RhoDeo 1115 Beats

Hello, time for some Sundaze beats as todays act surely could be catagorized, their assertive trippy style took the world by haze..it took some time to reach Europe and the US all the way from the Great Southern Land but then it really hit home, and meanwhile the guys have become a force of psychedelic nature. I'm not sure if they've made an appearance yet at the Burning Man Festival, but they should....

Enjoy



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.Simon Posford and Raja Ram are Shpongle, an ambient techno/trance project formed in 1996 after the pair viewed a solar eclipse in India. The two went into the studio and attempted to duplicate the experience in sonic form, and the result was a 20-minute track, "...And the Day Turned to Night,"Their sound has sampled eastern ethnic instruments and western contemporary synthesizer-based psychedelic music. Posford is responsible for the synth and studio work while Raja Ram contributes with flute arrangements.

"A multi-verse not very far away where queues and noise don't exist neither pain nor fear, scary faces or bad smells...just peace and pieces, and perfect weather Sucking the big toe of humanity, your armchair turns into an aural spacecraft, catapulting you through the veils of reality and consciousness into a psychedelic adult theme park: Sonar Ballistickle, Soma sucking cyber sorcerers floating weightlessly on the threshold of bliss, creating psycho-geometric, atomic telepathic shimmering incandescent dream dilations. This hybrid exotic seretonin drenched electro-plasmic dripping brain forest moves with endless hallucinogenic changing patterns while, unnoticed a million angels dance on a pinhead. Fun-Shui, Phrenological escapology; the divine moment of truth...the inevitability of the unexpected - the vortex of the cortex. Knowing what we don't know, while sampling the cosmos; from the darkness to the light; from the unreal to the real....from death to immortality...

...Lets Get Shpongled!"

Their debut album, Are You Shpongled?, was released 1998 on Twisted Records. Are You Shpongled? and recieved a warm reception aswell as a strong word to mouth marketing. and gained influence in the then-small psychedelic downtempo genre. Since they released, Tales of the Inexpressible, released in 2001. Simon Posford and Raja Ram hone and expand the style introduced on their debut album, Are You Shpongled?. Raja Ram plays Spanish and East Asian instruments along with the flute, and Simon Posford plays classical guitar as well as synthesizing and sampling. The song whose name is most often stated as "Room 23" appears on the back cover of the album with the name "Room 23, where the character 3 that partially looks like the digit "3" is actually the Om, the sacred eternal sound in Hinduism. 2003 saw the release of Remixed a project on which 8 diverse acts gave some of their previous music a workover.

Nothing Lasts ... But Nothing is Lost is a 2005 album by Shpongle. It is the project's third and was announced as their last studio album, though the duo has since released a fourth. Like the previous two albums, it features many live musicians and vocalists in combination with computer-generated sounds and spoken-word samples. Stylistically the album can be described as a fusion of world music, intelligent dance music, and psychedelic trance. It is dedicated to the memory of author and psychedelic researcher Terence McKenna, whose voice and ideas are used throughout the album. The tracks flow together continuously without any break. Ineffable Mysteries from Shpongleland is the fourth studio album by Shpongle released on November 2, 2009. Songs from the album began to trickle to the public in live form, being played at many of Shpongle's 2009 concerts.The album was ranked at #7 on Sputnik's Best Of 2009 list. In a recent interview with Simon Posford, it was revealed that Shpongle would be working towards a fifth album due for release in 2012.


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The music is all-out, and provides ultimate proof of how great minds sharing talent have true potential to convey the unthinkable. It's tribal, it's purely electronic, then again at places it's not, it's ambient despite lacking tipical characteristics of the genre, but then it's uptempo with musical traits dissimilar from the standard psy trance sound of the era. Starting with the amazing Shpongle Falls, the album slowly draws you into a dream state, peaking at the tribal DMT and ending with the beautiful And The Day Turned to Night which brings you down to earth so well that it makes my hairs stand on end just to think about it. It's Shpongle, and 13 years ago, it was a release in a galaxy of its own, sounding like nothing else, and best of all is that it still does. A musical landmark no matter what do you expect from music.



Shpongle - Are You Shpongled (98 461mb)

01 Shpongle Falls 8:33
02 Monster Hit 8:57
03 Vapour Rumour 10:26
04 Shpongle Spores 7:16
05 Behind Closed Eyelids 12:29
06 Divine Moments of Truth 10:20
07 ...and the Day Turned to Night 19:57

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Shpongle - Tales of the Inexpressible (01 455mb)

01 Electroplasm
02 Shpongolese Spoken Here
03 Nothing Is Something Worth Doing
04 Ineffable Mysteries
05 I Am You
06 Invisible Man In A Fluorescent Suit
07 No Turn Un-stoned
08 Walking Backwards Through The Cosmic Mirror


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After two fantastic Shpongle albums, they have decided to let some other artists play with their tracks. An album with eight Shpongle tracks, remixed by eight different groups. The duo has had some great artists to remix their tracks. Very interesting to hear remixes by groups like that who usually makes very different music from Shpongle. I think I had expected some trance versions in this album, but I really enjoyed the way they have gotten electro, dub, drum ‘n’ bass and down tempo trance into one album.



Shpongle - Remixed ( 02  549mb)

01 Crystal Skulls (Western Rebel Alliance Remix) 6:34
02 ...And The Day Turned To Fright (Eat Static Remix) 9:16
03 Star Shpongled Banner (Brothomstates Remix) 4:57
04 A New Way To Say 'Hooray!' (Prometheus Remix) 7:51
05 My Head Feels Like A Frisbee (Delusions Of Grandeur Remix) 7:01
06 Dorset Perception (Total Eclipse Remix) 7:26
07 Around The World In A Tea Daze (Ott Remix) 8:25
08 Once Upon The Sea Of Blissful Awareness (Esionjim Remix) 6:54
+ DMT ep
09 Divine Moments Of Truth (Shpongle Trance Remix) 8:19
10 Divine Moments Of Truth (Instrumental Remix) 7:45
11 Divine Moments Of Truth (Original Russian Bootleg Mix) 10;10

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elsewhere on this blog (Sunshine Outback, page deleted) but here in Flac again

Shpongle - Nothing Lasts... But Nothing Is Lost ( 05 * 444mb)

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RhoDeo 1115 Goldy Rhox 22

Hello, today the 22th post of GoldyRhox, classic pop rock. And once more an album that took it's time before becoming a in the a classic rock staple. Rock chicks were rare at the time, If not for the strength of their songs aswell as their assertiveness we might never have heard of the sisters responible for this album.

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.

Well todays mystery album isnt one of Rolling Stone Mag alltime greats, and it aint a Canadian band, allthough i always presumed it, or maybe it is, after all they lived and recorded in Vancouver, were screwed big time by a label Mushroom that tried to balloon from them. Anyway the band in question had gone to several lineups until two Californian sisters (Ann & Nancy) joined and that took up writing, singing and playing lead guitar, btw Nancy is still looking great at 56, they are still rocking and just released another succesful album "Red Velvet Car" this one however was their first one and sold more than a million, it scored overseas as well, mainland Europe and UK, subsequent albums and news probably got drowned out by the new music scene that was developping in the late seventies. Whatever it was, going on a cruise with Annie seemed like a great prospect in 76...


Goldy Rhox 22 93mb


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RhoDeo 1115 Aetix

Hello, maybe i'm posting too late these days-about an hour later as usual, this time no exception. Obviously over the years i posted a decent amount of socalled eighties music, in general i stayed clear of the more commercial acts as these get enough attention. Well the band today collapsed several times and at the moment is succesful again after basicly being lifted by the audience.... That said i still don't understand why their first album wasn't a mega success, fresh electronic music streaming out the speakers, it's still lifting my mood today. Their 2nd album was a bit of a downer-in sync with the times somewhat, held up by a leftover from the first album, Enola Gay. With the third album, which caught me by the tirtle Architecture and Morality, they switched direction again going for a strong melodic sound, Europe loved it, personally i was less impressed, and why i bought their next three albums i dont know, these are in my cabinet with less then 10 spins put together as it where. And now, the best and brightest of Orchestral Manoeuvres In The Dark coming up.

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Founders Andy McCluskey and Paul Humphreys met at primary school in Meols on the Wirral Peninsula, in the early 1960s, and in the mid-1970s, as teenagers, they were involved in different local groups. By the mid-1970s McCluskey had formed Equinox, as bassist and vocalist, alongside schoolmate Malcolm Holmes on drums, while Humphreys was their roadie. During that time McCluskey and Humphreys discovered their electronic style influenced by Kraftwerk.

In September 1977,McCluskey and Humphreys put together the seven-piece (three singers, two guitarists, bassist, drummer, and keyboard player) Wirral 'supergroup' The Id, whose line-up included drummer Malcolm Holmes and McCluskey's girlfriend Julia Kneale on vocals. The group began to gig regularly in the Merseyside area, performing original material (largely written by McCluskey and Humphreys). They had quite a following on the scene, and one of their tracks ("Julia's Song") was included on a compilation record of local bands called Street to Street. In August 1978, The Id split due to the traditional musical differences. The same month, McCluskey joined the electronic Wirral quartet Dalek I Love You as lead singer, but quit in September.

In September 1978, the same month he left Dalek I Love You, McCluskey rejoined Humphreys and their project was named Orchestral Manoeuvres in the Dark. They began to gig regularly as a duo, performing to backing tracks played from a Teac 4 track tape-recorder .Their debut performance was in October 1978 at Eric's Club in Liverpool. Finding themselves on the cusp of an electronic new wave in British pop-music, they released a one-off single, "Electricity", with celebrated independent label Factory Records. The track was supposed to be produced by the legendary Factory Records producer Martin Hannett, in fact, the A-side was the bands original demo produced by their friend, and soon to be manager, Paul Collister. The single's sleeve was designed by Peter Saville, whose distinctive graphics provided OMD's public image well into the mid-80s.

In 1979 they were asked to support Gary Numan on his first major British tour. They were always grateful to Numan for his help and support. He let them travel on his bus and use his trucks to transport their gear. They returned the favour some 13 years later when they asked Numan to support them on their arena tour in the mid-nineties

The eponymous first album (1980) showcased the band's live set at the time, and was basically recorded by the Humphreys/McCluskey duo, although included some guest drums from Id drummer Malcolm Holmes, and saxophone from Wirral musician Martin Cooper. It had a simple, raw, poppy, melodic synthpop sound. Dindisc arranged for the song "Messages" to be re-recorded (produced by Gong bassist Mike Howlett) and released as a single – this gave the band their first hit. A tour followed, the tape recorder was augmented with live drums from Malcolm Holmes, and Dalek I Love You's Dave Hughes on synths. Hughes then left OMD in November 1980, replaced by Martin Cooper.

The second album Organisation followed later that year, recorded as a 3 piece with Humphreys, McCluskey and Holmes. It was again produced by Howlett, and saw a rather moodier, dark feel. The album spawned the hit single "Enola Gay", named after the plane that dropped an atomic bomb on Hiroshima. The song was originally intended to be included on the debut album, but was left out at the final selection, which may explain why the song is somewhat at odds with the darker feel of the second album.

November 1981 saw the release of their most commercially successful album in the UK and Europe – Architecture & Morality. The album's sound saw OMD's original synth-pop sound augmented by the Mellotron, an instrument previously associated with prog rock bands. They used it to add very atmospheric swatches of string, choir and other sounds to their palette. Two more hit singles "Joan of Arc" and "Maid of Orleans" were taken from the album, which eventually sold more than 3 million copies.

1983 saw the band lose commercial momentum somewhat, with the release of their more experimental Dazzle Ships album, which mixed melancholy synth ballads and uptempo synthpop with musique concrete and short wave radio tape collages. It was recorded by the 4-piece Humphreys/Holmes/Cooper/McCluskey line-up, and produced by Rhett Davies. Its relative commercial failure caused a crisis of confidence for Humphreys and McCluskey and brought about a deliberate move towards the mainstream. 1984's Junk Culture was a return to a poppier sound and saw the band using digital sampling keyboards such as the Fairlight CMI and the E-mu Emulator. The album was a success, reassuring the group about their new direction. The "Locomotion" single returned the group to the top five in the UK and was a good indicator of the group's new found sound In 85 the band expanded to a sextet, featuring new band members Graham (guitar, trombone, keys) and Neil Weir (trumpet), and released Crush, produced by Stephen Hague. The success of the single "So in Love" in the US Hot 100 also led to some success for the LP which entered the American Top 40, establishing the group in the US as well as making Stephen Hague a sought-after producer.

Later in 1985, the band wrote the song "If You Leave" for the John Hughes movie Pretty in Pink. The song was featured on the soundtrack and became a huge hit in the US and Canada where it reached the Top 5. The same six piece line-up also released The Pacific Age in 1986, but the band began to see their critical and public popularity wane in the UK while they failed to capitalise upon their breakthrough in the US market. The Pacific Age contained the UK #11 hit single, "(Forever) Live & Die" . However, the band's increasingly commercial direction was causing growing dissatisfaction among the band's long-term fans, as well as within the band itself.

During 1988 the band appeared poised to consolidate their US success, with a support slot for Depeche Mode's 101 tour at the Rose Bowl in Pasadena, California on 28 June 1988, a top 20 US hit with "Dreaming" and a successful "Best of" album. However, it was at this point when OMD broke in two. Co-founder Paul Humphreys was the first to depart the group in 1989, unhappy with the band's commercial orientation. The Weirs were then downgraded to auxiliary members and soon left the fold. Finally, Cooper, and Holmes left OMD by 1990 to join Humphreys in founding a new band called The Listening Pool.

This left only McCluskey to carry on, essentially becoming a solo artist working under the OMD banner. McCluskey's first album from the new OMD was the critically acclaimed Sugar Tax LP in 1991, which charted admirably at #3 in the UK. McCluskey would then work with keyboardists Nigel Ippinson and Phil Coxon for the album Liberator (1993). McCluskey returned with a rotating cast of musicians for the 1996 album Universal. For this last album, Humphreys returned as a co-writer of a few songs, though not as a performer or group member.
Though both Liberator and Universal produced minor hits and the latter also spawned their first Top 20 hit in five years with "Walking On The Milky Way", McCluskey retired the OMD name in late 1996, due to waning public interest in an 80's synth band at the height of the guitar-based Britpop era.

Post-1996, McCluskey decided to focus on management and songwriting , with McCluskey focusing his talents elsewhere, Humphreys decided to play many revival shows using the OMD banner. On 1 January 2006, Andy McCluskey announced plans to reform OMD with the McCluskey, Humphreys, Holmes and Cooper line up. The original plan was to tour the album Architecture & Morality and other pre-1983 material, then record a new album set for release in 2007..

Through May and June, the band toured with the "classic" line up of McCluskey, Humphreys, Holmes and Cooper. They began their set with a re-ordered but otherwise complete restaging of the Architecture & Morality album. The second half of each concert featured a selection of their best known hits, and audience reaction was consistently positive. In June 2009 an orchestral concert with the Royal Liverpool Philharmonic was given in Liverpool. A recording of this concert was released on DVD in December 2009.November and December also saw a return to arena touring as support for Simple Minds. OMD's 11th studio album, History of Modern, was released on 20. September 2010 to positive critical acclaim, reaching #28 in the UK album charts, and has sold well over 100,000 in Europe. A European tour to promote the album followed in November 2010. In March of 2011 OMD played their first North American tour as the original line up since 1988. The shows were hugely popular with unanimously positive reviews reflecting a general acknowledgement of the bands influential place in musical history combined with their ability to still deliver an incredibly powerful live show.

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OMD's first full-length album won as much attention for its brilliant die-cut cover -- another example of Peter Saville's cutting-edge way around design -- as for its music, and its music is wonderful. For all that, this is a young band, working for just about the last time with original percussionist Winston; there's both a variety and ambition present that never overreaches itself. The influences are perfectly clear throughout, but Andy McCluskey and Paul Humphreys would have been the last people to deny how Kraftwerk, Sparks, and other avatars of post-guitar pop touched them. What's undeniably thrilling, though, is how quickly the two synthesized their own style. Consider "Almost," with its dramatic keyboard opening suddenly shifting into a collage of wheezing sound beats and McCluskey's precise bass and heartfelt, lovelorn singing and lyrics. The chilly keyboard base of "The Messerschmitt Twins" gets offset by McCluskey's steadily stronger vocal, while the swooping, slightly hollow singing on "Mystereality" slips around a quietly quirky arrangement, helped just enough by Martin Cooper's at-the-time guest sax. Even the fairly goofy "Dancing" has a weird atmosphere at play in the metallic vocals and groaning tones. In terms of sheer immediacy, there's little doubt what the two highlights are -- the re-recorded and arguably better version of "Electricity" is pure zeitgeist, a celebration of synth pop's incipient reign with fast beats and even faster singing. "Messages," though it would later benefit from a far more stunning reworking, still wears the emotion of its lyrics on its sleeve, with a killer opening line -- "It worries me, this kind of thing, how you hope to live alone and occupy your waking hours" -- and a melody both propulsive and fragile. The mysterious chimes and spy movie dramatics of "Red Frame/White Light" (inspired by a phone box) are almost as striking. Orchestral Manoeuvres in the Dark is just like the band that made it -- perfectly of its time and easily transcending it. Bonus Tracks (11 Messages (Single Version) 4:46, 12 I Betray My Friends 3:52, 13 Taking Sides Again 4:22, 14 Waiting For The Man 3:00, 15 Electricity (Hannett / Cargo Studios Version) 3:36, 16 Almost (Hannett / Cargo Studios Version) 3:52



OMD - Orchestral Manoeuvres In The Dark (flac 407mb)

01 Bunker Soldiers 2:53
02 Almost 3:44
03 Mystereality 2:45
04 Electricity 3:39
05 The Messerschmitt Twins 5:41
06 Messages 4:12
07 Julia's Song 4:41
08 Red Frame / White Light 3:11
09 Dancing 2:58
10 Pretending To See The Future 3:47
Bonus Tracks
11 Messages (Single Version) 4:46
12 I Betray My Friends 3:53
13 Taking Sides Again 4:23
14 Waiting For The Man 3:00
15 Electricity (Hannett/Cargo Studios Version) 3:37
16 Almost (Hannett/Cargo Studios Version) 3:51

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OMD made a return to form, however, on their third album, 1981's Architecture & Morality. Shaking off the dread of their music engaging with the public while simultaneously weathering critical scrutiny, OMD shows a greater facility for pop melody, crafting songs of aching fragility rather than off-putting gloom. Along with the Human League's Dare-- also initially released in 1981-- Architecture & Morality is a bridge between synth-pop's more bleak, industrial beginnings and the shimmer and shine of ambitious New Pop. Lush ballads such as "The Beginning and the End" and "Souvenir" effortlessly cast aside OMD's final notions of Gary Numan-esque faux-robotics. Re-Mastered issue of the 1981 album. Contains 7 bonus tracks which are b-sides of the singles from the album and also "Gravity Never Failed", recorded during the A&M sessions.




OMD - Architecture and Morality ( flac 355mb)

01 The New Stone Age 3:18
02 She's Leaving 3:26
03 Souvenir 3:36
04 Sealand 7:42
05 Joan Of Arc 3:48
06 Joan Of Arc (Maid Of Orleans) 4:10
07 Architecture & Morality 3:38
08 Georgia 3:20
09 Beginning & the End 3:44
Bonus Tracks
10 Extended Souvenir 4:16
11 Motion And Heart (Amazon Version) 3:07
12 Sacred Heart 3:30
13 The Romance Of The Telescope 3:22
14 Navigation 3:00
15 Of All The Things We've Made 3:25
16 Gravity Never Failed 3:24

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RhoDeo 1115 Roots

Hello, last week we were left in ancient Ethiopia i kept the ancient part as we move back in time towards the Arabian Peninsula. How did they live without an ipod well we know they made music instruments so they must have had plenty of concerts, likely every night and booze wasnt prohibited yet. This has changed when we enter Sufi territory , the mystic arm of Islam and as such not much loved by the fundamentalists thru the ages, a car bomb at their mosque 2 weeks ago is proof of that. Still their asceteic mysticism is acknowledged througout the world.

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Ensemble De Organographia - Music of the Ancient Sumerians, Egyptians and Greeks

Archeological discoveries in the Middle East over the last several decades have brought to light new musical documents that have greatly increased our understanding of ancient music. Texts that describe Babylonian musical notation have been uncovered at Ur and Ashur, and compositions written in this system have been found at Ugarit and Nippur. These discoveries have helped to define a clearer picture of the Sumero-Babylonian musical art, and, while information on the subject of Egyptian musical notation remains obscure by comparison, several verbal descriptions of instrumental performance and several extant musical documents have been identified. Fortunately, Greek compositions and music theory tex`s survive in relatively greater numbers and continue to be identified; recently transcribed musical documents in Greek notation found at Oxyrhynchus in Egypt are heard here for the first time.
The repertoire on this recording, preserved mainly on clay tablets and papyri, dates from the 20th century B.C. to the third century A.D. It includes the musical instructions for the hymn "Lipit-Ištar, King of Justice" which is regarded as the world's oldest surviving example of musical notation. The selections range in varying states of preservation from the nearly perfect Hurrian Hymn 6 to tiny fragments of melody and text.



Music of Ancient Sumerians Egyptians (flac  220mb)

Greek Music from Egypt
01 - Musical Excerpts [Oxyrhynchus papyri 4461] (3:02)
02 - Lament [Oxyrhynchus papyri 4465] (1:42)
03 - Fragment 1 [Oxyrhynchus papyri 4462] (3:09)
04 - Paean [Oxyrhynchus papyri 4466] (1:40)
05 - Trochaic Fragment [Oxyrhynchus papyri 3162] (1:00)
06 - Four Settings from Menander's 'Epitrepontes' [Oxyrhynchus papyri 3705] (1:36)
07 - Excerpts mentioning Eros and Aphrodite [Oxyrhynchus papyri 4462] (4:39)
08 - Musical excerpt [Oxyrhynchus papyri 4467] (3:15)
09 - Hypolydian excerpt [Oxyrhynchus papyri 4464] (2:55)
10 - Fragment 3 [Oxyrhynchus papyri 3161] (1:59)
Sumero-Babylonian
11 - A Zaluzi to the Gods (Hurrian Hymn 6, copied by Ammurabi) [R.S. 15.30 + 49, 17.387] (3:49)
12 - Hurrian Hymns, 19 & 23 [R.S. 19.149 and 18.282] (1:34)
13 - URḪIYA & an. - Hurrian Hymns, 13 & 12 (copied by Ipšali) [R.S. 19.164d and 19.147] (0:41)
14 - Hurrian Hymn 2 (1:14)
15 - URḪIYA. Hurrian Hymn 8 [R.S. 19.84] (1:21)
16 - PUḪIYA(NA) - Hurrian Hymn 5 [R.S. 14.18] (0:44)
17 - Hurrian Hymn 4, 21, & 22 [R.S. 14.15, 19.154 and 19.164c] (2:32)
18 - Hurrian Hymn 7 & 10 [R.S. 19.155 and 19.148] (1:55)
19 - Hurrian Hymn 16 & 30 [R.S. 19.164a and 19.164b] (2:10)
20 - Musical Instructions for 'Lipit-Ištar, King of Justice' [N. 3354] c. 1950 BC (0:44)
Egyptian
21 - Trumpet Call, after Plutarch (0:33)
22 - Isis Sistrum Rhythm, after Apuleius (0:31)
23 - Theban banquet scene (1:33)
24 - Harp Piece I [Brooklyn Museum] (1:57)
25 - Harp Piece II [Brooklyn Museum] (2:02)

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The word "Sufi", which is derived from the concept of tassawuf, denotes the esoteric currents in Islam which aim at seeking mystic union and the experience of the dissolution of the self in the Divine Essence. These currents appeared in the second century after the hijrah and since then have continued to multiply in various forms in the Islamic world. Both the word tassawuf and "Sufi", which is derived from it, contain the root suf which means wool and refers to the rough woollen garment originally worn by the ascetics as a token of their detachment. The thinker al-Ghazali (450/1058-505/1111), a great Islamic mystic, in his work entitled Ihya 'ulum al-din (Revival of the Sciences of Religion), defined this aim as follows: "To renounce the world in order to lead the life of an ascetic by ridding oneself of material bonds, by emptying the heart of its earthly concerns, and by approaching Almighty God with perfect spiritual diligence".

In one of his Maqamat the story-teller Hariri gives an account of the intense piety which prevailed during the second century after the hijrah in Baghdad, which was a meeting place for writers who sympathized with the ideas of the Sufis, and also in Basra, Kufa, Wasit and elsewhere. At this period Southern Iraq was the scene of a revival of religious fervour which led to the beginnings of the Sufi movements centred round the person of Hassan Basri (died in 110/772), who is regarded as the father of Islamic mysticism. These movements, which started in Iraq, later spread to Syria, Egypt and Anatolia through the founding of two of the oldest orders, the Qadiriyya and the Rifa'iyya. Other movements came into being and influenced one another. This is true of the movement in Khorasan with its Turkish and Syrian ramifications (Mawlawiyya), of that in Egypt and the Maghrib (Shadhiliyya), and of that in Turkestan, which spread to the Ottoman Empire (Bektashiyya). The Indian movement (Chistiyya), however, does not appear to have had any influence on the Arab world.

The Sufi movement came under harsh criticism during the period of political agitation that followed the decline of the Umayyad caliphate and the ascendance of the Abbasids. It was attacked chiefly on the account of its esoteric practices and of being the privilege of an elite circle indulging in gnostic speculations. This weakening of faith was violently condemned by al-Ghazali, who advocated a return to the sources and affirmed the importance of a response of the heart in a direct and vivid experience. This appeal did not go unheeded and Sufism began to be propagated by groups of people who gathered round a spiritual leader, a munshid, a director of conscience, called a shaykh, a bestower of baraka (blessing), who after his death, was elevated to the rank of the saint (sayedna) of his tariqa. Although the word tariqa originally denoted a way, a path to follow, in its religious acceptation it came to signify method, and then order or brotherhood. Hence the appearance in Mesopotamia of the first communities in the history of Islam, that of Qadiriyya founded by Abdulqadir Jilani (died in Baghdad in 561/1166) and that of the Rifa'iyya founded by Ahmad Rifa'i (died in 575/1182). Very little is known about the latter, who left no writings. Born in an Arab family, he spent his life as an ascetic among the fakirs (a synonym of dervishes, the etymological meaning being "poor men") who gathered round him in a marshy region north of Basra called Bata'ih or al-Batiha. Initially the order was called the Bata'ihiyya, but it soon assumed the name of its founder. This here stems from the Turkish movement.



Derviches Tourneurs de Turquie - La Ceremonie des Mevlevi ( 117mb)


01 Na'at-i-mevlânâ - Taksîm (13:15)
02 Pesrev - Birinci selâm (11:48)
03 Ikinci selâm (4:19)
04 çüncü selâm - D-rdüncü selâm - Taksîm (4:47)
05 Niyâz ayini - Taksîm (12:29)
06 La récitation du Coran (5:27)

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RhoDeo 1115 Raw 08

Hello, it's been a full day here. with little sleep. I watched the F1-with plenty of overtaking, apart from Vettel, nobody passed him, therefore he won again. Schumacher can start to worry, his outstanding achievements are likely to be shaded by Vettel in the years to come.

Politics and conspiracies are nothing new as RAW further 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 !

08 Politics and Conspiracy Theory part 2 (43min. 36mb)


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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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