Sundaze 1115

Hello, time for some extreme relaxing inside out, regular visitors have seen more Hemi Sync at this blog. As always don't listen whilst driving, you might confuse the real world in your head with the maya outside and this could end fatal to the car and every-body in it. For the same reason whilst jogging seems unadvisable aswell. Just sit or lie back and immerse yourself, prefarbly whilst using headphones.. Todays posts are both in Flac, something i'm willing to do more, let me know if you're interested.

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An extraordinary sojourn into a dreamlike shamanic landscape. The captivating shamanic music of Don Peyote and Naasko is combined with Hemi-Sync® to guide your inner journey. Sounds from the rain forest contribute to the surreal, organic ambience. Vivid images emerge as time blurs and the world disappears. For optimum
results, listen to this experiential composition in one session—preferably in a darkened, meditative environment. Instruments featured: didgeridoo, flutes, mbira, synthesizer, indigenous chants, shamanic percussion and field recordings.



Between Worlds with Hemi-Sync (flac 229mb)

01 Between Worlds (52:23)


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41 years after stunning the public with a landmark debut, by what was described as Andy Worhol's house band-hence the velvet, in which he featured heavily as guitarist and singer songwriter. I'm talking of Goldy Rhox 21 here naturally. Anyway a few years later he went solo building an extensive discography, which contains his notorious electronic instrumental album "Metal Machine Music". Well, Lou Reed has returned to the electronic genre once again with "Hudson River Wind Meditations". Unlike the endless streams of feedback and noise that was "Metal Machine Music", "Hudson River Wind Meditations" is a quiet meditative collection of four ambient pieces and is intended as a serious musical work. The intention of this music is made clear in Reed's brief liner notes to the album.

I first composed this music for myself as an adjunct to meditation, Tai Chi, and bodywork, and as music to play in the background of life — to replace the everyday cacophony with new and ordered sounds of an unpredictable nature. New sounds freed from preconception. This was two years ago, and over time, friends who heard the music asked I could make them copies. I then wrote two more pieces with the same intent: to relax the body, mind and spirit and facilitate meditation. I hope you find as much use for this music as I have in both writing and listening to it and exploring inner spaces.
- Lou Reed
NYC, October 2006

"Hudson River Wind Meditations" opens with two extended pieces. The opening piece "Move Your Heart" is a 28-minute minimalist piece consisting of slow pulsating synths. There is very little change throughout this piece and the music almost seems as if it were a long loop set on infinite repeat.
The second extended piece "Find Your Note" runs for close to 32-minutes and consists of endless droning sine-wave tones. While the ambient nature of the previous piece is still very much present, the overall style is more similar to the electronic music created in the 1960's.
The disc closes with two shorter pieces. The two-minute "Hudson River Wind" is simply an electronic simulation of ocean waves while the closing "Wind Coda" is basically a five-minute summary of what was heard in the previous three pieces - the pulsating notes of "Move Your Heart" combined with the sine-waves of "Find Your Note" and the white noise of "Hudson River Wind". While this music may seem boring to some, it is quite beautiful and relaxing.

The cover photograph is by Lou Reed.



Hudson River Wind Meditations (flac 175mb)

1 Move Your Heart 28:54
2 Find Your Note 31:35
3 Hudson River Wind (Blend the Ambiance) 1:50
4 Wind Coda 5:23

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RhoDeo 1114 Beats

Hello, i'm rather miffed about my visitor numbers currently, these have been growing steadily since i picked up posting again in october last year, even during the time that i stopped posting numbers declined steadily over the 20 months during which i just did two specials. However since late March numbers have suddenly gone down by 20% now, i can't help but wonder, haven't seen anything like this in the past 5 years. Ideas and suggestions are welcome...
Todays post is all about what was at the time the new sensation, a creative burst that lasted a little more then a year before the band split bevause their 1+1=3 moment had gone A wise decision because seperately they achieved new heights..

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Andrew Weatherall's own C.V. is nothing to laugh at. Born in 1963, he was dee-jaying by age 14 and a professional behind the decks when 1987 clicked over. During the next five years he grabbed the nascent UK acid house movement by the scruff of the neck, first remixing New Order and The Happy Mondays and then producing Primal Scream's opus 'Screamadelica'. The album turned out to be one of the most influential releases of the 1990s. "I'm proud of that piece of work," Weatherall admits. "I'm still chuffed when people come up to me and say it's their favourite album, or it changed the way they listen to music."

Andrew Weatherall's Sabres of Paradise were one of the U.K.'s most celebrated experimental techno groups. A combined effort of Weatherall and collaborators Jagz Kooner and Gary Burns, the group released a flood of singles and EPs, many of which were collected on compilations released by Warp and Weatherall's other main focus: the Sabrettes label, with releases from Plod and Slab, among others. Born in Windsor, Berkshire, Weatherall considers himself a DJ first, and his exhausting schedule of deckwork has been arguably as influential as his records, inspiring scores of other DJs and anticipating trends in trance-techno, inelegant dance, and even trip-hop. Still, tracks such as "Smokebelch," "Theme," "Wilmott," and the expansive Haunted Dancehall did much in helping to push the post-techno envelope beyond the often staid conventions of the dance floor. Weatherall also gained visibility through remix and production work, working with Primal Scream and Scottish ambient-pop group One Dove, and reworking tracks for James, the Orb, Bjork, Therapy?, Happy Mondays, FSOL. Andrew's remixing skills can be sampled firsthand via the three-CD collection Cut the Crap..

Realizing he was becoming an overexposed remixer du jour, Weatherall went underground. Would that Junior Vasquez and Peter Rauhoffer had similar integrity! Weatherall founded the Sabres of Paradise label and studio project and sought to mesh his predilection for urban fear with skunk-fuelled hip-hop and dub. Sabresonic can boast one of the finest remixes of all time-- David Holmes' acidic percussion workout of "Smokebelch" more than rebuffs any criticism that remixing is just a waste of time and marketing budget (which in many cases it is). Holmes became a part of the Sabres system and his breath- taking debut album This Film's Crap, Let's Slash the Seats teams him up with Jagz Kooner and Gary Burns of the Sabres of Paradise.

Weatherall wittily located his Sabresonic club in a disused railway arch under London Bridge station, the area best known as the former prowling ground of Jack the Ripper. Weatherall would DJ his dubby hip-hop before guest DJs like Dr. Alex Paterson would knock clubbers out of their stoned groove with cyborg blasts.

Sabresonic (the album) was followed by Haunted Dancehall on which Weatherall pushed into prominence his love of Jamaican musical styles (reference "Wilmot" and "Theme" if you think I'm crazy). He layed down the blueprint for big beat ("Tow Truck") in addition to producing skeletal techno similar to the ossified forms that Plastikman was putting out at the same time.

Before long, Weatherall killed of the Sabres of Paradise, the Sabresonic club, and established the short-lived Emissions labels. But more lastingly, he teamed up with former Emissions engineer Keith Tenniswood; the phoenix rose majestic once again as Two Lone Swordsman. Jagz Kooner and Gary Burns went on to form The Aloof.

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A classic warp records release...Sabresonic is a unique wonderful musical experience through deep hypnotic melodies, club friendly electro/techno/house beats and chilled soundscapes of ambient. Each track adds to the whole album with atmosphere evoked by moody grooves, ambiance & textures making the whole album a joy to listen and totally involving. This album came out before the AI series on Warp:



Sabres Of Paradise - Sabresonic (93 now in Flac 353mb)

01 Still Fighting 6:59
02 Smokebelch I 7:40
03 Clock Factory 14:44
04 Ano Electro (Andante) 8:15
05 R.S.D. 5:40
06 Inter-Lergen-Ten-ko 6:11
07 Ano Electro (Allegro) 7:14
08 Smokebelch II (Beatless Mix) 4:16

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The Sabres' second album is a conceptual manifesto of sorts, accompanied by a loose song-by-song narrative of descriptions written by the group. According to Weatherall, they initially hired Scottish novelist Irvine Welsh (Trainspotting) to pen the notes, but, unhappy with the results, threw together their own versions minutes before the record was shipped off to be pressed. Lots of thin, bubbly, minimalist ambient and mid-tempo breakbeat, with quirky tracks aided by production assistance from Geoff Barrow (Portishead) and A. Carthy (Mr. Scruff).



Sabres Of Paradise - Haunted Dancehall (94 now in Flac 483mb)

01 Bubble And Slide 2:39
02 Bubble And Slide II 7:38
03 Duke Of Earlsfield 8:42
04 Flight Path Estate 3:21
05 Planet D (Portishead Remix) 4:41
06 Wilmot 7:32
07 Tow Truck 6:35
08 Theme 4:48
09 Theme 4 1:55
10 Return To Planet D 5:04
11 Ballad Of Nicky McGuire 8:30
12 Jacob Street 7am 3:46
13 Chapel Street Market 9am 7:14
14 Haunted Dancehall 4:25


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These remixes are themselves classics and define ambient techno and their 'warped' approach to dance music. More uptempo than their album "Haunted Dancehall" Sabresonic demonstrates how the Sabres tested the conventions of techno, much in the way fellow Warp artists did and still do. Great album to get you in the mood for a night clubbing but conversely you could quite easily just stay in and enjoy.



Sabres Of Paradise - Sabresonic II ( 95 now in Flac 488mb)

01 Smokebelch II (Beatless Mix) 4:15
02 Inter-Lergen-Ten-Ko II 8:56
03 Return Of Carter 4:06
04 Still Fighting 6:58
05 Smokebelch II 12:43
06 Edge 6 5:56
07 Clock Factory 14:43
08 RSD 5:39
09 Smokebelch II (David Holmes Mix) 14:24


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elsewhere on this blog (Rhotation 14)

The Aloof - Cover The Crime ( 94 ^ 165mb)

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RhoDeo 1114 Goldy Rhox 21

Hello, today the 21th post of GoldyRhox, classic pop rock. And once more an album that took it's time before becoming a classic, which in a sense is rather puzzling because of the assocition with Andy Warhol , at the time one of the biggest names in the american art scene. Probably the controversial nature of the lyrics in a hypocritical music industry had something to do with that.

Most of the albums i 'll post made many millions for the music industry and a lot of what i intend to post still gets repackaged and remastered decades later, squeezing the last drop of profit out of bands that for the most part have ceased to exist long ago, although sometimes they get lured out of the mothballs to do a big bucks gig or tour. Now i'm not as naive to post this kinda music for all to see and have deleted, these will be a black box posts, i'm sorry for those on limited bandwidth but for most of you a gamble will get you a quality rip don't like it, deleting is just 2 clicks...That said i will try to accomodate somewhat and produce some cryptic info on the artist and or album.

The bulk of the songs that would become this album were recorded in mid-April, 1966, during a four-day stint at Scepter Studios, a decrepit recording studio in New York City. This recording session was financed by Warhol and Norman Dolph. Soon after recording, Dolph sent an acetate disc of the recordings to Columbia in an attempt to interest them in distributing the album, but they declined, as did Atlantic Records and Elektra Records. Eventually, the MGM Records-owned Verve Records accepted the recordings.

The album was notable for its overt descriptions of topics such as drug abuse, prostitution, sadism and masochism and sexual deviancy. The album cover is recognizable for featuring a Warhol print of a banana on the cover. Early copies of the album invited the owner to "Peel slowly and see"; peeling back the banana skin revealed a flesh-colored banana underneath. A special machine was needed to manufacture these covers, but MGM paid for costs figuring that any ties to Warhol would boost sales of the album.

Though largely ignored upon release, the record has since become one of the most influential and critically acclaimed rock albums in history, appearing at number thirteen on Rolling Stone magazine's list of the 500 Greatest Albums of All Time as well as being added to the 2006 National Recording Registry by the Library of Congress.


Goldy Rhox 21   268mb


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RhoDeo 1114 Aetix

Hello, looks like yesterdays mentioning of The Ark fired up some discussion, organised religion hmm..i'd say it's the devicive work of satan and as long as humanity doesn't grasp this simple concept, we'll keep on killing the other for it-and thereby ourselves. God doesn't keep favourites or have preferences, it is everyother in ways we are too blind to see.
Ok today its time for a bunch of geriatric punkers (by now) , still touring and soon releasing their 17th studioalbum. The ones here stem from their early days..

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Rattus Norvegicus is the first album by The Stranglers, released in 1977. The band's name was printed as "The Stranglers IV" on the sleeve, the album was originally to be entitled "Dead on Arrival" but was changed at the last minute. It became one of the best-selling albums of the punk era in Britain. Rattus Norvegicus was produced in one week by Martin Rushent, and was basically a snapshot of the band's live set at the time.

Their early albums were initially received with mixed reaction because of their apparent sexist and racist innuendo and so these early albums (Rattus Norvegicus, No More Heroes, Black and White) built a strong fan-following. The Raven, their 1979 album, was a transition towards a more melodic, less aggressive sound. The songs are multi-layered and musically complicated, and deal with such subjects as a Viking's lonely voyage, heroin addiction, genetic engineering, and contemporary political events in Iran and Australia. The following album, The Gospel According to The Meninblack was a concept album exploring religion and the supposed connection between religious phenomena and extra-terrestrial visitors. It was widely considered an artistic and commercial failure in 1980. The Stranglers recovered their commercial and critical status, after a slow start, with La Folie (1981) which was another concept album, this time exploring the subject of love and included their biggest hit "Golden Brown"

In 1983 the Stranglers released their first album on Epic Records Feline, the album gained much critical success but fell way short of La Folie in terms of sales. 1984 saw the release of Aural Sculpture with the UK Top 20 hit "Skin Deep" Their 1986 album, Dreamtime, concerned itself with environmental issues, and contained "Always the Sun" it was the only Stranglers album to chart in the U.S.. 1990 saw the release of "10" The Stranglers final album with Hugh Cornwell, It was recorded with the intention of building on their "cult" status in America. An unsupportive Epic and failing t o get a tour in America was a major blow, and Cornwell finally decided to leave.

The Gap was filled by John Ellis ( ex Vibrators), and singer Paul Roberts (ex Sniff 'n' the Tears) thru the nineties most releases were asembled from their backcatalogue . The Stranglers had a critical and popular renaissance in 2004 (together with their first top 40 hit for 14 years - "Big Thing Coming") with the acclaimed Norfolk Coast album and a subsequent sell-out tour. The follow-up album, Suite XVI, was released in September 2006 (the title is a pun on "Sweet 16" and also a reference to the fact that it is the band's sixteenth studio album).

In 2007 it was reported that drummer Black was suffering from atrial fibrillation, an ailment which subsequently forced him to miss a number of shows, particularly where extended travel was required. On such occasions Ian Barnard, Black's drum technician, deputised. In mid 2008, The Stranglers played various major festivals around Europe. Barnard again filled in for Black at several gigs while Black continued his recuperation. However, Black was back with the band for their UK tour later in the year.

2010 for the Stranglers continued their recent resurgence, starting with an extensive UK tour, including a sold-out return to the Hammersmith Apollo in March, their first visit there since 1987. They were supported on the 16 date UK tour by up and coming Punk Rock four piece, Max Raptor from The Midlands.[33] .

A new double CD compilation album, Decades Apart, containing a selection of tracks from the full career of the band, including at least one from each of their 16 Studio albums and two new tracks, "Retro Rockets" and "I Don't See the World Like You Do" was released in February. Across the summer the band are playing a number of festivals, including Weyfest and Glastonbury and T in the Park in the UK and Oxegen 2010 in Ireland, and concerts in Japan, Greece, Poland, Slovakia and Bulgaria. The band also released a new live album and DVD, recorded at the Hammersmith Apollo in March 2010 in May 2010, and are recording further tracks for their next studio album, likely to be released early in 2011.

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No More Heroes is the second album by The Stranglers, produced by Martin Rushent, and released in the fall of 1977. It features a photo of a wreath placed on a coffin with the tails of several rats The album became one of the band's highest charting releases, peaking at no.2 on the UK album chart, and stayed in the chart for 18 weeks. The album consists of various recordings left over from the session for their Rattus Norvegicus album, along with new material. In his book The Stranglers: Song by Song, Hugh Cornwell noted the fact that the first three tracks on the record are all sung by different lead vocalists, a trait it shares with Revolver by The Beatles. Two singles were released from the album: "No More Heroes", and a double A-side of "Something Better Change" . A non-album single was released later that year, "5 Minutes"



Stranglers - No More Heroes ( 251mb)

01 I Feel Like A Wog 3:17
02 Bitching 4:26
03 Dead Ringer 2:46
04 Dagenham Dave 3:18
05 Bring On The Nubiles 2:16
06 Something Better Change 3:36
07 No More Heroes 3:28
08 Peasant In The Big Shitty 3:26
09 Burning Up Time 2:24
10 English Towns 2:12
11 School Mam 7:05

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Black and White is The Stranglers third studio album and was recorded within 18 months of their debut Rattus Norvegicus. Produced by Martin Rushent and engineered by Alan Winstanley, the album is divided into the Black side and White side, each nominally characterised by the style and mood of the songs which they contain. The album peaked at no.2 on the album chart in 1978, spending 18 weeks on the chart.

The band recorded a version of "Sweden" sung in Swedish and released this in Sweden. The song title "Death and Night And Blood" is taken from a line from Yukio Mishima's novel Confessions of a Mask.

When released in 1978, on the United Artists label, the first 75,000 LPs came with a free white vinyl 7" - Walk On By / Mean To Me / Tits. "Walk on By" was their cover of the Bacharach and David song. "Mean to Me" was a Stranglers vocal version of the song the band had previously recorded with a female singer (Celia Golin), released under the moniker "Celia and the Mutations". The US version of the Album, on the A&M label, was pressed on Black & White Marbled Vinyl, but came without the EP.



Stranglers - Black and White ( 406mb)

01 Tank 2:57
02 Nice N' Sleazy 3:12
03 Outside Tokyo 2:08
04 Hey! (Rise Of The Robots) 2:15
05 Sweden (All Quiet On The Eastern Front) 2:50
06 Toiler On The Sea 5:25
07 Curfew 3:15
08 Threatened 3:34
09 In The Shadows 4:35
10 Do You Wanna 2:28
11 Death And Night And Blood (Yukio) 2:49
12 Enough Time 4:18
Bonus
13 Mean To Me 1:55
14 Walk On By 6:22
15 Shut Up 1:06
16 Sverige (Jag är insnöad på östfronten) 2:49
17 Old Codger 2:49
18 Tits 5:25

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The Raven is an album by The Stranglers, released in 1979. The album was originally released with a limited edition 3-D cover. Another limited edition was inadvertently created when the band was forced to remove an image of Joh Bjelke-Petersen from the inner sleeve artwork. Petersen was the subject of the album's sixth track, "Nuclear Device". "The Raven" sold well, reaching No.4 in the UK Album Chart, although it is believed it could have made No.1 but for an error in the chart. The Police hit No.1 despite their album not yet being released, leading to controversy that the Police album was mis-credited with sales of "The Raven". Despite its high peak chart position in the UK, "The Raven" only spent 8 weeks on the chart.

It is often said that this album is steeped in Nordic imagery. This is true of the first two songs, much of the artwork (the band is shown standing on the prow of a viking longship) and the raven itself is, of course, a feature of Norse mythology. However the album deals with a variety of issues including: Japanese ritual suicide ("Ice"); heroin use ("Don't Bring Harry"); the Iranian Revolution ("Shah-Shah-a-go-go") and Genetic engineering ("Genetix"). "Duchess", was the first, and most successful, single from the album despite the video - which showed the band as choir boys - being banned by the BBC because they considered it blasphemous. "Meninblack", ended up becoming the starting point for their next album, The Gospel According to The Men in Black.



Stranglers - The Raven (273mb)

01 Longships 1:10
02 The Raven 5:13
03 Dead Loss Angeles 2:24
04 Ice 3:26
05 Baroque Bordello 3:50
06 Nuclear Device 3:32
07 Shah Shah A Go Go 4:50
08 Don't Bring Harry 4:09
09 Duchess 2:30
10 Meninblack 4:48
11 Genetix 5:16

12 Bear Cage 2:50

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once, elsewhere on this blog (Rhotation 06-Aetix -deleted page)

The Stranglers - Rattus Norvegicus (258mb)

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RhoDeo 1114 Roots

Hello, last week it was Egypt, today we wander south into Ethiopia, that ancient region where altitude keeps tempertures within bounds and defendable hence the fleeing Jews decided to bring the ark there.... Coptic christians find their origen there too. The Templars made it there too in search of the Ark Of The Covenant, whatever they found they did build an interesting complex there on an island in a lake, industrious fellows those Templars. Meanwhile the Ark is still paraded around once a year and it's guardian has to be replaced every 10/15 years which suggests some deadly radiation if you ask me. Alas nobody is alowed to go near it besides the guardian. Mysteries ....

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Although Ethiopian culture and music have ancient roots (not to mention a tradition of Coptic liturgical music that dates back to the 4th century A.D.), the story of Ethiopian pop music doesn't begin until the 1930s, when the Emperor Haile Selassie introduced the first Western-style military brass bands. By the later half of the '40s—after the disruptions of the Italian occupation (1935–'41) and World War II—these bands had developed into full orchestras, playing American-inspired swing arrangements with Amharic lyrics and a distinctly Ethiopian modality.

But it wasn't until the late 1960s, toward the end of Selassie's long reign, that Ethiopian popular music—or "modern music," as it was called—really began to take off. The country was opening itself up to the swinging '60s, and a musical explosion fuelled by rapid urbanization and a short-lived economic prosperity was just beginning. Young singers and musicians were influenced by imported jazz, pop, R&B and soul music from the U.S. Artists like Mahmoud Ahmed, Alemayehu Esheteand and Mulatu Astatke combined these cool new imports with traditional Ethiopian sounds, while groups like the Wallias Band, the Roha Band and the Ethio Stars plugged in to newfangled Western instruments.

Unfortunately, this golden age didn't last. After Selassie was deposed in a military coup in 1974, a provisional administrative council of soldiers, known as the Derg ("committee") installed themselves as the governing junta. The Derg years were brutal and austere, and the dictatorship closed down the nightclubs and imposed censors on a thriving recording industry. The party was over.When the Derg dictatorship finally collapsed in 1991, the lid again came off Ethiopian musical creativity.

Traditional Ethiopian music instruments include the masingo, a one-stringed violin like instrument that is played with a bow; the krar, a six-stringed lyre, played with fingers or a plectrum; the washint, a flute made from bamboo; and various drums. There are three types of drums that are used in different occasions: the negarit (kettledrum), played with sticks, the kebero, played with hands, and the atamo, tapped with the fingers or palm. Other instruments include the begena, a huge, multi-stringed lyre often referred to as the Harp of David; the tsinatsil or sistrum, which is used in churches; the meleket, a long trumpet without fingerholes, and the embilta, a large, one-note flute used on ceremonial occasions.

In addition to the above traditional music instruments, Ethiopian music also includes various types of modern music instruments that are used by bands playing Ethiopian jazz, pop, and the like. Modern Ethiopian music instruments include the guitar, percussion, violin, saxophone, mandolin, clarinet, accordion, etc. The masinqo is one of the most popular traditional Ethiopian music instruments used throughout Ethiopia. It is one of the fixtures in Ethiopian culture. Although it looks simple, the masinqo can, in the hands of an expert musician, produces a wide variety of melodies. It is often played by wandering minstrels as well as professional musicians.

In the new millennium, Ethiopian pop continues to evolve and garner wider international attention, attracting Western artists as diverse as the avant-jazz ensemble Either/Orchestra to Jamaican sax virtuoso Cedric Brooks. In fact, the county still exerts a very real pull for Jamaican musicians, as exemplified by 2005's Africa Unite festival, which drew many members of Bob Marley's family (three of whom performed) .



VA - Music From Ethiopia ( 178mb)

01 Lemma Gebre Hiwot - Medina - Zelesegna (4:51)
02 Abyssinia band - Yedejih abeba negn (6:47)
03 Yohannes Afework - Ambassel (4:33)
04 Abyssinia band - Mis men gidifkini (4:22)
05 Asnakech Wortu - Tizita (4:50)
06 Abyssinia band - Endenew yisemah (5:32)
07 Areru Shegane-Teka Tema-Yohannes Afework - Tigrigna (3:19)
08 Yared Orchestra - Alegntaye (5:33)
09 Alemayehu Fanta - Salamta (3:03)
10 Abyssinia band - Yiberral libbe (4:26)
11 Sne Bahel - Haya wolalome (2:31)
12 Alemayehu Fanta - Anchihoyelene -- Tizita (7:05)
13 Abyssinia band - Esketayew (4:37)
14 Sne Bahel - Dowa dowe (3:24)
15 Abyssinia band - Tizita (7:11)


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In 1990, long before world music had acquired radical chic and bankability, Nick Page reinvented himself as Count Dubulah and formed Transglobal Underground, the first pan-cultural groove merchants to discover the heady potential of combining ethnic elements within the hypnotic rhythms and spacey ambiences of house music.

Page made half a dozen intriguing albums with TGU before leaving to form Temple Of Sound, a similar project but with a more pronounced ethnic emphasis. So there could be few musicians better qualified to initiate a more focused alliance of contemporary grooves with the distinctive strains of soul and jazz coming out of modern Ethiopia, as he has with A Town Called Addis. Thanks to the Ethiopiques series of local classics from earlier decades, Ethiopian music has been growing in popularity, and it's entirely possible that its R&B-inflected jazz stylings could make the country the next Mali, musically. Though largely suppressed during the years of the Mengistu military dictatorship, there are archives of extraordinary music waiting to be discovered.

Following a period working with local musicians and singers in Addis Ababa in 2006, Page initiated the collaborations featured on A Town Called Addis, which draw on the Azmari and other traditional forms, along with indigenous pop and jazz styles from the Sixties and Seventies, blending them with Dubulah's natural dub-reggae inclinations and trippy house textures. As the spiritual homeland of Rastafarianism, you'd expect a degree of musical correspondence between Ethiopia and Jamaica, and nowhere is this better demonstrated than in the opener "Azmari Dub", where proud JA-style brass riffs from the Horns Of Negus strut alongside the serpentine vocal tendrils of Sintayehu Zenebe, whom Page characterises as "the Edith Piaf of Ethiopia".

She's similarly enticing on "Shem City Steppers" and as part of the vocal battalion on the call-and-response of "Shegye Shegitu", a hypnotic handclap groove that also features the messenqo one-string fiddle of Teremage Woretaw, another vital constituent of many tracks. Along with Getachew Werkley's washint flute and Fasika Hailu's kraar harp, it helps stitch together an improvised quilt behind Tsedenia Gebremarkos Woldesilassie's vocal on "Tizita Dub", while the kraar also produces the lovely, furtive murmurings on which "Entoto Dub" relies.

What do Ethiopia and reggae have in common? In fact, the African nation of Ethiopia has had quite an influence on the development of reggae music. Reggae, native to Jamaica, is closely intertwined with the practice of Rastafarianism. Many of the most notable reggae artists, Bob Marley among them, have been Rastafarians. While the term “Rastafari” often brings to mind a dread-wearing, patois-speaking, spliff-smoking stereotype, there’s more to it than that. With A Town Called Addis, it helps to know a little bit of that history.

Rastafarianism got its name from Prince Regent Ras Tafari Makonnen of Ethiopia. In 1930, he was named king and took on the title Emperor Halie Selassie I. According to Steve Barrow and Peter Dalton’s definitive The Rough Guide to Reggae, Rastafarianism in Jamaica evolved from a synergy of outside forces, including the Voice of Ethiopia newspaper and Jamaica’s social and political struggles following independence from the UK in 1962. By the 1970s, artists like Marley and Burning Spear were taking Rastafarianism to the brink of the Western mainstream.

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Dub Colossus in A Town Called Addis is an extraordinary collaboration between contemporary Ethiopian artists and Dubulah (aka Nick Page of Temple of Sound and Trans-Global Underground). The project brings together an exceptional but little known African musical heritage, a labour of love recording in a makeshift studio in downtown Addis Ababa and then a journey back to Real World to capture for the first time ever in the UK some of Ethiopia's finest performers.

A Town Called Addis does offer plenty of prettiness. “Tazeb Kush” is driven by breezy acoustic guitars and moody synths and strings, and adds some soulful saxophone from Feleke Hailu. The minimal “Tizita Dub” features gorgeous female vocals, twirling flute, and a steady reggae beat to otherworldly effect, while the Brazilian-leaning piano ballad “Neh Yelginete” is a stunner in any language. This track, like the rest of the album’s best, has relatively few vestiges of reggae or dub. That’s fine, though. “Shegye Shegite” is a transcontinental psychedelic blues jam, with dobro, guitar, double bass, and one-stringed fiddle providing the seductive backdrop for co-ed call-and-response vocals. Chances are you haven’t heard anything else like it. “Mercato Music” closes the album out with a breathless spy-jazz workout, all nervous sax, frenzied rhythm, and twinkling Fender Rhodes. Underneath it all, the bassline still hints at dub, though tracks like this move far beyond it. The album never completely gets away from its grounding in dub, however. Zenebe makes a much more effective turn on the pure dub track “Ambassel”, with its swinging hi-hat, drifting horns, and towering piano figure combining with her powerful voice for a sinister effect.



Dub Colossus - In a Town Called Addis ( 141mb)

01. Azmair Dub 5:05
02. Entoto Dub 5:55
03. Tazeb Kush 5:52
04. Shegye Shegitu (Blue Nile Mix) 3:54
05. Yeka Sub City Rockers 5:04
06. Shem City Steppers 5:28
07. Tizita Dub 7:38
08. Black Rose 4:06
09. Ophir Dub 4:40
10. Sima Edy 4:40
11. Mercato Music 5:46

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RhoDeo 1114 RAW

Hello, it's been a quiet sunday for non muslims by the looks of it, unfortunately those that consider themselves rightious have displayed their satanic hand once more. It's beyond me how the God of Live and Love is served by death and destruction are those religious books so hard to grasp in it's meaning ? Everyone is connected (to God) and priests are not only not needed but an obstacle. This btw was the basic message of Jesus Christ and the one for which the Sanhedrin had him executed.

Politics and conspiracies are nothing new as RAW explains today

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Robert Anton Wilson (born Robert Edward Wilson, January 18, 1932 – January 11, 2007) was an American author and polymath who became at various times a novelist, philosopher, psychologist, essayist, editor, playwright, futurist, civil libertarian and self-described agnostic mystic. Recognized as an episkopos, pope, and saint of Discordianism, Wilson helped publicize the group through his writings, interviews, and strolls.

Wilson claimed in Cosmic Trigger: Volume 1 "not to believe anything", since "belief is the death of intelligence". He described this approach as "Maybe Logic.". Wilson saw his work as an "attempt to break down conditioned associations, to look at the world in a new way, with many models recognized as models or maps, and no one model elevated to the truth". His goal being "to try to get people into a state of generalized agnosticism, not agnosticism about God alone but agnosticism about everything".

RAW Explains Everything !

07 Politics and Conspiracy Theory part 1 (47min. 42mb)



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Sundaze 1114

Hello, been away this week and upon return yesterday was confronted with a sudden relative drop in visitor numbers, maybe you thought there wouldn't be any postings, well blogspot lets one time postings so i had done last week in advance. More confrontational is the fact that i've been infested with a nasty rootkit-physicaldrive0 which isnt dealt with by Avast and bugs me, it seems by crashing my browsers (Mozilla & Opera) whilst i'm downloading, initially i thought it was the latest flash plug in, but that wasn't it. Meanwhile i've read how clever this shite was created, makes you wonder about the mentall state of those responsible, it fails in the percieved intention of popping up (gaming?) websites but does manage to crash downloading browsers. Well Kaspersky seems to have a solution i'll let you know tomorrow, didn't fancy doing anything before posting today...if all else fails it's format and finally install windows 7..

Ok, so tonights band in the spotlight is on hold after 19 years of releasing 11 albums and 7 compilations ( EP's) and lot's more, in short they've been very active in recording and meanwhile toured plenty aswell. Admittedly they edge the Sundaze concept but to me they certainly project a certain relaxation, calmness aswell. Find out yourselves...

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In 1985, Tim Gane formed McCarthy, a band from Essex, England known for their left-wing politics. Gane met the French-born Lætitia Sadier at a McCarthy concert in Paris and the two quickly fell in love. The musically-inclined Sadier was disillusioned with the rock scene in France and soon moved to London to be with Gane and to pursue her career. After three albums, McCarthy broke up in 1990 and Gane immediately formed Stereolab with Sadier (who had also contributed vocals to McCarthy's final album) and ex-Chills bassist Martin Kean. The group's name was taken from a division of Vanguard Records demonstrating hi-fi effects.Gane and Sadier, along with future Stereolab manager Martin Pike, created a record label called Duophonic Super 45s—which, along with later offshoot Duophonic Ultra High Frequency Disks, would be commonly known as "Duophonic

The band originally comprised songwriting team Tim Gane (guitar/keyboards) and Lætitia Sadier (vocals/keyboards/guitar), both of whom remained at the helm across many lineup changes. Other long-time members include Mary Hansen (backing vocals/keyboards/guitar), who played with the group from 1992 until her accidental death in 2002, and Andy Ramsay (drums), who joined in 1993, and who is still in the official line-up.

In 1992 Stereolab's first full-length album, Peng!, and first compilation, Switched On, were released on independent label Too Pure. Around this time, the lineup coalesced around Gane and Sadier plus vocalist Mary Hansen, drummer Andy Ramsay, bassist Duncan Brown, keyboardist Katharine Gifford, and guitarist Sean O'Hagan of the 1980s famed Microdisney duo. Hansen, an Australian, had been in touch with Gane since his McCarthy days. After joining, she and Sadier developed a style of vocal counterpoint that distinguished Stereolab's sound until Hansen's death ten years later in 2002.

Beginning with their 1993 EP Space Age Batchelor Pad Music, the band began to incorporate easy-listening elements into their sound. This release raised Stereolab's profile and landed them a major-label American record deal with Elektra Records. Their next album, 1993's Transient Random-Noise Bursts with Announcements, was their first American release under Elektra, and became an underground hit in both the U.S. and the U.K. On 8 January 1994, Stereolab achieved their first chart entry when their 1993 EP Jenny Ondioline entered at #75 on the UK Singles Chart.

With their 1994 full-length, Mars Audiac Quintet, Stereolab focused more on pop and less on rock, the album makes heavy use of vintage electronic instruments, and also contains the single "Ping Pong", which gained press coverage for its allegedly explicitly Marxist lyrics. After releasing a 1995 collection of singles and B-sides called Refried Ectoplasm: Switched On, Vol. 2. Stereolab's 1996 album, Emperor Tomato Ketchup, was a critical success and was played heavily on college radio. A record that "captivated alternative rock", it represented Stereolab's "high-water mark". Krautrock techniques were still present, but the band stirred the pot with hip-hop sounds and complex instrumental arrangements. John McEntire (Tortoise) assisted with production and also played on Emperor Tomato Ketchup, while Katharine Gifford was replaced by Morgane Lhote before its recording, and bassist Duncan Brown by Richard Harrison afterward.

Dots and Loops was released in 1997, and was Stereolab's first album to enter the Billboard 200 charts, peaking at #111. Stereolab transformed the harder Velvet Underground-like riffs of previous releases into "softer sounds and noisy playfulness". Contributors to the album once again included John McEntire, along with Sean O'Hagan of The High Llamas and Jan St. Werner of German electropop duo Mouse on Mars. A Nurse With Wound collaboration, Simple Headphone Mind, appeared in 1997, and the third release in the "Switched On" series, Aluminum Tunes, followed in 1998.

The band then took a break from traveling while Gane and Sadier had a child. In 1999, Stereolab's next album appeared, titled Cobra and Phases Group Play Voltage in the Milky Night. Co-produced by McEntire and American producer Jim O'Rourke, the album earned mixed reviews for its lighter sound, and peaked at #154 on the Billboard 200. The full-length Sound-Dust followed in 2001, and rose to #178 on the Billboard 200. Again featuring producers McEntire and O'Rourke, it was more warmly received than the previous album with the emphasis less on unfocused experimentation and more on melody.

In 2002, Stereolab began to plan their next album, and started building a studio north of Bordeaux, France. In October 2002, the band released ABC Music: The Radio 1 Sessions; a compilation of BBC Radio 1 sessions. The year also saw Gane and Sadier end their romantic relationship. On 9 December 2002, longstanding band member Mary Hansen was killed when struck by a truck while riding her bicycle. Born in Maryborough, Queensland, Australia, Hansen earned the most attention for her vocal work with Stereolab, although she also played the guitar and keyboards. For the next few months, Stereolab lay dormant as the members grieved. They eventually decided to continue; as Sadier explained in a 2004 interview: "Losing Mary is still incredibly painful ... But it's also an opportunity to transform and move on. It's a new version. We've always had new versions, people coming in and out. That's life."

The full-length album Margerine Eclipse followed in 2004 to generally positive reviews, and peaked at #174 on the US Billboard 200.[34] The track "Feel and Triple" was written in tribute to Hansen; according to Sadier "I was reflecting on my years with her ... reflecting on how we sometimes found it hard to express the love we had for one another. It was Stereolab's last record on their American label Elektra Records, which closed down in 2004. The album was followed by Oscillons from the Anti-Sun; a 2005 three-CD and one-DVD retrospective of the group's rarer material. In 2005 and 2006, Stereolab released six limited-edition singles which were collected in Fab Four Suture, and contained material which Mark Jenkins thought continued the brisker sound of the band's post-Hansen work.

Serene Velocity, a "best-of" compilation focusing on the band's Elektra years, was released in late 2006. By June 2007, Stereolab's lineup comprised Tim Gane, Lætitia Sadier, Andy Ramsay, Simon Johns, Dominic Jeffrey, Joseph Watson, and Joseph Walters. The band had finished the production of their next album, entitled Chemical Chords, which was released in August 2008 on the 4AD label. The release of the album was followed by an autumn tour of Europe and the United States. In April 2009, manager Martin Pike announced a pause in the band's career together for the time being. After 19 years, he stated they felt it was time to take a rest and move on to new projects.

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Though it was the group's major-label debut, Stereolab's Transient Random-Noise Bursts With Announcements showed no signs of selling out. If anything, it's one of the most eclectic and experimental releases in Stereolab's early career, emphasizing the group's elongated Krautrock jams, instrumentals, and harsh, noisy moments. The softer, more accessible moments surround complex and varied compositions The single "Jenny Ondioline." is a hypnotic, 18-minute epic encompassing dreamy yet driving pop, a Krautrock groove, forceful, churning guitars, and a furious climax, it's the most ambitious -- and definitive -- moment of Stereolab's early years.



Stereolab - Transient Random-Noise Bursts With Announcements (93 359mb)

01 Tone Burst 5:35
02 Our Trinitone Blast 3:47
03 Pack Yr Romantic Mind 5:06
04 I'm Going Out Of My Way 3:25
05 Golden Ball 6:52
06 Pause 5:23
07 Jenny Ondioline 18:08
08 Analogue Rock 4:13
09 Crest 6:04
10 Lock-Groove Lullaby 3:38

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Stereolab was poised for a breakthrough release with Emperor Tomato Ketchup, their fourth full-length album. The group certainly hasn't backed away from pop melodies on Emperor Tomato Ketchup, but just as their hooks are becoming catchier, they bring in more avant-garde and experimental influences, as well. Consequently, the album is Stereolab's most complex, multi-layered record. The music is melding electronic drones and singsong melodies with string sections, and scores of interweaving counter melodies. Even when Stereolab appears to be creating a one-chord trance, there is a lot going on beneath the surface. Furthermore, the group's love for easy listening and pop melodies means that the music never feels cold or inaccessible.



Stereolab - Emperor Tomato Ketchup (94 369mb)

01 Metronomic Underground 7:54
02 Cybele's Reverie 4:42
03 Percolator 3:47
04 Les Yper-Sound 4:05
05 Spark Plug 2:29
06 OLV 26 5:42
07 The Noise Of Carpet 3:05
08 Tomorrow Is Already Here 4:56
09 Emperor Tomato Ketchup 4:37
10 Monstre Sacre 3:44
11 Motoroller Scalatron 3:48
12 Slow Fast Hazel 3:53
13 Anonymous Collective 4:32

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RhoDeo 1113 Goldy Rhox 20

Hello, today the 20th post of GoldyRhox, classic pop rock. At the time I was still more interested in better popmusic and this looked to intelektual for me, pretentious wasn't in my vocabulary yet, maybe it was the fans that were drooling over it, anyway i kept my distance then. Nothing to dance to..

Most of the albums i 'll post made many millions for the music industry and a lot of what i intend to post still gets repackaged and remastered decades later, squeezing the last drop of profit out of bands that for the most part have ceased to exist long ago, although sometimes they get lured out of the mothballs to do a big bucks gig or tour. Now i'm not as naive to post this kinda music for all to see and have deleted, these will be a black box posts, i'm sorry for those on limited bandwidth but for most of you a gamble will get you a quality rip don't like it, deleting is just 2 clicks...That said i will try to accomodate somewhat and produce some cryptic info on the artist and or album.


The key components to every great prog-rock album comprise memorable guitar riffs, punchy immediacy that draws you into the song, ample rhythmic kick, and the imaginative capacity to transport the listener to a place well beyond the confines of reality. This album features all of these rare qualities and more, the 1971 record as significant for saving the band’s career as well as for establishing new parameters in virtuosic technicality and skilled composition. The first set recorded with guitarist Steve Howe, it remains the band's grandest achievement and claims a musical vision the British quintet’s contemporaries struggled to match. Combined with Squire’s flexible bass lines, Howe’s inventive solos and acoustic tuckpointing, Bruford’s restrained thunder, and Jon Andersen’s poetic words, and it seems inevitable that The ? Album could’ve been anything other than a smash success. The record’s memorable tracks still orbit today’s radio playlists and sports stadiums.


Goldy Rhox 20 101mb


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RhoDeo 1113 Aetix

Hello, as i'm elsewhere at the moment a light posting here, not much to add to this collection of punk tracks, those that lived thru those days will have their memories revived of those sweaty nights when the world was much smaller...


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VA - The Best Punk Anthems..Ever 1 ( 560mb)

01. Sex Pistols — God Save The Queen
02. Iggy Pop — Lust For Life
03. Buzzcocks — Ever Fallen In Love (With Someone You Shouldn't've)
04. Ramones — Sheena Is A Punk Rocker
05. The Members — The Sound Of The Suburbs
06. Sham 69 — If the Kids Are United
07. The Jam — The Eton Rifles
08. Wire — I Am The Fly
09. The Stranglers — Peaches
10. Ian Dury And The Blockheads — Sex & Drugs & Rock 'N' Roll
11. Elvis Costello And The Attractions — (I Don't Want To Go To) Chelsea
12. Television — Marquee Moon
13. Only Ones — Another Girl, Another Planet
14. Iggy Pop — The Passenger
15. Dr. Feelgood — Milk And Alcohol
16. The Motors — Dancing The Night Away
17. Richard Hell & The Voidoids — Blank Generation
18. Eddie And The Hot Rods — Do Anything You Want To Do
19. Tom Robinson Band — 2-4-6-8 Motorway
20. The Vapors — Turning Japanese
21. Blondie — Hanging On The Telephone
22. The Skids — Into The Valley
23. Jilted John — Jilted John

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VA - The Best Punk Anthems..Ever 2 ( 559mb)

01. Undertones — Teenage Kicks
02. Sex Pistols — Anarchy In The U.K.
03. The Damned — New Rose
04. Buzzcocks — Orgasm Addict
05. The Adverts — Gary Gilmore's Eyes
06. The Ruts — Babylon's Burning
07. Rezillos — Top Of The Pops
08. Generation X — King Rocker
09. Stiff Little Fingers — Alternative Ulster
10. X-Ray Spex — Identity
11. Bow Wow Wow — C30, C60, C90, Go
12. The Saints — This Perfect Day
13. Sid Vicious — My Way
14. The Damned — Neat Neat Neat
15. Undertones — Jimmy Jimmy
16. Magazine — Shot By Both Sides
17. The Skids — The Saints Are Coming
18. The Stranglers — (Get A) Grip (On Yourself)
19. Jonathan Richman & The Modern Lovers — Roadrunner
20. Devo — Mongoloid
21. Public Image Ltd — Public Image
22. Penetration — Don't Dictate
23. 999 — Emergency
24. XTC — Making Plans For Nigel
25. Wire — Outdoor Miner
26. Flying Lizards — Money
27. John Cooper Clarke — Kung Fu International


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RhoDeo 1113 Roots

Hello, i was wondering which way to go today, acroos the sea of Gibraltar to southern Spain or towards the upheavels, towards the east. I decided to hop over to Egypt, the ancient powerhouse unfortunately they didnt leave us any music connotations just hieroglyphs..took some time to decode those btw. Still, tradition has been laid down in digits here..


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Formed in the Egyptian city of Abu-al-Djud (now Luxor), the Musicians of the Nile reflect the singing tradition of Egypt's gypsy families., The Musicians of the Nile have criss-crossed Europe over the last 20 years. Like the ancient bards of time past, the difference is that they move through space and cultures as comfortably on an airplane as on the back of a donkey.

Discovered in 1975 by Alain Weber, who has been their artistic director ever since, the Musicians of the Nile is a group whose talent has always included some of the greatest figures of the Upper Egyptian tradition - among them, Metqal Qenawi Metqal, Shamandi Tewfiq Metqal and Muhammed Murad Mejali, all three of them members of the famous Mataqil clan of musicians.

Well before the World Music wave, the Musicians of the Nile were the first so-called "Arab Music" group to attain widespread popularity. Frequently imitated and sometimes plagiarized, the Musicians of the Nile have kept up with the parallel currents in music ever since the Chateauvallon Festival in 1975, where they met some of the greatest jazz musicians of the time including Sun Ra and Keith Jarret.

Their dazzling mix of traditional songs is perfectly showcased on this early Real World release, which was taped in both France and England during the late '80s. With the dusky strains from the rababah (traditional fiddle), the mizmar (an oboe-like instrument), and the tablah (a hand drum similar to the darbouka) filling the air, the group delivers an array of trance-inducing long-players, including ensemble pieces as well as solo spotlights like the tablah feature "Zahrafat Al Sa'id" (Rejoicing in Upper Egypt) and the arghul (double-reed clarinet) vehicle "Kol Elle Qalboh Ankawa" .



The Musicians Of The Nile - Luxor To Isna (84 123mb)

01 Al Bahr Al Gharam Wasah (Love Is As Vast As A River) 9:59
02 Zahrafat Al Sa'id (Rejoicing In Upper Egypt) 7:04
03 Ya Tir 'Ala Shadjarah (Oh Bird Upon The Tree) 9:14
04 Horse Steps 0:42
05 Al Nahla Al 'Ali (The Tall Palm Tree) 3:25
06 Kol Elle Qalboh Ankawa (Everyone Has Had A Broken Heart) 11:53
07 Yunes Wa 'Azizah (Yunes And Azizah) 10:06
08 Al-aqsur-isna (From Luxor To Isna) 1:27


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Hossam Ramzi was born in Cairo, Egypt to a prominent Egyptian family which emphasized education and art. Ramzy's musical career began at the age of three when he was given his first drum, an Egyptian traditional tabla. Hossam was encouraged by his artistic family to master his craft and studied under leading Cairo music teachers. When he moved to Saudi Arabia he joined several Bedouin tribes which gave him a rich insight into the cultural origins of Middle Eastern music and became the inspiration for many of his later rhythmic directions.

In the mid-1970s Ramzi moved to London, England and enjoyed a lot of success as a jazz drummer, working with many respected jazz musicians including Andy Sheppard and Geoff Williams. As he began looking for new dimensions of percussive sounds, he turned back to Egyptian Drums, and traditional dance rhythms of the Middle East.

Hossam Ramzy's friends call him "The Egyptian Rhythm Ambassador". He recorded his first solo album, An Introduction To Egyptian Dance Rhythms in 1987. This album was a break from his career as one of the most sought-after session percussionists of his generation. His CV at the time read like a who’s who of '80s music - Boy George, Marc Almond, Peter Gabriel and Killing Joke were just a few of his clients. After achieving this success, Ramzi decided to look deeply at his own musical roots. He said that his intention was "to record, document, enhance and contribute to the rhythms and compositions of a musical and dance culture that was slowly being eroded by the desire for progress, modernisation and superficial Westernisation". Ramzi was convinced that a vital musical and cultural tradition and heritage would be lost if many of the compositions that he knew and loved so deeply were not recorded for future generations. He recorded 22 CDs from 1987 to 2007.

A keen sorcerer of sonic visions, Phil Thornton has written and produced over 20 solo albums, since beginning his musical odyssey in the early '80s with the group 'Expandis' Phil Thornton is now closely associated with the British New Age music movement, but he is also an accomplished guitarist and has had a long touring and recording association with Sinead O'Connor. He is a regular member of the neo-psychedelic English band Mandragon, and he has worked with Gordon Giltrap, Talking Heads, Stallion, Die Laughing, Naked Lunch, 4 B 2's, and Expandis.

Phil's first two ambient albums the film score for 'Cloud Sculpting' and 'Edge Of Dreams' both topped the 'New Musical Express' New Age chart and are now widely acclaimed as classics of their genre. His arrangements often feature a mix of ethnic and modern instruments, which has led him into collaborations with leading 'world' musicians to create a diverse and hypnotic blend of atmospheric compositions.

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Following the glowing success of Eternal Egypt, the first collaboration between Phil Thornton and Hossam Ramzy, a new light of creativity has guided the two of them to work together again in a startling and innovative format. With pieces added by top soloists and session musicians in Cairo, and re-arranged and overlaid by Phil and Hossam back in the UK, the outcome is an album that became the Bible for ALL Tribal & Fusion Middle Eastern dancers around the world. Causing a major wave of interest from dancers in Australia, New Zealand, South Africa, Singapore, Europe, UK, USA and South America alike. Immortal Egypt is a deeper exploration of the Egyptian dance/Western contemporary theme running through the albums 'Pharaoh' and 'Eternal Egypt' by Phil Thornton and on which Hossam has collaborated as a percussionist. During the recording of 'Eternal Egypt' Hossam was able to take samples of work in progress to Cairo and overdub 'Kawala' flute and quarter tone Accordion. On this album I was keen to use more Egyptian instruments as the “Eternal Egypt” session had gone so well. With this in mind, Hossam and I spent some time in Cairo during August 1997 recording overdubs using a wide range of traditional and modern Egyptian instruments including Violins, Nay, Kawala, Trumpet and Mizmars. Haunting mixtures of rhythms and emotions that turned the music from a daring experiment to a new style of music that set itself as the new Mile Stone in the history of East meeting West collaborations.



Phil Thornton & Hossam Ramzy - Immortal Egypt (96 156mb)

01 At The Gates Of The Citadel 5:32
02 Cairo Blues 6:46
03 Last Words By The Temple 7:02
04 Morocco Dance 5:40
05 Derwood Green 6:07
06 El Moulid 6:46
07 Praying For Rain 7:02
08 Emerald Minarets In A Sea Of Stars 5:40
09 Sunrise Over Giza 6;12
10 Immortal Egypt 6:17


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RhoDeo 1113 RAW 06

Hello, been rather busy today and a spontanous restart didnt help, in fact it tested my patience, running two browsers and having mozilla's plug-in container doing anything but and subsequently finding out that exe has been known for it's instability..way to go Mozilla. Oh well , im off to DIY some for my mum so I ve been busy preposting for the week..stressy. Need to be on the train in 12 hours and have some sleep aswell..duh. Ok part 2 of Techniques for Consciousness Change , i admit it can be a bit frustrating at the end of last weeks post the voice comes on ..Please turnover the cassette..and you have to wait another week....

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Robert Anton Wilson (born Robert Edward Wilson, January 18, 1932 – January 11, 2007) was an American author and polymath who became at various times a novelist, philosopher, psychologist, essayist, editor, playwright, futurist, civil libertarian and self-described agnostic mystic. Recognized as an episkopos, pope, and saint of Discordianism, Wilson helped publicize the group through his writings, interviews, and strolls.

Wilson claimed in Cosmic Trigger: Volume 1 "not to believe anything", since "belief is the death of intelligence". He described this approach as "Maybe Logic.". Wilson saw his work as an "attempt to break down conditioned associations, to look at the world in a new way, with many models recognized as models or maps, and no one model elevated to the truth". His goal being "to try to get people into a state of generalized agnosticism, not agnosticism about God alone but agnosticism about everything".

RAW Explains Everything !

06 Techniques for Consciousness Change part 2 (44min. 36mb)



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Sundaze 1113

Hello, as the day has been shortened by an hour i wish you all a fine adjustment of your bodyrhythm. Mine, well i kept my kitchen clock on summertime that helps...
As i was looking for what to post in my preps section i picked two and would you believe it during background research i found out they've worked together and share the same record label.. go figure. I was on the right track there, so i decided to add the movie of the soundtrack i'm posting. After some frustrating failures i found the right tool to get this HD movie...bit too large to share here, so i recoded it to FLV 640x320 for you all, the movie is a bit Koyaanisquatsi like.. considering the speed of living in the mid eighties i'd say its rather contemplative ...but then that's part of the Sundaze charm...

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Ron Fricke's Chronos 42min, HD mp4 700mb or get it here Ron Fricke - Chronos (FLV 640x320 , 189mb)






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Michael Stearns (born 1948) is an american musician and composer of ambient music. He is also known as a film composer, sound designer and soundtrack producer for large format films, theatrical films, documentaries, commercials, and themed attractions. Grown up in Tucson, Arizona, Michael Stearns started practicing guitar at 13. At 16, he played in a surf music band, evolving to acid rock, he began composing music on multiple instruments in 1968 and, while in university and in the Air Force, spent a few years studying electronic music synthesis, the physics of musical instruments, and accumulating equipment (musical instruments, tape recorders...) for his first studio.

The studio opened in Tucson, Arizona in 1972 where he produced jingles and commercials for local radio and television, and nationally released jingles for Schlitz Beer and Greyhound Bus Lines. Stearns's interest in experimental "space" music though left him unsatisfied, as he found no audience to play his musical ideas, which could be at this time only related to the drug experience. After three years, Michael Stearns underwent a spiritual crisis and thought about stopping music.

In 1975, Michael Stearns met Emily Conrad and Gary "Da'oud" David. Emily Conrad ran meditation classes in a workshop named Continuum, with Gary David performing on a Minimoog and looped tapes during the classes. Michael Stearns and his girlfriend Susan Harper moved to L.A., to join Emily Conrad. Not long after Michael Stearns became a resident musician and composer till 1981. All the while developping skills on synthesizers and the musical ideas that would feed his first solo albums. By 1977, Michael Stearns had formed a small independent record label (Continuum Montage) with Susan Harper and a close friend and investor, David Breuer. The same year came the first releases on tape, Desert Moon Walk and Sustaining Cylinders, followed by Ancient Leaves, his first album released on vinyl, in 1978.

In the same years, Stearns started out playing with Fred Stofflet a percussionist, then with Don Preston, the former keyboardist for The Mothers of Invention. Both of them were playing for Emily David's classes. After that, Stearns, Stofflet and Craig Hundley started a free jazz group called "Alivity". Kevin Braheny came to one of their concerts and became friends with Michael Stearns. He later joined Stearns to play live for Continuum, bringing his Serge synthesizer with him, on which Michael Stearns would record his album Morning Jewel in 1979 before building his own Serge synthesizer. In the same period, Stearns started working with Craig Huxley scoring movies and developed a friendship with Stephen Hill.

In 1981, Continuum moved to a new location and Michael Stearns began a solo career. He released Planetary Unfolding, Light Play (1983) and Lyra. on his own Continuum label until in 1984 he signed to Sonic Atmospheres, on which some of his earlier works would be re-released. In 1984, Chronos was the first film music done entirely by Stearns after years of collaboration with Huxley or Maurice Jarre. In 1986, he provided "electronic images and textures" for Constance Demby's album Novus Magnificat. After two more releases for Sonic Atmospheres, Plunge (1986) and Floating Whispers (1987), Michael Stearns signed to his old friend Stephen Hill's new label, Hearts of Space Records and released Encounter.

In the next years, Michael Stearns worked again with Ron Fricke, scoring Baraka, his best known composition and released several albums, working with Steve Roach, Kevin Braheny and/or Ron Sunsinger (1989 : Desert Solitaire, 1994 : Singing Stones and Kiva) or alone (1993 : Sacred Sites, 1995 : The Lost World). In 2000 and 2001, Michael Stearns, now established in Santa Fe, New Mexico, released several albums on his own label Earth Turtle : Within, The Middle of Time, Spirits of the Voyage, The Storm, and Sorcerer. He is still scoring movies and documentaries today. In 2006, he was involved in the IMAX movie Te Vaka

Quote
"What I hope is transferred to the listener of my music is a certain depth. I think the depth that I am really speaking of is that we as human beings are the artistic process here on the planet, as individuals, groups, countries and as a global experience. What we create and think of as our artistic outpouring, be it music, the painted art, a sculpture or just a beautiful dinner that we might create for somebody, are really metaphors or hieroglyphics for the depth of our own participation in the moments that we create them. I hope that this depth creates a context for other people to experience deeper things inside of themselves."

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Chronos is the soundtrack of the IMAX film by Ron Fricke (one of the the creators of Koyaanisqatsi). One could define it as an electronic symphony (a single track of 41:30, with seven movements): few musicians can reach such a degree of expressiveness, of strength and power, of space and crescendos with synthesizers. Michael Stearns used a Serge Modular System, as well as Oberheim, Emu and Yamaha synthesizers, blending analogic and digital textures in a true symphonic way. Constance Demby added her impressive "Space Bass" sound, while a human choir added a lyrical touch to the composition. Slow and meditative or carried away by the hectic tempos of Western megapoles, Chronos is a unique sonic journey through the paths of time and memory, of origins and progress: this soundtrack will inspire you many visions even if you don't watch the movie...



Michael Stearns - Chronos (84 152mb)

01 Chronos (41:45)
Movement 1 - Corridors Of Time
Movement 2 - Essence And The Ancients
Movement 3 - Angels, Bells And Pastorale
Movement 4 - Escalator
Movement 5 - Voices
Movement 6 - Portraits
Movement 7 - The Ride (Finale)

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Born in Oakland CA, Constance Demby gave her first recital for classical pianoforte at the age of twelve. She studied sculpture and painting at the University of Michigan. After her marriage, she lived in New York for seven years.It was both as musician and sculptor that her Sonic Steel Instruments, the space bass and the whale sail were created. An original design, her Sonic Steel Instruments have been recorded by Lucas Skywalker Studios for use in their filmscores, and also filmed by Discovery Channel at Gaudi's Park Güell. The Space Bass is featured on Michael Stearns' soundtrack for Chronos.

As a co-founder of The Central Maine Power, Sound and Light Company, an experimental visual and sound group, she created multimedia shows with sculptures and lights, and her sonic steel instruments.

As a pioneer in her field, she creates sounds you'd swear you never heard before; yet, somewhere in some dim memory, there is a faint memory echo - rich and compelling - calling up archetypal experiences which access the deeper, more profound levels of the mind-body-spirit, allowing listeners to travel into states of expanded consciousness.



Constance Demby - Set Free (89 428mb)

01 Waltz Of Joy 4:45
02 Tribal Gregorian 4:19
03 Jungle Jam 6:12 (bonus)
04 Javalon 4:19
05 I Set Myself Free 4:30
06 Moving On 4:45
07 Mother Of The World 5:29
08 Chambers Of The Heart 4:37
09 Lotus Opening 5:53
10 Into The Center 11:01
11 The Galactic Chalice 7:26
12 Celestial Communion 9:16

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elsewhere on this blog (Rhotation 29)

Constance Demby - Novus Magnificat ( 86 ^ 99mb)

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RhoDeo 1112 Beats

Hello, since i've gotten a faster connection , nomally 60 mbs..haha well tester says 28, upload is ok 5mbs , could have used that these past years. Anyway i got good speed upto 1mbs from megaupload-making it the fastest for me before, and now it's the slowest -below 50kps bizar ! All of a sudden Rapidshare is spewing out at 7mbs -every hour or so. Strange things going on. Not that i care that much, to be honest i lack the time to watch or listen to all thats on offer-even considering my selectiveness..I guess you people have the same problems and can i say i'm glad so many of you visit me every week.

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Prior to forming Fluke, Jon Fugler and Mike Bryant had previously played in two punk bands together named "The Leaky Radiators" and "The Lay Figures" respectively. The third member of Fluke, Mike Tournier, was introduced to the group when he undertook work on a collaboration with Jon Fugler entitled "Skin". It soon became clear that all three shared musical tastes, having a shared interest in the acid house scene and the more experimental electronic sounds of Cabaret Voltaire and Giorgio Moroder, Fluke was born.

After releasing 3 white label 12"'s they were picked up by Creation Records where they released their first CD single "Philly" in 1990. The following year saw the release of Fluke's first album, The Techno Rose of Blighty which was swiftly followed by the single "The Bells" and a live album entitled Out (In Essence). For the release of Out (In Essence) Fluke abandoned their deal with Creation Records and signed instead with Circa Records, an offshoot of Virgin. The band realised at this early stage in their career that they would experience the greatest artistic freedom if they possessed their own recording studio. They therefore took it upon themselves to obtain their own premises. This proved to be an invaluable asset.

After a two year break Fluke returned with what was to be a breakthrough into mainstream popular music when, in 1993, they released the single "Slid". This single became an instant club classic when it was picked up by DJ Sasha who liked it so much that he included three separate remixes of it on his Renaissance album. This burst of success was followed by a rush of two further singles, "Electric Guitar" ( sample (help·info)) and "Groovy Feeling", and, in the same year, the release of the group's second album, Six Wheels On My Wagon.

The following year Fluke released their third album, Oto, which is the Greek for "of the ear". In terms of style, Oto was somewhat darker than Six Wheels on my Wagon, focusing on the downbeat ambient effects which were present in the second half of Six Wheels. Fluke proved to be a driving force in the progressive house and trip-hop scenes.
In 1996 they released "Atom Bomb", originally created as a soundtrack to the video game Wipeout 2097, it became the centrepiece of their next album, Risotto.It was a runaway success in 1997 and 1998, powered by the cartoony big-beat of "Atom Bomb" and the gentle breakbeat track "Reeferendum".

After touring for a year with Risotto on the American, "Electric Highway Tour", and having made two appearances at the Glastonbury festival in 1995 and 1998, Mike Tournier elected to leave the group to pursue a different project named Syntax, with the band's long standing friend, Jan Burton.The pair produced just a single album, Meccano Mind in March 2004.
With the group split it was seen fit to release two "Best Of" albums entitled Progressive History X, a compilation spanning their entire ten year producing history, and then in 2001, Progressive History XXX, a three CD box-set including many rare and hard to find mixes.

It was in 2003 however that Fluke finally demonstrated their ability to survive without Tournier when they released their fifth studio album, Puppy, six years after Risotto. The name of the album was inspired by Jeff Koons' fifty foot sculpture of a puppy that stands outside the Guggenheim museum in Bilbao. This album proved to be similar to the earlier Risotto tracks in tempo and mood, but with the introduction of some new ideas, such as the inclusion of a blues track, "Blue Sky" and the addition of a very dark techno orientated bonus track, Pulse. The album was not received well critically with most of the criticisms labelling the album as dated. After Puppy came out, Fugler and Bryant reinvented themselves as 2 Bit Pie.

Although Fluke have been producing music for the best part of two decades they remain relatively unknown to a large scale audience and the band members themselves are even less recognisable. Jon Fugler insisted in an interview with The Independent that the band's reclusivity was "less about selfish hedonism than the revival of 'a communal attitude that had long been forgotten'". The main sphere of influence where the band has had success is through their inclusion in advertisements, film and video game soundtracks.

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Fluke - Oto (95   323mb)

01 Bullet 8:59
02 Tosh 4:29
03 Cut 6:30
04 Squirt 4:24
05 Wobbler 8:47
06 Freak 7:49
07 O.K. 7:49
08 Setback 6:01

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Risotto is the sixth album by British electronica group Fluke, first released in September 1997. The album is named Risotto after the dish. Many of the tracks that brought Fluke to a larger audience feature on this album, including Atom Bomb, used on the wipE'out" 2097 soundtrack, and Absurd, used in many films/trailers, including Sin City in 2005. The cover was designed by The Designers Republic.



Fluke - Risotto (80   462mb)

01 Absurd 5:48
02 Atom Bomb 5:45
03 Kitten Moon 9:18
04 Mosh 6:21
05 Bermuda 7:57
06 Setback 8:54
07 Amp 8:09
08 Reeferendrum 7:22
09 Squirt 6:15
10 Goodnight Lover 7:34


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All mixes here are superb, even though more often than not one would stick to the vocal mixes (first track on both sides). Here it becomes hard to decide which side to prefer: the stomping, groovy, funky Glid mix or the longer, evolving, percussion-crazy PDF mix on the flip. The uplifting vocals ("Into the deep from on dizzy heights / what a sight as the world flies by / nowhere to sliiide"), great build-ups and intense instrumentation make both versions prime examples of great dance music production.



Fluke - Slid ( 210mb)

1 Slid (Glid Edit) 3:45
2 Slid (Pdfmone) 7:40
3 Slid (No Guitars) 7:41
4 Slid (Glidub) 7:00
5 Slid (Scat And Sax Edit) 7:07



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elsewhere on this blog (Rhotatiion 02)

Six Wheels On My Wagon (93 * 119mb)

The Techno Rose Of Blighty (93 ^ 99mb )

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RhoDeo 1112 Goldy Rhox 19

Hello, today the 19th post of GoldyRhox, classic pop rock. And as announced yesterday todays mystery album is from the other side of the big pond and a place where agression is voiced too in meaningful lyrics and not just by kicking the speedometer. There's layers and musicallity that came together here, unlike the nostalgic powerpop with an attitude who's biggest succes came when during the Reagan (starwars) years they named an album Rockets To Russia..duh Anyway todays mystery album took 11 years to reach platinum status and most of those 1.000.000 albums were sold in the second part of that decade. I suppose one can say Americans didn't really get it, the culture divide was too big, it was simply too far of from the painless radiomuzak or discosound they were accustomed to at the time and besides complaining or ranting against the powers that be was seen as unamerican..i guess as such this album would suit current US times better, if not for the fact that there's complete media control/ lockdown, but im sure they'd make it big on Youtube. If you are still unsure what the hell im on about..there's more to come

Most of the albums i 'll post made many millions for the music industry and a lot of what i intend to post still gets repackaged and remastered decades later, squeezing the last drop of profit out of bands that for the most part have ceased to exist long ago, although sometimes they get lured out of the mothballs to do a big bucks gig or tour. Now i'm not as naive to post this kinda music for all to see and have deleted, these will be a black box posts, i'm sorry for those on limited bandwidth but for most of you a gamble will get you a quality rip don't like it, deleting is just 2 clicks...That said i will try to accomodate somewhat and produce some cryptic info on the artist and or album.


Todays Rhox mystery album was released on 27 October 1977 through Virgin Records amidst controversy.Two record company's had already decided the band was too hot to handle and the man responsible for most of the music had left the band and was replaced by basicly a non musician who's main contribution to the bands aura turned out to be drugabuse, manslaughter and suicide, just 15 months after the albums release. Obviously this then was the bands only album.
Fans and critics alike generally regard the album as an extremely important album in the history of rock music, citing the lasting influence it has had on subsequent rock musicians and other musical genres that were influenced by such punk rock artists. In fact there's some great music and excellent lyrics there, far beyond what was usual in rockmusic. In 2003, Rolling Stone placed it 41st on their list of the 500 Greatest Albums of All Time.


Goldy Rhox 19 92mb


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