RhoDeo 1936 Grooves

Hello,


Today's Artists are all swallowed by the mist of time, yet they were all...fresh. ...... N Joy

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 Over and above their standing as one of the best and most innovative groups from hip-hop's golden age, Mantronix provided rap music with its first man-machine, Kurtis Mantronik. A turntable master who incorporated synthesizers and samplers into the rhythmatic mix instead of succumbing to the popular use of samples simply as pop hooks, Mantronik exploited technology with a quintessentially old-school attitude which had little use for instruction manuals and accepted use. After the hip-hop world began to catch up with Mantronik's developments, he moved from hardcore rap to skirt the leading edge of club music, from electro to ragga, techno, and house. And though he never found a rapper worthy of his immense production talents, Mantronik inspired dozens of DJs and beatmeisters around the world during the next decade -- in hip-hop, mainstream dance music, and the new electronica -- even while his records were practically impossible to find (many snapped up, no doubt, by those same aspiring DJs).

Mantronik was born Kurtis Khaleel in Jamaica, though his family soon moved to Canada and ended up in New York by the late '70s. Mantronik soon began DJing around the city and was working behind the decks at Manhattan's Downtown Records when he met MC Tee (born Touré Embden). After the duo had assembled a demo tape, they gave it to William Socolov, president of Sleeping Bag Records. He signed Mantronix soon after hearing it, and released their debut single, "Fresh Is the Word." The track lit up New York's streets and clubs during 1985, and brought the full-length Mantronix: The Album early the following year. Two new singles, "Ladies" and "Basslines," became big street hits as well and even crossed over to join the first wave of hip-hop chartmakers in Britain.

By that time, Mantronik had also begun working on A&R at Sleeping Bag, where he signed EPMD, produced KRS-One's first credit ("Success Is the Word" by 12:41), and helmed other intense tracks by Tricky Tee, Just-Ice, and T la Rock. The second Mantronix LP, Music Madness, continued to keep the duo fresh in the clubs. The increasing popularity of hip-hop gave Mantronix a chance at a major-label contract, and by 1987 the duo had signed with Capitol. In Full Effect emerged the following year, and portrayed Mantronik jettisoning many his more hardcore inclinations in favor of a fusion of dance and R&B, an early precursor to hip-house. The production excursion "Do You Like...Mantronik?" proved that Mantronik's ear for clever beats remained, however. And Mantronix's success in England prompted several of the first sampladelic hits, like "Pump Up the Volume" by M/A/R/R/S and "Theme from S'Express" by S'Express.

Soon after In Full Effect, MC Tee left to join the Air Force. Mantronik replaced him with Bryce Luvah (the cousin of LL Cool J) and DJ Dee (Mantronik's own cousin). With 1990's This Should Move Ya, Mantronik made the move from hip-hop into more straight-ahead house. With vocalist Wondress in tow, a pair of Mantronix singles stormed the British Top 20, including the Top Five "Got to Have Your Love." He still used the rappers, but continued to work in dance with 1991's The Incredible Sound Machine. As a group entity, Mantronix disappeared at that point. Mantronik began producing other acts -- mostly female vocalists or freestyle acts -- and later exited music altogether. He returned in the mid-'90s as a breakbeat elder statesman, recording as Kurtis Mantronik and providing remixes for EPMD, Future Sound of London, and Doctor Octagon. A Mantronix respective and several album reissues began filtering out in 1999, and Mantronik began recording a new group album later that year.


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Curtis "Mantronik" Khaleel was often quoted as saying that his mission was to "take rap a step beyond the streets," and the innovative producer/mixmaster accomplished that goal on Mantronix's debut album, Mantronix: The Album. This excellent 1985 LP was way ahead of its time; while the rapping of Mantronix's partner MC Tee is pure mid-'80s New York hip-hop, the production is anything but conventional. On gems like "Needle to the Groove," "Bassline," and the hit "Fresh Is the Word," you can hear the parallels between Tee's rhyming and the East Coast b-boy rhymes that Run-D.M.C., LL Cool J, and the Fat Boys were providing in 1985. But the album's high-tech, futuristic production sets it apart from other New York hip-hop of the mid-'80s, and even though one of the LP's tracks is titled "Hardcore Hip-Hop," Mantronix had a hard time appealing to hip-hop's hardcore. Mantronix: The Album actually fared better in dance music, electro-funk, and club circles than it did among hardcore b-boys. But this is definitely a hip-hop record, and it is also Mantronix's most essential release.

If by any means you never heard this chef d'oeuvre, do not miss the chance to hear this quintessential album made by one of the masters of the old school Hip Hop Kurtis Mantronik and his companion MC Tee. Perfect for the break dance lovers, the tracks brings the roots of Hip Hop melted with electro-funk influences. "Needle To The Groove" is a shining example and perhaps the most important tune of this Long Play, even though "Bassline" is another massive hit of that time, specially edited by The Latin Rascals. The Mega-Mix, specially edited by The Diamond Two of Chet Nunez & Charlie Dee is also highly recommended.

 Mantronix - The Album 1  (flac   390mb)

This Side
01 Bassline 5:24
02 Needle To The Groove 3:41
03 Mega-Mix 5:49
That Side
04 Hardcore Hip-Hop 6:11
05 Ladies 6:54
06 Get Stupid "Fresh" Part I 3:48
07 Fresh Is The Word 3:48
Bonus  
08 Bassline (Club Version)
09 Needle To The Groove (12" Version)
10 Fresh Is The Word (12" Version)
11 Ladies (UK Remix)

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 Mantronix - The Album 2  (flac   266mb)

01 Bassline (Radio Version)
02 Bassline (Instrumental)
03 Needle To The Groove (Alternate Version)
04 Jamming On The Groove
05 Needle To The Groove (Live Version)
06 Ladies (Live Version)
07 Ladies (A Capella)
08 Get Stupid "Fresh" Part 1 (A Capella)
09 Fresh Is The Word (Radio Version)
10 Fresh Is The Beat
11 Fresh Is The Word (A Capella)

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Many Mantronix fans will tell you that the group provided its best and most essential work when it was signed to the small Sleeping Bag label and MC Tee was still on board. Listening to Music Madness, it's hard to argue with that. This 1986 LP, which was Mantronix's second album and its last album before leaving Sleeping Bag for Capitol, is proof of how fresh-sounding and creative Mantronix was in the beginning. The futuristic outlook that defines "Scream," the single "Who Is It," and other tracks sets Music Madness apart from other hip-hop albums that came from New York in 1986; Tee's rapping is very much in the 1980s b-boy tradition, but the club-minded producing and mixing of Curtis "Mantronik" Khaleel is unlike anything you would have heard on a Run-D.M.C. or L.L. Cool J album back then. And that fact wasn't lost on hip-hop's hardcore, which felt that Music Madness wasn't street enough. Mantronik was fond of saying that his goal was to "take rap a step beyond the streets," and this album tended to attract dance music and electro-funk lovers and club hounds more than hardcore hip-hoppers. The Album remains Mantronix's best album, but this excellent LP runs a close second.

Mantronix - Music Madness  (flac   244mb)

01 Who Is It 6:05
02 We Control The Dice 3:53
03 Listen To The Bass Of Get Stupid Fresh Part II 4:22
04 Big Band B-Boy 4:40
05 Music Madness 5:23
06 Electronic Energy Of.. 5:29
07 Scream 5:23
08 Mega Mix 5:02

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And here starts the slow decline of the former electro titans. Kurtis Mantronik seems to have adapted to the sound of his 1988 but his original sound was so unique and part of what made them such a great group. The production is still the saving grace of this album, even though MC Tee has some charisma here and there, like Gangster Boogie. Simple Simon is the other great track here, which just sounds epic in its own way, kind of reminding me of their great first two albums. But that's all this accomplishes, makes you think why you're listening this album when the previous ones are so much better. No surprise then
it was the final album featuring rapper MC Tee. This album skirted the lower regions of the pop charts and had a less abrasive, smoother sound, although the patented dance/hip-hop/urban contemporary fusion hadn't been affected. But overall, it wasn't quite as risky or spirited as their Sleeping Bag records, despite Mantronik's continuing production excellence.

Mantronix - In Full Effect (flac   191mb)

01 Join Me Please... (Home Boys - Make Some Noise) 4:22
02 Love Letter (Dear Tracy) 4:27
03 Gangster Boogie (Walk Like Sex... Talk Like Sex) 3:59
04 In Full Effect (In Full Effect) 3:54
05 Get Stupid (Part III) 3:47
06 Simple Simon (You Gotta Regard) 4:03
07 Sing A Song (Break It Down) 4:08
08 Do You Like... Mantronik (?) 3:23
09 Mega-Mix ('88) 4:50

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Mantronix switched labels in the late '80s, moving from the independent Sleeping Bag to the major label Capitol. This was their second Capitol album, and it worked out fine. Although the lineup had now changed, with Bryce Luvah and D.J.D. on board rather than M.C. Tee, the group had another strong single in "Got To Have Your Love," and Capitol was providing Curtis "Mantronik" Kahleel with a bigger push and sharper production and sound. But the underground spirit that permeated Mantronix's Sleeping Bag albums was missing, as was the quirky air that marked their past singles.

Mantronix - This Should Move Ya (flac   245mb)

01 This Should Move Ya 2:55
02 Got to Have Your Love 6:15
03 Sex-N-Drugs and Rock-N-Roll 3:34
04 Tonight Is Right 4:07
05 (I'm Just) Adjusting My Mic 3:25
06 Stone Cold Roach 3:18
07 I Get Lifted 3:32
08 Don't You Want More 3:48
09 I Like the Way (You Do It!) 4:00
10 Get Stupid Part IV (Get On Up '90) 3:08
11 (I'm Just) Adjusting My Mic ('90) [bonus track] 2:50
12 Kinf of the Beast Lesson #1 [bonus track] 1:43

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RhoDeo 1936 Magic 2

Hello, It’s one the great enduring mysteries of solar physics — why is the sun’s lower corona hundreds of times hotter than the Sun’s photosphere? For many decades, scientists on Earth have sought an answer to the puzzle, though doing so exclusively within the confines of the standard model of the Sun.

Recently, a team of scientists reported observational evidence that the mysterious rise in temperature could be driven by so-called “magnetic plasma pulses.” Of course, like all scientific data, both what scientists are looking for and how they interpret what they see is determined by their theoretical premises. In this episode, we asked Dr. Scott for a comprehensive overview of the Electric Sun model’s explanation for the mystery of coronal heating.




Solving the Mystery of Coronal Heating (19min)






Most people just accept that our universe is ruled by gravity; an assumption that is wrong. Evidence instead shows that the force responsible for all of the objects and events we observe throughout the universe is the electric force that enables current flow and therefore magnetic fields to exist. If we consider that the electric force is fundamentally one thousand, billion, billion, billion, billion times more powerful than gravity and that the universe consists of 99.99% plasma; charged matter through which electric currents flow, then you have good reason to open your mind and watch what this video has to say.

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Today, the 2nd part of the first Disc-world tale The Colour of Magic..... N-Joy

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Sir Terence David John Pratchett OBE (28 April 1948 – 12 March 2015) was an English author of fantasy novels, especially comical works. He is best known for his Discworld series of 41 novels.

Pratchett's first novel, The Carpet People, was published in 1971. The first Discworld novel, The Colour of Magic, was published in 1983, after which Pratchett wrote an average of two books a year. His 2011 Discworld novel Snuff became the third-fastest-selling hardback adult-readership novel since records began in the UK, selling 55,000 copies in the first three days. The final Discworld novel, The Shepherd's Crown, was published in August 2015, five months after his death.

Pratchett, with more than 85 million books sold worldwide in 37 languages, was the UK's best-selling author of the 1990s. He was appointed Officer of the Order of the British Empire (OBE) in 1998 and was knighted for services to literature in the 2009 New Year Honours. In 2001 he won the annual Carnegie Medal for The Amazing Maurice and his Educated Rodents, the first Discworld book marketed for children. He received the World Fantasy Award for Life Achievement in 2010.

In December 2007, Pratchett announced that he had been diagnosed with early-onset Alzheimer's disease. He later made a substantial public donation to the Alzheimer's Research Trust (now Alzheimer's Research UK), filmed a television programme chronicling his experiences with the condition for the BBC, and became a patron for Alzheimer's Research UK. Pratchett died on 12 March 2015, aged 66.


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Discworld is a comic fantasy book series written by the English author Terry Pratchett, set on the Discworld, a flat planet balanced on the backs of four elephants which in turn stand on the back of a giant turtle. The books frequently parody or take inspiration from J. R. R. Tolkien, Robert E. Howard, H. P. Lovecraft, Charles Dickens and William Shakespeare, as well as mythology, folklore and fairy tales, often using them for satirical parallels with cultural, political and scientific issues.

Forty-one Discworld novels have been published. The original British editions of the first 26 novels, up to Thief of Time (2001), had cover art by Josh Kirby. The American editions, published by Harper Collins, used their own cover art. Since Kirby's death in 2001, the covers have been designed by Paul Kidby. Companion publications include eleven short stories (some only loosely related to the Discworld), four popular science books, and a number of supplementary books and reference guides. The series has been adapted for graphic novels, theatre, computer and board games, and television.

Newly released Discworld books regularly topped The Sunday Times best-sellers list, making Pratchett the UK's best-selling author in the 1990s. Discworld novels have also won awards such as the Prometheus Award and the Carnegie Medal. In the BBC's Big Read, four Discworld novels were in the top 100, and a total of fourteen in the top 200. More than 80 million Discworld books have been sold in 37 languages

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The Discworld novels contain common themes and motifs that run through the series. Fantasy clichés are parodied in many of the novels, as are various subgenres of fantasy, such as fairy tales (notably Witches Abroad), witch and vampire stories (Carpe Jugulum) and so on. Analogies of real-world issues, such as religion (Small Gods), fundamentalism and inner city tension (Thud), business and politics (Making Money), racial prejudice and exploitation (Snuff) are recurring themes, as are aspects of culture and entertainment, such as opera (Maskerade), rock music (Soul Music), cinema (Moving Pictures), and football (Unseen Academicals). Parodies of non-Discworld fiction also occur frequently, including Shakespeare, Beatrix Potter, and several movies. Major historical events, especially battles, are sometimes used as the basis for both trivial and key events in Discworld stories (Jingo, Pyramids), as are trends in science, technology, pop culture and modern art (Moving Pictures, Men at Arms, Thud). There are also humanist themes in many of the Discworld novels, and a focus on critical thinking skills in the Witches and Tiffany Aching series.

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Setting

The story takes place on the Discworld, a planet-sized flat disc carried through space on the backs of four gargantuan elephants – Berilia, Tubul, Great T'Phon and Jerakeen – who themselves stand on the shell of Great A'Tuin, a gigantic sea turtle. The surface of the disc contains oceans and continents, and with them, civilizations, cities, forests and mountains.

Synopsis The Colour of Magic

The story begins in Ankh-Morpork, the biggest city on the Discworld. The main character is an incompetent and cynical wizard named Rincewind, who is hired as a guide to the rich but naive Twoflower, an insurance clerk from the Agatean Empire who has come to visit Ankh-Morpork. Initially attempting to flee with his advance payment, Rincewind is captured by the Patrician of Ankh-Morpork, who forces him to protect Twoflower, lest the tourist's death provoke the Agatean Emperor into invading Ankh-Morpork. After Twoflower is kidnapped by a gang of thieves and taken to the Broken Drum Pub, Rincewind stages a rescue alongside the Luggage, an indestructible, enchanted and sentient chest belonging to Twoflower. Before this, Twoflower convinces the Drum's barman to take out a fire insurance policy; the barman subsequently attempts to burn down the Drum to claim the money, but ends up causing a fire that destroys the whole of Ankh-Morpork. Rincewind and Twoflower escape in the chaos.

Rincewind and Twoflower travel towards the city of Quirm, unaware that their adventures on this journey are actually the subject of a boardgame played by the Gods of the Discworld. The pair are separated when they are attacked by a mountain troll summoned by Offler the Crocodile God. The ignorant Twoflower ends up being led to the Temple of Bel-Shamharoth, a being said to be the opposite of both good and evil, while Rincewind ends up imprisoned in a dryad-inhabited tree in the woods, where he watches the events in Bel Shamharoth's temple through a magical portal. The pair are reunited when Rincewind escapes into the temple through the portal, and they encounter Hrun the Barbarian, a parody of heroes in the Swords and Sorcery genre. The trio are attacked and nearly killed by Bel-Shamharoth, but escape when Rincewind accidentally blinds the creature with Twoflower's magical picture box. Hrun agrees to travel with and protect Twoflower and Rincewind in exchange for heroic pictures of him from the picture box.

The trio visit the Wyrmberg, an upside-down mountain which is home to dragon-riders who summon their dragons by imagining them, and are separated when the riders attack them. Rincewind escapes capture but is forced by Kring, Hrun's sentient magical sword, to attempt to rescue his friends. Twoflower is imprisoned within the Wyrmberg, and because of his fascination with dragons, is able to summon one greater than those of the Wyrmberg riders, who he names Ninereeds, allowing him to escape captivity and save Rincewind from being killed in a duel with one of the three heirs of the Wyrmburg. Twoflower, Rincewind and Ninereeds snatch Hrun, but as they attempt to escape into the skies, Twoflower passes out from the lack of oxygen, causing Ninereeds to disappear. Hrun is saved by Liessa, but Rincewind and Twoflower find themselves falling to their deaths. In desperation, Rincewind manages to use the Wyrmberg's power to temporarily summon a passenger jet from the real world, before he and Twoflower fall into the ocean.

The two of them are taken to the edge of the Discworld by the ocean currents and nearly carried over, but they are caught by the Circumfence, a huge net built by the nation of Krull to catch sea life and flotsam washed in from the rest of the Discworld. They are rescued by Tethis the sea troll, a being composed of water who had fallen off the edge of his own world and onto the Discworld, where he was subsequently enslaved by the Krullians. Rincewind and Twoflower are then taken by the Krullians to their capital, where they learn that the Krullians intend to discover the sex of Great A'Tuin by launching a space capsule over the edge of the Disc, and plan to sacrifice Rincewind and Twoflower to get the god Fate to smile on the voyage, Fate insisting on their sacrifice after they caused him to lose the earlier game. Rincewind and Twoflower attempt to escape, but end up stealing the capsule, which is launched with Twoflower inside, the tourist wishing to see the other worlds of the universe. Rincewind is unable to get into the capsule in time, and falls off the Disc alongside it, the Luggage following them soon after.

The story segues into the beginning of The Light Fantastic; the two books can therefore be seen as one two-volume novel.


Terry Pratchett - The Colour of Magic part 2 ( 69min mp3     38mb).


01-14 The Colour of Magic 2  70min



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previously

Terry Pratchett - The Colour of Magic part 1 ( 69min mp3     38mb).


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RhoDeo 1936 Re-Up 204

Hello,  excellent Grand Prix today, Leclerc managed to hold of the Mercedes' of Hamilton and Bottas to win for Ferrari, Verstappen had to start at the back because of a new motor, he managed to loose his nose at the start, this meant he was in 26 sec of free air and on red tires and he rode the fastest lap, that only got bettered when tanks were half empty-yes he was faster then Leclerc but ended up 8th anyway. Vettel had another off-day, Renault managed it's engines to going strongly and took 4th and 5th, keeping Red Bull's new man Albon at bay.


11 correct requests for this week, 2 unavailable (aetix-roots),  0 double (same artist) , whatever another batch of 37 re-ups (12gig)


These days i'm making an effort to re-up, it will satisfy a smaller number of people which means its likely the update will  expire relatively quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section at the page where the expired link resides, or it will be discarded by me. ....requests are satisfied on a first come first go basis. ...updates will be posted here remember to request from the page where the link died! To keep re-ups interesting to my regular visitors i will only re-up files that are at least 12 months old (the older the better as far as i am concerned), and please check the previous update request if it's less then a year old i won't re-up either.

Looka here , requests fulfilled up to September 8th... N'Joy

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3x Sundaze Back in Flac (The Amorphous Androgynous - A Monstrous Psychedelic Bubble Vol 2 - Pagan Love Vibrations 1, The Amorphous Androgynous - A Monstrous Psychedelic Bubble Vol 2 - Pagan Love Vibrations 2)


3x Sundaze Back in Flac 1525 ( Ryuichi Sakamoto - 04, Ryuichi Sakamoto - 05, Ryuichi Sakamoto - Playing The Piano 2cd  )


4x Sundaze  Back  in Flac (Kitaro - Ten Kai (Astral Voyage), Kitaro - Oasis,  Kitaro - Full Moon Story, Kitaro - KI )


4x Sundaze Back In Flac (Slowdive - Just For A Day ,Slowdive - Just For A Day Bonus, Slowdive - Souvlaki, Slowdive - Pygmalion )


3x Sundaze Back in Flac (Alter Ego - Alter Ego,  Roman Flugel - Ro 70, Sensorama - Welcome Insel)


4x Sundaze NOW in Flac (Mogwai - The Hawk is Howling , Mogwai - Special Moves, Mogwai - Hardcore Will Never Die, But You Will, Mogwai - A Wrenched Virile Lore )



4x Sundaze Back in Flac (VA - Music For Films III, Daniel Lanois - Acadie, Daniel Lanois - For The Beauty Of Wynona, Emmylou Harris - Wrecking Ball)



4x Sundaze Back in Flac ( Funki Porcini - Love, Pussycats & Carwrecks, Funki Porcini - Lets See What Carmen Can Do + Ashabanapal,  Funki Porcini - The Ultimately Empty Million Pounds, Funki Porcini - Fast Asleep)



3x Sundaze Back in Flac (Rod Modell n Chris Troy (W T) - V 1.0-1.9, Rod Modell & Mantra - Sonic Continuum, Rod Modell - Autonomous Music Project)


3x Grooves Back in Flac ( VA - Street Sounds Anthems vol 3, VA - Street Sounds Anthems vol 4,  VA - Street Sounds Anthems vol 7 )


3x Grooves Back in Flac (Undisputed Truth - The Undisputed Truth,  Undisputed Truth - Face To Face With,  Undisputed Truth - Cosmic Truth )


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Sundaze 1936

Hello, as we near the end of the summer of Namlook, its time to check out some more of his solowork, because between his many collaborations there was plenty of time for a workaholic like Kuhlman to deliver almost as many solo albums....and not just easy listening today's 3 part epic New Organic Life could be seen as a soundtrack to the Electric Universe, after all all life is electric, planets create sounds, the universe is full of sound and it's not easy listening, but without it we wouldn't exist..



If most artists in contemporary electronica are like islands unto themselves, turning out tracks in relative anonymity, Pete "Namlook" Kuhlmann was a whole continent. A dizzyingly prolific composer who steadily built up an entire industry around his Frankfurt-based Fax label, Namlook's name was inextricably linked with the post-rave resurgence of ambient music, and many of his solo and collaborative recordings with the likes of Mixmaster Morris, Tetsu Inoue, Klaus Schulze, Bill Laswell, Richie Hawtin, Geir Jenssen, Dr. Atmo, Burhan Ocal, Atom Heart, Jonah Sharp, Charles Uzzell-Edwards, and David Moufang, among many others, number among the most lauded and influential in new ambient. "...  ......N-Joy

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Pete Namlook (born 25 November 1960 as Peter Kuhlmann [phon koolman] in Frankfurt, Germany, died on 8 November 2012) was an ambient and electronic-music producer and composer., the extremely prolific Pete Namlook (1960-2012) was one of the high priests of new-school ambient, ie. ambient techno, trance, lounge and other related dance-music spinoffs. In its 20 year history his record label Fax Records released some of the definitive albums in these sub-genres and Namlook stands alongside a handful of other names such as The Orb, Biosphere and Mixmaster Morris as one of the originators of ambient's resurgence and reinvention via dance music in the late 80's and early 90's.

Intriguingly, he often favoured the sounds of analogue synthesisers over digital and - alongside fellow German e-musician Oliver Lieb - was reputed to have one of the most extensive collections of classic analogue equipment in Europe. And although he downplayed the linage, like many of his new-school peers his music has some of its roots in old-school electronica as varied as Brian Eno, psy rockers Pink Floyd, and Krautrock icons like Klaus Schulze and Tangerine Dream.

But Namlook was no imitator. He deepened and refined the sound of his predecessors with an injection of fresh ideas from the dance world, coupled with fine musicianship honed from many years of playing rock and jazz. In a 2007 interview with e-music magazine Slices he actually made a point of distancing his music from the conceptual influence of Eno particularly:

"You have to differentiate quite clearly between ambient in a techno sense, and on the other hand Brian Eno, a purely conceptual thing. I only knew of a collaboration between Brian Eno and Cluster [the German band], and him with Roxy Music. I only bought his ambient stuff later. Ambient as Eno defines it...is more or less musical wallpaper. It stays in the background and serves the environment rather than saying something about itself. In my definition of ambient, which has nothing in common with Eno's definition, it's about a journey, intense emotions that need to be transported - environmental music, jazz, ethno - depending on what project I'm working on".

The genesis of Fax Records

Although he had long dreamed of making a career from ambient electronica, in Fax Records' early days he was mainly pursuing a dance floor-oriented direction and releasing 12-inch vinyl singles to a warm reception from sectors of Europe's club scene.

But Namlook soon became dismayed at other artists' appropriation of the Frankfurt "hard trance" sound (developed through his genre-defining 4 Voice project). Thankfully his ambient B-sides to these singles - in hindsight a brilliant strategy - were also creating plenty of interest. Within a few years of the label's inception he had set about focusing Fax almost entirely on ambient and downtempo styles.

Up to his death in 2012 Namlook released an enormous number of solo and collaborative albums of widely varying quality both under his own name and various other project monikers. Collectors should be aware that many CD's were very limited pressings and some will be difficult to find, even more so now that Namlook has gone and the label is no more. Certain key titles were re-issued on CD and download from time to time, however, and much of the Fax catalogue is now spread widely online.

The Silence series

Silence (1992) is the one that started it all, Fax's first album release and one which caught the ear of both seasoned electronic boffins and dance fans looking for a chilled-out tonic after a night among the thumping beats of clubland. Both this album and Silence II (1993) are collaborations with close associate Dr Atmo and despite being at times almost new age in their choice of themes (a voice whispers sweet cosmic nothings like "we are all part of the universe") the music is outstanding. These beguiling, shimmering, reverberant landscapes are sometimes beatless and sometimes gently beaty with subdued live pads and cymbals. The 20 minute "Garden Of Dreams" is a particular mesmerising blend of slow Mid-Eastern rhythms with sighing and crying electronic chords.

Continuing the series is the the Persian-tinged Silence III (1998) which features Namlook on his own. Titles like "Mirage" "Into The Desert" and “A Ship On A Sea Of Sand” are just perfect; his sense of place is quite stunning and he understands the visual qualities of ambient sound exceptionally well. His creative range across entire series is impressive: from stately progressions of warm, organic-sounding orchestral synthscapes to atonal, purely atmospheric pieces of pure texture. When it comes to sound design Namlook’s attention to detail is faultless, which makes hearing his music on good hi-fi equipment especially rewarding. Silence III is followed by two more superb albums in the series.

The surreal, innovative first volume of Dreamfish (1993) with collaborator Mixmaster Morris is another genre-defining release, still cited today as a favourite by fans of early post-rave ambient. The environmental sound effects are deployed in a quirky way amongst the textured, gently rhythmic landscapes and the music brims with surprises and quiet invention. The jazzy bass notes on "Fishology", for example, move along at a good clip yet are so subtle that the track's calming qualities are never disturbed. The first three volumes of the Air series are also high-water marks for Namlook. Like the Silence series they show some rich ethnic and neo-classical leanings, and they remain particularly effective examples of how he uses live acoustic instruments in an electronic setting. The delicate, tinkling cymbals and soft tom-tom beats on "Je suis seule et triste ici" from Air I (1993), for instance, are utterly refreshing because Namlook is able to maintain a deep electronic ambient feel while still expanding electronica's instrumental vocabulary.

Air II (1994) is deeply psychedelic. An eleven-part "trip" subtitled "Traveling Without Moving", it takes it's thematic cue from Frank Herbert's cult sci-fi novel and movie Dune. Herbert's story posited a strange universe dependant on a life-extending, mind-altering spice drug. On Air II Namlook subtly draws on the story's themes to create a beautiful, creepy, intoxicating universe of his own. Again he utilizes acoustic instruments: didgeridoo, sighing woodwinds, flamenco guitar, Mid-Eastern flutes, and swooping vocal textures that rise and fall to striking effect. They're all integrated seamlessly, proving that despite the club music influences he thrived by exploring outside the rigid structures of electronic beats and sequencing.

Other collaborations

Although as an artist Namlook's focus was far broader than just club-influenced sounds, when he did get into more squelchy or bleepy techy-trance territory the results could be just as stimulating. On the brilliant two-part title track from The Fires Of Ork (1993) that thumping 4/4 kick drum is there alright, but somehow Namlook and cohort Gier Jenssen (aka Biosphere) have managed to mute it just enough to create a truly "ambient" dance music: thunderous yet shadowy and eerie, built around a voice sample of Rutger Hauer from Blade Runner. Also beats-based is the the superb first volume of From Within (1994), one of the pinnacles of ambient techno that marries Namlook's warm keys and spiralling synth sounds with the sparse bleeps and beats of Canadian techno guru Richie Hawtin. Again, the rhythms don't drive you into the ground but rather lull you into a gentle if uneasy trance, particularly on "Million Miles To Earth" and "Sad Alliance". The third in this series, From Within III (1997) is also outstanding

Namlook after the mid 90's

While many aficionados would agree that the early to mid 1990's produced most of Fax's - and Namlook's - most enduring releases, it would be unfair to dismiss some of Namlook's work since then. Highlights from 1995-2001 include the final volumes in what is probably Namlook's greatest series, the magnificent Silence IV (2000) and Silence V (2001). The luminous piano notes and warm orchestral synths of "The Night Before I Left" from Silence IV might just be the most emotional piece of music Namlook has ever made, an elegy that's at once incredibly sad and jaw-droppingly pretty. From the same album is the extraordinary "Bedouin Love", a dark, swirling epic with thunderous Moroccan drums, a strange spoken Arabic monologue and chilling yet beautiful synthesiser chords. In the same sonic universe as the Silence albums is From Within 3 from 1997, again made with Richie Hawtin but this time quite different from earlier volumes due to its softer, warmer sound. There's feather-soft lead guitar lines, lush strings, jazzy improvising and warm analogue melodies, all held together by subtle, intelligent drum programming. It's a fantastic example of accessible, soulful electronica.

In the 2000's and beyond Namlook continued with a busy release schedule of solo albums and collaborations but rarely with the same impact his music made in the previous decade. Not that there's lack of variety; for hardcore Fax fans there's plenty to explore. Experimental releases like New Organic Life (2002) are scarily unfamiliar, experimental, arguably unlistenable at times. Some outstanding individual melodic tracks appear on otherwise less-then-great albums such as Resonate (2006) and Namlook Le Mar (2009). However, some of his other collaborative albums made after the mid 90's - not listed on this page - are highly recommended including recordings with Tetsu Inoue, Klaus Schulze and Wolfram Spyra.

Death and legacy

Aged just 51, Namlook died unexpectedly in his sleep of a heart attack on 8 November 2012. Maintaining his intense work rate right up to the night he passed away, some wondered whether Namlook simply drove himself into the ground, literally living and dying for his art. Yet his sister told UK music journalist Mark Prendergast that "he went to bed happy" that day. Who are we to judge? Namlook left behind an extraordinary and enormous recorded legacy, as well as a generation of underground electronic producers and composers inspired by both his talents and his uncompromising independence. Fax Records is no more, though for the moment a good deal of his discography remains available. Hopefully a sensible licensing deal with the Kuhlmann estate will enable another publisher take on the best of his catalogue and keep it available in the coming decades. He deserves no less.

The tribute: Die Welt ist Klang

A superb Namlook tribute album appeared in 2013, almost as essential as any of the work released by the man himself. Die Welt ist Klang ("The World Is Sound") was put together in 2012-13 via a crowdfunding campaign by Dave Wade-Stein from EAR/Rational Music, the longtime North American distributor for Fax and related labels. The album is presented thus: four volumes of mostly new or unreleased music by former Fax artists, and four volumes of new material by mostly unknown musician-fans.

It's only fitting that one of the most prolific recording artists in the history of music - in all recorded music, not just a genre - should be honoured with a sprawling 8-volume tribute. It would take pages to review so much music in detail; suffice to say the standard of contributions overall is very high. Interestingly, most of the former Fax artists here don't seek to recapture peak moments from their past works. They just do what they do - from beatless ambient to bleepy dance grooves, from lounge to techno, from gentle dissonance to sweet, tender melodies. As for the the 40 or so musician-fan contributions, they were chosen from a large pool of submissions by a blind vote. Although there are some easy-to-spot pastiches among them, here too there is much freshness and surprise.

Die Welt ist Klang is a massive treasure chest of (mostly) new ambient and electronica. Some of it is the sound of now and some of it wistfully looks back. All of it acknowledges the contributions and example of one remarkable man.


Namlook" is "Koolman", a phonetic rendering of his real name, spelled backwards.

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With Solarized, Pete takes the Namlook series from the live compositions it has been known for, to more well-thought out yet experimental studio compositions. The fourtheenth installment of series represents a turning point in Namlook's musical direction, as if the year 1999 inspired him to think about the future of music, and to kick it of this set of futuristic soundscapes. "Go No Go", which gets its title cleverly from one of the many samples from the movie Armageddon laced throughout the track, makes for some great science fiction. "Hidden Love" and "BEsic AeEmail" are great emotional ambient tracks that interject some sparse electro-beats, the latter making good use of melody. A sign of good things to come..

.Pete Namlook - Solarized ( 319mb)

01 Go No Go 12:33
02 Solarized 14:55
03 Hidden Love 15:09
04 BEsic AnEmail 11:30

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1999, guess what movie Pete saw over the summer and really loved! Namlook wastes no time and spares no samples from the 1999 sci-fi hit The Matrix, starting with "The Real World", a powerful synthwave anthem that really seems to show a newly revived and inspired Pete compared to his previous album Solarized (perhaps a testament to how much better the Matrix was, compared to Armageddon). "The Colony" is sure to be a classical synth fan-favorite, while the title track "Free Your Mind" is a big beat track that seems to be inspired by The Matrix in a different way, specifically the Meat Beat Manifesto track featured in the movie. "The Forthcoming" combines the styles of the previous two tracks along with Namlook's more signature style of synth and the result is quite favorable. But with "Samba Giselle", it goes to prove that it isn't a Namlook album without Pete getting experimental with style. As the name suggests, it's a latin ditty that Pete tries to bring into the 23rd century, but really could have used more of Namlook's familar style mixed in. The closing "The Dreamreader" is this album's spacey ambient track, but that doesn't last long. Halfway through, Pete shows he can do modern IDM too, combining fast scatterdrums with the cool ambient background. A stunning end to a surprisingly fantastic album. Why Solarized was reissued instead of this is beyond me. (maybe Pete was afraid of getting in trouble for all those Matrix samples)

Pete Namlook XV - Free Your Mind ( flac   394mb)

01 The Real World 8:03
02 The Colony 8:22
03 Free Your Mind 5:39
04 The Forthcoming 8:46
05 Samba Giselle 11:02
06 The Dreamreader 12:53

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New Organic Life is Pete Namlook's contribution to the soundtrack of the 21st century. It relates to the solving of genetic codes and the use of digital technology in constructing new sound entities. This is one of Namlook's best solo releases. Given his proclivity, that says a lot. This set combines wild sci-fi sounds, chilling atmospheres, and verbose sequences in a mélange of vast proportions. Namlook's soundscapes grab listeners and do not let them go. This bears closer inspection, deep listening, and focused attention. At that point, the adventure becomes psychoactive and dangerous. It is not advisable to listen to this in the dark or alone.

Peter Namlook XVI - New Organic Life (flac 348mb)

01 Genetic Drift 5:45
02 Molecular Progression #1 9:55
03 Klanglabor 20:13
04 Molecular Progression #2 1:32
05 Olan 5:00
06 Entity 2840 3:00
07 Reakton 1:42
08 New Organic Life 5:36
09 Giant Insects 8:16

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New Organic Life 2 picks up right where the first volume left off. Pete Namlook has created some great sci-fi music in his career and this is among his best work. The spacescapes are dark and foreboding. There are no subtleties involved. This straightforward space music is unpretentious and fraught with imminent disaster. Deep listeners are in for a treat. The music grabs and holds. This is an essential disc for all space music fans. Like the first disc, this dark trip will appeal to fans of Lászlo Hortobágyi, Lustmord, Jeff Greinke, and Stephen Philips.

Peter Namlook XVI - New Organic Life II (flac 309mb)

01 In the Beginning There Was Grain 2:49
02 In and Out of Zoom 3:35
03 Jet - Final Test 9:18
04 Molecular Progression #3 2:35
05 Pixel Party 3:34
06 Airport Freak 6:37
07 Take Me With You to the Stars 6:09
08 Inun 6:22
09 Sundance of the Microbes 4:35
10 Genetic Synthesis 6:50

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Louder, harsher, and gritter this time around, New Organic Life III roars in like your kitchen garbage disposal for this second command encore performance featuring Namlook's new brand of grainy noise. If anything, we can commend Namlook for generating a bigger bolder industrial sound for this third and final installment. "Nocturnal Flight Environment" wails like a massive jet engine. "Organic Engine" and "Russia's NOL is Space" begins what almost sounds like music before getting sucked into a mechanical whirlwind of unforgiving hellfire grain. Things take a break and quiet down for an "Interview with New and Native Organic Life". What does 'New and Native Organic Life' have to say? well, what else? BLIP! BLOORP! BLOOOP!. Finally "Grain City" cranks things up to full Merzbow as Namlook brings this jarring and exhaustive trilogy to a close. Pete boasts that this is great meditation tank music but it's more like staying alert and alive in a scary subway system or airport music if you ask me..

Peter Namlook XVI - New Organic Life III (flac 324mb)

01 Pixelconference 7:35
02 Nocturnal Right Environment 5:59
03 Grainology 1:53
04 Organic Engine 11:28
05 Interview with New and Native Organic Life 13:44
06 Russia's NOL in Space 12:17
07 Grain City 5:06

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RhoDeo 1935 Grooves

Hello, that sad brexit story knows no end, whatever happens next, the wounds created will stay open for decades. The simpletons that voted leave are conditioned to believe by their Tory masters, that the EU was the main culprit for their misery.. The haves that voted leave, feared losing control over their simpletons and the influx of un-indoctrinated foreigners that would rightfully claim their share of the cake. It's really bizarre how PM Boris Johnson desperately promised billions for schools, the NHS and the police, clearly his advisers told mr no deal he needed to up his popularity as elections awaits. As it stands the opposition has Mr Johnson dangling on a string and any elections will be held on their terms-date wise. That will be after 31st of October which will force PM Boris to ask for an extension or who knows he was serious about being dead before that happens, but nah the man has no honor whatsoever..


Today's Artists are all swallowed by the mist of time, yet they were all...fresh. ...... N Joy

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In one sense, you could call Morgan Khan an importer. That's basically what he did when he set up Street Sounds, the subsidiary to his dance label Streetwave, and released the first Street Sounds Electro compilation in 1983: here were eight tracks out of the United States that would've cost a couple of dozen quid for a UK buyer to import, all collected together for a price under five pounds. As a business decision, it was pretty shrewd, but as a scene-maker it was flat-out seismic: Thanks to the budget pricing and each volume's two sides of tight, continuous mixing from the likes of Herbie Laidley and the Mastermind sound system, the 22-volume Street Sounds Electro series-- later Street Sounds Hip Hop Electro and finally just Street Sounds Hip Hop-- was a major factor in defining what UK B-boys caught on to in the hip-hop world between 1983 and 1988.

Street Sounds Electro: In many ways, it's a fortunate time capsule that hits on a lot of the now-iconic electro and rap classics of the mid-late 1980s and what sort of context they came from. Yet it also offers a deeper, messier variation on the evolution of hip-hop, one that covers most of the major bases between the old school and the sample era-- Grandmaster Flash, Run-D.M.C., the Roxanne wars, the dawn of golden age icons like BDP and Eric B. & Rakim and EPMD-- then complicates it all by throwing in a lot of strange stuff that history completely forgot, for reasons both unfair and justified.

While the significant presence of classic early-mid 80s rap integrated itself into the tenor of each Street Sounds edition-- or sometimes clashed against it, like the slow, wobbly dubbed-out strut-bounce of Rammellzee vs. K-Rob's "Beat Bop" did amongst the otherwise uptempo pop-and-lock fodder of 1983's Volume 2-- it started to gradually dominate the series as a whole, swapping out the vocoders-and-Kraftwerk vibe of classic electro for the harder, sparser sounds of hip hop's first hardcore phase.

By 1987, the word "Electro" started disappearing from the compilation's now "Hip Hop"-focused titles, the 808s slowed down drastically and sample-based cuts by the Ultramagnetic MCs ("Traveling at the Speed of Thought"; "Funky") and J.V.C. F.O.R.C.E. ("Strong Island"; "Doing Damage") started making their way into the mix. By '88, the last year of the Street Sounds Electro series, the closest it got to uptempo electro-rap was Rob Base & DJ EZ Rock's "It Takes Two"-- by which time it was on its way to bypassing the whole "electro" thing entirely and getting identified as "hip-house." It's an illuminating history, an evolution of sound in a sort of beyond-canonical macrocosm.


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It's probably one of the most eclectic comps of the series actually, both in terms of the tempo and the style. Electro-Jazz-Funk, Proto Electro Techno, Electro-Funk, Hardcore Hip Hop Rap (with Run DMC), a proper raw Electro Rap throwdown with Pumpkin And The Profile All Stars which was a massive breakdance anthem. Early mash-up style with D-ST's/Laswell's/Hancock's Mega Mix which includes everything including the kitchen sink which was also another breakdance anthem. Lots of various artists and diverse labels.

 VA - Street Sounds Electro 4  (flac   275mb)

01 Steps Ahead - Radio Active 6:45
02 Pumpkin And The Profile All-Stars - Here Comes That Beat ! 6:50
03 Herbie Hancock - Megamix 6:18
04 Run-DMC - Sucker M.C.'s 3:15
05 Key-Matic - Breakin' In Space6:16
06 The VHB - Beethoven's Fifth (Street) Symphony 7:03
07 Cybotron - Techno City 6:55

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It is not until you own the individual tunes featured on all the Electro Series that you begin to realise the tricks incorporated to keep the mixes flowing, that statement is by no means a criticism or meant to take anything away from the DJ'S who mixed them, for example, some tracks are looped in certain parts ready for the next tune to be dropped or another mix of that same tune to be played, it doesn't sound like they have created this loop with two turntables or even three, the loops sound like they are coming from another source as can be heard in the We Come To Rock by the Imperial Brothers on Electro 3. Electro 5 to me is definitely one of the better Electro's as is Electro 11 too, there all good but some stand out.  Without a doubt the most kickin Electro platter out of the "Electro" compilations from the entire collection, awesome mixing & great tracks

VA - Street Sounds Electro 5  (flac   288mb)

01 Great Peso & Mr. Nasty - It's Time To Rock 4:15
02 Dr. Jeckyll & Mr. Hyde - Fast Life 4:47
03 Knights Of The Turntables - Techno Scratch 5:09
04 Egyptian Lover - Egypt, Egypt 3:14
05 Arthur Baker - Breakers Revenge 7:35
06 Captain Rock - Capt. Rock To The Future Shock 3:46
07 Aleem - Release Yourself 5:30
08 Fantasy Three - The Buck Stops Here 6:16
09 High Fidelity Three - B Boys Breakdance 5:35

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From Tyrone Brunson's - body-bopping, electro-funk classic, 'The Smurf', Warp 9's two great tracks of spacey funk, Man Parrish's - 'Hip Hop Be Bop'(which still sounds great today), and jazz-funk electro from Herbie Hancock. You think that's enough sensory pleasure until you turn it over onto the flipside. Starting off with the Planet Rock inspired 'Electric Kingdom'. Twilight 22 were making Egyptian sounding electro before even Egyptian Lover was on the scene. Then perfectly blending into - arguably the first ever techno tune 'Clear by Cybotron' - brilliant, until the classic of all electro classics 'Al-Naafiysh' comes along and blows you away. Finishing off with 'The Return Of Captain Rock' which was a bit of an anthem with the breakers, and the legendary 'Wild Style' by Time Zone which was the 'electro/breakdance' tune of the time, and was produced by the non other Afrika Bambaataa, who incidentally performs on this too. If one needed to hear a snapshot of the early eighties electro sound, 'Street Sounds Electro Crucial' would sum it up perfectly. True class!

VA - Street Sounds Crucial Electro (flac   266mb)

01 Tyrone Brunson - The Smurf 3:40
02 Warp 9 - Light Years Away 4:13
03 Warp 9 - Nunk (New Wave Funk) 3:26
04 Man Parrish - Hip Hop, Be Bop (Don't Stop)  5:00
05 Herbie Hancock - Rockit 4:54
06 Twilight 22 - Electric Kingdom 4:51
07 Cybotron - Clear 5:46
08 Hashim - Al-Naafiysh (The Soul) 3:05
09 Captain Rock - Return Of Captain Rock 3:48
10 Time Zone - Wild Style (Special New Mix)  4:25

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From One for the Treble through Planet Rock, Electro Crucial 2 is simply a joy to listen to! The remaining 2 tracks ain't too shabby either. By far my favourite from the now-deleted Street Sounds Electro series.

VA - Street Sounds Crucial Electro 2 (flac   280mb)

01 The B-Boys - Two, Three Break 4:59
02 The Russell Brothers - The Party Scene (SV) 6:02
03 Davy DMX - One For The Treble (Fresh) 7:12
04 The Packman - I'm A Pac Man 5:39
05 Shannon - Let The Music Play (Dub) 5:27
06 Xena - On The Upside 4:05
07 Afrika Bambaataa & The Soul Sonic Force - Planet Rock 5:29
08 The Jonzun Crew - Pac Jam (Look Out For The OVC) 5:42

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Bonus Bonus Mix Mix Mix yes it's an Electro-Smoothie, goes down without a hitch.....

Btw Charles Turner = DJ Born Supreme Allah and DJ Chuck Chillout go figure, and DJ Red Alert is legally known as Frederick Crute but who cares

VA - Streetsounds Bonus Break (flac   236mb)

01 DJ Born Supreme Allah - Hip Hop On Wax Volume 3 4:44
02 DJ Red Alert - Hip Hop On Wax Volume 2 5:24
03 DJ Chuck Chillout - Hip Hop On Wax Volume 1 6:51
04 DJ Born Supreme Allah / DJ Chuck Chillout / DJ Red Alert - Hip Hop On Wax Volume 1, 2, 3 Megamix 18:46

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RhoDeo 1935 Magic 1

Hello, surprising little response on that fantastic documentairy on Mars with lots of unique HD images i posted last week, maybe there was to little to argue, despite going against everything that is tought, and that's one of the problems Electric Universe proponents face even when confronted with self evident proof the opponents are totally stuck in the conditioning applied by 100 years of pretentious ignorance. However here's another chance




The Lightning Scarred Planet, Mars (Full Documentary)






Most people just accept that our universe is ruled by gravity; an assumption that is wrong. Evidence instead shows that the force responsible for all of the objects and events we observe throughout the universe is the electric force that enables current flow and therefore magnetic fields to exist. If we consider that the electric force is fundamentally one thousand, billion, billion, billion, billion times more powerful than gravity and that the universe consists of 99.99% plasma; charged matter through which electric currents flow, then you have good reason to open your mind and watch what this video has to say.

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Today, the 1st part of the first Disc-world tale The Colour of Magic..... N-Joy

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Sir Terence David John Pratchett OBE (28 April 1948 – 12 March 2015) was an English author of fantasy novels, especially comical works.[2] He is best known for his Discworld series of 41 novels.

Pratchett's first novel, The Carpet People, was published in 1971. The first Discworld novel, The Colour of Magic, was published in 1983, after which Pratchett wrote an average of two books a year. His 2011 Discworld novel Snuff became the third-fastest-selling hardback adult-readership novel since records began in the UK, selling 55,000 copies in the first three days. The final Discworld novel, The Shepherd's Crown, was published in August 2015, five months after his death.

Pratchett, with more than 85 million books sold worldwide in 37 languages, was the UK's best-selling author of the 1990s. He was appointed Officer of the Order of the British Empire (OBE) in 1998 and was knighted for services to literature in the 2009 New Year Honours. In 2001 he won the annual Carnegie Medal for The Amazing Maurice and his Educated Rodents, the first Discworld book marketed for children. He received the World Fantasy Award for Life Achievement in 2010.

In December 2007, Pratchett announced that he had been diagnosed with early-onset Alzheimer's disease. He later made a substantial public donation to the Alzheimer's Research Trust (now Alzheimer's Research UK), filmed a television programme chronicling his experiences with the condition for the BBC, and became a patron for Alzheimer's Research UK. Pratchett died on 12 March 2015, aged 66.


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Discworld is a comic fantasy book series written by the English author Terry Pratchett, set on the Discworld, a flat planet balanced on the backs of four elephants which in turn stand on the back of a giant turtle. The books frequently parody or take inspiration from J. R. R. Tolkien, Robert E. Howard, H. P. Lovecraft, Charles Dickens and William Shakespeare, as well as mythology, folklore and fairy tales, often using them for satirical parallels with cultural, political and scientific issues.

Forty-one Discworld novels have been published. The original British editions of the first 26 novels, up to Thief of Time (2001), had cover art by Josh Kirby. The American editions, published by Harper Collins, used their own cover art. Since Kirby's death in 2001, the covers have been designed by Paul Kidby. Companion publications include eleven short stories (some only loosely related to the Discworld), four popular science books, and a number of supplementary books and reference guides. The series has been adapted for graphic novels, theatre, computer and board games, and television.

Newly released Discworld books regularly topped The Sunday Times best-sellers list, making Pratchett the UK's best-selling author in the 1990s. Discworld novels have also won awards such as the Prometheus Award and the Carnegie Medal. In the BBC's Big Read, four Discworld novels were in the top 100, and a total of fourteen in the top 200. More than 80 million Discworld books have been sold in 37 languages

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The Discworld novels contain common themes and motifs that run through the series. Fantasy clichés are parodied in many of the novels, as are various subgenres of fantasy, such as fairy tales (notably Witches Abroad), witch and vampire stories (Carpe Jugulum) and so on. Analogies of real-world issues, such as religion (Small Gods), fundamentalism and inner city tension (Thud), business and politics (Making Money), racial prejudice and exploitation (Snuff) are recurring themes, as are aspects of culture and entertainment, such as opera (Maskerade), rock music (Soul Music), cinema (Moving Pictures), and football (Unseen Academicals). Parodies of non-Discworld fiction also occur frequently, including Shakespeare, Beatrix Potter, and several movies. Major historical events, especially battles, are sometimes used as the basis for both trivial and key events in Discworld stories (Jingo, Pyramids), as are trends in science, technology, pop culture and modern art (Moving Pictures, Men at Arms, Thud). There are also humanist themes in many of the Discworld novels, and a focus on critical thinking skills in the Witches and Tiffany Aching series.

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Setting

The story takes place on the Discworld, a planet-sized flat disc carried through space on the backs of four gargantuan elephants – Berilia, Tubul, Great T'Phon and Jerakeen – who themselves stand on the shell of Great A'Tuin, a gigantic sea turtle. The surface of the disc contains oceans and continents, and with them, civilizations, cities, forests and mountains.

Synopsis The Colour of Magic

The story begins in Ankh-Morpork, the biggest city on the Discworld. The main character is an incompetent and cynical wizard named Rincewind, who is hired as a guide to the rich but naive Twoflower, an insurance clerk from the Agatean Empire who has come to visit Ankh-Morpork. Initially attempting to flee with his advance payment, Rincewind is captured by the Patrician of Ankh-Morpork, who forces him to protect Twoflower, lest the tourist's death provoke the Agatean Emperor into invading Ankh-Morpork. After Twoflower is kidnapped by a gang of thieves and taken to the Broken Drum Pub, Rincewind stages a rescue alongside the Luggage, an indestructible, enchanted and sentient chest belonging to Twoflower. Before this, Twoflower convinces the Drum's barman to take out a fire insurance policy; the barman subsequently attempts to burn down the Drum to claim the money, but ends up causing a fire that destroys the whole of Ankh-Morpork. Rincewind and Twoflower escape in the chaos.

Rincewind and Twoflower travel towards the city of Quirm, unaware that their adventures on this journey are actually the subject of a boardgame played by the Gods of the Discworld. The pair are separated when they are attacked by a mountain troll summoned by Offler the Crocodile God. The ignorant Twoflower ends up being led to the Temple of Bel-Shamharoth, a being said to be the opposite of both good and evil, while Rincewind ends up imprisoned in a dryad-inhabited tree in the woods, where he watches the events in Bel Shamharoth's temple through a magical portal. The pair are reunited when Rincewind escapes into the temple through the portal, and they encounter Hrun the Barbarian, a parody of heroes in the Swords and Sorcery genre. The trio are attacked and nearly killed by Bel-Shamharoth, but escape when Rincewind accidentally blinds the creature with Twoflower's magical picture box. Hrun agrees to travel with and protect Twoflower and Rincewind in exchange for heroic pictures of him from the picture box.

The trio visit the Wyrmberg, an upside-down mountain which is home to dragon-riders who summon their dragons by imagining them, and are separated when the riders attack them. Rincewind escapes capture but is forced by Kring, Hrun's sentient magical sword, to attempt to rescue his friends. Twoflower is imprisoned within the Wyrmberg, and because of his fascination with dragons, is able to summon one greater than those of the Wyrmberg riders, who he names Ninereeds, allowing him to escape captivity and save Rincewind from being killed in a duel with one of the three heirs of the Wyrmburg. Twoflower, Rincewind and Ninereeds snatch Hrun, but as they attempt to escape into the skies, Twoflower passes out from the lack of oxygen, causing Ninereeds to disappear. Hrun is saved by Liessa, but Rincewind and Twoflower find themselves falling to their deaths. In desperation, Rincewind manages to use the Wyrmberg's power to temporarily summon a passenger jet from the real world, before he and Twoflower fall into the ocean.

The two of them are taken to the edge of the Discworld by the ocean currents and nearly carried over, but they are caught by the Circumfence, a huge net built by the nation of Krull to catch sea life and flotsam washed in from the rest of the Discworld. They are rescued by Tethis the sea troll, a being composed of water who had fallen off the edge of his own world and onto the Discworld, where he was subsequently enslaved by the Krullians. Rincewind and Twoflower are then taken by the Krullians to their capital, where they learn that the Krullians intend to discover the sex of Great A'Tuin by launching a space capsule over the edge of the Disc, and plan to sacrifice Rincewind and Twoflower to get the god Fate to smile on the voyage, Fate insisting on their sacrifice after they caused him to lose the earlier game. Rincewind and Twoflower attempt to escape, but end up stealing the capsule, which is launched with Twoflower inside, the tourist wishing to see the other worlds of the universe. Rincewind is unable to get into the capsule in time, and falls off the Disc alongside it, the Luggage following them soon after.

The story segues into the beginning of The Light Fantastic; the two books can therefore be seen as one two-volume novel.


Terry Pratchett - The Colour of Magic part 1 ( 69min mp3     38mb).


01-14 The Colour of Magic   69min



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previously

George R. R. Martin - Song of Ice and Fire Prequel - The Hedge Knight 1 ( 103min mp3     35mb).
George R. R. Martin - Song of Ice and Fire Prequel - The Hedge Knight 2 ( 85min mp3     65mb).
GraphicI Novel in full color
George R. R. Martin - Song of Ice and Fire Prequel - The Hedge Knight  (CBR  265mb)


George R. R. Martin - Song of Ice and Fire Prequel - The Sworn Sword 1-4 ( 75min mp3     26mb).
George R. R. Martin - Song of Ice and Fire Prequel - The Sworn Sword 5-7 ( 60min mp3     21mb).
George R. R. Martin - Song of Ice and Fire Prequel - The Sworn Sword 8-11 ( 72min mp3     25mb).
GraphicI Novel in full color
George R. R. Martin - Song of Ice and Fire Prequel - The Sworn Sword ( CBR 283mb).


George R. R. Martin - Song of Ice and Fire Prequel - The Mystery Knight 1 ( 63min mp3     18mb).
George R. R. Martin - Song of Ice and Fire Prequel - The Mystery Knight 2 ( 106min mp3     43mb).
George R. R. Martin - Song of Ice and Fire Prequel - The Mystery Knight 3 ( 84min mp3     34mb).
GraphicI Novel in full color
George R. R. Martin - Song of Ice and Fire Prequel - The Mystery Knight ( CBR 284mb).


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RhoDeo 1935 Re-Up 203

Hello,


9 correct requests for this week, 1 wrong place, 2 unavailable (aetix-roots),  0 double (same artist) , whatever another batch of 30 re-ups (8.6gig)


These days i'm making an effort to re-up, it will satisfy a smaller number of people which means its likely the update will  expire relatively quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section at the page where the expired link resides, or it will be discarded by me. ....requests are satisfied on a first come first go basis. ...updates will be posted here remember to request from the page where the link died! To keep re-ups interesting to my regular visitors i will only re-up files that are at least 12 months old (the older the better as far as i am concerned), and please check the previous update request if it's less then a year old i won't re-up either.

Looka here , requests fulfilled up to September 1st... N'Joy

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3x Sundaze Back in Flac ( The Orb - Peel Sessions, The Orb - U.F.Orbit Two: Remixes, The Orb - Pomme Fritz The Remixes)


4x Sundaze Back in Flac 1525 ( AshRa - Walking' the Desert, Ashra - Tropical Heat, Ashra - Friendship  )



4x Sundaze  Back  in Flac (Ryuichi Sakamoto - Love Is The Devil OST, Ryuichi Sakamoto - Gohatto (OST),  Ryuichi Sakamoto - Femme Fatale OST, Ryuichi Sakamoto - Silk OST )



3x Aetix Back In Flac (The Triffids - Treeless Plain, The Triffids - Born Sandy Devotional, The Triffids - present The Black Swan )



4x Sundaze 1624 NOW in Flac (David Lang, John Adams - Are You Experienced,  David Lang - Child, David Lang - Pierced, David Lang - This was written by hand)



4x Sundaze NOW in Flac (Jorge Reyes - Ek-Tunkul , Reyes&Zepeda - La Izquierda Del Colibri , Jorge Reyes - Comala, Jorge Reyes - Nierika - Ek-Tunkul )




Single packs II Still in ogg ( +7-ties too, TV loonys, Seventies Disco Fffunk )


4x Sundaze Back in Flac ( Boards Of Canada - Closes Volume 1, Boards Of Canada - Twoism,  Boards Of Canada - Hi Scores, Boards Of Canada - Music Has the Right to Children )



4x Grooves Back in Flac (The Amorphous Androgynous - A Monstrous Psychedelic Bubble Vol 1 - Cosmic Space Music 1, The Amorphous Androgynous - A Monstrous Psychedelic Bubble Vol 1 - Cosmic Space Music 2)



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Sundaze 1935

Hello, the F1 one season continues at Spa this weekend, Ferrari on poll but it was said they won't be able to keep up their qualifying speed beyond 2 laps after which Hamilton and Verstappen will bring the fight to them, hard to predict what will happen tomorrow.



If most artists in contemporary electronica are like islands unto themselves, turning out tracks in relative anonymity, Pete "Namlook" Kuhlmann was a whole continent. A dizzyingly prolific composer who steadily built up an entire industry around his Frankfurt-based Fax label, Namlook's name was inextricably linked with the post-rave resurgence of ambient music, and many of his solo and collaborative recordings with the likes of Mixmaster Morris, Tetsu Inoue, Klaus Schulze, Bill Laswell, Richie Hawtin, Geir Jenssen, Dr. Atmo, Burhan Ocal, Atom Heart, Jonah Sharp, Charles Uzzell-Edwards, and David Moufang, among many others, number among the most lauded and influential in new ambient. "...  ......N-Joy

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Pete Namlook (born 25 November 1960 as Peter Kuhlmann [phon koolman] in Frankfurt, Germany, died on 8 November 2012) was an ambient and electronic-music producer and composer., the extremely prolific Pete Namlook (1960-2012) was one of the high priests of new-school ambient, ie. ambient techno, trance, lounge and other related dance-music spinoffs. In its 20 year history his record label Fax Records released some of the definitive albums in these sub-genres and Namlook stands alongside a handful of other names such as The Orb, Biosphere and Mixmaster Morris as one of the originators of ambient's resurgence and reinvention via dance music in the late 80's and early 90's.

Intriguingly, he often favoured the sounds of analogue synthesisers over digital and - alongside fellow German e-musician Oliver Lieb - was reputed to have one of the most extensive collections of classic analogue equipment in Europe. And although he downplayed the linage, like many of his new-school peers his music has some of its roots in old-school electronica as varied as Brian Eno, psy rockers Pink Floyd, and Krautrock icons like Klaus Schulze and Tangerine Dream.

But Namlook was no imitator. He deepened and refined the sound of his predecessors with an injection of fresh ideas from the dance world, coupled with fine musicianship honed from many years of playing rock and jazz. In a 2007 interview with e-music magazine Slices he actually made a point of distancing his music from the conceptual influence of Eno particularly:

"You have to differentiate quite clearly between ambient in a techno sense, and on the other hand Brian Eno, a purely conceptual thing. I only knew of a collaboration between Brian Eno and Cluster [the German band], and him with Roxy Music. I only bought his ambient stuff later. Ambient as Eno defines it...is more or less musical wallpaper. It stays in the background and serves the environment rather than saying something about itself. In my definition of ambient, which has nothing in common with Eno's definition, it's about a journey, intense emotions that need to be transported - environmental music, jazz, ethno - depending on what project I'm working on".

The genesis of Fax Records

Although he had long dreamed of making a career from ambient electronica, in Fax Records' early days he was mainly pursuing a dance floor-oriented direction and releasing 12-inch vinyl singles to a warm reception from sectors of Europe's club scene.

But Namlook soon became dismayed at other artists' appropriation of the Frankfurt "hard trance" sound (developed through his genre-defining 4 Voice project). Thankfully his ambient B-sides to these singles - in hindsight a brilliant strategy - were also creating plenty of interest. Within a few years of the label's inception he had set about focusing Fax almost entirely on ambient and downtempo styles.

Up to his death in 2012 Namlook released an enormous number of solo and collaborative albums of widely varying quality both under his own name and various other project monikers. Collectors should be aware that many CD's were very limited pressings and some will be difficult to find, even more so now that Namlook has gone and the label is no more. Certain key titles were re-issued on CD and download from time to time, however, and much of the Fax catalogue is now spread widely online.

The Silence series

Silence (1992) is the one that started it all, Fax's first album release and one which caught the ear of both seasoned electronic boffins and dance fans looking for a chilled-out tonic after a night among the thumping beats of clubland. Both this album and Silence II (1993) are collaborations with close associate Dr Atmo and despite being at times almost new age in their choice of themes (a voice whispers sweet cosmic nothings like "we are all part of the universe") the music is outstanding. These beguiling, shimmering, reverberant landscapes are sometimes beatless and sometimes gently beaty with subdued live pads and cymbals. The 20 minute "Garden Of Dreams" is a particular mesmerising blend of slow Mid-Eastern rhythms with sighing and crying electronic chords.

Continuing the series is the the Persian-tinged Silence III (1998) which features Namlook on his own. Titles like "Mirage" "Into The Desert" and “A Ship On A Sea Of Sand” are just perfect; his sense of place is quite stunning and he understands the visual qualities of ambient sound exceptionally well. His creative range across entire series is impressive: from stately progressions of warm, organic-sounding orchestral synthscapes to atonal, purely atmospheric pieces of pure texture. When it comes to sound design Namlook’s attention to detail is faultless, which makes hearing his music on good hi-fi equipment especially rewarding. Silence III is followed by two more superb albums in the series.

The surreal, innovative first volume of Dreamfish (1993) with collaborator Mixmaster Morris is another genre-defining release, still cited today as a favourite by fans of early post-rave ambient. The environmental sound effects are deployed in a quirky way amongst the textured, gently rhythmic landscapes and the music brims with surprises and quiet invention. The jazzy bass notes on "Fishology", for example, move along at a good clip yet are so subtle that the track's calming qualities are never disturbed. The first three volumes of the Air series are also high-water marks for Namlook. Like the Silence series they show some rich ethnic and neo-classical leanings, and they remain particularly effective examples of how he uses live acoustic instruments in an electronic setting. The delicate, tinkling cymbals and soft tom-tom beats on "Je suis seule et triste ici" from Air I (1993), for instance, are utterly refreshing because Namlook is able to maintain a deep electronic ambient feel while still expanding electronica's instrumental vocabulary.

Air II (1994) is deeply psychedelic. An eleven-part "trip" subtitled "Traveling Without Moving", it takes it's thematic cue from Frank Herbert's cult sci-fi novel and movie Dune. Herbert's story posited a strange universe dependant on a life-extending, mind-altering spice drug. On Air II Namlook subtly draws on the story's themes to create a beautiful, creepy, intoxicating universe of his own. Again he utilizes acoustic instruments: didgeridoo, sighing woodwinds, flamenco guitar, Mid-Eastern flutes, and swooping vocal textures that rise and fall to striking effect. They're all integrated seamlessly, proving that despite the club music influences he thrived by exploring outside the rigid structures of electronic beats and sequencing.

Other collaborations

Although as an artist Namlook's focus was far broader than just club-influenced sounds, when he did get into more squelchy or bleepy techy-trance territory the results could be just as stimulating. On the brilliant two-part title track from The Fires Of Ork (1993) that thumping 4/4 kick drum is there alright, but somehow Namlook and cohort Gier Jenssen (aka Biosphere) have managed to mute it just enough to create a truly "ambient" dance music: thunderous yet shadowy and eerie, built around a voice sample of Rutger Hauer from Blade Runner. Also beats-based is the the superb first volume of From Within (1994), one of the pinnacles of ambient techno that marries Namlook's warm keys and spiralling synth sounds with the sparse bleeps and beats of Canadian techno guru Richie Hawtin. Again, the rhythms don't drive you into the ground but rather lull you into a gentle if uneasy trance, particularly on "Million Miles To Earth" and "Sad Alliance". The third in this series, From Within III (1997) is also outstanding

Namlook after the mid 90's

While many aficionados would agree that the early to mid 1990's produced most of Fax's - and Namlook's - most enduring releases, it would be unfair to dismiss some of Namlook's work since then. Highlights from 1995-2001 include the final volumes in what is probably Namlook's greatest series, the magnificent Silence IV (2000) and Silence V (2001). The luminous piano notes and warm orchestral synths of "The Night Before I Left" from Silence IV might just be the most emotional piece of music Namlook has ever made, an elegy that's at once incredibly sad and jaw-droppingly pretty. From the same album is the extraordinary "Bedouin Love", a dark, swirling epic with thunderous Moroccan drums, a strange spoken Arabic monologue and chilling yet beautiful synthesiser chords. In the same sonic universe as the Silence albums is From Within 3 from 1997, again made with Richie Hawtin but this time quite different from earlier volumes due to its softer, warmer sound. There's feather-soft lead guitar lines, lush strings, jazzy improvising and warm analogue melodies, all held together by subtle, intelligent drum programming. It's a fantastic example of accessible, soulful electronica.

In the 2000's and beyond Namlook continued with a busy release schedule of solo albums and collaborations but rarely with the same impact his music made in the previous decade. Not that there's lack of variety; for hardcore Fax fans there's plenty to explore. Experimental releases like New Organic Life (2002) are scarily unfamiliar, experimental, arguably unlistenable at times. Some outstanding individual melodic tracks appear on otherwise less-then-great albums such as Resonate (2006) and Namlook Le Mar (2009). However, some of his other collaborative albums made after the mid 90's - not listed on this page - are highly recommended including recordings with Tetsu Inoue, Klaus Schulze and Wolfram Spyra.

Death and legacy

Aged just 51, Namlook died unexpectedly in his sleep of a heart attack on 8 November 2012. Maintaining his intense work rate right up to the night he passed away, some wondered whether Namlook simply drove himself into the ground, literally living and dying for his art. Yet his sister told UK music journalist Mark Prendergast that "he went to bed happy" that day. Who are we to judge? Namlook left behind an extraordinary and enormous recorded legacy, as well as a generation of underground electronic producers and composers inspired by both his talents and his uncompromising independence. Fax Records is no more, though for the moment a good deal of his discography remains available. Hopefully a sensible licensing deal with the Kuhlmann estate will enable another publisher take on the best of his catalogue and keep it available in the coming decades. He deserves no less.

The tribute: Die Welt ist Klang

A superb Namlook tribute album appeared in 2013, almost as essential as any of the work released by the man himself. Die Welt ist Klang ("The World Is Sound") was put together in 2012-13 via a crowdfunding campaign by Dave Wade-Stein from EAR/Rational Music, the longtime North American distributor for Fax and related labels. The album is presented thus: four volumes of mostly new or unreleased music by former Fax artists, and four volumes of new material by mostly unknown musician-fans.

It's only fitting that one of the most prolific recording artists in the history of music - in all recorded music, not just a genre - should be honoured with a sprawling 8-volume tribute. It would take pages to review so much music in detail; suffice to say the standard of contributions overall is very high. Interestingly, most of the former Fax artists here don't seek to recapture peak moments from their past works. They just do what they do - from beatless ambient to bleepy dance grooves, from lounge to techno, from gentle dissonance to sweet, tender melodies. As for the the 40 or so musician-fan contributions, they were chosen from a large pool of submissions by a blind vote. Although there are some easy-to-spot pastiches among them, here too there is much freshness and surprise.

Die Welt ist Klang is a massive treasure chest of (mostly) new ambient and electronica. Some of it is the sound of now and some of it wistfully looks back. All of it acknowledges the contributions and example of one remarkable man.


Namlook" is "Koolman", a phonetic rendering of his real name, spelled backwards.

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Klaus Schulze: "The whole series was a very unpretentious project. Because I had always kept total control with my own albums, I let Pete take it off my hands and could make compromises. That was juicy for me, 'cause I don't work with other electronic musicians usually.” Work on 'Dark Side Of The Moog' started without any solid intention and wasn't planned as a series at all. There was only the aim that it didn't sound like 'Schulze' only, so I decided that Namlook had to make the final mix."

Retrospectively, the approach to and exchange of music and ideas, the growing together and cross-pollination of emotion and logic, makes for a rewarding and fascinating listening experience that still holds its own today."

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Classic first meeting of two great electronic minds, The first volume of their long-running legendary series which tends to be the one most are exposed to and more familiar with. Opening with a classic rock sounding acoustic droning and ending with the combining of old and new to create the kind of futuristic and otherworldy electronica FAX is known for, The Dark Side of the Moog is a jam session that covers a wide of moog stylings over the past 25 years, being deep and spacey at some times, and fast paced at others with a few breaks were things get wild and loopy, a great mixture of modern and classic electronic music. A classic and worthy introduction to the series, not to mention this style of electronic music.

Klaus Schulze • Pete Namlook - Dark Side Of The Moog (DSOTM)-01 ( flac   236mb)

01 Wish You Were There 5:00
02 Wish You Were There 5:00
03 Wish You Were There 5:00
04 Wish You Were There 5:00
05 Wish You Were There 5:00
06 Wish You Were There 5:00
07 Wish You Were There 5:00
08 Wish You Were There 5:00
09 Wish You Were There 5:00
10 Wish You Were There 6:18

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A departure from their first meeting, The Dark Side of the Moog 2 has you walking through the summer night fields of a far off yet life-inhabited planet filled with the sounds of ever-present chirping space cicadas, various birds and, mysteriously enough, the ominous tolling of bells. A half hour in, you finally arrive where the show is just beginning, consisting of the combined building forces of Namlook's high frequency noodling and Klaus' backing synth. Progressing faster and faster through the tempo spectrum, they wind up peaking into full dance mode and then finally taking off into the space above, leaving you with the sounds of a distant departing mothership and, of course, those chirping space cicadas. A Saucerful of Ambience seems to hide the fact that the project still hasn't really found its true musical direction and takes a go at creating something more intriguing to the listener rather than musically pleasing. Enjoyable as long as you're not really expecting an incredible Moog record.

.Klaus Schulze • Pete Namlook - Dark Side Of The Moog (DSOTM)-02 ( 273mb)

A Saucerful Of Ambience (61:04)
01 Part 1 5:00
02 Part 2 5:00
03 Part 3 5:00
04 Part 4 5:00
05 Part 5 5:01
06 Part 6 4:59
07 Part 7 5:00
08 Part 8 5:00
09 Part 9 5:00
10 Part 10 5:01
11 Part 11 4:59
12 Part 12 6:02


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With the honeymoon phase for the those collaborators clearly over, Namlook and Schulze move on to create a solid album rather than an expansive jam. The parts are pretty much their own theme, to the point where they can be divided up according to the title, with the long spooky drones that make up the lengthy intro Part I and the corresponding outro Part VI being "Phantom", the dramatic ambience of Parts II and V being "Heart" which implements Namlook's classic guitarwork and the upbeat, melodic, quirkiness of Parts III and IV representing "Brother". Part IV would be the shining pearl that stands out as a classic piece in the Moog lineage. The more worthy of the early Moog albums.

Klaus Schulze • Pete Namlook - Dark Side Of The Moog (DSOTM)-03 (flac 277mb)

Phantom Heart Brother (59:00)
01 Part I 18:26
02 Part II 12:15
03 Part III 10:05
04 Part IV 6:12
05 Part V 9:12
06 Part VI 2:45

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This fourth installment has Bill Laswell joining Klaus and Pete for the first time practically turning The Dark Side of the Moog into a full-fledged band. But with Bill's presence comes a shift the direction of the project and as a result, it feels as if they're back to leaning how to walk again. Stripped down, you really have two fast paced jams that are focused on: the spacey traveling Part II, where Laswell's contribution is well intergrated and the loud thumping and tweaking Part VIII, where Laswell's recognizable bassline sticks out like a thumb. A series of dark slow interludes fill inbetween as well as Part VI, which is a solo (some light background from Klaus though) featuring the debut of Pete's laid back soulful guitar work, first of many to show up in future releases. A still very green but entertaining release.

Klaus Schulze • Pete Namlook - Dark Side Of The Moog (DSOTM)-04 (flac 313mb)

Three Pipers At The Gates Of Dawn 60:00
01 Part I 6:56
02 Part II 21:48
03 Part III 4:57
04 Part IV 2:21
05 Part V 2:28
06 Part VI 7:56
07 Part VII 2:53
08 Part VIII 8:52
09 Part IX 1:51

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The fifth installment of The Dark Side of the Moog is referred to as an apex of the series. Robert Moog himself personally introduces what is essentially the sound of this project finally realized for the first time and what FAX fans have been waiting for. Beginning immediately with beautifully stellar and overwhelming synth chords from Klaus Schulze, he leads you into the upbeat spacey Part III, which seems determined to show that they are no longer fooling around and intend this to be serious record for the ages. They provide a whole range of styles from the string arrangements on Part IV to combining the memorable deep sounds of Air on Part V to the moving cinematic sci-fi of Part VI. Part VII is the Bill Laswell track featuring his droney dark ambient multi-layered wind tunneling pushed as far as it can go, going back to the great sound of the original Outland. And they even make sure to leave the best for the closing Part VIII, which utilizes sampled choirs with many fantastic melodies that make for an amazing finale.

One of the most essential classics in the FAX collection not to mention 90's electronica and a great introduction for those wanting to get into this series. This is truly what made FAX so great.

Klaus Schulze • Pete Namlook • Bill Laswell - Dark Side Of The Moog (DSOTM)-05 (flac 324mb)

Psychedelic Brunch 60:20
01 Part I 0:14
02 Part II 4:31
03 Part III 8:29
04 Part IV 3:46
05 Part V 16:21
06 Part VI 8:45
07 Part VII 9:50
08 Part VIII 8:22

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