Earth Search 1009

Hello, well i noticed yesterday and saw it confirmed today that one of the minor hosts i use, Fileducky, no longer responds, in the case of Rho-Xs this means the loss of 58 links..sigh these were all sec or some third time uploads, looks like i will have to get thru that motion again.. Meanwhile the world is wondering about more silly Wikileaks and how much the Sunni ruling class fears Iran, thusfar they just stopped short of hiring Israel as their gunslinger, assuming big brother US would stamp it's foot down..silly sheiks no grasp of global politics, boogieman Amenijad is good for (weapons) business and keeps the oil flowing. Last thing the US wants is a democratic Iran..and the boogieman knows this..hmm. Enough of that, the UK is getting it's fair share of global warming these days..(where's that warm gulfstream gotten to)..Problems.. our Challenger crew seems to see no end to theirs..

The Setting

Some years before the story opens, the huge Earth starship Challenger, on a mission to find Earth-like planets for colonization, encountered a meteoroid shower that killed all of the adult crew and seriously damaged the ship. The only human survivors were four babies - two boys, Telson and Darv, and two girls, Sharna and Astra.The four have been raised from childhood by androids and tutored by two disembodied voices called Angel One and Angel Two. Most of the humans believe the voices are real angels, but Darv is more suspicious and believes they are actually computers.

Darv is correct. The Angels are the Challenger's ancillary control computers. Due to a fault in their design they have become megalomaniacal and want to return to Earth and rule it. It was they who deliberately manoeuvred the Challenger into the path of the meteoroids and shut off the ship's defences. Unfortunately for them, they underestimated the amount of damage that would result, not only to the ship but themselves. As a result they have lost an unknown amount of potentially vital information about the nature of space and time.....

The starship Challenger has returned home and the crew have discovered the Earth has vanished and been replaced by the moon, not only that they find their lives in peril from a once benign force.Researching this 'new' solar system is essential to get some answers....Darv and Astra of the Challenger crew land on a strange planet, Zelda 5, and are taken prisoner by the inhabitants of Zelda 5. Their fate is death, luckily the found another path to search for Paradise...What they found was the Challenger's sister ship where its population know nothing of life beyond their own craft. Having liberated themselves from the unwanted attentions they get a big shock as their home base Challenger decided to go it alone so it seems..More rampant robotics coming up, nobody seems to care about that old first law of robotics..thou shalt not kill humans (ahum, tell that to the cylons)


EarthSearch - 09 Star Cluster Tersus (12mb)


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Sundaze 1009

Hello, today there's plenty to get exited about, were it not that it's Sundaze. One of those things that happen whilst researching is that one finds albums that were missed and so earlier i got the awardwinning DJ Sprinkles album aswell as Thaemlitz mix album..You again? Hmm.. not that i haven''t got much time to listen but what i'm hearing currently is most agreeable..and so we come to the first artist of the day Terre Thaemlitz , i posted some of his work before, noticable as links in the text..The album here is very ambient. severe at times--in great contrast to say KLF's Chill out. Second Theorem (Dale Lawrence) in a sense Richie Hawtin's wingman not surprisingly he's the only one on Hawtins M_nus label (beside's the master) Dale is more relaxed, ambient in his approach to techno. Third today is PanAmerican or Mark Nelson who's bubbly trancy ambient releases himself from the intense art band Labrador..I know it's almost too much to take in, but give it a try..

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New York-based composer Terre Thaemlitz is one of only a handful of significant American artists working in the new ambient vein. He's released the bulk of his material through the Instinct Ambient label, but has also issued tracks (under his own name and as Chugga) on his own Comatonse label and through others. Although Thaemlitz's entre into electronic came in a somewhat traditional fashion -- as a house DJ -- his explorations in electronic abstraction have been anything but, focusing on themes of abjection, alienation, fracture, and contradiction in his music. Thaemlitz's recorded work, collected on albums such as Tranquilizer and Soil, is closer in tone to ambient-leaning industrialists He's also recorded with Bill Laswell, releasing Web in 1995, and done remix work for Interpieces Organization and the Golden Palaminos, among others.

Born in Minnesota and raised in Missouri, Thaemlitz moved to New York in the mid-'80s to pursue art scholarship at Cooper Union. Soon distracted by the growing New York house scene, he began DJing at drag balls and benefits, leading to an Underground Grammy for best DJ in 1991. Although primarly a dancefloor DJ, Thaemlitz's insistence upon integrating house music's more simplistic monotony with challenging, complicated breaks and references earned him an uneasy relationship with club promoters looking for DJs whose only commitment was the 4/4 beat. Retiring from club DJing in the early '90s (although he continues to spin experimental electronic music at art galleries, one-offs, and in other marginal contexts), Thaemlitz began making his own tracks, beginning with house but quickly moving into genre defying fusions of funk, soul, disco, and musique concrete, and eventually settling into experimental ambient. One of his earliest works, "Raw from a Straw," in addition to limited release through his own Comatonse label, appeared on an early ambient compilation on Instinct, and earned him an almost instant reputation. He's since fortified that with a pair of full-length releases remarkably free of many of the cliched conventions of club-drived ambient.

Electro-acoustician Thaemlitz took the long road around expectation for his Mille Plateaux debut, opting for a set of solo piano extrapolations of songs by Kraftwerk,, "Roboter Rubato" . Built on a high-clearing deck of post-industrial cultural analysis over the course of its seven-plus pages of liner notes, the music on the disc requires little in the way of explanation. Thaemlitz' sparse, inventive interpretations are pleasing enough on their own. Thaemlitz: " I don't play piano, but I've always been aware of the ability for persistent "unskilled" improvisation to invoke a sense of competency, if not virtuosity. 2 years later he released another tribute , this time to his childhood favourite, Gary Numan, "Replicas Rubato" (Mille Plateaux, 1999), both accompanied by thoughtful, philosophical liner notes.

The theoretical component of the program gets a little out of hand with Means From An End (Mille Plateaux, 1998), Institutional Collaborative (Mille Plateaux, 1998), Love For Sale (Mille Plateaux, 1999), Interstices (Mille Plateaux, 2000), all of them based on computer processing of found sounds. Fagjazz (Comatonse, 2000) is a two-disc monolith. The first disc is an anthology of early, hard to find tracks. The second disc is an hour of improvisation with a jazz ensemble. In 2001 he relocated to Japan. in 2003 Terre released Lovebomb (Mille Plateaux,, yet another exercise in collage of samples and tape manipulation that rarely (Between Empathy and Sympathy is Time, Sintesi Musicale del Linciaggio Futurista) elicits emotions and most often sounds like advertising for the specific devices that he is using.

These past years Terre divided his attention between film/video and music, under his alias DJ Sprinkles he's released a number of 12"as well as an deep house album, Midtown 120 Blues. Under his own name, Transister and the You? Again? cyclus and several releases as the Kami-Sakunobe House Explosion K-S.H.E (how's that for one androgyne's moniker ?)



Terre Thaemlitz - Soil (93 now in Flac 222mb)

01 Subjective Loss, Day 83 (9:25)
02 Elevatorium (10:43)
03 Yer Ass Is Grass (8:22)
04 Trucker (9:53)
05 Aging Core, Aging Periphery (10:04)
06 Cycles (11:41)

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Dale Lawrence is a creative Web designer-illustrator by day and the one-man ambient techno, Theorem by night. On this first full-length compilation of Theorem’s 12" single releases over the last year, Lawrence proves himself a reverent and, better still, competent successor to the moody, patient, headphone techno favored by the likes of Kenny Larkin and Carl Craig over the past five years. Lawrence’s MO is to build a mood, not play it, which is why he prefers dub-softened drum sounds and long, room-temperature synth washes to make his tracks as textural as they are musical – as the binary-dub of the opening "Debris" evidences with its plush, gray electronic funk.

Where Ion as a whole really shines, in its quietly glowing way, is in showcasing the album-spanning range of Lawrence’s minimal-yet-full production touch. Certainly a bedroom producer-student of early Brain Eno, and not too far from the Plastikman effects-rack experiments of Consumed, Lawrence makes music you can listen to an album’s worth at a time and don’t have to be a DJ to appreciate. A very unique album in the minimal, techno, ambient realm.



Theorem - Ion (99 now in Flac 321mb)

01 Debris (5:41)
02 Embed (10:47)
03 Cinder (9:18)
04 Shift (14:18)
05 Fallout (8:44)
06 Igneous (6:05)
07 Emerge (13:04)

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Pan American is the alter ego of Mark Nelson, vocalist and guitarist for the band Labradford, who first began recording under that moniker in 1997. During that summer of 97, he started recording a full length album for Kranky at home and at Sound of Music Studios in Richmond, Virginia. Mark's contributions to Labradford as the trio's guitarist and singer, might prepare the listener somewhat for the debut Pan•American album. Those lucky enough to be in contact with the independent taping community (which is the last, true underground left) and in possession of earlier Pan•American cassettes may be somewhat forewarned. But who could have expected what has emerged from months of sampling, recording, and mixing?

Pan American debuted with a self-titled album on Chicago's Kranky Records in 1998. Nelson then recorded a track for the British experimentalist-electronic label Fat Cat's Split series, and also played live with pedal-steel genius B.J. Cole. His second Pan American LP, 360 Business/360 Bypass, appeared in early 2000 with collaborations from Chicago trumpeter Rob Mazurek and the members of Low. A series of split CDs followed, including 2001's Personal Settings: Preset 1, and Nelson returned to his full-length efforts with the stripped down 2002 effort The River Made No Sound. Released two years later, Quiet City brought back the textured layers of Pan American's earlier material, while White Bird Release appeared in 2008.

Comprised of 6 long tracks, "360 Business, 360 Bypass" has things in common with both Pole (without all the glitch sounds), as well as different Basic Channel releases. The opening track of "Steel Stars" rumbles along for over 10 minutes with molasses low end and different drones of sound and a touch of clicks. It then fades directly into the second track "Code," which goes into an almost ambient section at the beginning before again locking into a slow groove. Changing things up a bit, Alan Sparhawk and Mimi Parker of Low add almost chant-like vocals to the track, giving it a ghostly quality that works quite well. In addition to the vocals, Nelson lets other more organic elements creep into the tracks in the form of pedal steel guitar (seeping through most noticibly on the beautiful "K. Luminate"), as well as the coronet playing of Rob Mazurek of the Chicago Underground Duo. "Double Rail" moves along with some more luscious bass and a light metallic ping of a beat. One of the qualities of "360 Business, 360 Bypass" is its almost trancelike nature, with warm tones guiding each and every track, providing a real Sundaze soundscape .



Pan•American - 360 Business, 360 Bypass (99 295mb)

01 - Steel Stars (10:41)
02 - Code (6:38)
03 - Double rail (12:29)
04 - Coastal (5:23)
05 - K Luminate (9:26)
06 - Both Ends Fixed (11:25)

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RhoDeo 1008 Goldy Rhox 2

Hello, today the 2nd post of the new format; GoldyRhox, classic pop rock , most of the albums i 'll post made many millions for the music industry and a lot of what i intend to post still gets repackaged and remastered decades later, squeezing the last drop of profit out of bands that for the most part have ceased to exist long ago, although sometimes they get lured out of the mothballs to do a big bucks gig or tour. Fact is the music produced back then got released in an environment that wasn't as segmented as later decades..with our current time being totally segmented and i don't talk just in music but everything thats out there, games , the internet that brings everything that has been produced music wise up for grabs..

Now i'm not as naive to post this kinda music for all to see and have deleted, these will be a black box posts, i'm sorry for those on limited bandwidth but for most of you a gamble will get you a quality rip and for the younger visitors, for certain something to confront your parents with (as loud as possible)..don't like it, deleting is just 2 clicks...That said i will try to accomodate somewhat and produce some cryptic info on the artist and or album.

With such a wide choice available the agony of choice (german saying) sets in, not sure how this will pan out but i want to give last weeks 'gamblers' a leg up with this weeks vague description..

Todays album was released a month earlier than Goldy Rhox 1, originating from the same country where that month bombs went off in the capitol. On the cover a starfucker, girlfriend of the leadsinger who was helped to a musical career by last weeks artist. Todays album was the second of the band and ranks in the alltime billboard 500, afterwards a member left and carved out his own place in music history...the band went on and achieved platinum status a decade later but that says more of the musicworld than the quality. Subsequently the band split and the leadsinger soldieres on until this date..


Goldy Rhox 02 (flac 275mb) Goldy Rhox 02 100mb

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RhoDeo 1008 Aetix

Hello, . Well, the amount of eighties compilations that have been released these past 2 decades is almost overwhelming, and if you like me regularly browse thru the sales at the big chains or sec hand shops one can pick up plenty for a fiver. Obviously the quality of these samplers isn't always great, many fillers that makes me think what the hell is that. Still there's plenty worth while out there..and obviously way cheaper then buying the odd track at the Steve Jobs Shop. There can be a lot of overlap too and some artists never/rarely seem to appear on samplers. Well ive got some strong samplers on ice , these will appear next year probably, for now you still can choose cd 2 and 3 from last weeks compilation....see if you can compile your own sampler from the 60 tracks and then play it randomly..(a good quality test).

Here are the 2nd & 3rd installment of a great collector’s package , and a further addition/inspiration to anyone planning an 80's party.



VA - Anthem Electronic 80's 2 194mb

01 - The Human League - Love Action [I Believe In Love] (4:37)
02 - Heaven 17 - Temptation (3:24)
03 - Spandau Ballet - To Cut A Long Story Short (3:19)
04 - Scritti Politti - Absolute (4:06)
05 - Blancmange - Living On The Ceiling (3:45)
06 - The Thompson Twins - Love On Your Side (3:29)
07 - A Flock Of Seagulls - Wishing [If I Had A Photograph Of You] (5:30)
08 - China Crisis - Black Man Ray (3:28)
09 - Thomas Dolby - Hyperactive! (4:46)
10 - Landscape - Einstein A Go-Go (2:59)
11 - Simple Minds - New Gold Dream [81-82-83-84] (5:16)
12 - B.E.F. - Groove Thang (4:06)
13 - Lotus Eaters - The First Picture Of You (3:38)
14 - Stephen Duffy - Kiss Me (3:26)
15 - Go West - We Close Our Eyes (3:40)
16 - Kajagoogoo - Too Shy (3:42)
17 - Furniture - Brilliant Mind (3:41)
18 - Belouis Some - Imagination (3:34)
19 - It's Immaterial - Driving Away From Home [Jim's Tune] (3:49)
20 - The Art of Noise - Moments In Love (4:38)


VA - Anthem Electronic 80's 3 186mb

01 - Tears For Fears - Mad World (3:31)
02 - Pet Shop Boys - West End Girls (3:58)
03 - New Order - Blue Monday (4:59)
04 - Duran Duran - The Reflex (4:21)
05 - Bronski Beat - Smalltown Boy (4:28)
06 - Yazoo - Situation [12' Remix] (3:40)
07 - Erasure - Sometimes (3:35)
08 - David Bowie - Fashion (4:08)
09 - Blondie - Rapture (3:34)
10 - Philip Oakey & Giorgio Moroder - Together In Electric Dreams (3:49)
11 - Johnny Hates Jazz - Shattered Dreams (3:27)
12 - Deborah Harry - French Kissin' In The USA [Edit] (4:10)
13 - Classix Nouveaux - Is It A Dream (3:36)
14 - Sigue Sigue Sputnik - Love Missile F1-11 (3:43)
15 - Devo - Whip It (2:38)
16 - John Foxx - Underpass (3:17)
17 - Sparks - Beat The Clock (4:22)
18 - Propaganda - Duel (4:14)
19 - Paul Hardcastle - 19 (3:31)
20 - M-A-R-R-S - Pump Up The Volume (4:00)

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Earth Search 1008

Hello, well Vettel became Champion and tonight i watched Alonso sketch what could happen during the pressconference after the penultamate race..amazingly this was exactly what did happen...go figure he didnt heed his own warniing...nuf said about F1..this is all about a spaceship with a couple of confused computers running part of the show..luckily us clever humans are here to save the day ...hmm.. from the mess we created ourselves mostly

The Setting

Some years before the story opens, the huge Earth starship Challenger, on a mission to find Earth-like planets for colonization, encountered a meteoroid shower that killed all of the adult crew and seriously damaged the ship. The only human survivors were four babies - two boys, Telson and Darv, and two girls, Sharna and Astra.The four have been raised from childhood by androids and tutored by two disembodied voices called Angel One and Angel Two. Most of the humans believe the voices are real angels, but Darv is more suspicious and believes they are actually computers.

Darv is correct. The Angels are the Challenger's ancillary control computers. Due to a fault in their design they have become megalomaniacal and want to return to Earth and rule it. It was they who deliberately manoeuvred the Challenger into the path of the meteoroids and shut off the ship's defences. Unfortunately for them, they underestimated the amount of damage that would result, not only to the ship but themselves. As a result they have lost an unknown amount of potentially vital information about the nature of space and time.....

The starship Challenger has returned home and the crew have discovered the Earth has vanished and been replaced by the moon, not only that they find their lives in peril from a once benign force.Researching this 'new' solar system is essential to get some answers....Darv and Astra of the Challenger crew land on a strange planet, Zelda 5, and are taken prisoner by the inhabitants of Zelda 5. Their fate is death, luckily the found another path to search for Paradise...What they found was the Challenger's sister ship where its population know nothing of life beyond their own craft. Having liberated themselves from the unwanted attentions they get a big shock as their home base Challenger decided to go it alone so it seems..

EarthSearch - 08 Marooned (11mb)


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Sundaze 1008 Inside Out

Hello, today something of an Inside Out episode of Sundaze, some medative, spiritual music, certainly not of the bland muzaklike new age kind, in fact one could say Jonathan Goldman brings an intelectual approach to his music that lifts it . This makes sense as this is exactly the healing purpose of his work. To finish I've added a PDF, just 50 pages about our heart , basicly our brain is confused about it's place in the order of things..hmm tell that to the scientists.

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Jonathan Goldman is an author, musician and teacher in the fields of Harmonics and Sound Healing. His interest in using sound as a healing modality originated from his own experiences during live performances as a guitarist in the Boston punk scene in the late 1970s. While playing, he became aware of how sound could be made to affect listeners, determined, in part, by the intention of the musician, not just the physical act of playing an instrument, nor the emotional energy expressed by the musician while playing. Based on these experiences, Goldman began to research the science of sound and music psychology, directing his overall studies towards the use of sound as a healing force.

His research and desire to connect with like-minded people led to his founding of the Sound Healers Association (SHA) in Lexington, MA in 1982. SHA was a small, informal gathering of musicians, artists, scientists, teachers and authors, as well as anyone else who was interested in the topic of sound healing. Meetings were organized by Goldman; they were held in his home once a month and typically included a guest speaker's presentation, followed by a Q&A. During this time, Goldman worked on his Master's Degree program in Independent Study from Lesley University, researching the Uses of Sound and Music for Healing. This work would later become the main source of material for his first published works. He also began recording his own music and he formed Spirit Music, one of the first record labels dedicated to the therapeutic use of sound and music. Spirit Music has recorded and released music by Goldman, as well as Don Campbell, Sarah Benson, Sam McClellan, Laraaji, the Gyume Monks and more recently, Lama Tashi, among others.

Goldman's healing music and writing has been heavily influenced by the early SHA meetings as well as mythology; psychology; multi-cultural music traditions; ancient religions; mathematics and speculative fiction. In short, Goldman has a three-part theory that runs beneath all of his written and music works:
* That everything in the universe is in a state of vibration. Everything is in motion and produces a sound or frequency. This includes the various parts of our body, organs, bones, tissue, etc.
* When we are in a state of "sound" health, everything in our bodies is vibrating in resonance or harmony with itself. When something is vibrating out of harmony, we call this "disease".
* Sound is an energy that can entrain or change the vibrational rate of objects. Therefore, if something is vibrating out of tune or harmony, it is possible to create the correct, natural "resonant" frequency of the out of tune object, project it to that out of tune portion and cause it to vibrate back to its normal, healthy state.

This, in turn, can be summarized as: Frequency + Intent = Healing

During his research, Goldman worked with the Gyume Monks, whose sacred chanting of ancient mantras is said to be encoded with healing properties, and became a student of the monks during their 1988 US Tour. During this time, he learned the art of deep voice chanting and the 'One Voice Chord' technique from the monks. He later went on to meet the Tibetan Buddhist Monk, Rinchen Chugyal, then Chant Master for the Drepung Loseling Monastery. In 1995 Rinchen Chugyal ordained Goldman as a Chant Master, empowering him to teach Tibetan Chanting in the West. Goldman also met and became close to the Venerable Ngawang Tashi Bapu (Lama Tashi), With whom Goldman recorded several sessions of Tibetan chanting was nominated for a Grammy Award in 2004.


Goldman produces and hosts an annual 'Healing Sounds Intensive' course in Loveland, CO. He also hosts private clinics for small groups or individuals. He has lectured and taught internationally at major sound conferences and health expos. He also is the presenter of a monthly online radio show on www.healthylife.net.

Currently there are over 30 albums of Jonathan Goldman's own music released on Spirit Music and other labels. His music has ranged from New Age, Chanting, Ambient, Minimalist, to Techno as well as music intended to be played during specific activities such as meditation, reiki and yoga. He has published, a total of six books in the field of sound healing. Goldman continues to work out of his private recording studio, Spirit Studios, which is located in his home in Boulder, CO.

Goldman has a great website HealingSounds.com where you can get more info and buy most of his work..which I must say is overpriced in the current market and to his own discredit he hasnt set up a download possibility either. Too busy to follow the internet market i presume. Something you shouldnt miss is a visit to the toning chambers at the Temple of Sacred Sound great music and video.

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Holy Harmony contains two never before released Sacred Sound: Tuning Forks of the complete Healing Codes of the Bible combined with the chant of YHSHV (Yod Hey Shin Vav Hey), an ancient Name of the Christ. These 9 tuning forks are said to be the Divine frequencies of creation. Some believe the sounding of them is said to fulfill certain Biblical prophecies. Others believe these frequencies have extraordinary healing and transformational properties. The YHSVH Chant is a powerful word of prayer, or a mantra, that is composed of specific letters of the Hebrew alphabet that create a sacred name for the Christ. The Chant can be used for protection, for clearing, and to resonate with the Christ energy. As the Healing Code Tuning Forks sound together with Jonathan Goldman and Sarah Benson’s beautiful and rich choral chanting, they create an extremely powerful , yet deeply calming sonic environment. The combination of the Tuning Forks with the YHSVH Chant is great for relaxation and meditation. These sounds may also be extremely healing and transformational.

Holy Harmony   Back In Flac ( 341mb )

01 Holy Harmony ( 72:00)

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The long awaited follow up to the award winning, best selling "Chakra Chants", this recording is both a journey through the chakras and the Kaballistic Tree of Life. "The Lost Chord" features sacred mantras, overtones and chants from the Hindu, Tibetan and Hebrew tradition, as well as psycho-acoustic frequencies and sacred ratios. Each chakra / sefira features chants to male & female deities from the Hindu and Tibetan tradition, Hebrew chants of the Angelic and God Names, Sacred Vowel Sounds, Chanted and Spoken Bija mantras and intervals related to the Fibonacci Series. Layers and layers of lush choral sonics interweave with each other, creating an astounding combination of sacred sounds from different traditions.



Jonathan Goldman - Lost Chord - (99 328mb)

01. Entering The Sacred ( 3:40)
02. Peace Trance( Pt. I) ( 3:58)
03. Dream Mastery ( Pt. I) ( 3:58)
04. Call Of Compassion ( Pt. I) (4:01)
05. Embracing The Beloved ( Pt. I ) ( 4:00)
06. Awakened Voices ( Pt. I) ( 3:59)
07. Gateway To The Thirteen ( 6:14)
08. Dance Of The Void ( 5:42)
09. Awakened Voices ( Pt. II) ( 3:59)
10. Embracing The Beloved ( Pt. II) ( 4:07)
11. Call Of Compassion ( Pt. II) (3:47)
12. Dream Mastery ( Pt. II) ( 4:08)
13. Peace Trance( Pt. II) ( 3:57)
14. Departing The Sacred ( 3:55)

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A sonic environment created for the birthing experience, Dolphin Dreams features the sounds of ocean, human heartbeat, choral voices and dolphins. Both children and their parents love the soothing and nurturing music on this recording. Many of the sonics were specifically designed to induce deep relaxation and open new listeners up to higher aspects of consciousness. Used globally by meditators and health practitioners to enhance health and wellnes.



Jonathan Goldman - Dolphin Dreams ( 374mb)


1. Dolphin Dreams ( 65:35)

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Something to read and ponder

You may think it matters what happens. But what if the only thing that matters is where you are experiencing from, where you are looking from? What if you could experience all of life from a spacious, open perspective where anything can happen and there is room for all of it, where there is no need to pick and choose, to put up barriers or resist any of it, where nothing is a problem and everything just adds to the richness of life? What if this open, spacious perspective was the most natural and easy thing to do?

It may sound too good to be true, but we all have a natural capacity to experience life in this way. The only requirement is to look from the Heart, not just figuratively, but to look from the subtle energetic center located in the center of the chest instead of looking out from the eyes and the head—and not just to look, but to listen and feel and sense from the Heart.

In some spiritual traditions we are encouraged to look in the Heart, and yet what does that mean exactly? Often we are so used to looking and sensing through the head and the mind that when we are asked to look in the Heart, we look through the head into the Heart to see what is there. Usually we end up just thinking about the Heart. But what if you could drop into the Heart and look from there? How would your life look right now? Is it possible that there is another world right in front of you that you can only see with the Heart and not with the mind?

This book invites you to explore this radically different perspective and to find out what is true and real when the world and your life are viewed from the Heart of Being. It may both delight and shock you to find that so much richness and wonder and beauty lie so close and are so immediately available to you. But don’t take my word for it. Read along and see if your experience fits with this simple yet profound way to shift in awareness to a more complete view of your life, your world, and ultimately your true nature as that openness and wonder and beauty.

From The Heart (PDF..0,5mb)

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RhoDeo 1007 Goldy Rhox

Hello, today i start a new format; GoldyRhoxs classic pop rock , most of the albums i 'll post made many millions for the music industry and a lot of what i intend to post still gets repackaged and remastered decades later, squeezing the last drop of profit out of bands that for the most part have ceased to exist long ago, although sometimes they get lured out of the mothballs to do a big bucks gig or tour. Fact is the seventies produced music in an environment that wasn't as segmented as later decades..with our current time being totally segmented and i don't talk just in music but everything thats out there, games , the internet that brings everything that has been produced music wise up for grabs..you want to specialize in twenties 78's ?..can do, 2nd world war swing from Japan ?..can do, it's all out there. Against this backdrop todays competition is hardly fair compared to the pre nineties stars that had the world and radio waves to themselves as it where. Looking ahead another 40 years i doubt many contemporary artists will make it on the classic rock playlists in 2050, Maybe I'm wrong and 80 years later nobody will care anymore about Led Zeppelin, Pink Floyd , Steely Dan, The Eagles or U2 to name some, even The Rolling Stones and The Beatles maybe all but forgotten everywhere except old peoples homes and Alzheimer clinics.

Now i'm not as naive to post this kinda music for all to see and have deleted, these will be a black box posts, i'm sorry for those on limited bandwidth but for most of you a gamble will get you a quality rip and for the younger visitors, for certain something to confront your parents with (as loud as possible)..don't like it, deleting is just 2 clicks...That said i will try to accomodate somewhat and produce some cryptic info on the artist and or album.


For starters, this is my first ever artist album, at the time i just had been buying singles and the odd compilation or two. It still gets a regular spin, specially the piano part in the titletrack gets the painoplayer in me exited. Apparently it was written during a sea voyage home as the artist had fear of flying at the time, or maybe it was the hyjacking going on. The albumtitle contains a clear pun. The artist has made many a great album since, but never one that got to me like this one. His last release has been 7 years ago. He's been inducted into the Rock and Roll Hall of Fame and ranked in the top 30 of greatest Britons.


Goldy Rhox 01 111mb

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RhoDeo 1007 Aetix

Hello, after a week of WTF more KLF, time to return back to earth be it to days gone by. When the same music was on most channels radio and tv..when we were one in a musical way. (essentially we have always been one, even if the materialistic world tries to split and label us ever more). Well, my New Wave classics posts were well recieved there is some overlap with the socalled electronic wave that started about the same time but which resulted in more commercial success. The birth of synthesised pop music in the 1980s and ultimately the roots of contemporary electronic dance music.The importance and continued popularity of 80s pop is not to be underestimated, and the emergence of serious synthesised music producers in Kraftwerk, The Human League, Heaven 17, The B.E.F., OMD, Yazoo, Ultravox, Talk Talk, Japan, Devo, Sparks, Gary Numan, New Order and The Pet Shop Boys, all of whom massively pushed the boundaries in experimenting with (mainly) Roland synths in this era, ultimately showed the way for the house and techno producers of the 90s to the present day.

Here's the first installment of a great collector’s package and thoroughly entertaining listen. And i would think a welcome addition/inspiration to anyone planning an 80's party.



VA - Anthem Electronic 80's 1 188mb

01. Ultravox - Vienna (04:37)
02. Gary Numan - Cars (03:33)
03. Soft Cell - Tainted Love - Where Did Our Love Go? [12' Mix] (09:04)
04. Visage - Fade To Grey (03:24)
05. Yazoo - Don't Go (02:48)
06. Orchestral Manoeuvres In The Dark - Enola Gay (03:28)
07. Joy Division - Love Will Tear Us Apart (03:21)
08. Japan - Quiet Life (04:48)
09. Duran Duran - Planet Earth (03:54)
10. The Human league - Being Boiled (03:39)
11. Heaven 17 - Penthouse And Pavement (03:37)
12. Simple Minds - Promised You A Miracle (03:36)
13. Kim Wilde - Kids In America (03:09)
14. Altered Images - Don't Talk To Me About Love (03:46)
15. Fiction Factory - [Feels Like] Heaven (03:29)
16. Art Of Noise - Close [To The Edit] (03:38)
17. M - Pop Muzik (03:52)
18. Jona Lewie - You'll Always Find Me In The Kitchen At Parties (02:59)
19. Gary Numan - Tubeway Army - Are 'Friends' Electric? (04:15)
20. Orchestral Manoeuvres In The Dark - Maid Of Orleans (03:55)


excuses for the initial visitors duran duran was left behind, reuploaded now
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Earth Search 1007

Hello, as i'm posting this in advance i find it more difficult to think past the weekend when the F1 is decided in favor of Alonzo who's little cheat earlier in the season now delivers him the title..talk of foresight, but hey maybe one the red bulls will take him out delivering the other the title..but then his car brakes down and Hamilton takes the points and the glory..Not sure how the odds stand for that scenario but i can imagine the near hysterical commentators celebrating britain's grandeur.., Of cause by far the best driver this season was Sebastian Vettel, though clearly not the smartest. Sometimes i wonder if he thinks he's in a HD videogame. Hmm as i said by the time this is posted it will all be over.

The Setting

Some years before the story opens, the huge Earth starship Challenger, on a mission to find Earth-like planets for colonization, encountered a meteoroid shower that killed all of the adult crew and seriously damaged the ship. The only human survivors were four babies - two boys, Telson and Darv, and two girls, Sharna and Astra.The four have been raised from childhood by androids and tutored by two disembodied voices called Angel One and Angel Two. Most of the humans believe the voices are real angels, but Darv is more suspicious and believes they are actually computers.

Darv is correct. The Angels are the Challenger's ancillary control computers. Due to a fault in their design they have become megalomaniacal and want to return to Earth and rule it. It was they who deliberately manoeuvred the Challenger into the path of the meteoroids and shut off the ship's defences. Unfortunately for them, they underestimated the amount of damage that would result, not only to the ship but themselves. As a result they have lost an unknown amount of potentially vital information about the nature of space and time.....

The starship Challenger has returned home and the crew have discovered the Earth has vanished and been replaced by the moon, not only that they find their lives in peril from a once benign force.Researching this 'new' solar system is essential to get some answers....Darv and Astra of the Challenger crew land on a strange planet, Zelda 5, and are taken prisoner by the inhabitants of Zelda 5. Their fate is death, luckily the found another path to search for Paradise...What they found was the Challenger's sister ship where its population know nothing of life beyond their own craft.

EarthSearch - 07 New Blood (11mb)


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Sundaze 1007

Hello, today the third and final instalment of the KLF saga, as mentioned earlier their ambient work set me on creating a whole week on the Kopyright Liberation Freedom fighters, little did they know what was to follow a decade later with the internet Yet as an artist it's still a deadly sin to sample an other that is not if your willing top pay the often outragous price, then it's ok, which makes the matter not one of principle but money.

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The K Foundation was an arts foundation established by Drummond and Cauty in 1993 following their 'retirement' from the music industry. From 1993 to 1995 they engaged in a number of art projects and media campaigns, including the high-profile K Foundation art award (for the "worst artist of the year"). Most notoriously, they burnt (sacrificed ?) what was left of their KLF earnings—a million pounds in cash—and filmed the performance. In 1995, Drummond and Cauty contributed a song to The Help Album as The One World Orchestra "The Magnificent" is a drum'n'bass version of the theme tune from The Magnificent Seven. On 17 September 1997, ten years after their debut album 1987, Drummond and Cauty re-emerged briefly as 2K. They made a one-off performance at London's Barbican Arts Centre with Mark Manning, Acid Brass, the Liverpool Dockers and Gimpo; a performance at which "Two elderly gentlemen, reeking of Dettol, caused havoc in their motorised wheelchairs. These old reprobates, bearing a grandfatherly resemblance to messrs Cauty and Drummond, claimed to have just been asked along.The song performed at the Barbican – "Fuck the Millennium" (a remix of "What Time Is Love?" featuring Acid Brass and incorporating elements of the hymn "Eternal Father, Strong to Save") – was also released as single. At the same time a cd appeared by the Kopyright Liberation Front (KLF) " Waiting For The Rites Of Mu" a two track cd that held the soundtrack to the movie Waiting as well as a new track The Rites of Mu inspired by the solstice party they gave in 1991.

From their very earliest releases as The Justified Ancients of Mu Mu until their retirement in 1992, the music of Bill Drummond and Jimmy Cauty was independently released in their home country (the UK). By the end of 1987 Drummond and Cauty had renamed their label to "KLF Communications" and, in October 1987, the first of 23 "information sheets" (self written missives from The KLF to fans and the media) was sent out by the label. Drummond and Cauty's promotional tactics were unconventional. The duo were renowned for their distinctive and humorous public appearances (including several on Top of the Pops), at which they were often costumed. From the outset of their collaborations, Drummond and Cauty practised the guerrilla communication tactic that they described as "illegal but effective use of graffiti on billboards and public buildings" in which "the original meaning of the advert would be totally subverted". Adverts were typically stark, comprising large white lettering on black. A single typeface became characteristic of all KLF Communications' and K Foundation output, being used almost exclusively on sleevenotes and record labels, merchandise and adverts.

By early 1992 the KLF was easily the best-selling, probably the most innovative, and undoubtedly the most exhilarating pop phenomenon in Britain. In five years it had gone from pressing up 500 copies of its debut recording to being one of the world's top singles acts....and then they quit an action that i believe was planned from the onset 5 years before and closed with their 23rd information sheet.

As of 2010, Bill Drummond continues to work as a writer and conceptual artist, with occasional appearances on radio and television. Jimmy Cauty has been involved in several post-KLF projects including the music and conceptual art collective Blacksmoke and, more recently, numerous creative projects with the aquarium and the L-13 Light Industrial Workshop based in Clerkenwell, London.

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Chill Out is a single continuous musical piece having many distinctive sections, each of which either segues into or introduces the next. The album as a whole is a progression, with percussion gradually introduced during the second half. The KLF have stated in interviews that the album was recorded in a 44-minute "live" take in their studio. After recording, the duo thought the sound to be evocative of a trip through the American Deep South. Drummond said "I've never been to those places. I don't know what those places are like, but in my head, I can imagine those sounds coming from those places, just looking at the map. Sheep, which appear both on the recording of Chill Out and in its sleeve artwork, became a theme of The KLF's output> Drummond explains we wanted something that kind of reflected that feeling the day after the rave, that's what we wanted the music for.



The KLF - Chill Out (90 210mb)

01 - Brownsville Turnaround on the Tex-Mex Border (1:47)
02 - Pulling Out of Ricardo and the Dusk Is Falling Fast (1:29)
03 - Six Hours to Louisiana, Black Coffee Going Cold (3:01)
04 - Dream Time in Lake Jackson (2:35)
05 - Madrugada Eterna (7:40)
06 - Justfied and Ancient Seems a Long Time Ago (1:08)
07 - Elvis on the Radio, Steel Guitar in My Soul (3:01)
08 - 3 A.M. Somewhere Out of Beaumont (9:24)
09 - Wichita Lineman Was a Song I Once Heard (5:56)
10 - Trancentral Lost in My Mind (1:16)
11 - The Lights of Baton Rouge Pass By (3:34)
12 - A Melody from a Past Life Keeps Pulling Me Back (1:41)
13 - Rock Radio into the Nineties and Beyond (1:27)
14 - Alone Again With the Dawn Coming Up (0:17)

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Space began as a collaboration between Dr. Alex Paterson and Jimmy Cauty, the original line-up of The Orb. It was, according to Cauty's record label KLF Communications, to be The Orb's debut album, but when Cauty left The Orb in early 1990 to concentrate on producing music as The KLF with Bill Drummond, he took the recordings with him. Reworked to remove Paterson's contributions, the album was released on the KLF Communications label, with Cauty alone receiving credit
Jimmy Cauty drifts off into dark and unknown territory on this continous mix/journey in a manner not as accessible (maybe) as the "Chill Out" album but more mysterious. Space takes the listener on a voyage through the solar system from Mercury outwards-Venus-Mars-Jupiter-Saturn-Uranus-Neptune-Pluto, with vast distances of empty space between worlds represented by periods of minimalist ambience and near-silence.The marvels of the universe unravels before our very ears and it´s a serious, deep and at times almost ominous trip.

KLF (Cauty) - Space (flac 133mb)


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For the 1991 Summer Solstice, The KLF entertained a selection of music industry figures, journalists, etc. on Isle Of Jura in an event known as the Rites of Mu.The invitation said 'The KLF require your presence. You'll be transported to the lost continent Mu. Bring your passports'. Each guest was given a copy of the following statement as they travelled to Jura, by train, plane, car, bus, and boat on Friday 21st June:

The Rites Of Mu

Since That fateful day when man left by the eastern gate, fruit still fresh in his belly, those four beautiful handmaidens of Lucifer- Why What Where and When have long tempted but never quenched his distrous thirst for knowledge. The KLF have invited you to join them in celebrating The Rites Of Mu this summer solstice, during which the fall of mankind may be reversed, returning him to the garden where the rest of creation waits.

The most beautiful, yet most evil, of the four beautiful handmaidens is why- She even now may be tempting you to ask questions, when answers are not only not needed but could never be given. Since celebrating The Rites Of Mu seasons past the KLF's moment has come, shimmering and dazzling like the ahunting beauty of aurora's race, it is destined only to fade while the moment lasts their stadium house trilogy reverberates around the globe, the requests for live shows, interviews, tv appearances, remixes, promotional tours and commercial endorsements have spewed forth relentlessly from their faxmachine.

Why What Where and When have been very busy, their seduction techniques near perfect. The KLF, with regular feet of clay, have weakened at times and have pretended to answer the unanswerable. They too have tried to understand instead of accepting the unfocusable, beautiful truth of the mystery that lies at the ehart of pop's passing moments.

As well as asking you to accept the contradictions of the above we hope that you will give yourself fully to these three days, accepting whatever the elements tip our way, whatever mild physical strains may be placed upon our bodies and savour the undervalued qualities of waiting and maybe after it is all over we will understand that there is far less to understand then we ever knew.

The guests were welcomed from the ferry by Mu passport control officer Drummond in peaked cap and shades, who checked their passports and stamped them with a pyramid blaster stamp. They then allowed themselves to be dressed in yellow ceremonial robes, and led in a chanting procession by a white robed high priest of Mu with Horned God headpiece, over the moors to a bonfire beside a huge (20m?) wicker man, arms raised with weapons poised, head looking up to the sky. The four angels of Mu, in white dresses, with flower head-bands, rose from the sea, and joined the celebrants. The high priest addressed the crowd in 'a tongue that no longer exists, at least not in this world'. What did the KLF have in store, or was it the Justified Ancients Of Mu Mu controlling the KLF. As the ceremony reached its climax at midnight on the longest day, it was still light. The priest encouraged the guests to direct their psychic energy towards the wicker man, chanting 'Burn Burn Burn' and the idol burst into flames with many explosions!!! What lay ahead was 'enlightenment ... or madness'. After the ceremony was over the guests were treated to a huge party. The next day is unrecorded but judging by the statement it involved savouring the undervalued qualities of waiting. However they spent the time, by Sunday 23rd of June, the KLF had transported the guests to the Liverpool Festival of Comedy, where, hooded, they joined them on stage for an accapella rendition of Justified And Ancient as Bill and Jimmy handed out icecreams.

The event was filmed by Bill Butt, as were all the KLF's public appearances, and edited for promotional use only.

The second track is something different all together. styled like an aural equivalent of 'apocalypse now' there is a vocal narrative (it has to be assumed that its bill acting as martin sheen) describing an invitation to meet the mysterious klf and the resultant journey into psyche madness. following a typical klf opening the listener is taken on a voyage through more of bill drummonds and jimi cautys' sample library, revisiting vocals from '1987 - what the f*ck ..' adding foghorns, rumbling bass tones, this is an epic atmospheric final calling card that truly should have been released to the masses abject rejection. the dialogue by 'martin sheen' is excellent, and funny, with subtle references into all the fun and games and the various differences between the justified ancients of mu mu and the subsequent klf moniker. with the grand finale of children choirs, horror soundtrack chords, and burning fires brings the story to its natural close.



Kopyright Liberation Front (KLF) - Waiting For The Rites Of Mu (90/97 444mb)

01 - Waiting (42:40)
02 - The Rites Of Mu (29:21)

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Illuminatus !

Drummond and Cauty made heavy references to Discordianism, a modern chaos-based religion originally described by Malaclypse the Younger in Principia Discordia, but popularised by Robert Shea and Robert Anton Wilson in the Illuminatus! books, written between 1969 and 1971. The attitude and tactics of Drummond and Cauty's partnership matched that of the fictional cult whose name they had adopted. Throughout the partnership, these tactics were often interpreted by media commentators as "pranks" or "publicity stunts". However, according to Drummond, "That's just the way it was interpreted. We've always loathed the word scam. I know no-one's ever going to believe us, but we never felt we went out and did things to get reactions. Everything we've done has just been on a gut level instinct." In addition to resembling the fictional JAMs attitudinally and tactically, references to themes of Discordianism and Illuminatus! also manifested Drummond and Cauty's musical, visual and written work, meticulously and often covertly.

The JAMs' debut single "All You Need Is Love" includes the words "Immanentize the Eschaton!", in reference to the opening line of Illuminatus!, "They immanentized the Eschaton", interpreted as "they brought about the end of the world" or "they brought heaven to Earth". The refrain "All bound for Mu Mu land", from The KLF's "Justified & Ancient (Stand by The JAMs)" is a reference to the Lost Continent of Mu, which Shea and Wilson identify with the fictional land Lemuria in Illuminatus!.

The number 23, significant within numerology, is a theme of Illuminatus!, where instances of the number are both overtly and surreptitiously placed. Similarly, an abundance of such occurrences were deposited throughout Drummond and Cauty's collective output, for example:
--In lyrics to the song "Next" from the album 1987: "23 years is a mighty long time".
--In periods of time: for instance, they reportedly signed a contract preventing either of them from publicly discussing the burning of a million pounds for a period of 23 years, their 1997 return as 2K was "for 23 minutes only".
--In numbering schemes: for instance, the debut single "All You Need Is Love" took the catalogue number JAMS 23, while the final KLF Communications Information Sheet was numbered 23; and Cauty's Ford Galaxie police car had on its roof the identification mark 23.
--In significant dates during their work: for instance, a rare public appearance by The KLF, at the Liverpool Festival of Comedy, was on 23 June 1991; they announced the winner of the K Foundation award on 23 November 1993, and they burned one million pounds on 23 August 1994.

The "Pyramid Blaster" is a logo and icon frequently and prominently depicted within the duo's collective work: a pyramid, in front of which is suspended a ghetto blaster displaying the word "Justified". This references the All-Seeing Eye icon, often depicted as an eye within a triangle or pyramid, a significant symbol of Illuminatus!.

The Illuminatus! Trilogy is included as PDF in the above posts

Its a huge cult sex-drugs-occult-paranoid conspiracy theory-science fiction book, where reality shifts and nothing is as it
seems. Or is that what I want you to believe? It was first published in the mid seventies, written by Robert Anton Wilson
and Bob Shea, originally as three separate novels: 'The Eye In The Pyramid', 'The Golden Apple', and 'Leviathan', but now available as a collected edition The Illuminatus! Trilogy,

'Illuminatus!' tells the tale of the international conspiracy the Illuminati, who attempt to order and control mankind, and
receive individual power (become illuminated) by causing mass deaths. Their arch enemies The Justified Ancients of
Mummu (The JAMs), are "an organisation (or disorganisation) who are at least as old as the Illuminati and represent the
primeval power of Chaos". Along with affiliated groups the LDD and the ELF (Erisian Liberation Front), the JAMs are
engaged in a secret war to prevent the Illuminati from 'immanentizing the eschaton' (bringing closer the end of the
world).

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RhoDeo Beats 1006

Hello, some new connection troubles today but it looks good enough sofar and so a first now RhoDeo Beats, the band in the spotlight did a lot to bring forward the power of the new dance music that was to follow in the nineties, as such they really broke on through on the world stage and tore the selfsatisfied musicscene up, litterally forcing it to move. From here it seems all rather incredible they were able to create so much media noise and chart success with what ultimately hasn't been that great an output, what they did do is establish the remix concept very firmly. Personally i like the whole remix idea, however i know many that don't. Anyway they made it, thanks to the british music press, i doubt they could have done it anywhere else in the world. Enough blah...

The KLF Story Continues

By the time the JAMs' single "Whitney Joins The JAMs" was released in September 1987, their record label had been renamed "KLF Communications". However, the duo's first release as The KLF was not until March 1988, with the single Burn the Bastards/Burn the Beat . Although the Justified Ancients of Mu Mu name was not yet retired, most future Drummond and Cauty releases would go under the name The KLF. The name change accompanied a change in Drummond and Cauty's musical direction. Said Drummond in January 1988, "We might put out a couple of 12" records under the name The K.L.F., these will be rap free just pure dance music". The 12" records subsequently released in 1988 and 1989 by The KLF were indeed rap free and house-oriented; remixes of some of The JAMs tracks, and new singles, the largely instrumental acid house anthems "What Time Is Love?" and "3 a.m. Eternal", the first incarnations of later international chart successes. The KLF described these new tracks as Pure Trance .

Also in 1989, The KLF embarked upon the creation of a road movie and soundtrack album, both titled The White Room, funded by the profits of Doctorin' The Tardis. Neither the film nor its soundtrack were formally released, although bootleg copies of both exist. The soundtrack album contained pop-house versions of some of the "pure trance" singles, as well as new songs, most of which would appear (albeit in radically reworked form) on the version of the album which was eventually released to mainstream success. A single from the original album was released, however: "Kylie Said to Jason", unfortunately the electropop single flopped. As the film project was fraught with difficulties and setbacks, including dwindling funds, as a consequence, Drummond and Cauty cut their losses and The White Room film project was put on hold, and they abandoned the musical direction of the soundtrack and single. Instead they decided to pursue the acid house tone of their Pure Trance series.

In 1990 The KLF launched a series of singles with an upbeat pop-house sound which they dubbed "Stadium House". Songs from The White Room soundtrack were re-recorded with rap and more vocals, a sample-heavy pop-rock production and crowd noise samples. The results brought The KLF international recognition and acclaim. The first "Stadium House" single, "What Time Is Love?", released in August 1990, reached number five in the UK Singles Chart and hit the top-ten internationally. The follow-up, "3 a.m. Eternal", was an international top-five hit in January 1991, reaching number one in the UK and number five in the US Billboard Hot 100.

The KLF's chart success continued with the single "Last Train to Trancentral" hitting number two in the UK. In December 1991, a re-working of a song from 1987, "Justified & Ancient" was released, featuring the vocals of American country star Tammy Wynette. It was another international hit—peaking at number two in the UK, and number 11 on the Billboard Hot 100—as was "America: What Time Is Love?", featuring a hard, guitar-laden reworking of "What Time Is Love?" After successive name changes and a plethora of highly influential dance records, Drummond and Cauty ultimately became, as The KLF, the biggest-selling singles act in the world for 1991, still incorporating the work of other artists but in less gratuitous ways and predominantly without legal problems.

On 12 February 1992, The KLF and crust punk group Extreme Noise Terror performed a live version of "3 a.m. Eternal" at the British Phonographic Industry's annual awards show; a "violently antagonistic performance" in front of "a stunned music-business audience". Drummond and Cauty had planned to throw buckets of sheep's blood over the audience, but were prevented from doing so due to opposition from BBC lawyers and "hardcore vegans" Extreme Noise Terror.The performance was instead garnished by a limping, kilted, cigar-chomping Drummond firing blanks from an automatic weapon over the heads of the crowd. As the band left the stage, The KLF's promoter and narrator Scott Piering announced over the PA system that "The KLF have now left the music business" This announcement largely got lost and it took a large add in NMW on 5/5/92 to finally get the message through. Being selfproclaimed "Discordians" it's not that surprsing that 5 years after their appearance on the music stage they left again only to make a slight reappearance 5 years after that. The number 5 being a sacred number to the Discordians...


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1 "Down Town" was The JAMs' and KLF Communications' final release of 1987, a 7" and 12" single release of 30 November. It did not enter the UK Singles Chart, but made inroads into the UK independent chart. In addition to Petula Clark's "Downtown", "Down Town" used elements of the distinctive bassline to Harold Faltermeyer's 1984 # 1 single "Axel F".
"Down Town" is, a social critique of Great Britain realised as house music. Its central theme is social exclusion, poverty and homelessness, in which snatches of Clark's "Downtown"—an awestruck ode to hedonistic city nightlife—are juxtaposed with raps by Drummond, "Downtown, down and out, dying in the dead of night, with your Special Brew and your special view of a world that could be right".

1. Down Town (7:29)
2. Down Town (Edit) (6:02)
~~~~
2 "Doctorin' The Tardis" was an excursion into the musical mainstream, with the change of name to "The Timelords" and an overt reliance on several iconic symbols of 1970s and 80s British popular culture, including Glitter, the Doctor Who theme song, references to Doctor Who's Daleks and the TARDIS), Sweet's "Blockbuster!" Drummond and Cauty often claimed that the song was the result of a deliberate effort to write a number one hit single. In which they succeeded.

1. Doctorin' The Tardis (3:39)
1. Doctorin' The Tardis (12"mix) (8:16)
2. Gary Joins The Jams (3:30)
4. Doctorin' The Tardis (Instrumental) (4:31)
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3 "What Time Is Love?" became one of The KLF's central tracks, dubbed their "three-note warhorse of a signature tune" by Bill Drummond, in reference to the three-note bassline which, together with a high-pitched refrain on two notes (B bending to F#) characterises the song. The original 1988 12" single release launched The KLF's minimalist "Pure Trance" series of singles. Upon release in the Uk it didnt get much interest, however the europan clubscene came to the rescue after Deejays successfully incorperated the track into their sets and launched its release troughout europe.

1. What Time Is Love (7'' Remix) (3:50)
2. What Time Is Love (Power Remix) (7:04)
3. What Time Is Love (Pure Trance Original) (7:03)




KLF Maxi's 1, 2 and 3 (272mb)

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4 "3 a.m. Eternal" numerous versions of which were released as singles between 1989 and 1992. In January 1991, an acid house version heavily reworked for a mainstream audience, "3 a.m. Eternal (Live at the S.S.L.) became an international top ten hit single, hitting #1 in the UK Singles Chart and #5 on the US Billboard Hot 100, and leading to The KLF becoming the internationally biggest-selling singles band of 1991.

1. 3 A.M. Eternal (Live At The S.S.L) (3:42)
2. 3 A.M. Eternal (Guns Of Mu Mu) (5:24)
3. 3 A.M. Eternal (1989 Break For Love Mix) (5:44)
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"It's Grim Up North" was a 1991 single by The Justified Ancients of Mu Mu (The JAMs), the main lyrics of which consist of a list of towns and cities in the North of England, set to a pounding industrial techno accompaniment reminiscent of steam train whistles, all of which segues into an orchestral instrumental of the hymn "Jerusalem". It reached # 10 in the UK. (Part 1)" is a 10-minute composition with two distinct segueing sections. The first 7-minute section is a heavy, pounding industrial techno track, over which Drummond gives a roll-call of Northern towns, through a CB microphone.

1. It's Grim Up North (Radio Edit) (4:03)
2. It's Grim Up North (Part 1) (10:02)
3. It's Grim Up North (Part 2) (6:13)
4. Jerusalem On The Moors (3:02)
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"Justified & Ancient" featured on their 1991 album The White Room but with origins dating back to the duo's debut album, 1987 (What the Fuck Is Going On?). The song is best known for its remake that was released in November 1991 as a pop-house single subtitled "Stand by The JAMs",with verses featuring the vocals of country music singer Tammy Wynette. This version was an international hit. The song "Justified & Ancient" is a statement of identity and deliberately understated rebellious intent.

1. Justified and Ancient (Stand By The Jams) (3:37)
2. Justified and Ancient (The White Room Version) (5:05)
3. Justified and Ancient (All Bound For Mu Mu Land) (7:49)
4. Justified and Ancient (Make Mine A 99) (5:53)
5. Justified and Ancient (Let Them Eat Ice Cream) (6:31)



KLF Maxi's 4, 5 and 6 (476mb)

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7 "Last Train to Trancentral (Live from the Lost Continent)", a commercially successful single of April 1991 that reached # 2 in the UK Singles Chart and achieved international top ten placings. It is related to The KLF's unreleased earlier tracks "E-Train to Trancentral" and, from the 1989 soundtrack to their film The White Room. The "Pure Trance" version of "Last Train to Trancentral" is a minimalist ambient house reworking of "Go to Sleep", stripped of the female vocals. Trancentral was the name of The KLF's recording studio in Stockwell, that was also The KLF co-founder Jimmy Cauty's squat.

1. Last Train To Trancentral (Radio Edit) (3:42)
2. Last Train To Trancentral (The Iron Horse) (4:17)
3. Last Train To Trancentral (1989 Pure Trance Original) (6:42)
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8 "America: What Time Is Love?" constituted a major reworking of the anthem and was The KLF's final UK commercial musical offering. It was released in February 1992 in the UK, four months after it was first made available in the US.The KLF's notorious BRIT Awards performance, staged in the week prior to "America"'s UK release, concluded with the announcement of their departure from the music industry. "America" has a markedly different tone to previous incarnations of the song: harder, heavier and more guitar-laden (featuring the riff from Motörhead's Ace of Spades). "America No More" is a sombre anti-war statement focussing on US foreign policy. With ambient overtones, it features forlorn guitars, austere brass and a pipe band, set against the backdrop of artillery noise and the recorded words of US politicians, commentators and evangelists speaking either about or during major 20th century US military conflicts. According to Drummond, it was the final track to be recorded by The KLF.

1. America - What Time Is Love (Radio Edit) (3:33)
2. America No More (6:05)
3. America - What Time Is Love (Uncensored) (9:02)
4. America No More (Just The Pipe Band) (3:15)
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"Fuck the Millennium" or "***K the Millennium" is an electronic protest song that was released as a single in 1997 by 2K , better known as The KLF. Based upon their acid house track "What Time Is Love?", it was promoted as a comeback single and released to mark the tenth anniversary of Drummond and Cauty's first collaborations; however, it was also in part intended to mock the notion of the comeback. Drummond and Cauty's campaign to "fuck the millennium" also involved a 23 minute appearance by 2K at London's Barbican Arts Centre and a number of outlandish proposals to 'commemorate' the millennium under the moniker "K2 Plant Hire". These activities were intended to culminate in the construction of "The People's Pyramid", a 150-foot (46 m)-high structure built from recycled bricks, but the pyramid was never built.

1. Fuck The Millennium (13:57)
2. What Time Is Love (Version K) (The Williams Fairey Brass Band) (4:33)
3. Fuck The Millennium (Radio Edit) (4:20)
4. Fuck The Millennium (Censored Radio Edit) (4:19)



KLF Maxi's 7, 8 and 9 (510mb)

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The Not On Label Series released an unofficial CD release September 1993. A compilation of hard-to-find tracks by The KLF in their various incarnations.It's a bootleg, but it is quite widely available. Among other things, it includes the notorious Extreme Noise Terror version of 3 a.m. Eternal which was banned from BBC TV chart show Top Of The Pops and was made available on a 7" single through KLF's mailorder only.



The KLF - Ultra Rare Trax ( 93 407mb)

01. All You Need Is Love (5:06)
02. It's Grim Up North (For Love Nor Money Mix) (8:51)
03. What Time Is Love (Techno Slam Mix) (4:36)
04. 3 A.M. Eternal (Blue Danube Original) (7:40)
05. Last Train To Trancentral (Remix 1) (5:49)
06. Kylie Said To Jason (Full Length Version) (7:10)
07. What Time Is Love (Power Remix) (7:38)
08. Doctorin' The Tardis (Gary Glitter Mix) (6:18)
09. Justified And Ancient (Tammy Mix) (5:32)
10. 3 A.M. Eternal (TOTP Mix, Extreme Noise Terror ) (2:48)
11. What Time Is Love (Wandaful Mix) (6:08)

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Note
I've posten the KLF's White Room album 2,5 years ago (5/24/08), you can check it out here ! it's still available

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RhoDeo 1006 Aetix

Hello, sometimes posting kinda evolves, a KLF sundaze post had been long in planning, upon further thought after researching their history a 3 parts KLF week started taking shape. Saturday's RhoDeo Beats will have 8 of their admittedly many maxi-singles aswell as an ultrarare sampler and Sundaze offers 3 of their ambient works. That's all later today I start with their debut album that got pulled after ABBA complained not just for sampling them but i reckon particularly the ridiculing duck sound may well have annoyed the megastars, and Swedes aren't known for their sense of humor, far from it. Obviously by that time many albums had been sold and i know plenty vinyl escaped the announced destruction even in those days collecters new they had to get their hands on such an item..(ahum).

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The KLF story part 1

The KLF (also known as The Justified Ancients of Mu Mu, The Timelords and other names) are Bill Drummond and Jimmy Cauty, they were one of the seminal bands of the British acid house movement during the late 1980s and early 1990s. As The KLF, the duo pioneered the genres "stadium house" and "ambient house"

From the outset, they adopted the philosophy espoused by esoteric novel series The Illuminatus! Trilogy, gaining notoriety for various anarchic situationist manifestations, including the defacement of billboard adverts, the posting of prominent cryptic advertisements in NME magazine and the mainstream press, and highly distinctive and unusual performances on Top of the Pops. The KLF were pop music’s first ‘illegal art’ ideologues, though they were loath to be pigeonholed as mere copyright criminals. ‘As far as sampling is concerned’, they wrote in one of their many ‘KLF Communications Info Sheets’, this one dated January 22, 1988, ‘I’m sure we will continue doing it and from time to time get into trouble because of it, but it has always been only a part of the process of how we put our records together and not the reason for them existing’ (KLF Communications, 1998). However, this didn’t stop them from also firing off zingers like, ‘Intellectual property laws were invented by lawyers and not artists’ .

In 1986, Bill Drummond was an established figure within the British music industry, having co-founded Zoo Records, played guitar in the Liverpool band Big in Japan, and worked as manager of Echo & the Bunnymen and The Teardrop Explodes.On 21 July of that year, he resigned from his position as an A&R man at record label WEA, citing that he was nearly 33⅓ years old . Jimmy Cauty was, in 1986, the guitarist in the commercially unsuccessful three-piece Brilliant—an act that Drummond had signed to WEA Records and managed. Cauty and Drummond shared an interest in the esoteric conspiracy novels The Illuminatus! Trilogy, and, in particular, their theme of Discordianism, a form of post-modern anarchism. Re-reading Illuminatus! in late 1986, Drummond felt inspired to react against what he perceived to be the stagnant soundscape of popular music. Recalling that moment in a later radio interview, Drummond said that the plan came to him in an instant: he would form a hip-hop band with former colleague Jimmy Cauty, and they would be called The Justified Ancients of Mu Mu.

Early in 1987, Drummond and Cauty's collaborations began. They assumed alter egos—King Boy D and Rockman Rock respectively—and they adopted the name The Justified Ancients of Mu Mu (The JAMs), after the fictional conspiratorial group "The Justified Ancients of Mummu" from The Illuminatus! Trilogy. The JAMs' primary instrument was the digital sampler with which they would plagiarise the history of popular music, cutting chunks from existing works and pasting them into new contexts, underpinned by rudimentary beatbox rhythms and overlayed with Drummond's raps, of social commentary, esoteric metaphors and mockery.

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The Justified Ancients Of Mu Mu - 1987, What The Fuck's Going On

1987 (What the Fuck Is Going On?) was released in June 1987 on The JAM's' own record label, "The Sound of Mu(sic)".Like "All You Need Is Love" before it, the album was made using an Apple II computer, a Greengate DS3 digital sampler peripheral card, and a Roland TR-808 drum machine. Also as before, The JAM's liberally plagiarised from the history of popular music, cutting chunks from existing works and pasting them into new contexts, stealing "everything" and "taking... plagiarism to its absurd conclusion. Three months after independent release in June 1987, The JAMs were ordered by the Mechanical-Copyright Protection Society to destroy all unsold copies of the album, following a complaint from ABBA. In response, The JAMs disposed of many copies of 1987 in unorthodox, publicised ways. They also released a version of the album titled "1987 (The JAMs 45 Edits)", stripped of all unauthorised samples to leave periods of protracted silence and so little audible content that it was formally classed as a 12-inch single.Of the original LP's stock, some copies were disposed overboard on the North Sea ferry trip across, and the remainder were burned in a field in Gothenburg before dawn (as shown on the cover of their next album, Who Killed The JAMs?), after a failed attempt to sway ABBA. Bill Drummond summed up The JAMs' approach to composition in the first "KLF Information Sheet", sent out in October 1987: "We made [the album] not giving a shit for soul boy snob values or any other values, we just went in and made the noise we wanted to hear and the stuff that came out of our mouths.... Not a pleasant sound but it's the noise we had.



The Justified Ancients Of Mu Mu - 1987, What The Fuck's Going On (87 261mb)

1. Hey, Hey We Are Not The Monkees (6:06)
2. Mind The Gap (1:05)
3. Don't Take Five (Take What You Want) (4:02)
4. Rockman Rock (Parts 2 And 3) (6:35)
5. Why Did You Throw Away Your Gyro (0:20)
6. Me Ru Con (2:27)
7. The Queen And I (4:44)
8. Top Of The Pops (2:51)
9. All You Need Is Love (4:55)
10. Next (7:50)

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The Justified Ancients Of Mu Mu - Shag Times

The title Shag Times relates to the slogan "Shag Shag Shag", a lyric from The JAMs' 1987 debut single "All You Need Is Love" that also appeared as promotional billboard graffiti at the time of the single's release. Released in January 1989, Shag Times includes a selection of The JAMs' singles and album tracks. The remainder of the album consists of tracks originally by The JAMs, The Timelords and Disco 2000, remixed by and credited to The KLF. These KLF remixes were produced in 1988 by Drummond and Cauty. The compilation showcases The JAMs' characteristic sample-driven hip hop and bastard pop, and in equal measure it introduces the minimalistic house sound of The KLF that characterised their subsequent "Pure Trance" releases...Shag Times also introduced Bill Drummond and Jimmy Cauty's new incarnation - and one which would become considerably more famous - The KLF.



The Justified Ancients Of Mu Mu - Shag Times (89 453mb)

01. All You Need Is Love (5:01)
02. Don't Take Five (Take What You Want) (4:06)
03. Whitney Joins The JAMs (7:09)
04. Down Town (4:28)
05. Candyman (3:28)
06. Burn The Bastards (6:30)
07. Doctorin' The Tardis (3:37)
08. Whitney Joins The JAMs (Remix) (6:38)
09. I Love Disco 2000 (5:29)
10. Down Town (Remix) (6:30)
11. Burn The Beat (Club Mix) (4:58)
12. Prestwich Prophet's Grin (Instrumental Remix) (4:17)
13. Porpoise Song (Instrumental Remix) (5:14)
14. Doctorin' The Tardis (Minimal) (4:32)

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Earth Search 1006

Hello, some of you might have seen "The Walking Dead" tonight the new tv series which has most of the US population turned into zombies, reviews of its pilot episode were very positive. We have to remember here, that for decades now teenagers have been 'forcefed' horror flicks, me i found it all rather disturbing not as much the decomposing waggling zombies but the headshots they got. However, identifying the US population with zombies maybe not as farfetched as it seems, neither is the icecold killer mentality of those in the know. Laugh your fear away, but then what is there to fear ? Those that spread fear have been proven time and again to be liars hellbent to profit from their lies..be them priests, politicians or public opinionaters. I watched Sicko yesterday and i wondered how ignorant these people are that rant against Obama's healthcare plan, what planet are these people on ? I know..planet zombie ! Sad, and i'm sure this is not the planet Earth that our Challenger crew are desparately seeking.....


The Setting

Some years before the story opens, the huge Earth starship Challenger, on a mission to find Earth-like planets for colonization, encountered a meteoroid shower that killed all of the adult crew and seriously damaged the ship. The only human survivors were four babies - two boys, Telson and Darv, and two girls, Sharna and Astra.The four have been raised from childhood by androids and tutored by two disembodied voices called Angel One and Angel Two. Most of the humans believe the voices are real angels, but Darv is more suspicious and believes they are actually computers.

Darv is correct. The Angels are the Challenger's ancillary control computers. Due to a fault in their design they have become megalomaniacal and want to return to Earth and rule it. It was they who deliberately manoeuvred the Challenger into the path of the meteoroids and shut off the ship's defences. Unfortunately for them, they underestimated the amount of damage that would result, not only to the ship but themselves. As a result they have lost an unknown amount of potentially vital information about the nature of space and time.....

The starship Challenger has returned home and the crew have discovered the Earth has vanished and been replaced by the moon, not only that they find their lives in peril from a once benign force.Researching this 'new' solar system is essential to get some answers....Darv and Astra of the Challenger crew land on a strange planet, Zelda 5, and are taken prisoner by the inhabitants of Zelda 5. Their fate is death, luckely the found another path to search for Paradise...


EarthSearch - 06 Across the Abyss (11mb)


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Sundaze 1006

Hello, yet another week gone, don't know time flies..even when doing nothing..makes me wonder how awake I am, or should i say we are, because these notions seem widespread. On the otherhand I could say that when one is very busy or certainly in a flow perception of time gets lost and before you know it a week has past (dramatically speaking). I think something is going on outside our general perception.certainly not noticable by "the busy busy" Maybe that Timewave Zero concept by Terence Mckenna has more validity as it thusfar got..  Nuf said..
As promised four weeks ago the completion of the Gas Nah Und Fern box set with album 3 and 4

Gas ! .. one of the many aliasses of Wolfgang Voigt the cofounder of one of the best loved labels in dance Kompakt.. In the latter part of the nineties he produced 4 albums under the moniker Gas on the Mille Plateaux label, these have been rereleased on his own label and beautifully packaged as a 4 disc set, you should get it here at amazon uk 15,99 = 18,5 euro for a 4 album box set great price for this classic. To call it just ambient is to belittle it. It is full of rich texture, colour, layers of depth - epic electronica - containing a universe of sound, people, Life, the Universe, and Everything indeed.

Most of the time there is no clear musical progression in a Gas track, as Voigt seems to be more interested in exploring depth of the stereo field, utilizing subtle shifts in sound. Because music under the Gas alias lacks any trace of orthodox melody or chord change many would not describe it as musical. However, the sources of Voigt's samples are often of musical origin, encapsulating "old pop record stuff" as well as classical music such as Richard Wagner and Arnold Schoenberg


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Königsforst picks up where the previous Gas album, Zauberberg (1997), left off. The contents are less important than the effect, however, as this is ambient techno at its most minimal, with a tone that is tranquil yet dark, ominous, and haunting. Moreover, the spare ambience of the music belies its power. Turn this music up loud on a high-quality sound system with a lot of bass kick, and Königsforst is downright trance-inducing, especially since the majority of the tracks carry on for over ten minutes with only slight variation over the course of their duration.



00 Gas - Königsforst (99, 144mb)


01 Königsforst 1 (09:49)
02 Königsforst 2 (13:56)
03 Königsforst 3 (09:01)
04 Königsforst 4 (06:32)
05 Königsforst 5 (15:19)
06 Königsforst 6 (10:20)


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On Pop, Voight switches things up. Gone are the gloomy samples, and the signature bass heartbeat appears on but two of these seven long tracks. Instead of containing linear motion, Pop is an exercise in sonic texture. Much of Pop takes this timbre to its logical extreme, backgrounding things like melody and rhythm in favor of pure sound. Yet the mood lightens, as has the sound palette. It's akin to stepping into bright sunlight, with high-contrast colors replacing shaded hues. An effervescent, shimmering album, the focus is on the tangled, gloriously disorienting pleasures within.



Gas - Pop (00, 139mb)

01 Pop 1 (05:30)
02 Pop 2 (08:36)
03 Pop 3 (07:26)
04 Pop 4 (09:28)
05 Pop 5 (10:51)
06 Pop 6 (09:18)
07 Pop 7 (15:02)


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RhoDeo 1005 aetix

Hello, thusfar i've stayed away from big names still en route as it where, plenty of others doing that, yet there are cracks, stuff that has had limited release or as is the norm these days gets dumped on socalled deluxe editions where the bonus album is hardly a gift, yet you are expected to pay for it.
I wasn't aware of todays post at the time- it got only a cassette release- Probably understandable as it is an instrumental thus without the landmark voice of Robert Smith. What it is is an intro tape/soundtrack of a short film by Ric Gallup they made specially for the 1981 Picture Tour. The instrumental piece "Carnage Visors" (an antonym of rose-coloured spectacles) featured animation of several dolls in different positions and stances. Well, to me this shows that The Cure was serious about themselves ....so many acts forget about creating an atmosphere before they start playing, they let it slip or imagine it doesn't matter but it does. Nuf said here's a 27 min intro to your New Wave Eighties Party.

There's so much about the Cure on the internet, i feel no need to add to that, but in case you would like to read some The story of the Cure @ Wiki



Carnage Visors (81 61mb)

Carnage Visors (27;51)

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