize professorships.

The accepted model has many knobs that can be twiddled and components that can be swapped out. It’s better to get a grant to twiddle and to swap out: add a paragraph to the text, amend a paper, get a promotion. The model is not so much a theory of dark matter as a guarantee of job security. The dark condition of matter fits this dark age of science. The priests of orthodox astronomy copy ancient assumptions into new manuscripts illuminated with flourishes of excuse-making but devoid of groundbreaking thought.

One alternative from different assumptions—different from gravity—is the lab-based simulations of Anthony Peratt. He has shown that interacting Birkeland currents will rotate around each other at a constant velocity, trailing plasma behind them into spiral “arms.” More plasma will accumulate between them into a “bulge” that eventually swallows the currents. Is an interaction like this at the galactic scale the motive force of galactic rotation?

Analogy is not homology, as the biologists like to point out, but a scientific investigation of the matter would at least look into it.

Mel Acheson

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For over 100 years the cosmological story has been the story of the Big Bang, gravity and relativity. Although, what if that story is wrong and a new cosmological story is emerging? How might a change in the cosmological narrative impact society and contemporary culture? There is a growing awareness that the standard model of cosmology is in crisis.

Writer, poet, and social critic Ghada Chehade has broadened her focus to analyze how changes in science and cosmology impact culture. Ghada holds a PhD in Discourse Analysis and her doctoral research won Best Dissertation from the Canadian Association for the Study of Discourse and Writing.

https://youtu.be/yEe_Zh9Pn0Q

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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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Nemesis Games is a 2015 science fiction novel by James S. A. Corey, the pen name of Daniel Abraham and Ty Franck, and the fifth book in their The Expanse series. It is the sequel to Cibola Burn. The cover art is by Daniel Dociu.[Nemesis Games received positive reviews. Andrew Liptak of io9 called the novel "Corey’s 'Empire Strikes Back'".

Synopsis

The Rocinante is down for long-term maintenance after the events of Cibola Burn. Three crew members decide to take care of some personal business during the down time. Amos Burton heads to Earth when he learns someone important from his past there has died, to pay his respects and to make sure no foul play was involved. Alex Kamal heads to Mars in the hopes of getting closure with his ex-wife and to see Bobbie while there. Naomi Nagata heads to Ceres station, when she receives a message that her son Filip is in trouble. While Jim Holden supervises repairs to the Rocinante, he is enlisted by Monica Stuart to investigate disappearing colony ships.

Facing collapse by the exodus of colony ships through the rings, militant factions of the OPA coalesce into a Free Navy and simultaneously wreak havoc on Earth as they try to kill the Martian Prime Minister and Fred Johnson. Amos survives the attacks on Earth, frees Clarissa Mao and escapes to Luna with her help and the help of Baltimore organized crime acquaintances from his old life. Alex meets Bobbie on Mars and they investigate missing Martian military equipment and ships, which leads them into the middle of the assassination attempt on the Prime Minister. Naomi is kidnapped by her ex-lover Marco, leader of the Free Navy, but manages to escape; Alex and Bobbie rescue her.

The crew reunites on the Rocinante. What's left of the Earth, Mars and the non-militant OPA government meet on Luna. Naomi finally tells Jim about her violent past. Amos asks that Clarissa stay as his apprentice. The Free Navy has encamped past the belt and is preventing anyone from going through the rings. It is revealed that the Free Navy was sold most of its equipment by a rogue faction of the Martian Navy led by Admiral Winston Duarte and that the disappearing colony ships are being consumed by a force within the gates.

<a href="https://multiup.org/ce2df9efe1d9a4371fe8f9507755644e">James S.A. Corey - The Expanse .Nemesis Games 22-28 </a> ( 139min 64mb)

James S.A. Corey - The Expanse .Nemesis Games 22-28 139min

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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)
<a href="https://multiup.org/a342a96876aac55f56cc4d6d19a82489">James S.A. Corey - The Expanse Cibola Burn (01-07) </a> ( 132min 61mb)
<a href="https://multiup.org/231c93090b14ff8bbc0652e462a7498d">James S.A. Corey - The Expanse Cibola Burn (08-14) </a> ( 128min 59mb)
<a href="https://multiup.org/a7a9a2f96fb59f3986666a9b036c24b9">James S.A. Corey - The Expanse Cibola Burn (15-20) </a> ( 134min 59mb)
<a href="https://multiup.org/97725791bb5602961aee81fa64d12bee">James S.A. Corey - The Expanse Cibola Burn (21-27) </a> ( 135min 62mb)
<a href="https://multiup.org/856f2b0017a6269b4631a47417d8e44f">James S.A. Corey - The Expanse Cibola Burn (28-34) </a> ( 135min 62mb)
<a href="https://multiup.org/4f908544c40f49e4f188a0c811247d0d">James S.A. Corey - The Expanse Cibola Burn (35-41) </a> ( 126min 58mb)
<a href="https://multiup.org/f7d9a031a03c2f95e58047befb0c55f2">James S.A. Corey - The Expanse Cibola Burn (42-48) </a> ( 154min 70mb)
<a href="https://multiup.org/e7f40aef0212205f097fe4c62ab428b7">James S.A. Corey - The Expanse Cibola Burn (49-56) </a> ( 161min 74mb)
<a href="https://multiup.org/67ac8380f2bb0c46771fc0061357442b">James S.A. Corey - The Expanse Cibola Burn (57-64) </a> ( 154min 71mb)
<a href="https://multiup.org/d59d9633922ac0f97a8fc47b8801ae14">James S.A. Corey - The Expanse .Nemesis Games 01-07 </a> ( 138min 57mb)
<a href="https://multiup.org/040a3e90a7e112b6d090c5c47d6f5283">James S.A. Corey - The Expanse .Nemesis Games 08-14 </a> ( 135min 64mb)
<a href="https://multiup.org/5e317407ea60e9d49a011e716cb21ec3">James S.A. Corey - The Expanse .Nemesis Games 15-21 </a> ( 140min 64mb)

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Apr 25, 2021

RhoDeo 2117 Sundaze

<a href="https://multiup.org/9d43f2d632a934581832d1476759b84b"> Diamond Version - EP 4-5 </a> ( flac 462mb)

01 Get Yours 3:11
02 Get Yours (Version) 4:53
031 Live Young 4:47
04 When Performance Matters 5:59

05 The Future of Memory 5:05
06 Operate at Your Optimum 3:59
07 Sense and Simplicity 3:47
08 Make.believe 7:05

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When the Raster-Noton label's Olaf Bender (aka Byetone) and Carsten Nicolai (Alva Noto) formed Diamond Version, the experimental techno producers had been associated for several years -- as heard on their collaborations with Frank Bretschneider as Signal -- but they hadn't recorded as a duo. Rather than release their material on Raster-Noton, they signed with Daniel Miller's higher-profile Mute label. From September 2012 through May 2013, Bender and Nicolai issued five numbered EPs of pared-down, muscular techno. Rather refreshingly, there were no remixes; when the EPs were bundled later in 2013, a Martin Gore remix was added, but otherwise, the focus was on original material with tight quality control. CI, the first Diamond Version album, is a concise set that features edits of four tracks from the EPs: the driving neo-electro cut "Turn On Tomorrow," the gnashing "Science of a Better Life," the jittery "Make.Believe," and "Operate at Your Optimum," the last of which seamlessly incorporates noisy sounds from Atsuhiro Ito's Optron. The majority of the new tracks, like "Access to Excellence," "Raising the Bar," and "Connecting People," also have marketing slogan titles and seem even more physical since they're delivered in jolts briefer than those of the more dancefloor-oriented EPs. The duo also sought a handful of vocalists here. On opener "This Blank Action," Leslie Winer interjects with irritated barbs like "Congratulations on bein' a big fuckin' deal." Raster-Noton artist Kyoka adds more imposing phrases to "Feel the Freedom," the barest and most severe track on CI. As an instrumental, "Were You There" would easily fit into the album's fabric -- taut, irregular rhythms, hissing and probing effects -- but it involves an odd match with Neil Tennant's reading of the like-titled American spiritual. Otherwise, this is a fine exhibition of Bender and Nicolai's work in neatly condensed form. It isn't quite as thrilling as the EPs.

<a href="https://www.imagenetz.de/Z3oZ4"> Diamond Version - CI</a> ( flac 277mb)

01 This Blank Action 4:52
02 Access to Excellence 4:19
03 Turn on Tomorrow (CI) 4:49
04 Feel the Freedom 4:14
05 Raising the Bar 3:19
06 Were You There? 4:03
07 Operate at Your Optimum 3:35
08 Science for a Better Life (CI) 4:05
09 Connecting People 3:49
10 Make.Believe (CI) 6:11

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Though I've heard some people describe this as boring, Alva Noto himself said this is the most emotional music he's ever made, surprised at the level of depth from which the songs here on this third volume of the Xerrox series came. To me, it's quite the beautiful affair indeed, continuing the pattern set out by volumes 1 & 2 of the same series: lush ambient soundscapes, shifting synth-strings (or actual orchestration? sometimes it's hard to tell) and Noto's trademark glitchy noise, though this one relies far more on simple synthesized melodies that are surprisingly alluring and show that a great deal of care has gone into composing them. No doubt, it's vaguely classical, as if Ryuichi Sakamoto's piano work with Alva Noto and many similar artists were translated into a synth-exclusive environment. While I don't love everything the man does (and find most of his work a bit left-brained for my taste), this series is likely the deepest, most creative and expertly-executed music of his career.

<a href="https://mir.cr/14UENGPS"> Alva Noto -Xerrox 3.</a> ( flac 252mb)

01 Xerrox Atmosphere 1:23
02 Xerrox Helm Transphaser 6:45
03 Xerrox 2ndevol 3:44
04 Xerrox Radieuse 6:00
05 Xerrox 2ndevol2nd 5:05
06 Xerrox Isola 8:07
07 Verrox Solphaer 6:09
08 Xerrox Mesosphere 5:55
09 Xerrox Spark 6:10
10 Xerrox Spiegel 3:33
11 Xerrox Exosphere 3:48

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Apr 24, 2021

RhoDeo 2116 Grooves The Roots

Organix The Roots' focus on live music began back in 1987, when rapper Black Thought (Tariq Trotter) and drummer ?uestlove (Ahmir Khalib Thompson) became friends at the Philadelphia High School for Creative Performing Arts. Playing around school, on the sidewalk, and later at talent shows (with ?uestlove's drum kit backing Black Thought's rhymes), the pair began to earn money and hooked up with bassist Hub (Leon Hubbard) and rapper Malik B. Moving from the street to local clubs, the Roots became a highly tipped underground act around Philadelphia and New York. When they were invited to represent stateside hip-hop at a concert in Germany, the Roots recorded an album to sell at shows; the result, Organix, was released in May 1993 on Remedy Records. With a music industry buzz surrounding their activities, the Roots entertained offers from several labels before signing with DGC that same year.

Do You Want More?!!!??! The Roots' first major-label album, Do You Want More?!!!??!, was released in January 1995. Forsaking usual hip-hop protocol, the record was produced without any samples or previously recorded material. It peaked just outside the Top 100 of the Billboard 200 and made more tracks in alternative circles, partly due to the Roots playing the second stage at Lollapalooza that summer. The band also journeyed to the Montreux Jazz Festival in Switzerland. Two of the guests on the album who had toured around with the band, human beatbox Rahzel the Godfather of Noyze -- previously a performer with Grandmaster Flash and LL Cool J -- and Scott Storch (later replaced by Kamal Gray), became permanent members of the group.

Illadelph Halflife Early in 1996, the Roots released "Clones," the trailer single for their second album. It hit the rap Top Five, and created a good buzz. That September, Illadelph Halflife appeared and made number 21 on the Billboard 200. Much like its predecessor, though, the Roots' second LP was a difficult listen. It made several very small concessions to mainstream rap -- the bandmembers sampled material that they had recorded earlier at jam sessions -- but failed to make a hit of their unique sound. Their third album, February 1999's Things Fall Apart, was easily their biggest critical and commercial success. Released on MCA, it went platinum, and "You Got Me" -- a collaboration with Erykah Badu -- peaked within the Top 40 and subsequently won a Grammy in the category of Best Rap Performance by a Duo or Group.

Phrenology The long-awaited Phrenology was released in November 2002 amid rumors of the Roots losing interest in their label arrangements with MCA. In 2004, the band remedied the situation by creating the Okayplayer company. Named after their website, Okayplayer included a record label and a production/promotion company. The same year, the band held a series of jam sessions to give their next album a looser feel. The results were edited down to ten tracks and released in July 2004 as The Tipping Point, supported by Geffen. A 2004 concert from Manhattan's Webster Hall with special guests like Mobb Deep, Young Gunz, and Jean Grae was issued in February 2005 as The Roots Present in both CD and DVD formats. Two volumes of the rarities-collecting Home Grown! The Beginner's Guide to Understanding the Roots appeared at the end of the year.

Game Theory A subsequent deal with Def Jam fostered a series of riveting, often grim sets, beginning with Game Theory (August 2006) and Rising Down (April 2008). In 2009, the group expanded their reach as the exceptionally versatile house band on Late Night with Jimmy Fallon. The new gig didn't slow their recording schedule; in 2010 alone, they released the sharp How I Got Over (June), as well as Wake Up! (September), where they backed John Legend on covers of socially relevant soul classics like Harold Melvin & the Blue Notes' "Wake Up Everybody" and Donny Hathaway's "Little Ghetto Boy." It earned Grammy Awards for Best R&B Album and Best Traditional R&B Vocal Performance. As they remained with Fallon, the Roots worked with Miami soul legend Betty Wright on November 2011's Betty Wright: The Movie, and followed it the next month with their 13th studio long-player, Undun, an ambitious concept album whose main character dies in the first track and then follows his life backward.

Wise Up Ghost and Other Songs Work on the group's next studio LP was postponed as an unexpected duet album with Elvis Costello took priority for the group in 2013. Originally planned as a reinterpretation of Costello's songbook, the record Wise Up Ghost turned into a full-fledged collaboration and was greeted by positive reviews upon its September 2013 release on Blue Note. Within six months, the band joined Jimmy Fallon in his new late-night slot, the high-profile Tonight Show program. Another concept album, the brief but deep ...And Then You Shoot Your Cousin, was released in May 2014. Rapper Malik B., a fixture on the Roots' early albums, died on July 29, 2020, at the age of 47.

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The Roots' low-profile debut set out many of the themes they would employ over the course of their successful career. An intro, "The Roots Is Comin'," is barely over a minute long, yet long enough to exemplify the band's funky bassline (here played by Leonard Hubbard), their dreamy and emotional organ chords (thanks to Scott Storch), and their ferociously swift yet clear rhymes from the group's focal MC Black Thought. The song that follows, "Pass the Popcorn" would have been called a "posse cut" in 1993. Everyone could've used a little more practice before stepping up to the mic on this song, but the spirit of the song are not lost in the amateurishness. The creative venture "Writers Block" is an example of just the opposite, as Black Thought flows with spoken word, comically and creatively expressing the experience of a day in the life of a Philadelphian using mass transit. The instrumentation is appropriately frantic and punctuated by [cymbal] crashes (like any mass transit system). Fans of Do You Want More, the Roots album released immediately following Organix, will recognize the music of "I'm Out Deah," "Leonard I-V," and "Essawhamah?" Another track to note is "The Session (Longest Posse Cut in History)," -- no false claim at 12 minutes and 43 seconds. This album should be a part of any Roots fan's collection -- not so much because it is an example of their artistry at its best, but because it allows you to see where they came from and how fruitful of a journey it's been.

<a href="https://bayfiles.com/pcebLcsfu8/Th_Rts_Orgnx_zip"> The Roots - Organix </a> 355mb (flac 93)

01 The Roots Is Comin' 1:17
02Pass the Popcorn 5:32
03 The Anti-Circle 3:48
04 Writer's Block 1:45
05 Good Music (Prelude) 1:00
06 Good Music 4:32
07 Grits 6:36
08 Leonard I-V 4:06
09 I'm Out Deah 4:11
10 ESSAWAMAH? (Live at the Soulshack) 4:21
11 There's a RIOT Goin' On 0:13
12 Popcorn Revisited 4:06
13 Peace 1:16
14 Common Dust 5:04
15 The Session (Longest Posse Cut in History 12:43) 12:45
16 Syreeta's Having My Baby 0:42
17 Carryin' On 1:26

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The Roots do best. If ya don't know by now, you really need to. Because this album here is a fine display of jazzy, concious hip hop.

There be two main fellas on the mic here. Black Thought and Malik B. Now, both these dudes can kick it on the microphone. They've got this energy that isn't equaled often... you know, when they lay down a rhyme, you really wanna listen to it. I wouldn't call them the end-all be-all of emcees. But the energy sure makes them sound tighter than otherwise. They'll be braggin' and battlin' but also laying down some thought-worthy shit (though not as much here as later). It's this kinda versatility that you wanna find in hip hop. Black Thought especially kicks the shit out of the album here. His style is totally unique and all to his own, and he does the sweet beats justice with his styles. Don't get me wrong, Malik is sweet, too, but it's kinda like Monch and Po.

Dem beats, man. You gots ta like 'dem beats. Who could deny this shit? You can't find a better hybrid than this, honestly. One of the only hip hop groups that's actually... well, a group and not a crew. Black Thought and Malik B. are backed up by a tight group here playing live instruments. ?uestlove's drumming is particularly awesome here. There's a reason he's so well known and respected amongs the community. They kick the jazz here and let it flow and go, as it should be. The energy equals those two emcees, and energy in jazz is super-important. If they ain't giving their all, I'm not gonna wanna hear it. Well guess what? Every one of these musicians put in all they got and the result is a damn fine effort. Not to mention that each song sounds like it's own effort and not so much a continuous jam. Again, VERSATILITY!!! It's key.

Now, there's not much to call weak here. Nope. BUT, there are a couple of things that bothered me. Particularly the last four or five tracks. I wouldn't call most of 'em weak, but they don't live up to the first half of the album. Maybe it's just me, but my mind started wandering after Swept Away, only to be recaptured by Silent Treatment, and then wander again. Oh, and that last track... whoa. The first time you hear it, you won't know what to make of it. The Unlocking is a spoken-word with guest Ursula Rucker. Hmmmm... I'll let you figure this one out for yourself, because it's almost impossible to describe it. Just know you'll probably either love it or hate it.

The ending result? A classic east-coast jazz-rap album with enough energy to power Manhattan. I don't mean Manhatten, Kansas either. I'm talking the big one. Seriously, check 'dis shit out.

<a href="https://www.imagenetz.de/6Gnng "> The Roots - Do You Want More + From The Ground Up (EP) </a> (flac   416mb)

01 Intro / There's Something Goin' On 1:17
02 Proceed 4:35
03 Distortion to Static 4:18
04 Mellow My Man 4:41
05 I Remain Calm 4:08
06 Datskat 3:40
07 Lazy Afternoon 5:06
08 ? vs. Rahzel 3:18
09 Do You Want More?!!!??! 3:22
10 What Goes On Pt. 7 5:33
11 Essaywhuman?!!!??! 5:00
12 Swept Away 3:50
13 You Ain't Fly 4:43
14 Silent Treatment 6:53
15 The Lesson Pt.1 5:12
16 The Unlocking
- The Unlocking 5:05
- [silence] 2:45
- [hidden track] 0:22
From The Ground Up (EP) (195 mb)
Second project released by the Roots after the independent debut the year before. Composed of six long tracks (four later included in the second studio album, released in 1995), for a total of almost 33 minutes of listening, the record features the rapping of Black Thought supported by the band and some scattered vocal contributions performed by the other members of the group, including Malik B, MC Ni and B.R.O.THER.?, one of the first names of Questlove. The tape boasts excellent jazzy rhythms, boom bap, slow and solid drums and a generally simple soundscape in order to highlight the slow, smooth, syncopated and calm delivery of the major performer, at times dope. To note the contributions of guests Steve Coleman, Graham Haynes, Josh Roseman and Rusuf Harley, who respectively provide sax, trumpet, trombone and bagpipes, while the sax in "Worldwide (London Groove)" is that of Steve Williamson. Some cuts are better than others, however, it's not an essential release. Recommended for jazz rap fans.

01 It's Comin' 6:31
02 Distortion to Static 4:26
03 Mellow My Man 4:49
04 Dat Scat 5:19
05 Worldwide (London Groove) 8:16
06 Do You Want More?! 3:29

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Black Thought and Malik B were always good rappers, but on Illadelph Halflife...holy shit. I would say that they improved, but that wouldn't seem right. There's no way that two rappers could improve their rapping skills that much in one year. Maybe they were always that talented, but they were holding out on us. Anyway, if you couldn't tell, these lyrics are great. Actually, great would be an understatement. Lyrically, Illadelph Halflife is on the level of Illmatic and Soul On Ice. You can hardly compare the lyrical content of this album to that of Illmatic and Soul On Ice, but I'm basically saying that Illadelph Halflife is the third best hip hop album, lyrically, of all time in my opinion. On this album, Black Thought and Malik B remind me of Pharoahe Monch and Prince Po of Organized Konfusion. Black Thought is like Pharoahe because he's the better rapper, and he almost always outshines Malik B. Malik is like Prince Po because he's also a great rapper, but he isn't given enough credit because Black Thought is better. That's basically the way it goes for this album. Malik can have a sick verse, but it either doesn't live up to Black Thought's verse earlier in the song, or Black Thought delivers a much better verse right afterwards.

Earlier in the review, I mentioned this album as a "transformation." The reason for that is that The Roots aren't all fun and games any more. Prior to Illadelph Halflife, The Roots' lyrics had more to do with having fun. This album is a little bit darker. Don't worry. They didn't go completely "thug" or anything like that. There's more rapping about street life, there's more conscious hip hop, and during all of it, they're lyrically killing it. It doesn't matter what they're rapping about. On THIS album, they're gonna kill it.

As if the lyrics weren't enough, the beats on Illadelph Halflife are classic smooth, jazzy boom bap. Boom bap is already my favorite type of hip hop production, so when it's combined with jazz, it's irresistable. This album is jazzy, but it's also darker than their first two albums, which fits with the lyrics. Another thing that's different about the production is that it doesn't sound as much like a band is playing the beats. It sounds more like a typical east coast album would in 1996. I think that Illadelph Halflife is the best produced album by The Roots.


<a href="https://multiup.org/15a33224ae64c85ce17bc17e115f171e "> The Roots - Illadelph Halflife </a> (flac min 473mb)

01 Intro 0:36
02 Respond / React 5:09
03 Section 4:11
04 Panic!!!!! 1:26
05 It Just Don't Stop 4:35
06 Episodes 5:58
07 Push Up Ya Lighter 4:38
08 What They Do 5:58
09 ? vs. Scratch (The Token DJ Cut) 1:49
10 Concerto of the Desperado 3:40
11 Clones 4:56
12 UNIverse at War 4:57
13 No Alibi 5:13
14 Dave vs. US 0:52
15 No Great Pretender 4:27
16 The Hypnotic 5:20
17 Ital (The Universal Side) 4:55
18 One Shine 5:42
19 The Adventures in Wonderland 4:36
20 Outro 0:15


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One of the cornerstone albums of alternative rap's second wave, Things Fall Apart was the point where the Roots' tremendous potential finally coalesced into a structured album that maintained its focus from top to bottom. If the group sacrifices a little of the unpredictability of its jam sessions, the resulting consistency more than makes up for it, since the record flows from track to track so effortlessly. Taking its title from the Chinua Achebe novel credited with revitalizing African fiction, Things Fall Apart announces its ambition right upfront, and reinforces it in the opening sound collage. Dialogue sampled from Spike Lee's Mo' Better Blues implies a comparison to abstract modern jazz that lost its audience, and there's another quote about hip-hop records being treated as disposable, that they aren't maximized as product or as art. That's the framework in which the album operates, and while there's a definite unity counteracting the second observation, the artistic ambition actually helped gain the Roots a whole new audience ("coffeehouse chicks and white dudes," as Common puts it in the liner notes). The backing tracks are jazzy and reflective, filled with subtly unpredictable instrumental lines, and the band also shows a strong affinity for the neo-soul movement, which they actually had a hand in kick-starting via their supporting work on Erykah Badu's Baduizm. Badu returns the favor by guesting on the album's breakthrough single, "You Got Me," an involved love story that also features a rap from Eve, co-writing from Jill Scott, and an unexpected drum'n'bass breakbeat in the outro. Other notables include Mos Def on the playful old-school rhymefest "Double Trouble," Slum Village superproducer Jay Dee on "Dynamite!," and Philly native DJ Jazzy Jeff on "The Next Movement." But the real stars are Black Thought and Malik B, who drop such consistently nimble rhymes throughout the record that picking highlights is extremely difficult. Along with works by Lauryn Hill, Common, and Black Star, Things Fall Apart is essential listening for anyone interested in the new breed of mainstream conscious rap.

<a href="https://mir.cr/MCLDHWDS"> The Roots - Things Fall Apart </a> (flac   419mb)

01 Act Won (Things Fall Apart) 0:56
02 Table of Contents (Parts 1 & 2) 3:39
03 The Next Movement 4:12
04 Step Into the Relm 2:51
05 The Spark 3:54
06 Dynamite! 4:47
07 Without a Doubt 4:16
08 Ain't Sayin' Nothin' New 4:36
09 Double Trouble 5:52
10 Act Too (The Love of My Life) 4:56
11 100% Dundee 3:55
12 Diedre vs. Dice 0:49
13 Adrenaline! 4:29
14 3rd Acts: ? vs. Scratch 2... Electric Boogaloo 0:53
15 You Got Me 4:21
16 Don't See Us 4:32
17 The Return to Innocence Lost 11:55
    - [silence] 1:30
18 Act Fore (...) 0:05
[

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Apr 20, 2021

RhoDeo 2116 Expanse 38

Hello, sorry a day late... ,live sports biggest cycle race of the country and the biggest F 1 racer, consquently i didn't get much sleep. Btw it was a great F1 race, unexpected rain, a red flag, both times leader Verstappen lost his big advantage, Hamilton semi crashed but in the end got to proof he still the best coming 2nd 20sec after Verstappen

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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Charged vortices erupting from the Sun can form relatively dark cavities.

Recently, much has been made about a so-called “black sphere connected to the Sun.” Outlandish claims that a solid object was in close solar orbit, “feeding” off the photospheric plasma, have appeared in various places on the internet.

The Sun is a ball of plasma approximately 1.4 million kilometers in diameter. As such, it tends to behave electromagnetically and not according to thermal or mechanical physics. The Sun is the locus of positive charge with respect to the Interstellar Medium (ISM), a stream of high-energy particles, or plasma, flowing through our galaxy. A magnetically confined bubble known as the heliosphere isolates the Sun from the ISM.

Laboratory experiments with a positively charged sphere show that a plasma torus forms above the Sun’s equator. Electric discharges known as sunspots sometimes bridge the torus with the Sun’s middle and lower latitudes, punching holes through the photosphere.

Rotating filaments of plasma can be seen in the penumbrae of sunspots, indicating that they are whirling charge vortices. Since electric discharges in plasma create rope-like, hollow tendrils, they form into funnels of plasma with dark centers. Since the penumbral filaments have a helical structure that maintain a constant diameter, they might be thought of as glowing plasma tornadoes. Rapidly spinning tubes of charged particles produce a powerful magnetic field, causing the particles to concentrate at the periphery of the vortex. Looking through these semi-transparent tubes of glowing plasma side-on, the edges appear bright, while the center is dark.

Coronal arches and multiple looping electromagnetic structures connect sunspots to each other, rising high enough to penetrate the chromosphere. The chromosphere is also a double layer region of the Sun, or plasma sheath, formed by the current flowing between the Sun and its environment. When the electric charges flowing through the Sun’s plasma sheath reach a critical threshold, the double layer may explode, causing solar flares and enormous prominence eruptions.

Electric Universe theory assumes that celestial bodies interact through conductive plasma and are connected by circuits, so the Sun is assumed to be electrically connected with the galaxy. The Sun’s input power is not stable, however. The charges flowing into and out of the Sun can sometimes increase to the point where it releases solar flares or coronal mass ejections (CME).

Solar flares are equivalent to tremendous lightning bursts on the Sun, pushing masses of plasma outward for millions of kilometers. Those plasma bursts are also helical in nature, sometimes containing darker voids within them. Since the structures are electromagnetically confined, they can be quasi-stable in the Sun’s atmosphere for minutes or even hours. The bubble within the CME shown at the top of the page is a normal plasma structure that lasted for over two days.

Whenever phenomena on the Sun are considered, its tremendous size must also factor in. Plasma phenomena are scalable up to many orders of magnitude. What can be modeled in laboratory experiments might take milliseconds, but when those activities are scaled to over a million kilometers, they might remain visible for a relatively long time.

Stephen Smith

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A striking example of so-called settled science which was settled prematurely is the question of how the moon got its craters. As we entered the Space Age, the debate among geologists and astronomers only considered two hypotheses — impacts, and volcanism. After Apollo astronauts returned lunar samples to Earth, analysis revealed a tremendous portion of the material was composed of shocked and welded minerals.

Thus, the impact origin of lunar craters became the consensus scientific theory, and remains so today. Of course, like so much settled science, the dilemma was settled without the successful resolution of countless anomalies.

In this episode, we explore the growing scientific evidence that interplanetary lightning bolts carved the lunar surface.

https://youtu.be/ZeDIWaZ__o4

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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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Nemesis Games is a 2015 science fiction novel by James S. A. Corey, the pen name of Daniel Abraham and Ty Franck, and the fifth book in their The Expanse series. It is the sequel to Cibola Burn. The cover art is by Daniel Dociu.[Nemesis Games received positive reviews. Andrew Liptak of io9 called the novel "Corey’s 'Empire Strikes Back'".

Synopsis

The Rocinante is down for long-term maintenance after the events of Cibola Burn. Three crew members decide to take care of some personal business during the down time. Amos Burton heads to Earth when he learns someone important from his past there has died, to pay his respects and to make sure no foul play was involved. Alex Kamal heads to Mars in the hopes of getting closure with his ex-wife and to see Bobbie while there. Naomi Nagata heads to Ceres station, when she receives a message that her son Filip is in trouble. While Jim Holden supervises repairs to the Rocinante, he is enlisted by Monica Stuart to investigate disappearing colony ships.

Facing collapse by the exodus of colony ships through the rings, militant factions of the OPA coalesce into a Free Navy and simultaneously wreak havoc on Earth as they try to kill the Martian Prime Minister and Fred Johnson. Amos survives the attacks on Earth, frees Clarissa Mao and escapes to Luna with her help and the help of Baltimore organized crime acquaintances from his old life. Alex meets Bobbie on Mars and they investigate missing Martian military equipment and ships, which leads them into the middle of the assassination attempt on the Prime Minister. Naomi is kidnapped by her ex-lover Marco, leader of the Free Navy, but manages to escape; Alex and Bobbie rescue her.

The crew reunites on the Rocinante. What's left of the Earth, Mars and the non-militant OPA government meet on Luna. Naomi finally tells Jim about her violent past. Amos asks that Clarissa stay as his apprentice. The Free Navy has encamped past the belt and is preventing anyone from going through the rings. It is revealed that the Free Navy was sold most of its equipment by a rogue faction of the Martian Navy led by Admiral Winston Duarte and that the disappearing colony ships are being consumed by a force within the gates.

<a href="https://multiup.org/5e317407ea60e9d49a011e716cb21ec3">James S.A. Corey - The Expanse .Nemesis Games 15-21 </a> ( 140min 64mb)

James S.A. Corey - The Expanse .Nemesis Games 15-21 140min

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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)
<a href="https://multiup.org/a342a96876aac55f56cc4d6d19a82489">James S.A. Corey - The Expanse Cibola Burn (01-07) </a> ( 132min 61mb)
<a href="https://multiup.org/231c93090b14ff8bbc0652e462a7498d">James S.A. Corey - The Expanse Cibola Burn (08-14) </a> ( 128min 59mb)
<a href="https://multiup.org/a7a9a2f96fb59f3986666a9b036c24b9">James S.A. Corey - The Expanse Cibola Burn (15-20) </a> ( 134min 59mb)
<a href="https://multiup.org/97725791bb5602961aee81fa64d12bee">James S.A. Corey - The Expanse Cibola Burn (21-27) </a> ( 135min 62mb)
<a href="https://multiup.org/856f2b0017a6269b4631a47417d8e44f">James S.A. Corey - The Expanse Cibola Burn (28-34) </a> ( 135min 62mb)
<a href="https://multiup.org/4f908544c40f49e4f188a0c811247d0d">James S.A. Corey - The Expanse Cibola Burn (35-41) </a> ( 126min 58mb)
<a href="https://multiup.org/f7d9a031a03c2f95e58047befb0c55f2">James S.A. Corey - The Expanse Cibola Burn (42-48) </a> ( 154min 70mb)
<a href="https://multiup.org/e7f40aef0212205f097fe4c62ab428b7">James S.A. Corey - The Expanse Cibola Burn (49-56) </a> ( 161min 74mb)
<a href="https://multiup.org/67ac8380f2bb0c46771fc0061357442b">James S.A. Corey - The Expanse Cibola Burn (57-64) </a> ( 154min 71mb)
<a href="https://multiup.org/d59d9633922ac0f97a8fc47b8801ae14">James S.A. Corey - The Expanse .Nemesis Games 01-07 </a> ( 138min 57mb)
<a href="https://multiup.org/040a3e90a7e112b6d090c5c47d6f5283">James S.A. Corey - The Expanse .Nemesis Games 08-14 </a> ( 135min 64mb)

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Apr 18, 2021

RhoDeo 2116 Sundaze

Hello, looks like Carsten Nicolai is rather popular here, excellent., reason enough to post more work by him aand his friends these weeks.

Carsten Nicolai (18 September 1965), also known as Alva Noto, is a German musician and visual artist. He is a member of the music groups Diamond Version with Olaf Bender (Byetone), Signal with Frank Bretschneider and Olaf Bender, Cyclo with Ryoji Ikeda, ANBB with Blixa Bargeld, ALPHABET with Anne-James Chaton. Opto with Thomas Knak, and Alva Noto + Ryuichi Sakamoto with whom he composed the score for the 2015 film The Revenant.

Carsten Nicolai, born 1965 in Karl-Marx-Stadt, is a German artist and musician based in Berlin. He is part of an artist generation who works intensively in the transitional area between music, art and science. In his work he seeks to overcome the separation of the sensory perceptions of man by making scientific phenomenons like sound and light frequencies perceivable for both eyes and ears. Influenced by scientific reference systems, Nicolai often engages mathematic patterns such as grids and codes, as well as error, random and self-organizing structures. His installations have a minimalistic aesthetic that by its elegance and consistency is highly intriguing. After his participation in important international exhibitions like documenta X and the 49th and 50th Venice Biennale, Nicolai’s works were shown worldwide in extensive solo and group exhibitions.

His artistic œuvre echoes in his work as a musician. For his musical outputs he uses the pseudonym Alva Noto. With a strong adherence to reductionism he leads his sound experiments into the field of electronic music creating his own code of signs, acoustics and visual symbols. Together with Olaf Bender and Frank Bretschneider he is co-founder of the label 'raster-noton. archiv für ton und nichtton'. Diverse musical projects include remarkable collaborations with Ryuichi Sakamoto, Ryoji Ikeda (cyclo.), Blixa Bargeld or Mika Vainio. Nicolai toured extensively as Alva Noto through Europe, Asia, South America and the US. Among others, he performed at the Solomon R. Guggenheim Museum in New York, the San Francisco Museum of Modern Art, Centre Pompidou in Paris and Tate Modern in London. Most recently Nicolai scored the music for Alejandro González Iñárritu’s newest film, 'The Revenant' which has been nominated for a Golden Globe, BAFTA, and Critics Choice Award.

biography
lives and works in Berlin and Chemnitz, Germany
1965    born in Karl-Marx-Stadt, GDR
1985-90    Study of landscape architecture. Dresden, Germany
1992    Co-founder of the project Voxxx-Kultur- und Kommunikationszentrum, Chemnitz, Germany
1994    Foundation of noton.archiv für ton und nichtton
1999    Label fusion to raster-noton
2015    Professorship in art with focus on digital and time-based media, Dresden Academy of Fine Arts
Prizes / Scholarships
2014    17th Japan Media Arts Festival, Grand Prize (Art Division), Japan (crt mgn installation)
2012    Giga-Hertz-Award, ZKM Karlsruhe, Germany (cyclo. id publication with ryoji ikeda)
2007    Villa Massimo, Rome, Italy
     Zurich Prize, Zurich, Switzerland
2003    Villa Aurora, Los Angeles, USA
2001    prize ars electronica, golden nica, Linz, Austria (polar installation with marko peljhan)
2000    f6-philip morris, graphic prize, Dresden, Germany
     prize ars electronica, golden nica, Linz, Austria (20' to 2000 project)
1990    Jürgen Ponto prize, Frankfurt/Main, Germany
Artworks in Public Space
2015    chroma actor, Seibu Shibuya, Tokyo, Japan
2011    lfo spectrum, Olympic Park, London, UK
2010    monitor, Siobhan Davies Studios, London, UK
     autor, Temporäre Kunsthalle, Berlin, Germany (temporary)
2009    poly stella, Kasumigaseki Building Plaza, Chiyoda-ku, Tokyo, Japan
     pionier ll, Piazza Plebiscito, Naples, Italy (temporary)
2006    polylit, Kleiner Schlossplatz, Kunstmuseum Stuttgart, Germany
2005    frequenz (milch), Tramhaltestelle, Hauptbahnhof Leipzig, Germany

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Those of you who heard the Alva Noto remix of Bjork's 'Innocence' have already been given a preview of the rhythmic processes behind Unitxt, which aesthetically follows along similar lines to the Trans series of releases. Recorded over the past couple of years, this album's inception came about during the Raster Noton tour of Japan between 2006 and 2007, only to be finally revised and edited into its current form within recent months. Of all the rhythm-based music by Alva Noto, this latest batch probably marks the greatest levels of detail and elaboration. If an album like Transform was largely characterised by a strict and pristine approach to minimalism and subtlety, Unitxt presents a more complex and full-blooded exercise. The essential building blocks of the Alva Noto sound remain pared down and elemental, but there's something uncommonly visceral about Nicolai's compositional technique this time around, which while still familiar and unmistakably his work, sounds charged with renewed levels of ferocity and kinetic energy. Surprisingly, this album isn't entirely impervious to human interventions, and Poet Anne-James Chaton appears on eight-minute opening track 'U_07', offering a portrait of Carsten Nicolai in numbers and text, reading out the various pieces of information found in Nicolai's wallet, from invoices, business cards, notes and even credit card information. This theme of spoken numeric information is continued on 'U_08-1', in which Chaton recites a series of digits corresponding to the 'Golden Ratio', which conceptually is all very much in keeping with the kind of geometric-acoustic perfection suggested by Noto's intensely organised soundworld. The album is divided into two distinct sections: after an initial sequence of ten conventional recordings, the remaining sixteen audio tracks are occupied by various kinds of data having been converted into audio information, with software applications like Excel, Word and Powerpoint all reinterpreted as a raw stream of sound matter. The end result is surprisingly beautiful, and very much akin to the kind of radical, uncompromising digital experiments of Farmers Manual. There's a certain logical elegance to the fact that these sound files - sourced from programs you'd use everyday in an office - actually sound rather like the various mechanisms of technology you might have encountered over the years, from the rhythmic splutter of printers to the loading sounds of old 8 bit computers. When it's presented to you in this context, you really appreciate how chaotic, alien and how absolutely beautiful this continuous bombardment of data can be. Coupled with the recent Ryoji Ikeda Test Pattern CD, Unitxt presents a hugely absorbing perspective on our relationship with the information that's all around us, all the time. An amazing album - Hugely recommended.

<a href="https://mir.cr/VLBATAA3">    Alva Noto - Unitxt </a> ( flac 351mb)

Unitxt
01 U_07    7:57
02 U_06    2:07
03 U_04    5:15
04 U_09-1-2    4:48
05 U_08-1    3:13
06 U_03    4:30
07 U_08    5:37
08 U_01-2-0    4:00
09 U_05    3:20
10 U_09-0    3:53
11 (no audio)    3:00
Unitxt Code (Data To Aiff)
12 60308_47    0:13
13 838TP7cdp    0:04
14 Enigma4.0    0:05
15 Fontlab4.0    0:51
16 Hyperengine    0:10
17 Entourage    0:54
18 Excel    1:07
19 Powerpoint    0:45
20 Word    1:41
21 Monitortest    0:06
22 Morse    0:08
23 Prototype6_isdn    0:08
24 Serialbox    0:29
25 Soundmaker    0:07
26 Spray16x9s    1:07

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Mimikry is the first full-length to emerge from the collaboration between sound and visual artist Alva Noto, a.k.a. Carsten Nicolai, and composer, voice-artist, and former Nick Cave and the Bad Seeds/Einsturzende Neubaten alumnus Blixa Bargeld. For three years they’ve focused on live performance, stressing improvisation in situ, with 2010 seeing the release of an EP, Ret Marut Handshake.

Here, they again break the silence with opener “Fall,” beginning with a thin, strangled whine, animal and pained. It does what its title says, descending into a choral caterwaul reminiscent of Mike Patton’s hotel-room multitrack suggestion “Inconsolable Widows In Search of Distraction,” from his Adult Themes For Voice.

The sound builds and terrifies. It’s exactly the kind of sound you’d make if you were asked to imitate a trapped cat, at that kind of party. It’s the kind of sound I imagine the feline-mantis-lifeform on the album’s cover would make, cocking her head slightly, beguilingly, before biting yours off. It is an example of the sound that emerges from the versatile glottis of Bargeld, a set of syllables beyond sense that, on opening and noticing, are found wormed throughout the leaves of the collection.

Nicolai, renowned for his work in cymatics, the visualization of sound, and compositions that stress duration and delicately held sheets of crystalline texture, matches Bargeld’s echoed, layered, quietly genocidal soundswell with his own ominous clarion. The sound of massively pressurized gas escaping through a pinprick. Just when the combined, oddly harmonious, and well-spatialized descending (ascending?) sound becomes overwhelmingly tactile, the gas a mylar membrane away from Hindenburg II, and the single cat reduplicated into a litter struggling in a bag halfway down an infinitely deep zero-degree Kelvin lunar seafloor vent, both parties choke back.

Far from the unrelenting side-long pummeling that we might expect from the likes of Merzbow, and despite this opening resonance, ANBB offer quite a varied sushi-set of sonic compartments. After the hackle-raising — but only two-odd-minute-long — descent of “Fall,” there are at least four or five other discernible ‘movements’ in the track’s 10 minutes. Stuttering fragments of each movement contaminate the other, Bargeld’s voice ranging from the softest whisper to strident, Carstein’s electronics moving from supercool gas to supernal warmth and back. Minimal piano lines emerge, recalling Nicolai’s (Alva Noto’s) collaborations with Yellow Magic Orchestra’s Ryuichi Sakamoto. Splinters of Nicolai’s trademark metallic and percussive microsounds needle through the layers. In all its richness and diversity, the beginning bento box indexes the remainder, the “other story, the new,” in those rare words of Bargeld’s that here don’t adhere to the form of pure, non-signifying utterance.

Industrial rears its head immediately thereafter, Nicolai tapping into the beefier sounds of his alter ego Byetone before settling back into a brilliant cover of Nilsson’s “One.” The original inspiration for the Nilsson song — a telephone’s busy signal — transfers nicely into an electronic setting, and Bargeld’s voice is a gentle, perfect balance between plaintive and playful. Clearly he respects his source even as he relishes the chance to transpose it into a setting of icy synthbergs and, yes, a small burlap sack of slow-poisoned cats corralled into a backing chorus.

Whistling LPG and veterinary nightmares wend their way again across a field of wonky time-signatures in the EBM-inflected “Ret Marut Handshake,” but are entirely anesthetized and burnt off for the restrained, razor-and-sawtooth rendition of classic US folk number “I Wish I Was a Mole in the Ground.” Over an ice-cold bed of stereo-panning, uncluttered, clipped, and percussive machine funk that wouldn’t be amiss on Autechre’s Tri Repetae, Bargeld plainsongs then snarls through the verses. The exercise has a far more disquieting tone than the cover of “One,” dispensing — as you might expect in the hands of these collaborators — with any shred of banjo-and-barndance folk jollity to expose the starkly disturbing narrative knotted into the grassroots of the song’s origins and mythology.

This sense of disquiet is amplified on the title track “Mimikry,” where Bargeld intones that “You as an insect/ Mimic yourself” alongside the kind of matter-of-fact Speak & Spell vocal sampling that littered a thousand industrial and hip-hop records of the cut & paste Ninja Tunes bent. It feels a tad trite, even as it recalls the insectoid conceit of the cover art and supposedly ‘incorporates the words’ of that same model — the model simply known as Veruschka, who has made a career of contorting herself in the name of art, most famously before the camera of David Hemmings’ photographer in Antonioni’s Blow-Up.

After a forgettable lull on the penultimate track — notable only for an alarm-clock reawakening to attention in its closing seconds, where it does indeed sound as if Merzbow or at least Alva Noto at his most caustic had been recruited — Veruschka contributes ‘vocals’ (those cat sounds!) to a great finale. “Katze” hears Veruschka and Bargeld prowl around each other in a way I can’t help but compare to Lydia Lunch and James Chance’s pre-linguistic slow burn sex & phone sax duet “Stained Sheets,” with Bargeld gently coaxing and both of them meowing, sparring, hissing, and purring as the track dissolves first into dizzy muted organ chords and increasingly bit-crushed electronic textures.

It’s an infectiously odd end to an album that is strangely unsatisfying in the best aesthetic sense, if only because such a sense provokes anticipation. Perhaps ANBB were wise to thrash out the mesh of their individual sonic peccadilloes in live-improvisation before committing them to disc. As such, it hangs together inasmuch as a dystopic ruin can. As “Katze” winds out like an exhausted dynamo, Bargeld’s last lines — “What is this? Where am I?” — are a tantalizing indication of what could — and should — be an ongoing exploration in sound by these two seasoned, well-suited experimenters and their coven of familiars.

<a href="https://multiup.org/e23266a9bf1919f38d03de30d83e8bd5">   ANBB - Mimikry + Ret Marut Handshake </a> ( flac 424mb)

01 Fall 10:04
02 Once Again 5:23
03 One 2:55
04 Ret Marut Handshake 6:10
05 Bernsteinzimmer (Long Version) 4:52
06 I Wish I Was A Mole In The Ground (Extended) 4:02
07 Mimikry 5:02
08 Berghain 4:19
09 Wust 6:09
10 Katze 3:45
11 Electricity Is Fiction 4:16
12 Foligno 2:27
EP
13 Ret Marut Handshake 6:47
14 One     2:49
15 Electricity Is Fiction 4:15
16 Bernsteinzimmer 3:21
17 I Wish I Was A Mole In The Ground 1:54

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A second album of dedications from Carsten Nicolai. Perhaps reflective of how varied this artist's output has become over recent years 'For 2' represents an incredibly broad range of styles and approaches, though the music always manages to retain the all-important sonic signatures unique to the Alva Noto sound. Over the past decade or so Nicolai's music has transcended the hyper-minimal rhythmic motifs that defined so much of his early work, exploring the possibilities of collaboration, live instrumentation and reconstituted orchestral ambience among other things. Accordingly, on For 2 (which collects music made between 2003 and 2008) you can expect surely the most expansive repertoire of sounds than has ever been gathered for a single Alva Noto album, something that's in-keeping with the diverse set of dedications - works for Russian filmmaker Andrei Tarkovsky, fellow minimalist composer Phill Niblock, industrial designer Dieter Rams and dramatist Heiner Muller are all included, prompting greatly diverging works from Nicolai. The first piece isn't dedicated to an artist, or even a human being at all, but rather a translucent textile. This composition seems to cut itself into sections, with Noto's trademark glitching wave patterns joining with string ensemble-style chord movements and harsh, industrial sounding noise inserts. Following on is 'Villa Aurora (For Marta Feuchtwanger)', an immensely subtle field recording that captures the decay of a sustaining piano chord before it's snuffed out by the closing piano lid, leaving only the bustle of exterior environmental noises. This isn't the last time on the disc that Nicolai draws our ears to the narrative-warping potential and all-round beauty of music in decay: 'Anthem Berlin' (dedicated to Leif Elggren and Carl Michael Von Hausswolf's fictional Kingdom Of Elgaland-Vargaland) plays a similar trick, taking a sample of a militaristic marching band and spiralling the snare's sound off across several minutes of sustaining, treated resonance. There's a surprisingly strong melodic component to this selection too, with the wonderful 'Stalker (For Andrei Tarkovsky)' and two different versions of 'Argonaut (For Heiner Muller)' - one of which is arranged for live classical instrumentation - both exhibiting a keen ear for minimalist harmonic progressions. Much of this music is caught in a continual dialogue between outright beauty and more uncompromisingly conceptual, experimental pursuits. At one end of this we find the synaesthetic, Evgeny Murzin-inspired visual-to-audio synthesizer piece, 'Ans', while at the other there's the quietly heart-wrenching 'Early Winter', which samples a Phill Niblock recording - slowly and elegiacally evolving what sounds like a looped orchestral passage while sonar-blip electronics sound off in the background. A hugely impressive account of Carsten Nicolai's talents as a musician and artist, 'For 2' comes with a massive recommendation.

<a href="https://www.imagenetz.de/VKFp5"> Alva Noto - For 2 </a> ( flac 274 mb)

01 Garment (For A Garment)    6:36
02 Villa Aurora (For Marta Feuchtwanger)    1:49
03 Pax (For Chain Music)    0:54
04 Argonaut (For Heiner Müller)    7:35
05 Stalker (For Andrei Tarkovsky)    5:06
06 Sonolumi (For Camera Lucida)    4:10
07 Interim (For Dieter Rams)    2:49
08 T3 (For Dieter Rams)    7:20
09 Early Winter (For Phill Niblock)    4:29
10 Anthem Berlin (For The Kingdom Of Elgaland-Vargaland)    6:40
11 ANS (For Evgeny Murzin)    1:12
12 Argonaut-Version (For Heiner Müller 7:32

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Cyclo. is a collaborative research project by Ikeda and Nicolai which focuses on the visualisation of sound. The artists are developing a database of sounds that they are composing for the visual responses these produce when analysed in real time using equipment developed originally for phase correlation in mastering vinyl records. With such stereo image monitoring equipment, the phase and amplitude of stereo signals can be illustrated graphically. The audio elements have been constructed and chosen through agendas concerned with the minute editing of frequencies (often beyond the physical range of human hearing) and the perceptual amassing of audio elements to an undefined point. For Nicolai and Ikeda an 'infinity index’ of sound fragments is a conscious motivation forming the basis of their research and feeding cyclo. with the audio material required for visuality.

In amassing this archive, Nicolai and Ikeda transcend the usual dynamic whereby image acts merely as a functional accompaniment to sound. They arrive at a standpoint from which the audio element in the process is subservient to the desire and appetite of the image. Although this imaging is purely 2-D in display, the process proposes 3-D possibilities. Their proposition is that the structural complexities of these visual metered shapes, born and examined from the perspective of audio metering, may have in them a rich potential for architects, designers and engineers to find starting points for structural readings.

<a href="https://bayfiles.com/z2IcH5rau0/Ccl_Id_zip ">   Cyclo. - Id </a> ( flac 252mb)

01 Id#00 6:56
02 Id#01 4:09
03 Id#02 2:05
04 Id#03 2:44
05 Id#04 4:23
06 Id#05 2:03
07 Id#06 4:51
08 Id#07 3:52
09 Id#08 5:36
10 Id#09 4:09
11 Id#10 3:31

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‘Summvs’ is the fifth and purportedly final collaborative album from the dream-team of Ryuichi Sakamoto and Carsten Nicolai (aka Alva Noto). Since 2002 the two musicians have fused their disciplines near-faultlessly, with Sakamoto’s evocative piano-based compositions melting effortlessly into Nicolai’s skillful digital rhythms and cautious manipulations. Each album has brought the duo slightly closer together, and ‘summvs’ (the title an amalgamation of the words summa and versus) sees their work reach critical mass. With Sakamoto apparently working on a rare piano (one of only fifteen in the world) using 16th interval tuning, and Nicolai expanding on his newfound love of harmony and melody, the results are much warmer than their earlier experiments, and all the better for it. While Nicolai’s glacial digital hiccups were always a draw for some, I found at times they distracted from the focus of the pieces – and here rather than eliminate them altogether Nicolai tempers them, working them into a more harmonic framework. The familiar bass-heavy shuffle we fell in love with all those years ago on ‘Transform’ still crops up occasionally, most noticeably on ‘Pioneer IOO’, but it's balanced by an unforgettable cinematic haze of ‘Naono’ (a clear standout – think Deaf Center, Ben Frost or The Fun Years) and ‘Halo’. There is something elegiac and deeply final about ‘summvs’, it feels like an ink stamp, an underline, a statement from the duo saying ‘this is it, and this is the best it can be’, and it truly is. Memorable, atmospheric and beautiful – even if you’ve missed all four of their previous albums, ‘summvs’ is the one to buy. Easily a highlight of 2011 thus far – you know what to do.

<a href="http://depositfiles.com/files/9ki4w4amo"> Alva Noto And Ryuichi Sakamoto - Summvs .</a> 216mb

01 Microon I 3:00
02 Reverso 6:57
03 Halo    7:10
04 Microon II 2:38
05 Pionier IOO 5:46
06 Ionoscan 4:08
07 By This River    4:08
08 Naono 11:20
09 Microon III :00
10 By This River - Phantom 8:30

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