RhoDeo 2114 Sundaze

 Hello, looks like Carsten Nicolai is rather popular here, excellent., reason enough to post more work by him the coming weeks.


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




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

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

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


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Alva Noto and Ryuichi Sakamoto deliberately set out to combine two sorts of music that are as much of polar opposites as they did, rioon is ambient music stripped down almost to the basics—soft, slow, airy piano, accompanied by quiet yet harsh and rigid glitches and electronics. Combined, it's a strange experience. While the piano parts are quite nice, the electronics can be grating (especially with headphones, and especially on "Noon"), making listening to Vrioon both pleasing and discomforting at the same time. It's like spinning some Satie while connecting to dial-up. Sometimes it works, like the spaced-out and peaceful "Trioon I" and "II", and sometimes it doesn't, like the motonous and annoying "Noon". There are also some parts where there is seemingly no structure, like "Uoon II", which is just a cascade of random piano notes without the electronics, or "Trioon II"'s droning style. Yet the album's glacial pace makes it difficult to even notice much diversity. All that aside, it's still an alright album. It has its hits and misses (notably, tracks 1, 5, and 6 being the better), but overall it's pretty unique as far as ambient goes.



<a href="https://multiup.org/a0294dda5d6b051c7b80deb3c210352e">   Alva Noto and Ryuichi Sakamoto - Vrioon  </a> ( flac 221mb)

01 Uoon I 13:53
02 Uoon II 9:36
03 Duoon 5:44
04 Noon 10:09
05 Trioon I 5:05
06 Trioon II 9:50


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This second collaboration between microsound mastermind Carsten Nicolai (aka Alva Noto) and Ryuichi Sakamoto picks up where their first series of sessions left off. The instrumentation stays the same: Sakamoto on piano plucking dense, melancholy chords that attack and gradually fade among Nicolai's digitally crisp and clean drum programming and sine waves. But this time around, Nicolai just doesn't lay down a bed of rhythms and accentuation for Sakamoto's playing -- he tinkers with the sounds and manipulates them. The result is a more unified set of compositions that fold and weave into one another, which strips away the feeling of improvisation that glossed their first record. But the tradeoff results in a more cohesive record with a sharp, focused direction that is easily one of Nicolai's finest releases and another gem in a musical crown full of them for Sakamoto. It's one of 2005's most daring experiments in electronic music, and essential listening for IDM fans who like their glitches with a little melancholy attached to them.



<a href="http://depositfiles.com/files/261cv3i0d"> Alva Noto and Ryuichi Sakamoto - Insen </a> ( flac 190mb)

01 Aurora 8:51
02 Morning 5:27
03 Logic Moon 6:51
04 Moon 6:07
05 Berlin 6:16
06 Iano 6:52
07 Avaol 2:51

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Transform was the second studio album by Alva Noto. It was released 2001 via Mille Plateaux label. and re-released in 2008 via Raster-Noton label. The album is the first part of Alva Noto's Transall series, along with the EPs Transrapid, Transspray, and Transvision (2001–2006). Nice rhythmic work of glitches, beeps and the like. Rock and roll without the roll is common enough; the old line is that the Fall are rock and roll without the rock; perhaps this is funk without the funk, house without the house, glitch without the glitch (since that requires unintended deviation from a normal pattern, but here there first seems to be no normal pattern, then no deviation). Like the cover, there is enough outline to suggest regularity, but just enough blocked in to suggest that complete symmetry may never be possible. It is at times enormously, monumentally frustrating; it builds a statue to frustration and asks you to dance before it. Ryoji Ikeda's "Headphonics" is made from fewer sounds but is more complete - the miracle of it is that something so finished and incontrovertible is made from such slight means; it is like the theorem of music being furnished with a particularly elegant proof. Here, the spareness only makes you feel the gaps, and gaps must be filled, so you clatter your mug with pens, bang your head against the desk, crack your bones, your eyes...This is like techno for ants, you know, and enjoyable too!




<a href="https://bayfiles.com/Z6Wdxbo2u6/Alv_Nt_Trnsrpd_Trnsvsn_Trnspr_zip">   Alva Noto - Transrapid +Transvision + Transspray </a> ( flac 359mb)

Transrapid
01 Funkbugfx 8:30
02 Pulse (xs version) 2:34
03 Future 7:18
04 Highmatrix 2:21
+Transvision
05 Remodel 5:33
06 J 5:52
07 Postfabric 3:30
08 10 6:16
+Transspray
09 Fuel for Black Quartz 0:16
10 R/Re/Repeat (+ I-Sound) 0:53
11 Bit 5:49
12 Birr 1:48
13 Obi One (Edit XS Version) 2:40
14 F117.tiff 1:51
15 Autoshape 5:39
16 Spray 1:39

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Throughout the '90s and 2000s, Carsten Nicolai has constantly redefined the boundaries of experimental electronic music, taking the fusion of science and sound to its most extreme limits with high- and low-pitch frequencies and punishing sine tone compositions. More recently, he has also fused the synthetic with the organic through his trilogy of collaborations with Ryuichi Sakamoto. For Richard Chartier's LINE imprint, Nicolai strips away conceptual frameworks and presents an album of nine compositions bound only by their presentation as audio installations and the notion they are dedicated to someone in particular (hence the album's title). The wonderful thing about For is that it shows Nicolai's versatility as a composer and breaks the usual rigid continuity of Alva Noto Records, with "jr" being the most prominent example, as it quietly fuses melody and rhythm in ways very rare in Nicolai's entire body of work. Definitely one of his most daring works, and a nod of the cap should go to LINE for having the integrity to show another side of one of this century's most underrated artists.



<a href="https://mir.cr/XTAWG0MV">   Alva Noto - For.</a> ( flac 195b)

1 Counter (For Elfriede Jelinek) 2:01
2 Transit (For Suchan Kinoshita) 12:41
3 Station Remo (For TVPow) 9:20
4 Gulf Night (For Peter Roehr) 6:36
5 Flashforward (For Ernie and Bert) 7:43
6 JR (For Katsushika Hokusai) 4:30
7 Odradek (For Jhonn Balance) 9:37
8 Wall Anfang (For Jeff Wall) 6:26
9 Alva Noto.Z1 (For John Cage) 6:20

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Three years after completing his Trans series, Carsten Nicolai (aka Alva Noto) launched a new series of five CDs entitled Xerrox, where the music is mostly constructed around copies of copies of copies of snippets of music. Volume 1 in this series, released in 2007, focuses on muzak, advertising jingles, soundtracks, and entertainment programs, although as a whole, once reassembled, the bits of music heard through the hiss and white noise feel classical in nature. That may be the explanation for the CD's subtitle "The Old World" (Volume 2 will be subtitled "To the New World"). In our society, the copy is disregarded in favor of the original, until the copy, after several generations of copying, acquires its own existence, separated from the original. That is the artistic process at play here, and of course it generates a lot of hiss and white noise, elements Nicolai plays gracefully with, atomizing them or using them as textural drones. The album consists of seven main hiss-focused pieces ranging from four to eleven minutes, and seven very short glitch interludes, 18 to 51 seconds long, acting as translations in time and space, almost like traveling shots carrying you from one scene to the next. Now all this talk about hiss might have you thinking of Xerrox as some kind of harsh noise record, but don't worry, this is actually one of Alva Noto's most accessible and quiet albums. In fact, it might take some fans aback with its delicate, lulling textures, and its total lack of a beat element. Alva Noto's fans are used to his squelettal rhythms and extremely minimalistic sound palette, but Xerrox is something completely different. If the artistic process behind the music is in tune with Nicolai's usual concerns, the results are closer to the music of Tim Hecker or Fennesz than to Alva Noto releases like Transpray and Unitxt. On a superficial level, the first volume of Xerrox is a fine, dreamy, although quite monotonous CD. If you dig deeper, you will find some fascinating playfulness with the act of copying. Still, the underpinning idea wears thin in the course of an hour.



<a href="https://multiup.org/2d173fa7a6f94a14ef2b0845650c6c64">   Alva Noto - Xerrox Vol. 1.</a> 413mb

01 10-22-38 Astoria 0:19
02 Haliod Xerrox Copy 4 3:53
03 03-10-06 Astoria 0:38
04 Haliod Xerrox Copy 3 (Paris) 11:17
05 03-10-06 Astoria 2 0:36
06 Haliod Xerrox Copy 2 (Airfrance) 5:07
07 Haliod Xerrox Copy 6 6:40
08 05-10-06 Astoria 0:22
09 Haliod Xerrox Copy 11 3:40
10 Haliod Xerrox Copy 1 9:16
11 02-10-06 Astoria 1 0:51
12 Haliod Xerrox Copy 111 7:56
13 09-10-19 Astoria 0:18
14 Haliod Xerrox Copy 9 11:04

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RhoDeo 2113 Grooves

 Hello,  



Today's Artists was among the top urban contemporary acts of the '80s and fared well in the adult contemporary market as well, but their roots were '70s soul and funk. Several members first recorded together as Newban, a funk group that  took shape that same year, formed in White Plains, New York by three brothers: lead singer/guitarist David Lewis, lead singer/keyboardist Wayne Lewis, and trombonist/percussionist Jonathan Lewis. The lineup was filled out by singer Sharon Bryant, trumpeter William Sudderth, saxophonist Damon Rentie (who was replaced by Koran Daniels in 1981), bassist Clifford Archer, drummer Porter Carroll, Jr., and percussionist/flutist Joseph Phillips. Influenced by the likes of Earth, Wind & Fire, Commodores, New Birth, and L.T.D., they started playing around the northeastern U.S.,  N Joy

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Atlantic Starr was among the top urban contemporary acts of the '80s and fared well in the adult contemporary market as well, but their roots were '70s soul and funk. Several members first recorded together as Newban, a funk group that released two 1977 albums, Newban and Newban 2, on the Guinness label. Atlantic Starr took shape that same year, formed in White Plains, New York by three brothers: lead singer/guitarist David Lewis, lead singer/keyboardist Wayne Lewis, and trombonist/percussionist Jonathan Lewis. The lineup was filled out by singer Sharon Bryant, trumpeter William Sudderth, saxophonist Damon Rentie (who was replaced by Koran Daniels in 1981), bassist Clifford Archer, drummer Porter Carroll, Jr., and percussionist/flutist Joseph Phillips. Influenced by the likes of Earth, Wind & Fire, Commodores, New Birth, and L.T.D., Atlantic Starr started playing around the northeastern U.S. Atlantic Starr began in Greenburgh, New York with trumpeter Duke Jones (who left the band prior to their first recordings), drummer Porter Carroll Jr., bassist Clifford Archer, percussionist and flautist Joseph Phillips, Sheldon Tucker (Guitar; parted ways with the band before the first recordings), and three brothers: David Lewis (vocals/guitar), Wayne Lewis (keyboards and vocals), and Jonathan Lewis (percussion and trombone). The band's membership eventually stabilized around Carroll, Archer, Phillips, the three Lewis brothers, lead singer Sharon Bryant (who was later replaced by Barbara Weathers), trumpeter William Sudderth III, and saxophonist Damon Rentie (who was later replaced by Koran Daniels). In 1977, the band came to Westwood, California and performed on the nightclub scene under the name "Newban," which they agreed to change at the request of A&M Records executive Herb Alpert when they were signed. Having already agreed to keep the Starr part of an early idea for a new band name, the members decided to add the word Atlantic, because of their East Coast roots. The nine-member band were now A&M employees.

Throughout the late 1970s and early 1980s, Atlantic Starr scored several hits on the R&B charts. However, significant crossover success (onto the pop charts) did not come until halfway into the 1980s, with the release of their album As the Band Turns (their last on A&M Records), and the single "Secret Lovers". By this time, the band had pared itself down to a quintet, consisting of the three Lewis brothers, Phillips, and Weathers. In 1987 (after signing to Warner Bros. Records), the band solidified their pop success by scoring a #1 pop (and R&B) hit with "Always", a love ballad off their album All in the Name of Love. Following this success, Weathers left for a solo career, and she was replaced by Porscha Martin for the band's next album, 1988's We're Movin' Up. Although this album was not quite as successful as its predecessors, it did produce another #1 R&B hit with "My First Love."

The band continued to score hits on both the R&B and Pop charts into the early 1990s. 1991 saw the introduction of yet another new female lead singer, when Martin was replaced by Miss Black America 1986 Rachel Oliver, for the album, Love Crazy.[2] This album featured the band's biggest hit of the 1990s, with "Masterpiece" reaching #3 on both the pop and R&B charts in early 1992. The group toured to Japan in 1992 with yet another female vocalist at the helm, Crystal Blake, a studio vocalist for Stevie Wonder who had also sung the female lead parts on the minor hit title track for Eddie Murphy's How Could It Be album and Young MC's "Bust a Move."

Following the release of Love Crazy, Atlantic Starr's relationship with Warner Bros. Records dissolved, and in 1994, the band recorded one album for Arista: Time. That album was a commercial disappointment and the single "I'll Remember You" only made it to the fifties on Billboard's R&B and pop singles charts. Time (which was David Lewis' last album with the band) found a fifth female singer, Aisha Tanner, replacing Oliver. And when 1999's Legacy was distributed by the small, independent Street Solid label, Atlantic Starr unveiled yet another lineup—one that consisted of two Lewis Brothers (Wayne and Jonathan) as well as Oliver (who had returned and replaced Tanner) and a new male singer named DeWayne Woods. Although Legacy received little attention, Atlantic Starr still continues to perform today and released their 14th album, Metamorphosis in 2017, featuring L'john Epps and Melessa Pierce.

Newban/Atlantic Starr's original Personal Manager was Earl Cole of Cole Classic Management. Earl Cole moved with the group from White Plains, New York. Upon arriving in Los Angeles, California, the group was introduced to their Business Manager, Earl Harris of Harris Management in 1977 by Mr. Harris' nephew, Al Scaife of Enter-Prizin' Management. Earl Harris eventually acquired the role of Personal and Business management for the group and remains their manager to this day.

Original members
After leaving Atlantic Starr, original drummer and founding bandmember Porter Carroll, Jr. released a self-titled solo album (Porter Carroll II) in 1986. This album featured contributions from several prominent musicians, including Marcus Miller, David Sanborn, and former Starr bandmate Sharon Bryant. He has continued to do session work since that time, and is currently playing percussion in Daryl Hall's live band.Following her exit from Atlantic Starr, singer Bryant embarked on a solo career and released an album in 1989, scoring several big hits on the R&B charts, as well as a minor Pop hit from the project. Original saxophonist Damon Rentie went on to a solo career of his own, releasing his first solo album, Designated Hitter in 1985. His second and third solo albums followed in each successive year (1986 and 1987, respectively). He had also previously done session work with DeBarge. Original trumpeter William Sudderth continues to follow an active schedule in the music business, performing in many diverse settings and having become one of the most sought-after horn players in the industry.Bassist Clifford Archer currently resides in Tokyo, Japan where he performs regularly as a musician and session player. Original member Albert "Duke" Jones remains involved in the music industry. Joseph Phillips, original percussionist and flautist is currently working with the Reverend Bryan Oakley, producing gospel music.






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Yours Forever is the third and final album produced by James Carmichael. Here the sound is a little more electronic and slightly less distinguished than its immediate predecessors.

However it does not lack tight, infectious grooves with the rhythm section still with a foot firmly planted in the funk zone. "I Want Your Love" is a smooth bit of 80s electric soul, "Who Could Love You Better" is some deep 80s soul disco, the title track is quite a treat with a sort of Debarge/Shalamar smooth soul feel to it, while "Island Dream" recalls The Police with its synth reggae notes. Sharon Bryant once again shows her vocal talents with the slow funk ballad, "Touch A Four Leaf Clover" and the sophisticated " Second to None" Once again Sam Dees is back penning "More, More, More", which is a bit too synth lite, despite the nice harmonies of Sharon Bryant and Wayne Lewis. A definite step off Radiant and Brilliance, however one not too miss for 80s soul/boogie fans.



<a href="https://mir.cr/0KZFECBY">   Atlantic Starr - Yours Forever</a> (flac   250mb)

01 Yours Forever 5:04
02 Touch a Four Leaf Clover 4:38
03 More, More, More 4:42
04 I Want Your Love 4:52
05 Second to None 4:38
06 Island Dream 4:49
07 Who Could Love You Better? 4:30
08 More Time for Me 3:42
09 Tryin' 3:28

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In the mid-'80s, a lot of downsizing was taking place in R&B. Many of the large soul/funk bands that had emerged in the '70s were going high-tech, which meant cutting way back on horns (or even eliminating them altogether) and emphasizing keyboards and drum machines. Atlantic Starr, like Cameo, felt that they had to do some serious downsizing in order to remain competitive. In 1983, they still had nine members; when As the Band Turns came out two years later, it was down to five. This 1985 release found Starr unveiling a new quintet lineup that consisted of Wayne Lewis on lead vocals and keyboards, David Lewis on lead vocals and guitar, Jonathan Lewis on keyboards and trombone (mostly keyboards), Joseph Phillips on percussion, and newcomer Barbara Weathers (who had replaced Sharon Bryant) on lead vocals. As the Band Turns was not only Starr's first post-Bryant album -- it was also the first album they had recorded since parting company with producer James Carmichael (who had produced their last three LPs). This time, the producers included Wayne and David Lewis or Joey Gallo and Wardell Potts Jr. But despite all those changes, Starr was still quite recognizable. Most of the material is excellent, and that is true of everything from the dreamy "Silver Shadow" to the electro-funk gem "Freak-A-Ristic." Without question, Bryant's departure was a major loss for the band. But it wasn't a fatal blow, and Weathers shows herself to be a talented replacement on "Silver Shadow," as well as the ballads "If Your Heart Isn't in It" and "Secret Lovers" (a major hit). Arguably the last great album that Atlantic Starr provided in the '80s, As the Band Turns demonstrated that there could be life after Sharon Bryant for the East Coast outfit.



<a href="https://www.imagenetz.de/WkkeK "> Atlantic Starr - As the Band Turns </a> (flac   255mb)

01 Freak-A-Ristic 4:03
02 Cool, Calm, Collected 4:03
03 One Love 3:53
04 In the Heat of Passion 4:36
05 If Your Heart Isn't in It 4:02
06 Silver Shadow 4:54
07 Let's Start It Over 5:32
08 Secret Lovers 5:31
09 Thank You 4:29


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While the timeless radio ballad "Always" is the centerpiece of this album (not to mention a few of the more weepy wedding receptions out there), Atlantic Starr's 1987 effort, All in the Name of Love, does feature some solid additional work from the longstanding urban contemporary group. The uplifting "Let the Sun In" features the smooth lead vocals of David Lewis and Wayne Lewis, and percolates with lightly funky bass and inspired percussion. Meanwhile, "You Belong With Me" takes a darker lyrical turn, but is still a solid slice of sanitized, late-'80s urban radio groove. The album could have used more vocals from the talented Barbara Weathers, but it's still a well-appointed record that offers fans much more than just the Whitney-flavored single.

                                             
<a href="https://multiup.org/2c63f74bd2221cbd5cc33d9058610257"> Atlantic Starr - All in the Name of Love </a> (flac   339mb)

01 One Lover at a Time 4:00
02 You Belong With Me 4:53
03 Females 3:42
04 Don't Take Me for Granted 5:04
05 Always 4:39
06 Let the Sun In 4:04
07 Thankful 5:03
08 All in the Name of Love 5:26
09 My Mistake 5:19
10 Interlude 1:13
    

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Considered one of the top R&B bands since the genre's inception, this effort is primarily one pop number after another aimed at the adult contemporary market. Since the release of their 1985 classic "Secret Lovers" (#3 Billboard pop charts), Atlantic Starr has geared much of their material toward the crossover market. This project follows suit with the exception of a few cuts. The leadoff single "I'll Remember You" struggled on the Billboard R&B and pop charts, peaking at #58 and #55 respectively. Aside from its semi-catchy chorus, the song's ignition stalls. "Let's Just Sneak Around" has a soulful, urban feel enhanced by Wayne Lewis' gritty delivery. "Everybody's Got Summer," which pairs David Lewis and featured female vocalist Aisha Tanner, has an attractive beat, but it is charged by a sample from Young-Holt Unlimited's "Soulful Strut." The one song that comes close to that magic the group created in their heyday is "Lovin' You All Over Again." The two brothers duel this one out with entertaining lyrics and climaxing in a dramatic vamp.




<a href="https://bayfiles.com/hfb0x9odud/Atlntc_Strr_Tm_zip"> Atlantic Starr - Time </a> (flac   297mb)

01 I'll Remember You 4:21
02 Everybody's Got Summer 4:32
03 My Best Friend 4:50
04 Time 4:49
05 Baby Be There 3:49
06 Let's Just Sneak Around 4:21
07 So Good To Come Home To 4:03
08 Lovin' You All Over Again 4:58
09 Animal Attraction :28
10 Along The Way 3:20

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RhoDeo 2113 Expanse 35

 Hello,

 

Here today, naturally my mission of trying to breakthough the wall of nonsense build by the supposed smartest men on the planet is continuing as chinks start to appear, their arrogant stupidity set us back decades if not more, electro-magnetics is clean energy and would have delivered us not only flying cars, but flying saucers aswell and who knows a pathway into other dimensions..Meanwhile i got a request to continue the Expanse, and as this is one of the greatest SF series of our days and within it Abaddon's Gate one of it's highlights no reason to stop there then, so i won't...N Joy..

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Before Einstein created his unique theorems on relativity, deflating Newton’s theories on gravity, Nikola Tesla posited the idea that electricity and energy were responsible for almost all cosmic phenomena. Tesla saw energy and electricity as an “incompressible fluid” of constant quantity that could neither be destroyed nor created.

    If you want to find the secrets of the universe, think in terms of energy, frequency, and vibration.

— Nikola Tesla

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Solar Energy is Our Future
by Mathias Hüfner

Climate change is forcing our society to switch from fossil fuels to climate neutral fuels. Wind energy and photovoltaic will not be enough to satisfy the growing hunger for energy of an ever larger world population. As a result, nuclear energy comes back into focus. During the nuclear fission of uranium, however, highly radioactive fission products occur that emit biologically harmful alpha radiation over thousands of years. The safe storage of this waste for such long periods of time is an unsolved problem. That is why the generation of energy from nuclear fusion (transmutation) is an alternative, since no alpha radiation occurs with light atomic nuclei and the electron radiation decays very quickly.
Classic fusion experiments

Based on the classic solar model, which assumes that the sun is a fiery gas ball, inside which hydrogen fuses to helium and the heat is transported to the surface by neutrinos, Andrei Sakharov started his first attempts at the Moscow Kurchatov Institute in 1952 for technical nuclear fusion. Its principle was the inclusion of a plasma ring in a magnetic field, which should be heated up in the magnetic field enough to start the nuclear fusion. The idea was that after the ignition, the fusion would continue by itself, as had been observed with nuclear fission. Therefore, the experiments were designed for pulse operation. This principle was named ‚Tokamak‘. It is short for „тороидальная камера в магнитных катушках“ (toroidalnaja kamera w magnitnych katuschkach) translates Thoroidal Chamber Into Magnetic Coils.

However, there were two problems with this principle. The first was that the Lorentz force swirled the plasma and the chamber walls cooled the plasma. The swirling was finally countered with a complicated magnetic field design that was modeled on a multi-twisted Möbius tape. This created a helical magnetic field. This principle was called the Stellarator, meant a machine which works like a star. However, more than 60 fruitless years had to pass before the new principle was decided.

On December 10, 2015, a short flash of light in the form of a helium plasma was finally generated for the first time on the Tokamak Stellarator Wendelstein 7-X fusion generator in Greifswald, Germany. To carry out this experiment, it took 9 years of construction, in which several hundred tons of material were used. The project devoured over a billion euros.

On June 25, 2018, the Max Planck Institute for Plasma Physics issued a press release: Stellarator record in fusion product: „Jetzt hat Wendelstein 7-X einen Rekord aufgestellt. Denn es erreichte nie zuvor gemessene Höchstwerte für das sogenannte Fusionsprodukt. Dieses Produkt aus Ionentemperatur, Plasmadichte und Energieeinschlusszeit gibt an, wie nahe man den Reaktorwerten für ein brennendes Plasma kommt. In den Testdurchgängen des Jahres 2017 wurde das Plasma im Reaktor auf rund 40 Millionen Grad Ionentemperatur aufgeheizt und hatte eine Dichte von 0,8 x 1020 Teilchen pro Kubikmeter.“ Up to 75 megajoules of heating energy were used for the heating and the plasma survived 2 seconds. However, there was still no sign of fusion. Wendelstein 7-X is currently out of service and is being renovated.

Figure 1: Stellarator-Prinzip IPP (Max-Planck-Institut für Plasmaphysik) (Ausschnitt)

A great technical achievement, as you would think, only our sun is a G2 star and there are only 5600 degrees on the surface and there are no traces of helium in its atmosphere. But inside hydrogen is said to burn at 15 million degrees to helium. If that were true, the sun would be a giant hydrogen bomb that should have exploded.

Not much can be known about the interior of the sun. The core may be made of liquid calcium. The density of the sun and the spectral class support this assumption. What forces should hold this bomb together? Ironically, the weakest of the four classic forces, gravitation? You can doubt it. The temperatures necessary for nuclear reactions can be found in the solar corona.
Theoretical considerations

According to Boltzmann, the kinetic energy of the atoms is a function of the temperature. From this, the mean velocity of a proton in the plasma can be estimated at a corresponding temperature. According to Boltzmann, this results in a speed in one direction of v = √ (kT / 2m) and at 40 million degrees, as the Stellarator has reached, that is around 400km/s. This is about the speed at which the solar wind enters the earth’s atmosphere. The protons should collide at this speed to fuse. However, this will not happen if they race parallel through the thorax of the Stellarator. The Stellarator principle is based on a closed system. According to the 2nd law of thermodynamics, entropy will only grow in it. However, this means that no structures can form. A nuclear fusion is therefore impossible. But in reality the Stellarator is not a closed system, energy is constantly being supplied to it, but in order to reach a high temperature, scientists are concerned that no energy can flow away. The ingenious Prigogine teaches, however, that in an open system the entropy of the system is the sum of the external and internal entropy and the external entropy is made up of the difference between the introduced and the removed entropy of the open system. Now you can see that the external entropy at the Stellarator is larger than the internal one. In order to build up a structure and to start transmutation, entropy must be extracted in the form of electrons, but this is not intended for the Stellarator.

Einstein, in his delusion, having to symmetrize Maxwell’s equations, banished electrodynamics from the cosmos with the Lorentz transformation, because he did not want to admit that this transformation is a projective transformation, that is, a mapping. He thus strengthened the position of Christianity and Newtonian mechanics and only relied on the gravitational forces, which Immanuel Velikovsky criticized, in discussions with Einstein in the last months of his life.1

Ralph E. Juergens developed an electric sun model as early as 1979.2 Already in 1972 he wrote: “It is interesting to note that the calculated energy density of cosmic rays in our galaxy is comparable to the total energy density of electromagnetic radiation, including starlight.” 3  He recognized the granules on the surface of the sun as anode tufts and an indication of a self-organizing open system. This model was significantly developed by Don Scott. His book “The Electric Sky” 4  was published in 2006.

Don Scott dealt with the questions of why there are two types of solar wind, which electrical process can bring the solar wind to a standstill over two days and what accelerates the solar wind towards Earth. Can sunspots be integrated into the model? Scott believes that the fast solar wind comes from the photospherical clusters and the slow wind comes from the sun spots around the equator. With his transistor model of the sun, he can explain the different speeds and densities of slow and fast solar wind. The solar wind has an average proton density of about 6 particles per cm3 with a fluctuation range of 3 particles per cm3 in a calm sun, as can be seen from http://spaceweather.com. However, the electric sun model had the disadvantage compared to the classic sun model. It could explain a large part of the phenomena observed on the sun, but it could not explain nuclear fusion.

Don Scott was able to identify the butterfly nebula as a Birkeland current constricted by the pinch effect. If you compare the Wendelstein experiment with the butterfly nebula, which represents a star birth, you immediately notice that the construction of the butterfly nebula is much simpler than a Stellarator. In the visible part of the Birkeland current of this nebula, especially in the Z-pinch node, there is a solid body that opposes the hydrogen gas and the protons. This resistance causes a large change in speed in the current. It’s like when a traffic jam suddenly occurs on the highway. Protons have no brakes, so collisions are inevitable. A mass collapse occurs. The entrained hydrogen molecules crash into each other and ions of higher atomic weight are created indiscriminately, unlike at the LHC in Geneva, where the protons are pulverized due to the maximum energy. While the ions are held up by the solid, the electrons penetrate into the body and out of the side almost unchecked.

At this point we have to come back to Maxwell’s equations because they represent the way forward for modern physics. We find two vortices described there, one magnetic and one electric. Nothing is said about their size. As an open system considered div E describes the entrance. The entropy removed is the electromagnetic radiation, which is not explicitly stated. The magnetic vortex is technically represented by a ferrite ring. We used to use such rings as ferrite core memories in computers for one bit. In its technical form, the electrical vortex is usually a copper coil. We call the combination of a ferrite core and two copper coils a transformer.

The ingenious inventor Nicola Tesla first generated radio waves with such a transformer in 1890 by sending an alternating current through the coil. Nicola Tesla has almost completely disappeared from our consciousness, although he has achieved a much greater achievement for humanity than Albert Einstein. He was the one who laid the foundations of AC technology and thus the basis for our modern energy industry.

To generate light waves, one can assume that similar structures to the Tesla transformer are necessary, but they are much smaller due to the much shorter wavelength. Atoms should work similarly to small Tesla transformers if the theory of quantum mechanics did not block our view of them.

Quantum mechanics is essentially a theory of probability. Probability statements are incomplete statements from which no causal conclusions can be drawn, which is why Einstein rejected them. However, atoms are very concrete objects whose quantitative and qualitative properties are clearly delineated. I consider quantum mechanics to be completely unsuitable as an explanatory model for a single atom. On the contrary, it is a rape of physics. It is different when you look at the mass of the electrons. There is no longer a clear delimitation of individual electrons. Only probability statements do help here.

Theoretical considerations

According to Boltzmann, the kinetic energy of the atoms is a function of the temperature. From this, the mean velocity of a proton in the plasma can be estimated at a corresponding temperature. According to Boltzmann, this results in a speed in one direction of v = √ (kT / 2m) and at 40 million degrees, as the Stellarator has reached, that is around 400km/s. This is about the speed at which the solar wind enters the earth’s atmosphere. The protons should collide at this speed to fuse. However, this will not happen if they race parallel through the thorax of the Stellarator. The Stellarator principle is based on a closed system. According to the 2nd law of thermodynamics, entropy will only grow in it. However, this means that no structures can form. A nuclear fusion is therefore impossible. But in reality the Stellarator is not a closed system, energy is constantly being supplied to it, but in order to reach a high temperature, scientists are concerned that no energy can flow away. The ingenious Prigogine teaches, however, that in an open system the entropy of the system is the sum of the external and internal entropy and the external entropy is made up of the difference between the introduced and the removed entropy of the open system. Now you can see that the external entropy at the Stellarator is larger than the internal one. In order to build up a structure and to start transmutation, entropy must be extracted in the form of electrons, but this is not intended for the Stellarator.

Einstein, in his delusion, having to symmetrize Maxwell’s equations, banished electrodynamics from the cosmos with the Lorentz transformation, because he did not want to admit that this transformation is a projective transformation, that is, a mapping. He thus strengthened the position of Christianity and Newtonian mechanics and only relied on the gravitational forces, which Immanuel Velikovsky criticized, in discussions with Einstein in the last months of his life.1

Ralph E. Juergens developed an electric sun model as early as 1979.2 Already in 1972 he wrote: “It is interesting to note that the calculated energy density of cosmic rays in our galaxy is comparable to the total energy density of electromagnetic radiation, including starlight.” 3  He recognized the granules on the surface of the sun as anode tufts and an indication of a self-organizing open system. This model was significantly developed by Don Scott. His book “The Electric Sky” 4  was published in 2006.

Don Scott dealt with the questions of why there are two types of solar wind, which electrical process can bring the solar wind to a standstill over two days and what accelerates the solar wind towards Earth. Can sunspots be integrated into the model? Scott believes that the fast solar wind comes from the photospherical clusters and the slow wind comes from the sun spots around the equator. With his transistor model of the sun, he can explain the different speeds and densities of slow and fast solar wind. The solar wind has an average proton density of about 6 particles per cm3 with a fluctuation range of 3 particles per cm3 in a calm sun, as can be seen from http://spaceweather.com. However, the electric sun model had the disadvantage compared to the classic sun model. It could explain a large part of the phenomena observed on the sun, but it could not explain nuclear fusion.

Don Scott was able to identify the butterfly nebula as a Birkeland current constricted by the pinch effect. If you compare the Wendelstein experiment with the butterfly nebula, which represents a star birth, you immediately notice that the construction of the butterfly nebula is much simpler than a Stellarator. In the visible part of the Birkeland current of this nebula, especially in the Z-pinch node, there is a solid body that opposes the hydrogen gas and the protons. This resistance causes a large change in speed in the current. It’s like when a traffic jam suddenly occurs on the highway. Protons have no brakes, so collisions are inevitable. A mass collapse occurs. The entrained hydrogen molecules crash into each other and ions of higher atomic weight are created indiscriminately, unlike at the LHC in Geneva, where the protons are pulverized due to the maximum energy. While the ions are held up by the solid, the electrons penetrate into the body and out of the side almost unchecked.

At this point we have to come back to Maxwell’s equations because they represent the way forward for modern physics. We find two vortices described there, one magnetic and one electric. Nothing is said about their size. As an open system considered div E describes the entrance. The entropy removed is the electromagnetic radiation, which is not explicitly stated. The magnetic vortex is technically represented by a ferrite ring. We used to use such rings as ferrite core memories in computers for one bit. In its technical form, the electrical vortex is usually a copper coil. We call the combination of a ferrite core and two copper coils a transformer.

The ingenious inventor Nicola Tesla first generated radio waves with such a transformer in 1890 by sending an alternating current through the coil. Nicola Tesla has almost completely disappeared from our consciousness, although he has achieved a much greater achievement for humanity than Albert Einstein. He was the one who laid the foundations of AC technology and thus the basis for our modern energy industry.

To generate light waves, one can assume that similar structures to the Tesla transformer are necessary, but they are much smaller due to the much shorter wavelength. Atoms should work similarly to small Tesla transformers if the theory of quantum mechanics did not block our view of them.

Quantum mechanics is essentially a theory of probability. Probability statements are incomplete statements from which no causal conclusions can be drawn, which is why Einstein rejected them. However, atoms are very concrete objects whose quantitative and qualitative properties are clearly delineated. I consider quantum mechanics to be completely unsuitable as an explanatory model for a single atom. On the contrary, it is a rape of physics. It is different when you look at the mass of the electrons. There is no longer a clear delimitation of individual electrons. Only probability statements do help here.

next week conclusion

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Wal Thornhill: Big Bang – Time to Wipe the Chalkboard Clean

Scientists generally use the term "crisis in cosmology" to describe the numerous and growing evidences that contradict or undermine the Big Bang theory. For decades, numerous scientific papers have been published on the discordancy between the so-called expansion rate in the “early universe,” and the expansion rate in the “later Universe.” In fact, recently the Keck Observatory issued a press release on the reported most reliable verification to date that the discordancy is real. And as we've reported ad nauseam on this series, the cosmological crisis runs much deeper and includes "surprising" discoveries at all scales throughout the cosmos.

In part one of this two-part presentation, physicist Wal Thornhill discusses some of the foundational problems with the standard cosmological model, and the real alternatives that the Electric Universe offers.

https://youtu.be/rZspAmawIpc

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The Expanse is a series of science fiction novels (and related novellas and short stories) by James S. A. Corey, the joint pen name of authors Daniel Abraham and Ty Franck. The first novel, Leviathan Wakes, was nominated for the Hugo Award for Best Novel in 2012. The series as a whole was nominated for the Best Series Hugo Award in 2017.

As of 2019, The Expanse is made up of eight novels and eight shorter works - three short stories and five novellas. At least nine novels were planned, as well as two more novellas. The series was adapted for television by the Syfy Network, also under the title of The Expanse, then they dropped the ball despite the succes of the series, i suspect the whole thing got too serious (expensive) so once again Syfy network proved they can't handle success. Anyway fans were outraged and got Amazon Prime to pick it up for a fourth and fifth series and considering the mountain of money Jeff Bezos sits on i suspect several more as long as the fans keep cheering.

The Expanse is set in a future in which humanity has colonized much of the Solar System, but does not have interstellar travel. In the asteroid belt and beyond, tensions are rising between Earth's United Nations, Mars, and the outer planets.

The series initially takes place in the Solar System, using many real locations such as Ceres and Eros in the asteroid belt, several moons of Jupiter, with Ganymede and Europa the most developed, and small science bases as far out as Phoebe around Saturn and Titania around Uranus, as well as well-established domed settlements on Mars and the Moon.

As the series progresses, humanity gains access to thousands of new worlds by use of the ring, an artificially sustained Einstein-Rosen bridge or wormhole, created by a long dead alien race. The ring in our solar system is two AU from the orbit of Uranus, and passing through it leads to a hub of starless space approximately one million kilometers across, with more than 1,300 other rings, each with a star system on the other side. In the center of the hub, which is also referred to as the "slow zone", an alien space station controls the gates and can also set instantaneous speed limits on objects inside of the hub as a means of defense.


The story is told through multiple main point-of-view characters. There are two POV characters in the first book and four in books 2 through 5. In the sixth and seventh books, the number of POV characters increases, with several characters having only one or two chapters. Tiamat's Wrath returns to a more limited number with five. Every book also begins and ends with a prologue and epilogue told from a unique character's perspective.

Novels
#     Title             Pages     Audio     
1     Leviathan Wakes     592     20h 56m
2     Caliban's War         595     21h     
3     Abaddon's Gate     539     19h 42m
4     Cibola Burn         583     20h 7m
5     Nemesis Games     544     16h 44m
6     Babylon's Ashes     608     19h 58m
7     Persepolis Rising     560     20h 34m
8     Tiamat's Wrath         544     19h 8m
9     Unnamed final novel

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Cibola Burn is a 2014 science fiction novel by James S. A. Corey (pen name of Daniel Abraham and Ty Franck) and the fourth book in The Expanse series. It follows the crew of the Rocinante as they join the flood of humanity out into the galaxy, using the gates built by the ancient civilization that also produced the protomolecule. At the release of Cibola Burn, Orbit Books announced that James S. A. Corey would write three additional books in the series (adding to two that were already planned) to bring the series to nine novels and various short stories.

After the events of Abaddon's Gate, humanity has gained entry to thousands of new worlds and solar systems through the gate networks. At the start of Cibola Burn the United Nations, Martian and Outer Planets Alliance governments have thus far restricted exploration and colonization efforts to one corporate scientific survey mission to one of these planets. Complicating matters is the existence of a colonial settlement already on the planet from before the military blockade of the rings came into effect. Both sides claim ownership in a confrontation reflecting many colonial interactions throughout history. Jim Holden is sent to mediate the interactions between the colonists and scientists when political and racial tensions culminate in violence.

Still dogged by the disembodied presence of Miller, who wishes to investigate the disappearance of the planet's former inhabitants, Holden arrives on a world on the verge of war. Yet the biggest danger to the colonists, scientists and Holden is not the human disagreements that they have brought with them but the frontier. As with the settling of the American West and many colonial projects of Earth's past, the frontier into which humanity has ventured is vast, uncontrolled and full of dangers. When a mysterious disease and horrific disaster strike at the same time and threaten the lives of the colonists and those in orbit, Holden and Miller must brave the ruins of an alien civilization in search of the one thing that might save them all.
Major character arcs

Basia Merton is one of the refugees from Ganymede refused safe harbor in the Solar System. His ship pushed through the gate to be the first to settle a new planet. Called Ilus by the inhabitants, they found a rich vein of lithium that could provide a valuable trading commodity with other systems. The United Nations sends a scientific party to the planet with a legal charter to the land. This drives Basia to actions he never thought he would do, and it seems like he has a never-ending set of decisions between bad choices, while he's only trying to do what he thinks is best for his family.

Elvi Okoye is a scientist on the team sent by the United Nations. Her original task was to try to survey the planet in a pristine state but events make that impossible. Later, she tries to gain insight into the incredible things happening on the planet that make it seem like the most hospitable biosphere found away from Earth may kill them all.

Dmitri Havelock was Miller's partner on Ceres and is now deputy security chief for the UN mission to New Terra. Remaining aboard the ship that brought him while the security chief relocates to the surface, he becomes increasingly concerned about the actions of his supervisor. Later, the fortunate capture of a prisoner from the Rocinante sets a chain of events into motion with long-term repercussions for humanity.

James Holden Sensing trouble brewing on Ilus/New Terra, Chrisjen Avasarala sees the need for someone perceived as unbiased to negotiate and report on events there and chooses Jim Holden. After making the journey, the crew tries their best to balance colonial claims, government priority and the awakening creatures on the planet within a crisis greater than all their earlier concerns.

Miller is still trying to figure out his role within the alien construct, while maintaining his connection with Holden. Eventual clues come together allowing him to shut down the alien machinery and potentially save everyone. However, both the remnants of Miller and the Investigator are killed in the process.

Abaddon's Gate was adapted into episodes 7 to 13 of the third season of the television series The Expanse in 2018, with its title taken for the final episode of that season. It was the last book in the series to be adapted before the show's move from Syfy to Amazon Prime. Meanwhile Amazon has signed a contract to film the complete series season 5,6 and possibly 7, btw season 5 starts this week....

Cibola Burn Epilogue

<a href="https://multiup.org/67ac8380f2bb0c46771fc0061357442b">James S.A. Corey - The Expanse Cibola Burn (57-64)  </a> ( 154min  64mb)

James S.A. Corey - The Expanse Cibola Burn Epilogue (57-64)     154min



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previously

<a href="https://multiup.org/ec2507a66facbe13b61c3d6aafd8b255">James Corey - The Expanse Caliban's War 01-07 </a> ( 139min  63mb)
<a href="https://multiup.org/7c2db1bc4c8f93ff45f2df6e5a901aca">James Corey - The Expanse Caliban's War 08-15 </a> ( 173min  78mb)
<a href="https://multiup.org/d627294ce680b55a5552ee26da80628d">James Corey - The Expanse Caliban's War 16-22 </a> ( 169min  64mb)
<a href="https://multiup.org/71ffc68a701740415df5806f6db5c405">James Corey - The Expanse Caliban's War 23-29 </a> ( 165min  64mb)
<a href="https://multiup.org/2ddc5eb96cece09aafae0029a72381fd">James Corey - The Expanse Caliban's War 30-36 </a> ( 167min  67mb)
<a href="https://multiup.org/b9bbcfa99bc55b573b00e3c0287fedb7">James Corey - The Expanse Caliban's War 37-43 </a> ( 149min  67mb)
<a href="https://multiup.org/37ee50c645c467428254dcfb0092550e">James Corey - The Expanse Caliban's War 44-50 </a> ( 150min  60mb)
<a href="https://multiup.org/1d286bb56f1c77caf49144115f918da1">James Corey - The Expanse Caliban's War 51-57 </a> ( 104min  48mb)
<a href="https://multiup.org/04e5eba5ae7d0b8714c747f135e97208">James Corey - The Expanse Abaddon's Gate 01-07 </a> ( 143min  66mb)
<a href="https://multiup.org/9d31e40248b2d9b26a7d0dbd9237ecb3">James Corey - The Expanse Abaddon's Gate 08-14 </a> ( 157min  72mb)
<a href="https://multiup.org/98823e0797656130ce7e51d3569dacfb">James Corey - The Expanse Abaddon's Gate 15-21 </a> ( 139min  64mb)
<a href="https://multiup.org/bc63015bb4e75014732fbd2558d1db22">James Corey - The Expanse Abaddon's Gate 22-28 </a> ( 158min  72mb)
<a href="https://multiup.org/66e48cef9a80992a672ae47c44cf7979">James Corey - The Expanse Abaddon's Gate 29-35 </a> ( 138min  63mb)
<a href="https://multiup.org/d643ce67098f78606be3c6209f56337b">James Corey - The Expanse Abaddon's Gate 36-42 </a> ( 131min  60mb)
<a href="https://multiup.org/a8ae55abe052929db05681aa453d8c65">James Corey - The Expanse Abaddon's Gate 43-49</a> ( 131min  60mb)
<a href="https://multiup.org/62fc21d2f4526401839898a34dba8c96">James Corey - The Expanse Abaddon's Gate 50-55</a> ( 99min  45mb)
<a href="https://multiup.org/f7f2f9b4f8c292baa4a10cc975434388">James Corey - The Expanse The Vital Abyss </a> ( 146min  67mb)
<a href="https://multiup.org/a342a96876aac55f56cc4d6d19a82489">James S.A. Corey - The Expanse Cibola Burn (01-07) </a> ( 132min  61mb)
<a href="https://multiup.org/231c93090b14ff8bbc0652e462a7498d">James S.A. Corey - The Expanse Cibola Burn (08-14) </a> ( 128min  59mb)
<a href="https://multiup.org/a7a9a2f96fb59f3986666a9b036c24b9">James S.A. Corey - The Expanse Cibola Burn (15-20) </a> ( 134min  59mb)
<a href="https://multiup.org/97725791bb5602961aee81fa64d12bee">James S.A. Corey - The Expanse Cibola Burn (21-27) </a> ( 135min  62mb)
<a href="https://multiup.org/856f2b0017a6269b4631a47417d8e44f">James S.A. Corey - The Expanse Cibola Burn (28-34) </a> ( 135min  62mb)
<a href="https://multiup.org/4f908544c40f49e4f188a0c811247d0d">James S.A. Corey - The Expanse Cibola Burn (35-41) </a> ( 126min  58mb)
<a href="https://multiup.org/f7d9a031a03c2f95e58047befb0c55f2">James S.A. Corey - The Expanse Cibola Burn (42-48) </a> ( 154min  70mb)
<a href="https://multiup.org/e7f40aef0212205f097fe4c62ab428b7">James S.A. Corey - The Expanse Cibola Burn (49-56)  </a> ( 161min  74mb)


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Sundaze 2113

 Hello, hope you enjoyed that extra hour of sleep, i needed it to make some sense of today's artist discography, aliasses, lots of different co-productions and all against a back drop of his installations' a hard working man indeed


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




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

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

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


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Alva Noto is digital sound and visual artist Carsten Nicolai, aka Noto, head of the Noton half of Germany's Raster-Noton cooperative label now known simply as Raster Music. This disc is brought to us by fellow German electronic label Mille Plateaux and is referred to by them as being of the "digital processing" style. The 10 untitled tracks are a continuous suite of minimalist compositions constructed of the familiar sounds that seem to naturally emanate from everyone and everywhere in Germany these days. For nearly 50 minutes Nicolai precisely codes structured, layered loops of clicks, pops, artifacts, "beats", waves, tones, pulses, static, silence and noise into pleasant and listenable mini(mal) symphonies. The active evolution of each piece is both on a macro and micro level and the stereo field is fully explored ... attentive headphone listening ensures the full effect. And though the sounds are similar throughout, there's plenty of variation in how they are presented within each track and from track to track, this along with sharp composition skills are the keys to maintaining my interest. Nicolai is simply one of the most talented in the field. The title literally means "an original model on which something is patterned" so I can only assume that these prototypes will spawn more in the near future



<a href="https://multiup.org/99fe01e63e1e722b9873d2fbb3a83fc7">   Alva Noto - Prototypes  </a> ( flac 247mb)

01."Untitled"    0:55
02."Untitled"    7:25
03."Untitled"    4:03
04."Untitled"    5:23
05."Untitled"    0:50
06."Untitled"    6:58
07."Untitled"    5:16
08."Untitled"    5:35
09."Untitled"    6:17
10."Untitled"    7:01


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Mika Vainio and .Noto present us with a truly heavyweight clicks'n'cuts soundclash. As can be expected, conventional harmony has been obliterated, what remains are atomised fragments of noise: low-end rumbles, high-end bleeps, jagged flashes of rhythmless percussive pops and crackles and skipping glitch-outs.

Over the course of an hour's worth of computerised hums and tones, an unsettling, mechanised universe is created: the amplified surface-noise/drone concoction of "Mur" brings to mind a pollution-drenched, fogbound sea; the pitter-patter of "Beispiel Drei" naturally brings to mind Berlin's rain-sodden footpaths albeit clogged up with a thousand shuffling androids; and "Süsssonor" is the theme music for a closed circuit TV camera movie yet to be made. This is ugly sound... oppressive and claustrophic, harsh and intrusive, it'll never top the pop charts or provide the soundtrack for a love affair. There is something compelling here though, a pulse... a crackle... a rhythm... I'm not sure, something almost indefinable...



<a href="http://depositfiles.com/files/vlfaceg71"> O + Noto - Wohltemperiert  </a> ( flac 287mb)

01 Los 0:15
02 Hain 5:41
03 Mur 7:24
04 Beispiel Drei 1:53
05 Melodie 6:26
06 Beispiel Zwei 4:08
07 Beispiel Eins Plus 1:07
08 Knödeltraum 3:59
09 Mur Rückkehr 8:14
10 Grille 7:55
11 Süsssonor 7:17
12 Beispiel Rausch Vier 4:00
13 Struktur 0:22
14 Ems 0:42
15 Swielichtmelodie 1:27

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Transform is the second studio album by German electronic artist Alva Noto. It was released on September 4, 2001 via Mille Plateaux label. The album was re-released in 2008 via Raster-Noton label. The album is the first part of Alva Noto's Transall series, along with the EPs Transrapid, Transspray, and Transvision (2001–2006).

Mark Richard-San of Pitchfork wrote "Nicolai's keen sense of rhythm is the first thing you'll notice about Transform ... While Transform is a solid success on its own terms, the record lacks a certain spark that might push it into greatness. There are no moments of wonder, where you pause and listen closer, straining to understand how something so little could affect you so much. It is possible to achieve the sublime with these limited ingredients (see Ikeda, for one), but Transform is cleaner than a whistle, clearer than a bell, and purer than a fresh snowfall on a Canadian Rockies mountaintop. Yet its beats are heavier than a howitzer’s. Go figure.



<a href="https://www.imagenetz.de/Eu66a">   Alva Noto - Transform </a> ( flac 319mb)

01 m 01 5:49
02 m 02 3:37
03 m 03 10:09
04 m 04 6:26
05 m 05 4:43
06 m 06 5:36
07 m 07 4:58
08 m 08 5:27
09 m 09 7:45
10 m 10 2:41

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Classic material from the Raster Noton vaults, this first full-length collaboration between Carsten Nicolai and Thomas Knak finds both artists at the very height of their powers. There's a level of focus on this album that allows the whole experiment to gel together far more convincingly than on the follow-up album released only a year or two back. Bringing to mind Transform-era Alva Noto and Possible-era Opiate these tracks seamlessly integrate subtle, elemental electronic melodies into the kind of sterilised rhythmic frameworks Nicolai made his name with. That said, Knak isn't just here to provide a tuneful foil to the Alva Noto clicks+cuts machine - he can glitch it up with the best, serving up dub chamber echo sparks to add a more analogue, physical slant on the prickly micro beats. It's really wonderful to hear this again, and it surely stands as a considerable achievement that even six years on from its release this music still sounds like a cutting edge piece of electronica. 'Opto File 1' is just magical: the warm crackle of those beats and the gradual hum of undulating chords sounds like an orchestra of fluorescent tubes switching themselves on and off with some freakishly musical outcome. Awesome.



<a href="https://mir.cr/LIA4KF0C">   Alva Noto & Opiate - Opto Files.</a> ( flac 195b)

01 Opto File 1 5:08
02 Opto File 2 17:40
03 Opto File 3 7:55
04 Opto File 4 2:34


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Between January and April 2003 Carsten Nicolai (Alva Noto) and Thomas Knak (Opiate) produced their “2nd” Opto collaboration. The work was initially commissioned in Japan for a clothing line inspired by the forest theme. As part of a commissioned work, the music had to sound organic and reproduce a more melodic feeling compared to the first Opto release (Opto Files, Raster-Noton, in 2001). During the same time, Nicolai found an old and damaged cassette in a forest located in the North East part of Berlin. The tape contained nearly inaudible lo-fi recordings of guitar pieces. The forest ambience and the old guitar recordings became the template for “2nd”. When collaborating on their first Opto album, the two artists exchanged audio files back and forth from their respective studios in Berlin and Copenhagen. This process became part of the concept for “2nd”. After received assistance to restore the recordings from the magnetic audiotape, Nicolai exchanged the guitar’s sound files with Thomas who started working on the beat structure and added field-recordings of a forest near his studio. The recording process of the tracks was made at different hours across two days – a process which inspired the track titles. The album can be listened in one take as an extended track lasting 48 hours and 40 min, or by selecting the melodic and “daylight” beats from the moodier and static night productions. In “2nd”, DSP and glitch meet the traditional way of sampling concrete sounds.



<a href="https://multiup.org/70a7f11afc19041e27b1fd9375ba6c5f">   Alva Noto & Opiate - Opto 2nd.</a> 243mb

01 04.34 a.m. (4:26)
02 10.45 a.m. (5:33)
03 02.12 p.m. (3:53)
04 06.18 p.m. (2:54)
05 10.11 p.m. (5:16)
06 05.10 a.m. (5:37)
07 11.33 a.m. (4:20)
08 04.24 p.m. (3:01)
09 08.07 p.m. (3:49)
10 11.45 p.m. (13:04)

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RhoDeo 2112 Grooves

Hello,   yes i'm still alive, but then my relation with the internet is shaky, that's what you get with capatalist monopoly...bad service and now my telephone cut out too hmmm . Luckily F1 starts again this weekend 7 fold champ Hamilton played hard to get but he must be curious how it feels to be champion with serious competition, this season it looks that Honda finally caught up with Mercedes and deliver a car that Max Verstappen will ride to glory,



Today's Artists was among the top urban contemporary acts of the '80s and fared well in the adult contemporary market as well, but their roots were '70s soul and funk. Several members first recorded together as Newban, a funk group that  took shape that same year, formed in White Plains, New York by three brothers: lead singer/guitarist David Lewis, lead singer/keyboardist Wayne Lewis, and trombonist/percussionist Jonathan Lewis. The lineup was filled out by singer Sharon Bryant, trumpeter William Sudderth, saxophonist Damon Rentie (who was replaced by Koran Daniels in 1981), bassist Clifford Archer, drummer Porter Carroll, Jr., and percussionist/flutist Joseph Phillips. Influenced by the likes of Earth, Wind & Fire, Commodores, New Birth, and L.T.D., they started playing around the northeastern U.S.,  N Joy

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Atlantic Starr was among the top urban contemporary acts of the '80s and fared well in the adult contemporary market as well, but their roots were '70s soul and funk. Several members first recorded together as Newban, a funk group that released two 1977 albums, Newban and Newban 2, on the Guinness label. Atlantic Starr took shape that same year, formed in White Plains, New York by three brothers: lead singer/guitarist David Lewis, lead singer/keyboardist Wayne Lewis, and trombonist/percussionist Jonathan Lewis. The lineup was filled out by singer Sharon Bryant, trumpeter William Sudderth, saxophonist Damon Rentie (who was replaced by Koran Daniels in 1981), bassist Clifford Archer, drummer Porter Carroll, Jr., and percussionist/flutist Joseph Phillips. Influenced by the likes of Earth, Wind & Fire, Commodores, New Birth, and L.T.D., Atlantic Starr started playing around the northeastern U.S. Atlantic Starr began in Greenburgh, New York with trumpeter Duke Jones (who left the band prior to their first recordings), drummer Porter Carroll Jr., bassist Clifford Archer, percussionist and flautist Joseph Phillips, Sheldon Tucker (Guitar; parted ways with the band before the first recordings), and three brothers: David Lewis (vocals/guitar), Wayne Lewis (keyboards and vocals), and Jonathan Lewis (percussion and trombone). The band's membership eventually stabilized around Carroll, Archer, Phillips, the three Lewis brothers, lead singer Sharon Bryant (who was later replaced by Barbara Weathers), trumpeter William Sudderth III, and saxophonist Damon Rentie (who was later replaced by Koran Daniels). In 1977, the band came to Westwood, California and performed on the nightclub scene under the name "Newban," which they agreed to change at the request of A&M Records executive Herb Alpert when they were signed. Having already agreed to keep the Starr part of an early idea for a new band name, the members decided to add the word Atlantic, because of their East Coast roots. The nine-member band were now A&M employees.

Throughout the late 1970s and early 1980s, Atlantic Starr scored several hits on the R&B charts. However, significant crossover success (onto the pop charts) did not come until halfway into the 1980s, with the release of their album As the Band Turns (their last on A&M Records), and the single "Secret Lovers". By this time, the band had pared itself down to a quintet, consisting of the three Lewis brothers, Phillips, and Weathers. In 1987 (after signing to Warner Bros. Records), the band solidified their pop success by scoring a #1 pop (and R&B) hit with "Always", a love ballad off their album All in the Name of Love. Following this success, Weathers left for a solo career, and she was replaced by Porscha Martin for the band's next album, 1988's We're Movin' Up. Although this album was not quite as successful as its predecessors, it did produce another #1 R&B hit with "My First Love."

The band continued to score hits on both the R&B and Pop charts into the early 1990s. 1991 saw the introduction of yet another new female lead singer, when Martin was replaced by Miss Black America 1986 Rachel Oliver, for the album, Love Crazy.[2] This album featured the band's biggest hit of the 1990s, with "Masterpiece" reaching #3 on both the pop and R&B charts in early 1992. The group toured to Japan in 1992 with yet another female vocalist at the helm, Crystal Blake, a studio vocalist for Stevie Wonder who had also sung the female lead parts on the minor hit title track for Eddie Murphy's How Could It Be album and Young MC's "Bust a Move."

Following the release of Love Crazy, Atlantic Starr's relationship with Warner Bros. Records dissolved, and in 1994, the band recorded one album for Arista: Time. That album was a commercial disappointment and the single "I'll Remember You" only made it to the fifties on Billboard's R&B and pop singles charts. Time (which was David Lewis' last album with the band) found a fifth female singer, Aisha Tanner, replacing Oliver. And when 1999's Legacy was distributed by the small, independent Street Solid label, Atlantic Starr unveiled yet another lineup—one that consisted of two Lewis Brothers (Wayne and Jonathan) as well as Oliver (who had returned and replaced Tanner) and a new male singer named DeWayne Woods. Although Legacy received little attention, Atlantic Starr still continues to perform today and released their 14th album, Metamorphosis in 2017, featuring L'john Epps and Melessa Pierce.

Newban/Atlantic Starr's original Personal Manager was Earl Cole of Cole Classic Management. Earl Cole moved with the group from White Plains, New York. Upon arriving in Los Angeles, California, the group was introduced to their Business Manager, Earl Harris of Harris Management in 1977 by Mr. Harris' nephew, Al Scaife of Enter-Prizin' Management. Earl Harris eventually acquired the role of Personal and Business management for the group and remains their manager to this day.

Original members
After leaving Atlantic Starr, original drummer and founding bandmember Porter Carroll, Jr. released a self-titled solo album (Porter Carroll II) in 1986. This album featured contributions from several prominent musicians, including Marcus Miller, David Sanborn, and former Starr bandmate Sharon Bryant. He has continued to do session work since that time, and is currently playing percussion in Daryl Hall's live band.Following her exit from Atlantic Starr, singer Bryant embarked on a solo career and released an album in 1989, scoring several big hits on the R&B charts, as well as a minor Pop hit from the project. Original saxophonist Damon Rentie went on to a solo career of his own, releasing his first solo album, Designated Hitter in 1985. His second and third solo albums followed in each successive year (1986 and 1987, respectively). He had also previously done session work with DeBarge. Original trumpeter William Sudderth continues to follow an active schedule in the music business, performing in many diverse settings and having become one of the most sought-after horn players in the industry.Bassist Clifford Archer currently resides in Tokyo, Japan where he performs regularly as a musician and session player. Original member Albert "Duke" Jones remains involved in the music industry. Joseph Phillips, original percussionist and flautist is currently working with the Reverend Bryan Oakley, producing gospel music.

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 Atlantic Starr was still trying to get its sound together when this, its first album to the hit the charts, was released. The nine-piece band had an impressive showing on the Billboard R&B charts with "Stand Up" and "Keep It Comin'." The former, led by Wayne Lewis, is a hand-clapping affair with a humpin' funk groove. The latter, led by Sharon Bryant and David Lewis, is a decent effort. Respectively, they both peaked at 16 and 49 on the charts. "(I'll Never Miss) The Love I Never Had" is a notable number. David Lewis comes across with a more convincing delivery than on the other selections he is featured on. The most engaging number is "With Your Love I Come Alive," which showcases Porter Carroll Jr. on lead. His tenor is brawny yet agile and his delivery comes with an unrehearsed feel. Wayne Lewis' vocals were still in a developmental stage, and he had not yet grasped that imposing tone he would later master.

<a href="https://multiup.org/7a17430c2ad759d5e70dd0f9664f524a">   Atlantic Starr - Atlantic Starr </a> (flac   297mb)

01 Stand Up 4:29
02 Keep It Comin' 4:35
03 Visions 3:32
04 Being In Love With You Is So Much Fun 3:57
05 (I'll Never Miss) The Love I Never Had 3:55
06 Gimme Your Luvin' 4:57
07 With Your Love I Come Alive 4:16
08 We Got It Together 3:53
09 Don't Abuse My Love 2:56
10 Where There's Smoke There's Fire 4:23

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These days, most A&R people at major labels (as opposed to indies) no longer believe in honest-to-God artist development -- if an artist's first album isn't a hit, he/she gets dropped. But back in the '70s, major label A&R people were, as a rule, a lot more patient. They were more likely to view the artist as a long-term investment, which is why three- or four-album contracts weren't uncommon -- labels reasoned that if an artist's first or second album wasn't a hit, the third or fourth just might be. Atlantic Starr is a perfect example of a band that benefited from insightful, smart A&R. In the late '70s, Atlantic Starr was a diamond in the rough that needed to be developed -- thankfully, A&M's A&R department was wise enough (and patient enough) to develop the East Coast outfit. One hears a lot of potential on Atlantic Starr's second album Straight to the Point, which Bobby Eli produced at Philadelphia's legendary Sigma Sound Studios. From the funky single "(Let's) Rock 'N' Roll" to the slick "Let the Sprit Move Ya" (which has a Euro-disco flavor) and the soul ballad "Losin' You," this 1979 release is a generally decent (if slightly uneven) sophomore effort. But it isn't fantastic or mind-blowing, and not until 1981's Radiance did Atlantic Starr really start to live up to its creative and commercial potential. In 1979, Atlantic Starr was like a student who was getting Bs and Cs on his/her report card but had the potential to bring home a lot of As -- the potential for excellence was there, and thank God A&M helped the band make the transition from decent to excellent. Although not among Atlantic Starr's essential releases, Straight to the Point is an LP that hardcore fans will find interesting.



<a href="https://mir.cr/1BY2SFZK"> Atlantic Starr - Straight To The Point </a> (flac   241mb)

01 (Let's) Rock 'N' Roll 7:30
02 Kissin' Power 6:23
03 Let The Spirit Move Ya 5:08
04 Straight To The Point 4:45
05 Bullseye 3:15
06 What'cha Feel Inside 3:39
07 Fallin' In Love With You 3:29
08 Losin' You 5:28


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Atlantic Starr on Radiant was amazingly consistent.
They were a certain rare bird who could do disco, funk, pop and ballads equally well. Even if just the uptempo songs were good, this would be a worthwhile album for "When Love Calls" and "Mystery Girl" alone. The album opener, "When Love Calls" hits all the right spots with rhythm section and straightforward keys the perfect counter to Sharon Bryant's solid singing. A true masterpiece of soul disco. "Mystery Girl" meanwhile is one of those chance meeting type songs and another sure fire winner.

"Think About That" shows funk is still a part of the game, and most importantly for the ballads, the songwriting brought in some of the best teaming up with Sam Dee for the Quiet Storm dedication numbers "Send For Me" and "Am I Dreaming". ....Not to be missed.

                                            
<a href="http://depositfiles.com/files/nn0z1j3zr"> Atlantic Starr - Radiant</a> (flac   233mb)

01 When Love Calls 4:33
02 Does It Matter 4:28
03 Think About That 5:02
04 Send For Me 5:28
05 Mystery Girl 4:27
06 Am I Dreaming 5:37
07 Under Pressure 4:05
08 My Turn Now 4:38
   

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Atlantic Starr returned with James Carmichael producing, bringing more good stuff on Brilliance which reached number one on the R&B album chart. Lead single "Circles" with its smooth disco soul is more excellence both from the tight rhythm section and the stirring vocal from Sharon Bryant.

Meanwhile other dance numbers are firmly in 1982 with the funk slap was more pronounced as heard on the falsetto vocalized, "Love Moves" and the exciting "Sexy Dancer". Sam Dees and Harold Johnson are also back contributing the songwriting on another winning slow jams "Your Love Finally Ran Out" and "Let's Get Closer".
Again forget about the crossover "Always" this was the peak for Atlantic Starr.




<a href="https://www.imagenetz.de/3gSPW"> Atlantic Starr - Brilliance </a> (flac   247mb)

01 This Must Be The Night For Love 6:57
02 It's Got To Be You 6:32
03 Star Child 4:08
04 Keep It Up 3:23
05 Just Can't Stop Dancin' 6:18
06 Dancin' Dream 4:47
07 Let Yourself Go 4:50
   

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