RhoDeo 1231 Spaced

Hello, well my computer is still out of order, and I am away on holiday (sort of) but then the internet is everywhere.Watched the opening of the Olympics a somewhat chaotic spectacle with some good surprises, the walk in of 204 countries took some of the fun out of it not withstanding some Underworld rhythms to them, highlight for me was the lighting of that spectacular alternative cauldron, it will be hard for the British athletes to surpass that.

 In the meantime i follow up here with Spaced season 2, it was nominated for an International Emmy Award in 2001 for Popular Arts.
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 A Brit Com focused on two twenty-something friends at crossroads in their lives. Tim (Simon Pegg) is a cynical aspiring comic book artist and geek who is dumped by his girlfriend in the first episode. Daisy (Jessica Stevenson) is a bubbly aspiring journalist who doesn't have anything to say nor the work ethic to say it. They pretend to be a couple in order to rent an inexpensive flat. The show focuses on their zany adventures as they struggle to get their lives on track. Tim's military-obsessed friend Mike, Daisy's ditzy glamour friend Twist, Mad Artist Brian in the flat below and dipsomaniac landlady Marsha complete the main cast. The show was written by its stars, Simon Pegg and Jessica Stevenson, and directed by Edgar Wright.

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After receiving a call from the mysterious Damien Knox of Darkstar Comics (and his seductive assistant Sophie), Tim employs Tyres to deliver his portfolio of artwork. Tim wisely removes an unflattering caricature of Damien, but Daisy replaces it in an attempt to be helpful. Tim must then retrieve the job-threatening picture before Damien sees it, aided by Mike and Tyres, and comes away with a little more than he expected..


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RhoDeo 1230 Spaced

Hello, well my computer is still out of order, I build in my partly reformatted hard disk and now  a catch 22,  bootmgr is missing and my XP cd won't boot so no recovery possible as of yet, sigh..to be continued. How weeks fly by. Today the Tour De France ended with the first ever victory of a Brit, Wiggens the smiling sideburned robot on wheels. He was treated to a painful God Save the Queen, was it a French snub or just idiosyncrasy.

Meanwhile Alonso proved his determination again and won another F1 Grand Prix and to add to festivities his biggest rival, Vettel was relegated from 2nd place to fifth for evading and not crashing into no 3 Button. Well they've been saying for years Ferrari has the judges on their side..an extra 10 points for Alonso then. Saw some golf to, a cruel game, the leader lost 700,000 pounds at the finishline, i suppose that's why they call it a rich man's game. Dispicable amount of pricemoney to be had for hitting the ball with an expensive stick. I guess that's what's meant by trickle down by those amoral 1%.

In the meantime i follow up here with Spaced season 2, it was nominated for an International Emmy Award in 2001 for Popular Arts.
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A Brit Com focused on two twenty-something friends at crossroads in their lives. Tim (Simon Pegg) is a cynical aspiring comic book artist and geek who is dumped by his girlfriend in the first episode. Daisy (Jessica Stevenson) is a bubbly aspiring journalist who doesn't have anything to say nor the work ethic to say it. They pretend to be a couple in order to rent an inexpensive flat. The show focuses on their zany adventures as they struggle to get their lives on track. Tim's military-obsessed friend Mike, Daisy's ditzy glamour friend Twist, Mad Artist Brian in the flat below and dipsomaniac landlady Marsha complete the main cast. The show was written by its stars, Simon Pegg and Jessica Stevenson, and directed by Edgar Wright.

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Tim and Mike have to be careful as their chances of winning the Robot Wars quarter final are sabotaged. Meanwhile, after being fired from several jobs, Daisy starts working in a kitchen, where her new boss begins to make life difficult for her. Brian comes under stress as he is given little notice of an upcoming exhibition of his work.


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RhoDeo 1229 Spaced

Hello, well my computer is still out of order, I build in my partly reformatted hard disk and now  a catch 22,  bootmgr is missing and my XP cd won't boot so no recovery possible as of yet, sigh..to be continued

In the meantime i follow up here with Spaced season 2, it was nominated for an International Emmy Award in 2001 for Popular Arts.
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A Brit Com focused on two twenty-something friends at crossroads in their lives. Tim (Simon Pegg) is a cynical aspiring comic book artist and geek who is dumped by his girlfriend in the first episode. Daisy (Jessica Stevenson) is a bubbly aspiring journalist who doesn't have anything to say nor the work ethic to say it. They pretend to be a couple in order to rent an inexpensive flat. The show focuses on their zany adventures as they struggle to get their lives on track. Tim's military-obsessed friend Mike, Daisy's ditzy glamour friend Twist, Mad Artist Brian in the flat below and dipsomaniac landlady Marsha complete the main cast. The show was written by its stars, Simon Pegg and Jessica Stevenson, and directed by Edgar Wright.

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Following a dispute with a young customer over Jar Jar Binks merchandise and Tim's inability to cope with the Star Wars prequels, Bilbo fires Tim. Daisy is trying to get money out of the Job Centre people, despite not having signed on to the dole for three months due to her holiday. Brian is horrified to discover that his relationship with Twist is affecting his artistic output. After Amber runs out, Marsha finds herself a new lodger.... .


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RhoDeo 1228 Spaced 8

Hello, well my computer is still out of order, I build in my partly reformatted hard disk and now  a catch 22,  bootmgr is missing and my XP cd won't boot so no recovery possible as of yet, sigh..to be continued.

In the meantime i follow up here (RhoDeo 1221) with Spaced season 2, it was nominated for an International Emmy Award in 2001 for Popular Arts.
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A Brit Com focused on two twenty-something friends at crossroads in their lives. Tim (Simon Pegg) is a cynical aspiring comic book artist and geek who is dumped by his girlfriend in the first episode. Daisy (Jessica Stevenson) is a bubbly aspiring journalist who doesn't have anything to say nor the work ethic to say it. They pretend to be a couple in order to rent an inexpensive flat. The show focuses on their zany adventures as they struggle to get their lives on track. Tim's military-obsessed friend Mike, Daisy's ditzy glamour friend Twist, Mad Artist Brian in the flat below and dipsomaniac landlady Marsha complete the main cast. The show was written by its stars, Simon Pegg and Jessica Stevenson, and directed by Edgar Wright.

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After receiving an injection of money following the sale of her articles, Daisy returns from her holiday in Asia, but finds it hard to settle back into the mundanity of her normal life after her adventure. Tim has been struggling with his issues with George Lucas and The Phantom Menace (which saw him ceremonially burn his Star Wars merchandise), and, after being chucked out of home for shooting his cat up the rear end, Mike has been sleeping in Daisy's room, transforming its decor into a tribute to Apocalypse Now. Things are not normal, and sinister black-suited Matrix-like Agents following Daisy make things even more surreal.


Spaced 201 ( 200mb)

01 Back 24:14

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RhoDeo 1227 HHGTTG 6

Hello, well i've been procrastinating, distracted by tennis and soccer as well as making a small dent in my back catalogue of about 100 movies, normally posting takes up most of the free-time. I did get me an up to-date XP Pro, now I really have to get my old system back up again, consider not having played any music for weeks-shocking.

Meanwhile I have the last episode of the Hitchhikers Guide to keep your spirits up.

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Here is the BBC television adaptation of Douglas Adams's The Hitchhiker's Guide to the Galaxy broadcast in January and February 1981 on BBC Two. The adaptation follows the original radio series in 1978 and 1980. The series stars Simon Jones as Arthur Dent, David Dixon as Ford Prefect, Mark Wing-Davey as Zaphod Beeblebrox and Sandra Dickinson as Trillian. The voice of the guide is by Peter Jones. Simon Jones, Peter Jones, Stephen Moore and Mark Wing-Davey had already provided the voices for their characters in the original radio series in 1978/80. In addition, the series features a number of notable cameo roles, including Adams himself on several occasions.

Although initially thought by BBC executives to be unfilmable, the series was successfully produced and directed by Alan J. W. Bell and went on to win a Royal Television Society award as Most Original Programme of 1981, as well as several BAFTA awards for its graphics and editing.

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The series final episode.

Just before the supercool all-black ship crashes into a sun, Zaphod, Trillian, Ford, and Arthur escape in a teleport module that they convince Marvin to stay behind and operate. He is still on the ship when it heads into the sun. Ford and Arthur arrive without Zaphod and Trillian on a spaceship carrying millions people in cryogenic pods. The ship's inhabitants are from Golgafrincham; they are all "middle men"; i.e. the people that the smart Golgafrinchams (the "thinkers" and the "doers") back home wanted to get rid of.

The ship lands on pre-historic Earth. Ford realizes that the Golgafrinchams, not the primitive cave dwellers already on the planet, are the ones that will evolve into the human race. The episode ends with the two friends lamenting the eventual destruction of the Earth. The regular theme music follows the song "What a Wonderful World" by Louis Armstrong.


HHGTTG 6 ( 232mb)

01 Episode 6 32:20

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HHGTTG 1 ( 232mb)
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HHGTTG 5 ( 232mb)

RhoDeo 1226 HHGTTG 5

Hello, well i've been unable to get my hard disk out thusfar, all the more unexpected as i installed it myself, as always there's one screw that won't come out, its very difficult to reach and i have no idea how i got it in in the first place, chances are i damaged it, sigh. Well I won't give up and keep my temper.... Meanwhile chromes autologin didnt work and the previous one didn't save (thank you idiot proof windows 7) i had to get a new one to get here and what do you think happened when i restarted chrome the autologon functioned again, all this because the new blogger look now won't let me upload pics with the browser i've used these past 10 years, Opera. Not sure if squeezing the customer is helping the value of Google here.

Meanwhile I do have another episode of the Hitchhikers Guide to keep your spirits up

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Here is the BBC television adaptation of Douglas Adams's The Hitchhiker's Guide to the Galaxy broadcast in January and February 1981 on BBC Two. The adaptation follows the original radio series in 1978 and 1980. The series stars Simon Jones as Arthur Dent, David Dixon as Ford Prefect, Mark Wing-Davey as Zaphod Beeblebrox and Sandra Dickinson as Trillian. The voice of the guide is by Peter Jones. Simon Jones, Peter Jones, Stephen Moore and Mark Wing-Davey had already provided the voices for their characters in the original radio series in 1978/80. In addition, the series features a number of notable cameo roles, including Adams himself on several occasions.

Although initially thought by BBC executives to be unfilmable, the series was successfully produced and directed by Alan J. W. Bell and went on to win a Royal Television Society award as Most Original Programme of 1981, as well as several BAFTA awards for its graphics and editing.

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After an initial period of confusion, the four travelers find they have been transported forward in time to just before the end of the universe. They are in Milliways, the "Restaurant at the End of the Universe," which was built on the ruins of Magrathea. So, as Arthur says, they have traveled through time but not through space. Waiting for them is Marvin the depressed robot, who they left on Magrathea millions of years ago. He's now an attendant at the car park, and still depressed. Just before the universe ends, Zaphod and Ford get Marvin to help them steal a supercool all-black spaceship, which turns out to be the property of a very loud rock band called "Disaster Area." The episode ends on the cliff-hanger as the black ship is about to start a dive into the sun of Kakrafoon.


HHGTTG 5 ( 232mb)

01 Episode 5 32:20

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RhoDeo 1225 HHGTTG 4

Hello, well i've been unable to get my hard disk out thusfar, all the more unexpected as i installed it myself, as always there's one screw that won't come out, its very difficult to reach and i have no idea how i got it in in the first place, chances are i damaged it, sigh. Well I won't give up and keep my temper....

Meanwhile I do have another episode of the Hitchhikers Guide to keep your spirits up

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Here is the BBC television adaptation of Douglas Adams's The Hitchhiker's Guide to the Galaxy broadcast in January and February 1981 on BBC Two. The adaptation follows the original radio series in 1978 and 1980. The series stars Simon Jones as Arthur Dent, David Dixon as Ford Prefect, Mark Wing-Davey as Zaphod Beeblebrox and Sandra Dickinson as Trillian. The voice of the guide is by Peter Jones. Simon Jones, Peter Jones, Stephen Moore and Mark Wing-Davey had already provided the voices for their characters in the original radio series in 1978/80. In addition, the series features a number of notable cameo roles, including Adams himself on several occasions.

Although initially thought by BBC executives to be unfilmable, the series was successfully produced and directed by Alan J. W. Bell and went on to win a Royal Television Society award as Most Original Programme of 1981, as well as several BAFTA awards for its graphics and editing.

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Slartibartfast shows Arthur the archive tapes of Deep Thought being given the "Search for the Ultimate Answer" and of the result reported by the computer seven and a half million years later. After learning that the Earth was set up to search for the "Ultimate Question," Slartibartfast and Arthur join Ford, Trillian, Zaphod, and Trillian's mice, who had guided them to Magrathea.
The mice dismiss Slartibartfast, then express their desire to extract the "Ultimate Question" by first extracting Arthur's brain. While the mice attempt to strike a deal, the Galactic Police arrive, and Ford, Arthur, Trillian and Zaphod flee the dining hall, only to be cornered by the police in a large bay. After a misunderstanding, the police continue to fire on a computer bank behind which the four are hiding, which explodes, ending the episode on a cliffhanger.


HHGTTG 4 ( 232mb)

01 Episode 4 32:20

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RhoDeo 1224 HHGTTG

Hello, well i've been unable to get rid of the virus and even to reinstall my OS, duh i've bought an external case creating a USB disk and will reformat the infected partition that way. Maybe it will go down sweat and easy or maybe not..I have no experience with it but hey, anyway with all the other distractions going on this week Euro football and analysis then there was Roland Garros aswell as another exiting F1 race this evening, rarely seen Hamilton so pleased after the race, considering how close it was-just 35 sec in front of no 10- this season shapes up to become an alltime classic, 7 different winners and at least 3 potential winners still in the wings. Hmm anyway that's why havent gotten around to repairing yet and I'm still on this slow machine with a noisy HD. I will be back...

Meanwhile I do have another episode of the Hitchhikers Guide to keep your spirits up

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Here is the BBC television adaptation of Douglas Adams's The Hitchhiker's Guide to the Galaxy broadcast in January and February 1981 on BBC Two. The adaptation follows the original radio series in 1978 and 1980. The series stars Simon Jones as Arthur Dent, David Dixon as Ford Prefect, Mark Wing-Davey as Zaphod Beeblebrox and Sandra Dickinson as Trillian. The voice of the guide is by Peter Jones. Simon Jones, Peter Jones, Stephen Moore and Mark Wing-Davey had already provided the voices for their characters in the original radio series in 1978/80. In addition, the series features a number of notable cameo roles, including Adams himself on several occasions.

Although initially thought by BBC executives to be unfilmable, the series was successfully produced and directed by Alan J. W. Bell and went on to win a Royal Television Society award as Most Original Programme of 1981, as well as several BAFTA awards for its graphics and editing.

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The episode opens with a guide entry explaining the legendary planet of Magrathea, which manufactured planets millions of years ago, until the Galactic economy collapsed. Zaphod has been explaining to Ford that he has found the legendary planet of Magrathea, whilst Trillian tends to a pair of white mice. Zaphod orders the computer to land on the planet surface.

Before long, they receive a transmission from the Commercial Council of Magrathea, informing them that the planet is closed for business and asking them to leave. They ignore this and later receive another message, noting that nuclear missiles have been sent at the ship. Attempts to evade the missiles fail, and Arthur uses the ship's Infinite Improbability Drive, which ends up turning the missiles into a very surprised looking whale and a bowl of petunias. Trillian discovers that during the chaos, her mice escaped.

The five characters go onto the surface, where they find it desolate. Zaphod suggests that the Magratheans lived beneath the surface of the planet. They split into two groups — Trillian, Zaphod and Ford explore a tunnel, whilst Arthur and Marvin remain on the surface. Trillian, Zaphod and Ford's thread ends on a cliff-hanger, with them seeing something alarming at the end of the corridor.


HHGTTG 3 ( 232mb)

01 Episode 3 31:02

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HHGTTG 2 ( 232mb)

RhoDeo 1223 HHGTTG 2

Hello, well i've fallen victim to a nasty ransom virus, it means my working pc is out of order for the time being. This back up pc i got from the bedroom isn't synced, no passwords and shit and windows was doing 68 updates, sound not working, in short i need my regular machine back. That however i a very complicated proces according to what i've been able to discern, a very nasty piece of trojan virus that escaped my scanner. As things stand i suppose a clean reinstall looks the fastest way to get back. Yet having to do some more i don't expect to be fully up and running again before the weekend.

I do have an episode of the Hitchhikers Guide to keep your spirits up

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Here is the BBC television adaptation of Douglas Adams's The Hitchhiker's Guide to the Galaxy broadcast in January and February 1981 on BBC Two. The adaptation follows the original radio series in 1978 and 1980. The series stars Simon Jones as Arthur Dent, David Dixon as Ford Prefect, Mark Wing-Davey as Zaphod Beeblebrox and Sandra Dickinson as Trillian. The voice of the guide is by Peter Jones. Simon Jones, Peter Jones, Stephen Moore and Mark Wing-Davey had already provided the voices for their characters in the original radio series in 1978/80. In addition, the series features a number of notable cameo roles, including Adams himself on several occasions.

Although initially thought by BBC executives to be unfilmable, the series was successfully produced and directed by Alan J. W. Bell and went on to win a Royal Television Society award as Most Original Programme of 1981, as well as several BAFTA awards for its graphics and editing.



The episode opens with a recap of the story, with Ford and Arthur about to be captured. After being read Vogon poetry, they are thrown out of an airlock and improbably rescued by the Starship Heart of Gold, which has been stolen by Ford's semi-cousin Zaphod Beeblebrox, accompanied by Trillian, a young woman who Arthur once met at a party. Ford and Arthur are escorted to the bridge by Marvin the Paranoid Android and meet Zaphod and Trillian. The episode ends after they are introduced, with no cliffhanger.


HHGTTG 2 ( 232mb)

01 Episode 2 34:55

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Sundaze 1223

Hello, as the brits prepare to celebrate their 'lizard' queen who after 60 years still seems reluctant to let go, I fully expect her to go for 75 years, after all she'd only be 100 by then and would have seen off most subjects alive at her crowning.  Looks like the weather won't play ball though, it's more like March this weekend, a dreary perspective for the party. Oh well the dead come back to dance here....

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Dead Can Dance (sometimes referred to as DCD) were an ambient, world music band which formed in Melbourne, Australia, in August 1981. Its mainstays were Lisa Gerrard and Brendan Perry. The band relocated to London in May 1982 and disbanded in 1998, but reunited temporarily for a world tour in 2005. Their 1996 album Spiritchaser reached No. 1 on the Billboard Top World Music Albums Chart. Australian music historian Ian McFarlane described Dead Can Dance as having an ambient style of world music that "constructed soundscapes of mesmerising grandeur and solemn beauty... with African polyrhythms, Gaelic folk, Gregorian chants, Middle Eastern mantras and art-rock".

Dead Can Dance formed in Melbourne, Australia, in August 1981 with Paul Erikson on bass guitar, Lisa Gerrard (ex-Microfilm) on vocals, Simon Monroe (Marching Girls) on drums and Brendan Perry on vocals and guitar. Gerrard and Perry were also a domestic couple and they left Erikson and Monroe in Australia when they moved to London in May 1982, where they signed with alternative rock label 4AD Records. With the duo, the initial United Kingdom line-up were James Pinker, Scott Rodger and Peter Ulrich. The group's debut album, Dead Can Dance, which appeared in February 1984, was produced by the band. The artwork, which depicts a ritual mask from New Guinea, "provide[s] a visual reinterpretation of the meaning of the name Dead Can Dance". The album "featured drum-driven, ambient guitar music with chanting, singing and howling".They followed with a four-track extended play, Garden of the Arcane Delights in August.which saw them plunging into a wider range of music and style, in fact it set them on their musical style.

For their second album, Spleen and Ideal, the group comprised the core duo of Gerrard and Perry with cello, trombones and tympani added in by session musicians. It appeared in November 1985 and was co-produced by the duo with John A. Rivers Raggett describes it as "a consciously medieval European sound ... like it was recorded in an immense cathedral". The group built a following in Europe, and this album reached No. 2 on the UK indie charts. By 1989, Gerrard and Perry had separated domestically – Gerrard returned to Australia and Perry moved to Ireland – but they still wrote, recorded and performed together as Dead Can Dance.

For the next two years, Dead Can Dance were relatively quiet, releasing only two new songs in 1986, both which appeared on the 4AD compilation Lonely Is an Eyesore. Within the Realm of a Dying Sun, the group's third album, appeared in 1986. In 1988, the band released their fourth album, The Serpent's Egg, and wrote the score for the Agustin Villarongas film El Nino de la Luna, which also featured Lisa Gerrard in her acting debut. Aion, Dead Can Dance's fifth album, was released in 1990. Also in 1990, the group toured America for the first time, earning rave reviews. The following year, the group was involved in various festivals and theatrical productions. In 1991, the compilation A Passage in Time was released on Rykodisc, making it the first American release of Dead Can Dance music. Early in 1993, the group provided the score to Baraka and contributed songs to Zazou's Sahara Blue.

Their sixth studio album, Into the Labyrinth, was issued in September 1993 and dispensed with guest musicians entirely; it sold 500,000 copies worldwide and appeared on the Billboard 200. It was a cult success throughout the U.S. and Europe, making them 4AD's highest selling act.They followed with a world tour in 1994 and recorded a live performance in California which was released as Toward the Within, with video versions on Laserdisc and VHS (later on DVD). Many unofficial bootlegs of concerts spanning their career exist, containing several rare songs that were only performed live. Toward the Within is the duo's only official live album. Gerrard released her debut solo recording, The Mirror Pool, and recombined with Perry for the Dead Can Dance studio album, Spiritchaser, in 1996.The album also charted on Billboard 200 and reached No. 1 on the Top World Music Albums Chart.

In 1998, Dead Can Dance planned a follow-up to Spiritchaser, but the band separated before it was realised. One song from the recording sessions, "The Lotus Eaters", was eventually released on the box set Dead Can Dance (1981-1998) and on the 2-disc compilation Wake (2003). Gerrard teamed with Pieter Bourke (Snog, Soma) to issue Duality in April 1998. Perry released Eye of the Hunter in October 1999. DCD reunited in 2005 and released limited-edition recordings of 13 shows from its European tour, and 8 recordings from the subsequent North American tour, as well as a compilation titled Selections from Europe 2005. These concerts were recorded and released on The Show record label.

On 28 March 2010, in an interview for Bulgaria’s Katehizis.com online music magazine, Perry revealed the possibility of a future Dead Can Dance reunion: "Yes, I’ve been talking about it with Lisa [Gerrard]. Maybe in the end of next year we’ll start work again. We’ve been talking about doing something like taking a small chamber orchestra – 10 or 15 people – and tour with them. And we have to write songs. We have to write new material – totally new – so the whole, entire set will be a new album. Then we’ll go into the studio after the tour, record, produce and release a record as well.

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With its two sides split between Perry and Gerrard's vocal efforts, Within the Realm of a Dying Sun serves as both a display for the ever more ambitious band and a chance for the two to individually demonstrate their awesome talents. Beginning with the portentous "Anywhere Out of the World," a piece that takes the deep atmospherics to a higher level with mysterious, chiming bells, simple but effective keyboard bass and a sense of vast space, the album finds Dead Can Dance on a steady roll. Once again a range of assistant musicians provide even more elegance and power to the band's work, with a chamber string quartet plus various performers on horns, woodwind, and percussion. Impressive though the remainder of the first side is, Gerrard's showcase on the second half is even more enveloping and arguably more successful. The martial combination of drums and horns that start "Dawn of the Iconoclast" call to mind everything from Wagner to Laibach, but Gerrard's unearthly alto, at its most compelling here, elevates it even higher. "Cantara" is no less impressive, a swirling, drum-heavy song that sounds equally inspired by gypsy dancing, classical orchestras and any number of Arab musical traditions.

Dead Can Dance - Within The Realm Of A Dying Sun (flac  248mb)

01 Anywhere Out Of The World 5:07
02 Windfall 3:30
03 In The Wake Of Adversity 4:14
04 Xavier 6:16
05 Dawn Of The Iconoclast 2:06
06 Cantara 5:58
07 Summoning Of The Muse 4:55
08 Persephone (The Gathering Of Flowers) 6:35

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Perry and Gerrard once again did the business with Aion. Its cover taken from Bosch, Aion's medievalism was worn more openly than ever before, with songs adapted from centuries-old material. The beautiful, entrancing "Saltarello," with lead performance by what sounds like an old wind instrument, comes from an Italian dance of the 14th century, while the mysterious moods of "The Song of the Sibyl" derive from 16th-century Catalonia. The group's command of not merely recording possibilities but of musical traditions, instruments, and more from around the world was arguably never stronger. Gerrard's vocals in particular have an even stronger, richer feeling than before, not merely able to command with its power but softly calm and seduce. Perry, meanwhile, is no less compelling, his ever-strong, wonderful voice perfectly suited to his choice of material. The standout track is "Fortune Presents Gifts Not According to the Book" with lyrics from a Spanish poet. The musical combination of softly plucked guitar and buried organ drone is striking enough, swathed in reverb, but when Perry steps in with his vocals, matched by more sparkling keyboards, the result is yet another high point for a band laden with them. Guest performers once again assist throughout.

Dead Can Dance - Aion (flac  214mb)

01 The Arrival And The Reunion 1:39
02 Saltarello 2:34
03 Mephisto 0:54
04 The Song Of The Sybil 3:46
05 Fortune Presents Gifts Not According To The Book 6:04
06 As The Bell Rings The Maypole Spins 5:17
07 The End Of Words 2:06
08 Black Sun 4:57
09 Wilderness 1:24
10 The Promised Womb 3:24
11 The Garden Of Zephirus 1:19
12 Radharc 2:49

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 It all begins with yet another jaw-dropper from Gerrard, "Yulunga (Spirit Dance)," with keyboards and her octave-defying voice at such a deep, rich level that it sweeps all before it. Wordless as always but never without emotional heft, the song slowly slides into a slow but heavy percussion piece that sounds a bit like "Bird" from A Passage in Time, but with greater impact and memorability. As the album slowly unwinds over an hour's length, the two again create a series of often astounding numbers that sound like they should be millennia old, mixing and matching styles to create new fusions. Perhaps even more impressive is that everything was performed solely by Perry and Gerrard -- no outside guests here, and yet everything is as detailed, lush, and multifaceted as many of their past albums. New classics from the band appear almost track for track: Gerrard's a cappella work on "The Wind That Shakes the Barley," the gentle beauty of "Ariadne," the rhythmic drive and chants of the title song. The conclusion is a slightly surprising but quite successful cover -- "How Fortunate the Man With None," an adaptation of a classic Bertolt Brecht tune about the turn of fortune's wheel. Given a restrained arrangement and Perry's singing, it brings Labyrinth to a satisfying end.

Dead Can Dance - Into The Labyrinth (flac  383mb)

01 Yulunga (Spirit Dance) 6:56
02 The Ubiquitous Mr. Lovegrove 6:17
03 The Wind That Shakes The Barley 2:52
04 The Carnival Is Over 5:26
05 Ariadne 1:56
06 Saldek 1:07
07 Towards The Within 7:10
08 Bird 5:03
09 Tell Me About The Forest (You Once Called Home) 5:44
10 The Spider's Stratagem 6:41
11 Spirit 4:58
12 Emmeleia 2:06
13 How Fortunate The Man With None 9:15

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elsewhere

I + Garden Of The Arcane Delights (EP) (84  116mb)
Spleen And Ideal (85  89mb)

Dead Can Dance - The Serpent's Egg (ogg 82mb)
Dead Can Dance - Spiritchaser (96  122mb)

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RhoDeo 1222 Beats

Hello, some German beats today, serious beats as Germans tend to take the intellectual approach when they put their minds to what their doing, this has given them a label of lacking spontaneity. Todays Germans however do display plenty of sense of humor, rumor has it they were born on the same day and hospital, years later they met and began a band together. Time to check them out ..N'Joy

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Mouse on Mars is one of the few electronic bands to stand the test of time. Constantly reinventing themselves, they have taken electronica to new heights with a unique blend of sound annihilation, fragmented melodies and an impassioned hatred of conformity. For nearly two deacades, Andi Toma and Jan St. Werner have sweated over burning consoles to create a new musical language, only to twist it again into thousands of myriad distortions.

German post-techno duo Mouse on Mars is among a growing number of electronic music groups dabbling in complex, heavily hybridized forms that include everything from ambient, techno, and dub to rock, jazz, and jungle. The combined efforts of Andi Toma and Jan St. Werner (of Köln and Düsseldorf, respectively), Mouse on Mars formed in 1993, working from Werner's studio, the pair fused an admiration for the early experiments of Krautrock outfits like Can, Neu!, Kluster, and Kraftwerk into an offbeat update including influences from the burgeoning German techno and ambient scenes. A demo of material found its way to London-based guitar-ambient group Seefeel, who passed it on to the offices of their label, Too Pure.

MOM's first single, "Frosch," was released by the label soon after and was also included on their debut album, Vulvaland. Immediately hailed for its beguiling, inventive edge that seemed to resist all efforts at easy "schublade" ("pigeonhole"), Vulvaland was reissued in 1995 by (oddly) Rick Rubin's American Recordings label, which also released their follow-up, Iaora Tahiti, soon after. More upbeat and varied than their debut, the album made some inroads into the American marketplace, but the group's somewhat challenging complexity and steadfast refusal to pander make widespread popularity unlikely. They returned in 1997 with three different releases -- the EP Cache Coeur Naif, the LP Autoditacker, and the vinyl-only Instrumentals. Another vinyl-only release (Glam) appeared in 1998, and was followed a year later by the "official" follow-up to Autoditacker, Niun Niggung.

Mouse On Mars' sound links them to the club-music scene, as do their many remixes and collaborations with members of the dance-music world. Yet their association with the formalized and utilitarian world of dance music is ironic, as the band’s raison d’etre is to place electronic flies in any aural ointment they choose to muck through.  Although remixes are rare, Mouse on Mars began appearing with increasing frequency on compilations of experimental electronic music, including Volume's popular Trance Europe Express series.

Idiology, which introduced percussionist/collaborator Dodo Nkishi into the fold, followed in 2000 on Thrill Jockey. In 2004, the duo celebrated a decade's worth of work with the release of Radical Connector and a global tour, which was captured by 2005's concert album Live04. The following year's hard-hitting Varcharz was released by Ipecac. St. Werner also has recorded as half of the duo Microstoria (with Oval's Markus Popp) and solo as Lithops. Following Varcharz, the duo kept busy with other projects, both collaborative and solo, including their work with Mark E. Smith as Von Südenfed, St. Werner's duties as the artistic director of Amsterdam's Institute for Electronic Music, and Toma's productions for Stereolab, Junior Boys, and Moondog. The pair reconvened as Mouse on Mars for 2011's Paeanumnion, an electronically processed live orchestral piece for which they created their own music software. This software was also crucial in crafting 2012's Parastrophics, which returned to the textural interplay and mischievous avant-electro-pop for which the duo was acclaimed.

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A wibbly, barely digital match of ambient texturology with experimental strains of techno, dub, and Krautrock. While the flip relies too heavily on four-on-the-floor ambient house clichés, the A-side is a prize, cultivating a weird, electronics-based avant-pop vibe as successful as it is unique.
I've cut up Katang here as the final 17 min contain 2 hidden tracks, this whole hidden track thing was a fad one came across now and then, luckily this nonsense has stopped these days.

Mouse On Mars - Vulvaland   (flac 332mb)

01 Frosch 9:18
02 Elli Im Wunderland 5:28
03 Uah 6:59
04 Chagrin 6:15
05 Future Dub 7:32
06 Die Seele Von Brian Wilson 7:43
07 Katang 11:31
08 Hidden Track 1 3:23
09 Hidden Track 2 6:04

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More upbeat and with far greater detail than the debut, Iaora Tahiti proves Jan St. Werner and Andi Toma haven't stood still. The pair's fondness for all things lo-fi follows them here, but just as evident is a depth and punch lacking in their earlier material. Jungle-style programming pops up on the first single, "Bib," as well as elements of dub, funk, industrial, film soundtracks, and musique concrète.

Mouse On Mars - Iaora Tahiti   ( flac 364mb)

01 Stereomission 4:32
02 Kompod 4:05
03 Saturday Night Worldcup Fieber 4:19
04 Schunkel 5:00
05 Gocard 3:54
06 Kanu 5:57
07 Bib 5:59
08 Schlecktron 4:59
09 Preprise 1:35
10 Papa, Antoine 6:51
11 Omnibuzz 4:33
12 Hallo 3:59
13 Die Innere Orange 12:38

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Autoditacker finds Mouse on Mars continuing to grow and improve, adding textures and detail to their dense, electronic soundscapes without compromising their sound. They still are indebted to Krautrock and dub, but they continue to add new sounds and styles to their music, including long ambient stretches and flirtations with drum'n'bass. There are no silent moments on Autoditacker -- every inch of the tape is filled with rhythms, keyboards, and electronic squiggles. Each listen reveals new layers of the group's intricate arrangements, and the shifting instrumentation and themes recall the best adventurous jazz in terms of unpredictability. It's another stunning record in a distinguished, inventive catalog.

Mouse On Mars - Autoditacker  ( flac 343mb)

01 Sui Shop 5:09
02 Juju 4:57
03 Twift Shoeblade 4:23
04 Tamagnocchi 5:33
05 Dark Fx 3:22
06 Scat 4:52
07 Tux & Damask 5:01
08 Sehnsud 6:32
09 X-Flies 6:11
10 Schnick Schnack Meltmade 6:01
11 Rondio 4:52
12 Maggots Hell Wigs 6:47

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RhoDeo 1222 Goldy Rhox 74

Hello, today the 74th post of Goldy Rhox, classic pop rock. In the darklight are an US instrumental R&B band that was influential in shaping the sound of southern soul and Memphis soul. Original members of the group were Booker T. Jones (organ, piano), Steve Cropper (guitar), Lewie Steinberg (bass), and Al Jackson, Jr. (drums). In the 1960s, as members of the house band of Stax Records, they played on hundreds of recordings by artists such as Wilson Pickett, Otis Redding, Bill Withers, Sam & Dave, Carla and Rufus Thomas and Johnnie Taylor. They also released instrumental records under their own name. As originators of the unique Stax sound, the group was one of the most prolific, respected, and imitated of their era. By the mid-1960s, bands on both sides of the Atlantic were trying to sound like them.

In 1965, Steinberg was replaced by Donald "Duck" Dunn, who has played with the group ever since, sadly he died last week. Al Jackson, Jr. was murdered in 1975. Since then, the trio of Dunn, Cropper and Jones have reunited on numerous occasions using various drummers, including Willie Hall, Anton Fig, Steve Jordan and Steve Potts. The band was inducted into the Rock and Roll Hall of Fame in 1992. In 1977, Cropper and Dunn famously became part of The Blues Brothers Band, appearing on the number one album Briefcase Full of Blues. Cropper and Dunn, along with drummer Willie Hall, also appeared in the 1980 movie The Blues Brothers starring Dan Aykroyd and John Belushi. Cropper, Dunn and Hall later reprised their roles in Blues Brothers 2000. Being great musicians over the years they've been asked to back many a superstar..

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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 accommodate somewhat and produce some cryptic info on the artist and or album.

"Green Onions" is one of the most popular instrumental rock and soul songs ever, reaching #3 in 1962 and remaining oft-played on oldies radio and by bar bands ever since. Instrumentals were very big in rock music when "Green Onions" came out, and many stuck to conventional, even boring, major-keyed R&B-based riffs. "Green Onions" was immediately distinctive and different for its ominous three-note riffs and minor-colored, constant key changes. It was a sweet-sour blend akin to the "Green Onions" of the title, but very tough and creepy as well, like a hypnotic prelude to a night of prowling for action in dark alleys. The band's instrumental talents really asserted themselves on this recording as well, particularly in  Jones's distinctive choked organ textures and skittering, economic single-note solos. Also taking some of the solos were Steve Cropper's ruthlessly lean, devious, and reverbed guitar, squeezing out spurts of menace when not keeping a choppy rhythm with choked chords. "Green Onions" is an irresistible dance song, and one of the moodiest uptempo soul-rock instrumentals of its sort. This here is a 30-track release documenting the key years of one of the most important instrumental groups in the history of pop


Goldy Rhox 74   (flac 419mb)

Goldy Rhox 74   ( ogg 182mb)


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RhoDeo 1222 Aetix

Hello, Aetix again, Bauhaus became Goth progenitors on acccounnt of their remarkable debut single an hommage to the Hollywood king of the undead..Bela Lugosi, 9 minutes of creepy horror on vinyl set them on a path they probaly never intended, so when they folded in 84, the band that sprang from it's ashes, Love And Rockets build on a very different, big sky almost psychedelic sound. Leaving their former lead singer Murphy behind, they quickly became remarkably successful on both sides of the Atlantic and released a number of well recieved albums in the secend half of the eighties... plenty to enjoy here

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After Bauhaus' breakup, Murphy formed Dali's Car with Japan's Mick Karn and then pursued a solo career. Ash continued with Tones on Tail, a project he began in 1981; Kevin Haskins also joined the band after Bauhaus' split. J made some solo records and joined the Jazz Butcher briefly. After a proposed Bauhaus reunion fell apart because Peter Murphy wasn't interested in the project, as he had embarked on a solo career, Daniel Ash (guitars, saxophone, and vocals), David J (bass and vocals) and Kevin Haskins (drums, synthesizers), came together as Love and Rockets, despite their previous band's status as gothic rock icons, L & R moved away from that genre, as demonstrated by their first minor hit being a cover of the Motown classic "Ball of Confusion," .Their first album release, Seventh Dream of Teenage Heaven (1985), leaned more towards psychedelic music and Beatle-esque pop. Rich in sonic detail, the neo-psychedelic Express offers a listening experience like no other album -- guitars spiral to dizzying heights from beds of sound, arrangements swirl, songs change and mutate.  John A. Rivers (who also co-produced Love and Rockets' first album) outdoes himself with the sound on this disc, offering a huge, unique canvas for the band to paint its sound on: crystalline acoustic guitars cut through thick, distorted tones, and the bass is an equal player to the guitars and drums.The 1987 follow up Earth, Sun, Moon had a folkier sound and spawned the minor hit "No New Tale to Tell."

In 1989 the band released a self-titled album that presented a more AOR sound. The second single from the album was the T. Rex-inspired song "So Alive." It became a surprise hit, reaching No. 3 on the American singles chart, After a grueling tour schedule in support of their big hit, Love and Rockets took a few years off concentrating on solo projects before returning to the studio together. The result was a move into a much more electronic sound. Their label, RCA Records, unaware of the UK contemporairy sound, dropped them. L & R signed with Rick Rubin's American Recordings to release Hot Trip To Heaven (1994), followed in 1996 by Sweet F.A.. The albums didn't prove a commercial success, and when Lift came out in 1998 on Red Ant Records it was their last, and the band disbanded in 1999.

With the careers of both Love and Rockets and Peter Murphy at a standstill, Bauhaus re-formed for several live dates in Los Angeles, mounting a full-blown tour in 1998; the two-disc Gotham documented the reunited group's performance at New York's Hammerstein Ballroom. Bauhaus reunited again in 2005, they embarked on a full tour beginning in North America and Mexico in the Autumn of 2005 and ending in Europe in February 2006. In May 2006 the band toured with Nine Inch Nails on the summer leg of their tour. ‘Go Away White’ was recorded in 18 days at Zircon Skye in Ojai, with singer Peter Murphy, bassist David J, guitarist Daniel Ash, and drummer Kevin Haskins playing together as a band in one room, taking first takes as final cuts. So, a new record but apparently a final one, the band having decided to release it as a posthumous swan song....no news since.

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Though the years have deadened its impact somewhat, there is still a visceral thrill to be drawn from replaying the first Love and Rockets album, a sense of the first step taken towards a brave new world, and a miasmic whirl of psychedelic intent that masks intents even darker than the preceding Bauhaus ever envisioned. Recorded and released in 1985, riding to club acclaim on the back of the "Ball of Confusion" remake, and aligning its makers with a destiny and fame that no one could ever have predicted, Seventh Dream of Teenage Heaven ranks among the most deceptive debut albums of the 1980s. The keys to the album remain the same, of course -- the churning guitar soup of "The Dog-End of a Day Gone By," the sibilant glam sexuality of the title track, the chilling nursery rhyme pendulum of "The Game." But the opiate atmosphere that chokes the wide open spaces leavened within every song only thickens by the time you hit the closing acoustics of "Saudade," and Seventh Dream of Teenage Heaven emerges as profound an experience as any of the lauded trips of the original psychedelic era. It rounds out the experience with dramatic flair, pinpointing the sheer creativity that was sparking around Love and Rockets at the dawn of their decade-long career.

Love And Rockets - Seventh Dream Of Teenage Heaven ( flac 502mb)

01 If There's A Heaven Above 4:57
02 A Private Future 5:06
03 The Dog-End Of A Day Gone By 7:38
04 The Game 5:09
05 Seventh Dream Of A Teenage Heaven 6:37
06 Haunted When The Minutes Drag 8:03
07 Saudade 5:00
Singles
08 Ball Of Confusion (12" UK Mix) 7:20
09 Inside The Outside 4:22
10 If There's A Heaven Above (12" UK Mix) 7:00
11 God And Mr. Smith 4:49
Mixes
12 Haunted When The Minutes Drag (USA Mix) 4:32
13 If There's A Heaven Above (Canada Mix) 4:26

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Rich in sonic detail, the neo-psychedelic Express offers a listening experience like no other album -- guitars spiral to dizzying heights from beds of sound, arrangements swirl, songs change and mutate. "Kundalini Express" typifies Love and Rockets' approach, chugging along for several verses before breaking open and ascending into the heavens; Anglo-fied Eastern religious imagery and philosophy predominate lyrically, and in tandem with the psychedelic music, offer an almost quasi-religious experience. John A. Rivers (who also co-produced Love and Rockets' first album) outdoes himself with the sound on this disc, offering a huge, unique canvas for the band to paint its sound on: crystalline acoustic guitars cut through thick, distorted tones, and the bass is an equal player to the guitars and drums. "Yin and Yang the Flower Pot Man" is ecstatically upbeat, offering a propulsive rhythm, flailing guitars, and insistent bass -- a compulsively danceable and bliss-inducing track. "An American Dream," meanwhile, is an anthem of sorts, with distinct sections setting apart the moods of hope, disillusionment, and acceptance.

Love And Rockets - Express ( flac 502mb)

01 It Could Be Sunshine 4:58
02 Kundalini Express 5:52
03 All In My Mind 4:43
04 Life In Laralay 3:32
05 Yin And Yang (The Flowerpot Man) 5:56
06 Love Me 3:54
07 All In My Mind (Acoustic) 5:04
08 An American Dream 6:09
Bonus Tracks
09 Angels And Devils 6:10
10 Holiday On The Moon 6:07
11 Lucifer Sam 3:21
12 B Side #1 1:16
13 B Side #2 1:31
14 Yin And Yang (The Flowerpot Man) (Remix) 5:29
15 Ball Of Confusion (USA Mix) 6:16  

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Love and Rockets' Earth, Sun, Moon reins in the rampant excesses of Express while remaining psychedelic; the near white-out of the cover gives a clue to the music, as many of the songs emerge from a soup of white-noise guitar distortion. Much of the record addresses, in its nebulous fashion, hope and disappointment; the title track and "Youth" are two of their most simple, yet most affecting songs. Not a "normal" pop record by any means, it's more straight-ahead than their previous work and includes the upbeat single "No New Tale to Tell," a college radio hit that set the stage for the band's popular breakthrough a year later.

Love And Rockets - Earth · Sun · Moon (flac 328mb)

01 Mirror People 4:06
02 The Light 4:17
03 Welcome Tomorrow 3:36
04 No New Tale To Tell 3:26
05 Here On Earth 3:10
06 Lazy 3:12
07 Waiting For The Flood 3:38
08 Rain Bird 3:17
09 The Telephone Is Empty 4:00
10 Everybody Wants To Go To Heaven 5:13
11 Earth, Sun, Moon 3:34
12 Youth 4:42
13 Mirror People (Slow Version) 4:27

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RhoDeo 1222 Roots

Hello,  we're still on that island with a huge place in the global music catalogue, Jamaica. A production hothouse and they say the Weed makes you slow and lazy-go figure. Without the ganja driven reggae music Jamaica would have remained a Caribbean backwater and dare i say would never have given us Bolt, the fastest man in the world.

These last months there's been plenty of reggae & dub from Jamaica,  we kicked off with a man who's name became synonymous with Jamaican Reggae, Bob Marley, together with The Wailers  It makes sense to me to finish our 9 months stay at Jamaica with a couple of posts of the man who in a sense made it all possible, and dragged a niche music into the global mainstream. And when I say global i mean truly global not just the ' West' , but from South America and Africa to the hights of the Himalayas his voice can be heard and all this expansion predating the Internet, truly remarkable.

Todays last Jamaican post concentrates on what was to become Marley's musical epitaths, he knew by this time that the cancer that had started so seemingly small, in his toe and which he refused having amputated, had spread throughout his body. Having survived attempts on his live, this invisible foe was becoming his undoing, whatever he had left to say needed formulating and shared in a positive fashion to reach as many in the world who would hear. Survival showed he wasn't just looking inward but outward towards the oppressed, a call to resist and fight oppression in all of its insidious forms. On Uprising his final album his quest for spirituality in a material world takes center stage..

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Containing what is considered Marley's most defiant and politically charged statement to date, Survival concerns itself with the expressed solidarity of not only Africa, but of humanity at large. The album was controversial right down to the jacket, which contains a crude schematic of the stowage compartment of a typical transatlantic slave ship. Survival is intended as a wake-up call for everyman to resist and fight oppression in all of its insidious forms. From Tyrone Downie's opening synthesizer strains on "So Much Trouble in the World" to the keyboard accents emerging throughout "Zimbabwe," the sounds of Survival are notably modern. The overwhelming influence of contemporary African music is also cited with the incorporation of brass, á la Fela Kuti and his horn-driven Africa '70. While "Top Rankin'," "Ride Natty Ride," and "Wake Up and Live" are the most obvious to benefit from this influence. Marley had rarely been so pointed and persistent in his content. The days of the musical parable are more or less replaced by direct and confrontational lyrics. The message of this album is clearly a call to arms for those wanting to abolish the subjugation and tyranny of not only Africans, but all humankind. Likewise, Survival reinforces the image of Marley as a folk hero to those suffering from oppression.

Bob Marley and The Wailers - Survival ( 290mb)

01 So Much Trouble In The World 4:00
02 Zimbabwe 3:51
03 Top Rankin' 3:10
04 Babylon System 4:21
05 Survival 3:53
06 Africa Unite 2:54
07 One Drop 3:51
08 Ride Natty Ride 3:50
09 Ambush In The Night 3:12
10 Wake Up And Live 4:58
 Bonus Track
11 Ride Natty Ride 12" Mix 6:23

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Uprising would be the final studio album featuring Bob Marley & the Wailers to be released during Marley's lifetime. Prophetically, it also contains some of the band's finest crafted material, as if they were cogent that this would be their final outing. The album's blend of religious and secular themes likewise creates a very powerful and singular quest for spirituality in a material world. Although it is argued that an album's graphic design rarely captures the essence of the work inside, the powerful rebirthing image of a rock solid Marley emerging with his arms raised in triumph could not be a more accurate visual description of the musical jubilation within. Musically, the somewhat staid rhythms often synonymous with reggae have been completely turned around to include slinky and liquid syncopation. The major difference is the sonic textures that manipulate and fill those patterns. The inventive and unique guitar work of Al Anderson -- the only American member of the original Wailers -- once again redefines the role of the lead electric guitar outside of its standard rock & roll setting. "Zion Train" is awash in wah-wah-driven patterns creating an eerie, almost ethereal backdrop against Marley's lyrics. The final track on the original pressing of Uprising is "Redemption Song." Never has an artist unknowingly written such a beautiful and apropos living epitaph. The stark contrast from the decidedly electric and group-oriented album to this hauntingly beautiful solo acoustic composition is as dramatic as it is visionary. Less than a year after the release of Uprising, Marley would succumb to cancer.

Bob Marley And The Wailers - Uprising ( flac 297mb)

01 Coming In From The Cold 4:30
02 Real Situation 3:08
03 Bad Card 2:50
04 We And Dem 3:12
05 Work 3:41
06 Zion Train 3:36
07 Pimper's Paradise 3:27
08 Could You Be Loved 3:57
09 Forever Loving Jah 3:52
10 Redemption Song 3:47
Bonus Tracks
11 Redemption Song (Band Version) 4:47
12 Could You Be Loved (12" Mix) 5:24

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The classic Marley album, the one that any fair-weather reggae fan owns, Legend. Some may argue that the compilation shortchanges his groundbreaking early ska work or his status as a political commentator, but this isn't meant to be definitive, it's meant to be an introduction, sampling the very best of his work. And it does that remarkably well, offering all of his genre-defying greats and an illustration of his excellence, warmth, and humanity. In a way, it is perfect since it gives a doubter or casual fan anything they could want.

Bob Marley And The Wailers - Legend Remixes ( flac 458mb)

01 One Love / People Get Ready (Rmx Mendelsohn) 6:59
02 Waiting In Vain (Rmx Mendelsohn) 5:54
03 Jamming  (Rmx "Groucho" Smykle) 5:33
04 Three Little Birds / Three Little Birds (Dub Rmx Mendelsohn)5:18
05 Could You Be Loved (Rmx Sadkin/Brown) 5:25
06 No Woman No Cry  (Rmx Thorngren) 4:10
07 Coming In From The Cold (Rmx Thorngren) 5:42
08 Buffalo Soldier  (Rmx Thorngren) 5:24
09 Jamming  (Rmx Thorngren) 3:20
10 Waiting In Vain  (Rmx Thorngren) 4:11
11 Exodus  (Rmx Thorngren) 8:48
12 Lively Up Yourself  (Rmx Thorngren) 5:16
13 One Love / People Get Ready (Dub Rmx Logie) 4:55

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RhoDeo1222 HHGTTG 1

Hello, hope you'll had a good weekend. Two socalled highlights of the racing season today. The grandprix in Monaco lacked a timely downpoor it came 20 minutes late. The first 6 cars crossed the line within seconds but they had done so for 30 laps after Vettel did his tire change, it's simply impossible to overtake at Monaco. The Indy 500 was at the other spectrum of boring, going round in circles as fast as possible and provide entertainment by the predictable crashes. What surprises me there that the boxstops are much more laidback (slow) compared to F1, apparently there's no need to win time there, which shows it really is all show..

As  stated last week;

Expect the ultimate classic sci-fi comedy of which unfortunately only 6 episodes exist...

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Here is the BBC television adaptation of Douglas Adams's The Hitchhiker's Guide to the Galaxy broadcast in January and February 1981 on BBC Two. The adaptation follows the original radio series in 1978 and 1980. The series stars Simon Jones as Arthur Dent, David Dixon as Ford Prefect, Mark Wing-Davey as Zaphod Beeblebrox and Sandra Dickinson as Trillian. The voice of the guide is by Peter Jones. Simon Jones, Peter Jones, Stephen Moore and Mark Wing-Davey had already provided the voices for their characters in the original radio series in 1978/80. In addition, the series features a number of notable cameo roles, including Adams himself on several occasions.

Although initially thought by BBC executives to be unfilmable, the series was successfully produced and directed by Alan J. W. Bell and went on to win a Royal Television Society award as Most Original Programme of 1981, as well as several BAFTA awards for its graphics and editing.

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Episode 1 begins with a pre-credits sequence, the only one of the TV episodes to have one. A countdown to the end of the world is displayed through animation, and the narrator begins telling the story of the Guide and Arthur Dent's connection to it as the sun rises over the English countryside for the final time. Arthur wakes, discovers the threat to his house from a yellow bulldozer by looking out the window, and the camera pulls back to the credits. This episode closely follows the plot and dialogue of the first episode of the radio series, cutting the speech by Lady Cynthia Fitzmelton. It ends at a slightly earlier point than the radio episode, after Ford's line "he might want to read us some of his poetry first", and on a cliffhanger that Arthur and Ford are about to be discovered in a Vogon storeroom, but before the Vogon poetry is actually read.


HHGTTG 1 ( avi 232mb)

01 32:52

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Sundaze 1222

Hello, the Eurovision songfestival was won tonight by a singer from sweden with a good voice and a run of the mill trance track, Euphoria. What was asthonising however was the amount of points it got, on average 9 points out of a max of 12 by 42 very different countries truly amazing ! The song i liked best was from the same composer but for Spain, best singer in the house but Spain will never win again, simply because it lacks neighbours. Maybe Tiesto could do a trance remix of it. The UK ended bottom bar one the singer from Norway who looked as if he escaped from the fifties.even more geriatric as UK's Humpty dink There were some truly awful presentations Albania's mentally deranged version of Bjork, the granny/monkey show from Russia both scored well yet the Irish Twin freakshow didn't, that's about all i have to say about it, expect more trance (emo-house) next year....

Time for some Sundaze, had plenty of sun lately, dazing on a sunny afternoon coming up from the guys who put their mind to it, and named themselves after that Italian scoundrel and fascist Marconi who's classy upbringing/connections enabled him to get the glory for what was in essence Tesla's work, latter had to sue and wait decades before he got the recognition. So a dubious name if you ask me, Marconi Union.

PS there's a new hoster here Ifile, pretty fast for me let me know if it works well for you

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Marconi Union are a British musical trio Richard Talbot, Jamie Crossley and Duncan Meadows, with strong links to the Manchester based DOTCA arts collective. They formed in 2002 when Talbot and Crossley met while working in a record shop. Their self-produced debut album, Under Wires and Searchlights, appeared in 2003 on the small British independent label Ochre Records.The album was followed with a sustained period of silence only punctuated by a couple of remixes. They were then picked up in 2005 by All Saints Records (a label strongly associated with electronic musician Brian Eno) releasing their second album, Distance, which featured a darker, more electronic sound. The band played at the 2006 Big Chill Festival and Eden Sessions and granted their first interview in October 2006 for the widely syndicated American radio show Echoes, where they also played only their second live performance.

Their tracks have also appeared on several compilations albums, and they have done a number of remixes for other artists. Recording for their third album, A Lost Connection, began in 2007. Originally slated for release on All Saints, the band became victims of a label take over by Warner Bros and a number of contractual complications arose. Frustrated by the delays and now with apparently two full length albums recorded and awaiting release, Talbot and Crossley decided to take matters into their own hands and utilize web technology. In July 2008 they launched their digital label MU Transmissions which started to sell their music via their own website, with the first release being the long awaited A Lost Connection. In 2009 the Marconi Union website released a new album, Tokyo on the German Binemusic label. According to press releases and reviews Tokyo was inspired by media images of the city. In 2010 A Lost Connection was remastered and belatedly released on CD, and the band announced that Duncan Meadows had joined on a permanent basis having previously played with them at a number of live gigs.

In July 2011 a new album, Beautifully Falling Apart (Ambient Transmissions Vol:1) was released on Just Music. On October 16, 2011, Marconi Union created an eight minute track, 'Weightless' in collaboration with the British Academy of Sound Therapy. According to scientists at the Mindlab institution (a commercial 'neuromarketing' company) it induced a 65 per cent reduction in overall anxiety and brought test subjects' resting pulse rates to 35 per cent of their usual resting rates. The song features guitar, piano and manipulated field recordings. It is punctuated throughout by low tones that supposedly induce a trance-like state. This piece propelled the band into the media spotlight and news reports, and was reported in newspapers worldwide.

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The sounds that Marconi Union create are less like music and more like stunning textures and atmospheres which paralyse all functions of the listener and coerce them into a trance like state. Under Wires and Searchlights is the more minimalist, with a starker use of electronica that generates a melancholic presence which permeates throughout the 8 tracks. The use of feedback at the start of the album staples a raw edge around the jazz fused ambience and implies a bleakness deep atmospheric feel with long suspenseful passages leavened with minimal jazzy drumming and hypnotic guitars, pianos and strings.

On the evidence of this it's no surprise that they ended up recording for Brian Eno's All Saints label and perhaps if this album had been on that label too, it would have had been as successful as Distance. Under Wires is an essential for anyone with any interest in port-Eno ambient or electronic influenced music.

Marconi Union - Under Wires and Searchlights (flac 210mb)

01 Glace Bay (Part One) 1:14
02 Border Crossing 6:33
03 Northern Stations 3:11
04 The Contact 3:27
05 The Currer Bell Version 5:07
06 In Shadows (Parts One And Two) 8:01
07 Under Wires And Searchlights 9:36
08 Glace Bay (Part Two) 2:25

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They share a label with Brian Eno, the same Brian Eno who asked the duo to oversee the remastering of his back catalog. This would automatically give Marconi Union a measure of credibility regardless of the quality of their individual work, but fortunately for them, their own music only makes their reputation more deserved. Distance, their first release from All Saints, explores Eno's idea of the soundscape. The album, rather than being a collection of separate songs, is a unified composition, an illustrative 40 minutes that turn listeners into -- as the group puts it -- silent observers of fleeting urban images, travelers in a locked, moving car, who come into and out of a city on a straight black road. Perhaps because of this desire to describe a situation, the songs are never quite completely realized; there are no choruses or verses. Instead they grow slowly, allowing listeners to accustom themselves to each development (a soft chord progression, a tinkling guitar) before a new one is added. Theme and tone and atmosphere and a sense of the whole are all there, but nothing ever comes to a full conclusion, nothing is ever definitively stated, because, as Marconi Union remind us, our journey is very literally transitory: we're traveling in a car, and see nothing for long, just glimpses of the world around us. This effect is accomplished mainly through the use of prolonged synthesizer chords and short piano or guitar arpeggios that repeat and fade throughout the album. Occasionally the drums slide in and out, the bass enters, there's even a sax solo; but that foundation -- and what is coincidentally moving us through the album -- never alters much. It's also this foundation that makes Distance so strong, and so successful. It's constant enough to ground the listeners in their journey, to give them a kind of explanation, but there is still enough mobility in the music to push reflection further. The songs are long but they aren't overly oppressive or weighty; rather, they're just sections of the drive, different images to ponder and move on from.

Marconi Union - Distance (flac 216mb)

01 Sleepless 5:41
02 These European Cities 7:09
03 Through Glass 5:49
04 Buildings And People 4:56
05 Suburb27 5:26
06 Inter 5:54
07 A Temporary Life 5:15

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After a trudging label-related debacle, Manchester’s Marconi Union finally get to release their third album, A Lost Connection in physical form, having originally been released digitally by the duo through their own Marconi Union Transmissions. The band have already released their fourth album, Tokyo, last year, but in a bid to do justice to what has since become a fan favourite, the band have honoured ALC with a ‘proper’ release.

Their music has often been described as being atmospheric, or cinematic, on account of its slowly unfurling layers of delicate strings, glitches and soft, ambient electronics. It’s no surprise then that consequently their work has been used to soundtrack film and art projects alongside many a US TV show. Marconi Union often get compared to Boards Of Canada for pretty much these same reasons though A Lost Connection in particular puts emphasis on more up-tempo pulses, led by deep, smooth bass hits. If anything, it’s soothing; best suited to night time headphone sessions or long-winded, mesmerizing journeys – which is essentially what this album plays out like.

Marconi Union - A Lost Connection (flac 222mb)

01 Interiors 6:24
02 Endless Winter 7:23
03 Debris 4:46
04 Hinterland 5:52
05 Stationary 8:24
06 We Travel 7:03
07 Transient 5:11

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