RhoDeo 1548 Quest 18

Hello,

Elven Quest... A series that will be running into the new year, 24 episodes of Elvenquest. It's is a sitcom about a misanthropic writer of fantasy novels who finds himself whisked away into a parallel universe by an elf, a dwarf and a warrior princess, where he must undertake to find the Sword of Asnagar in order to save Lower Earth from the evil Lord Darkness before he can get home. Today the final of season 3 .. N'Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

Plot

During the Third Age of Elven Princes of Lower Earth, a band of noble warriors – Vidar the Elf Lord (Boyd), Penthiselea the Warrior Princess (Winkleman) and Dean the Dwarf (Eldon) – plan to save Lower Earth from the evil rule of Lord Darkness by searching for the Sword of Asnagar, "for whoso'er wields the sword shall rule all of Lower Earth."[2] However, they first have to discover "The Chosen One" who will lead them to the Sword, whose name is "Amis". Amis is a dog belonging to Sam Porter, a misanthropic fantasy novelist in the real world.

Vidar, Penthiselea and Dean travel via a portal to take Amis, who is with Sam at a book signing in Totnes High Street, to Lower Earth. When they take Amis, Sam follows them and both Sam and Amis arrive in Lower Earth. When they arrive in Lower Earth, Amis is transformed into a human (played by Lamb), retaining many of his canine traits, such as becoming excited when there is a knock at the door, and being totally devoted to Sam. Sam believes he has been kidnapped by deranged fans until he sees the world outside the room in which he awakes. He asks to be sent back home, but is told that the portal is closed and can only be opened by the same Sword of Asnagar that Amis must seek.

Sam decides to travel with Amis, Vidar, Penthiselea and Dean to find the Sword. Meanwhile, Lord Darkness (Alistair McGowan) is planning to stop them from finding the Sword, helped by his evil but dimwitted assistant Kreech (also played by Eldon). Sam proves invaluable in using his modern instincts to trick his way past various creatures barring their way. For instance, he bluffs a three-headed troll guardian of Darkness' fortress in the same way as he would a security guard at a nightclub, distracting it long enough for Dean the dwarf to attack. He also tends to expect secret tunnels and concealed doors because that's the sort of thing he would have written into one of his plots. He is often right.

Characters

Sam Porter (Stephen Mangan). An author of fantasy novels with a jaded attitude, especially towards his more fanatical fans. As the series opens his career and personal life are not going well.

Amis, the Chosen One (Dave Lamb). Originally Sam's pet dog and best friend in the world, he transforms into a human in Lower Earth but retains canine traits and behaviours.

Vidar the Elf Lord, (Darren Boyd), last of a mighty family of Elf Lords, and the leader of the Questers, despite being somewhat dim. His name may be inspired by Víðarr, a god in Norse mythology associated with vengeance.

Penthiselea the Warrior Princess (Sophie Winkleman Series 1-3) (Ingrid Oliver Series 4) in silver breastplate armour and thigh-high boots, who has been promised to Vidar since childhood. Sam is very interested in her, but having been raised as a Warrior Princess she has no concept of relationships with men. Her name may be inspired by Penthesilea, a legendary Amazon warrior-queen.

Dean the Dwarf (Kevin Eldon), a mighty if diminutive warrior with unsavoury personal habits.

Lord Darkness (Alistair McGowan), Lord of Evil, whose efforts to dominate Lower Earth are frustrated by the Questers and his own staff of extremely dimwitted minions.

Kreech (Kevin Eldon), the Right Hand of Darkness, and only slightly less dimwitted than the other minions.

Other characters played by Chris Pavlo.


xxxxx xxxxx xxxxx xxxxx xxxxx



Elven Quest 18 Single Combat (mp3  25mb)

18 Single Combat 27:31


xxxxx xxxxx xxxxx xxxxx xxxxx

previously

Elven Quest Season 1 (01-06) (mp3  152mb)
Elven Quest Season 2 (07-12) (mp3  152mb)

Elvenquest 13 Love and Babies (mp3  25mb)
Elvenquest 14 Barbarian (mp3  25mb)
Elven Quest 15 The Mines of Grazak'Dun (mp3  25mb)
Elven Quest 16 The Grundel (mp3  25mb)
Elven Quest 17 The White Wizard (mp3  25mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Sundaze 1548

Hello, the Formula 1 season draws to a close in the desert this weekend. It has been a rather boring season this year with one team, Mercedes,  clearly ahead of the rest, somehow Vettel managed 3 wins and saved his season somewhat. Hamilton won his second succesive title being the stronger racer, Rosberg started winning after tire pressure levels were set by the FIA. He'll probably win tomorrow but in the midfield there will be lots of action like the hole of last season, plenty off tv coverage for them...


In 1998, Youth (Martin Glover) decided to set up, LSD - Liquid Sound Design as Dragonfly's sister label, specialising in chilled out soundscapes, sonic beats and mellow grooves. LSD was as natural progression for Dragonfly keen to create an outlet for more experimental and down-tempo music as well as satisfying the demand for the post club chill out sounds. Since 2007 the name has changed to "Liquid Sound" and is now managed by Pathaan. Today the 3rd and last of LSD compilations. By now you must have acquinted yourself with some of the LSD acts that will be posted the coming weeks  .... N'joy

xxxxx xxxxx xxxxx xxxxx xxxxx

Martin Glover, also known as Youth or Orion, (born 27 December 1960 in Farnworth, Lancashire) is a record producer and a founder member and bassist of Killing Joke.

Glover originally named himself Pig Youth after the reggae chanter Big Youth, who was popular with late 1970s London punk bands. At age 15 he was in a punk band named The Rage, which toured with The Adverts. Later he joined 4" Be 2" - a band formed by John Lydon's brother Jimmy Lydon - and recorded the "One of the Lads" single with them.

Glover is most famous for being the bass player in Killing Joke. He left the band in 1982, together with Ben Watkins he released 2 albums, The Empty Quarter and Delerium, soon after he founded his own commercially orientated dub funk band Brilliant, which recorded one album in 1986 before later disbanding.

In 1989, Youth and Alex Paterson started the WAU! Mr. Modo label. Their early releases of a selection of industrial techno dubs and heavy sound system dubs from artists such as Napthali, Manasseh, Bim Sherman and Jah Warrior are long deleted and fetch high sums in private sales.

Youth's connections with dub continued in the mid-1990s when he was asked by Adrian Sherwood to remix some of Bim Sherman's tracks for a reworking of the Miracle album. He also recently appeared on a Ted Parsons/NIC dub album, contributing a remix which opens with a sample from Glen Brown's "Version '78", a track originally released on the South East label.

In the early nineties, Glover formed techno and house music duo Blue Pearl together with American singer Durga McBroom. They scored a handful of hit singles including their blue vinyl debut "Naked In The Rain", which reached #4 in the UK Singles Chart and was also a #5 dance hit in the U.S. in 1990.

Glover is credited with founding the first psychedelic trance record label, Dragonfly Records, as well as the Liquid Sound Design and Kamaflage Records labels. He is well known on the psychedelic trance scene, collaborating with Simon Posford and Saul Davies as Celtic Cross, with Greg Hunter and Simon Posford as Dub Trees, and on the project Zodiac Youth. He has performed both full-on trance as well as chill-out DJ sets at several Return to the Source parties, and released the Ambient Meditations 3 mix album on their label in 2000. His Butterfly Studios were also home of the Return to the Source offices circa 1999-2002.

Glover is a member of the band Transmission, together with Simon Tong of The Verve, Paul Ferguson of Killing Joke and Tim Bran of Dreadzone. He also played guitar on several tracks on the 2007 Client album "Heartland."

In mid-2010, Glover teamed up with Alex Paterson (The Orb) to compile a retrospective compilation album of tracks from the WAU! Mr Modo label. The album titled "Impossible Oddities" was released on CD and double vinyl on 25 October 2010 via Year Zero records.

On 27 October 2012, during the International Festival of Music Producers and Sound Designers SOUNDEDIT, Glover was awarded The Man with the Golden Ear Award

xxxxx xxxxx xxxxx xxxxx xxxxx

This is the tenth album from Liquid Sound Design and the third with Humphrey at the helm after Mana Medicine and Elucidations. One of the best of Humphrey's compilations to date. It carries the ethnic flavours and warmth of Mana Medicine with more of the creative beat structures and psychedelic moments heard on Elucidations. Still, there's no point comparing only to these forerunners as this album has a musical pedigree that will make it stand its own against any chillout disc out there. If Shpongle and Ott?s Hallucinogen in Dub captured the essence of a gloopy, dripping Otherworld of magic plants and psychedelic visions, Butterfly Dawn takes us to a place much more firmly rooted in our own planet Earth. It is the natural extension of the tribal and ethnic into the electronic.

One key theme is reserve - none of the tracks let fly too early and they all give the impression of having deep maturity. There are hooks and melodies to be found but they aren't flirting with your head from the outset. When they do reveal themselves they carry so much more passion for having withheld themselves. Of course the production is of excellent quality too, as you would expect from LSD.

Various - Butterfly Dawn (flac 436mb)

01 Nada - Earthgarden 6:20
02 Mantra Man - Shivai 4:43
03 Nada - Raja Mati 7:05
04 Loop Guru - Climax (Youth & Humph's Remix) 8:41
05 Tripswitch - Exiled 7:40
06 Nada - Manakhana 7:47
07 J.Viewz - Into The Mood 5:45
08 Adham Shaikh - Somptin Hapnin (East Shore Mix) 9:44
09 Prometheus - Sweet Tooth 6:37
10 Tripswitch - Silver 8:42

Various - Butterfly Dawn  (ogg   172mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Here LSD are out with Wider Horizons, this time a compilation by Humphrey full of remixes of mostly already released tracks. Tripswitch (Nick Brennan) starts off the album, here remixed by Ott. The original was great, but this remix done by Ott is even better! It's totally relaxing, with a fluffy, happy vibe, relaxed dub with beautiful melodies, sounds and piano. Up next Drum Druid (Jeremy Van Kempen) a beautiful remix done by Abakus (Russell Davies). A mystic vibe, with relaxing drums, dubby bass, floating sounds and beautiful melodies. Nada (Russell Davies and Humphrey Bacchus) get a remixed version done by Youth himself. It's more pure dub style, with deep, dubby rhythms and bass. Youth also added a lot of nice tribal drums which makes it totally relaxed.

United States Of Love (Youth and Michael Kang) get a remix done by Vatos Locos, which is a collaboration between Doof (Nick Barber), Earthling (Celli Firmi) and Xavier Flux. Inspired by reggae dub, mixed with some Indian sitar, drums, electronic sounds and melodies turns it into a happy track with a summer vibe. The Kumba Mela Experiment was originally released on the East Of The River Ganges album in 2001. Here we get a remix by Vibrasphere (Rickard Berglöf and Robert Elster) from Sweden. Vibrasphere make mostly progressive trance music, but has released a few really strong chill out tracks too. The version we get here is more dubby than the original. Track 6 is by Ott get a remix favor returned by Tripswitch (Nick Brennan). Totally chilling, beautiful version of Escape From Tulse Hell. The last track on this compilation is another one by Nada "Earthgarden", it gets a remix by Abakus (Russell Davies, half of Nada). This was very different, and incredibly beautiful. Floating with a relaxed dubby rhythm.

Various - Wider Horizons  (flac  293mb)

01 Tripswitch  - Silver (Ott Remix) 8:03
02 Drum Druid - Last Summer Dub (Abakus Remix) 6:56
03 Nada - Manakhana (Youth Remix) 8:05
04 United States Of Love - Tiger Moon (Vatos Locos Remix) 6:47
05 Kumba Mela Experiment - Elephant Trax (Vibrasphere Remix) 8:21
06 Ott - Escape From Tulse Hell (Tripswitch Remix) 9:39
07 Nada - Earthgarden (Abakus Remix) 5:55

Various - Wider Horizons   (ogg   121mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Here we introduce the new look & renamed label, ‘Liquid Sound’ from the Dragonfly family. The aim is to continue along the journey of sharing and introducing new music because that’s what this is all about. The music that the artists have presented here on this compilation exemplifies this philosophy, although there are recognizable elements, the works push their boundaries right up to edge on the cusp of something completely unique. It is within this sensual and dynamic landscape that we can find wind for our sails, inspiration for our own journeys of the psyche that release and fire our imagination!

Various - Illuminations (flac 356mb)

01 The Kumba Mela Experiment Feat. Ranajit Sengupta - Calcutta Delight 8:39
02 Dub Trees - Mountain Dub 6:07
03 Kuba - Mura 6:14
04 Youth vs. Abakus - Spiritual Being 5:37
05 Subsonar - Gayatri 6:56
06 Tripswitch - Collider 7:04
07 Aftershock Feat. Brother Culture - Eclipse 6:46
08 The Orb vs. Youth - Appletree In My Backyard (Abakus Remix) 8:03
09 Mad Sheer Khan - Concrete Sunblock 5:14

Various - Illuminations  (ogg   135mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

RhoDeo 1547 Grooves

Hello,

Today's artists with their slinky, horn-powered grooves, impeccable musicianship, and eye-popping album covers, the Ohio Players were among the top funk bands of the mid-'70s. For a second and last time here to.  ... N'joy

xxxxx xxxxx xxxxx xxxxx xxxxx

Emerging from the musical hotbed of Dayton in 1959, the group was originally dubbed the Ohio Untouchables, and initially comprised singer/guitarist Robert Ward, bassist Marshall "Rock" Jones, saxophonist/guitarist Clarence "Satch" Satchell, drummer Cornelius Johnson, and trumpeter/trombonist Ralph "Pee Wee" Middlebrooks. In late 1961, a relative of Ward's founded the Detroit-based Lupine Records, and the group traveled north to the Motor City to back the Falcons on their hit "I Found a Love"; the Ohio Untouchables soon made their headlining debut with "Love Is Amazing,". Ward had proved to be an unreliable leader, who would sometimes, during gigs, walk off the stage, forcing the group to stop playing. Eventually, the group vowed to keep playing even after he left. Ward and Jones got into a fistfight in 1964, after which the group broke up.

At that point, the nucleus of Middlebrooks, Jones, and newly added guitarist Leroy "Sugarfoot" Bonner returned to Dayton; there they recruited saxophonist Andrew Noland and drummer Gary Webster, the latter a somewhat elusive figure whose true involvement in the group's convoluted history has never been definitively answered -- some sources credit him as a founding Untouchable, others even as the band's early leader. In any case, by 1967, with the subsequent addition of singers Bobby Lee Fears and Dutch Robinson, the newly rechristened Ohio Players were signed as the house band for the New York-based Compass Records, backing singer Helena Ferguson on her lone hit, "Where Is the Party," before issuing their solo debut, "Trespassin'," which hit the R&B charts in early 1968.

Although the Players' trademark bottom-heavy, horn-driven sound was already blossoming, their follow-up, "It's a Cryin' Shame," flopped, and as Compass teetered on the brink of bankruptcy they exited the label. (Their early Compass sides were later packaged as First Impressions.) the Players then landed on Capitol, where 1969's "Here Today, Gone Tomorrow" was a minor hit; an LP, Observations in Time, soon followed, with covers of "Summertime" and "Over the Rainbow" offering a strong hint of the stylistic detours to follow. In 1970 the group disbanded, however; Fears and Robinson both mounted solo careers, while the remaining members again decamped to Dayton, eventually re-forming with keyboardist, vocalist, and songwriter Walter "Junie" Morrison, trumpeter Bruce Napier, and trombonist Marvin Pierce.

Influenced by the groundbreaking funk of Sly & the Family Stone -- and with the nasal, cartoon-voiced Bonner assuming vocal duties -- the new Ohio Players lineup made their debut with the single "Pain," issued on the small local label Rubber Town Sounds; it was soon picked up for distribution by the Detroit-based Westbound label, reaching the R&B Top 40 in late 1971. An LP, also titled Pain, appeared that same year, and was followed in 1972 by Pleasure, which launched the absurdist smash "Funky Worm." Ecstacy appeared in 1973, and after 1974's Climax, the Players signed to Mercury; the label change also heralded yet more lineup changes, with keyboardist Billy Beck replacing Morrison (who later signed on with Parliament) and drummer Jimmy "Diamond" Williams taking over for Webster.

At Mercury, the Ohio Players enjoyed their greatest success; not only did their sound coalesce, but they became notorious for their sexually provocative LP covers, a tradition begun during their Westbound tenure. Their 1974 Mercury debut, Skin Tight, was their first unequivocal classic, launching the hit title track as well as "Jive Turkey." Its follow-up, Fire, remains the Players' masterpiece, topping the pop charts on the strength of its bone-rattling title cut, itself a number one hit; "I Want to Be Free," one of the band's few attempts at social commentary, was also highly successful. 1975's Honey -- which featured perhaps the Players' most controversial and erotic cover to date -- was another monster, generating the chart-topping masterpiece "Love Rollercoaster" in addition to the hits "Sweet Sticky Thing" and "Fopp."

The insistent "Who'd She Coo?" from 1976's Contradiction, was the Players' last number one R&B hit; "O-H-I-O," from 1977's Angel, was their last major hit on any chart, and as the '70s drew to a close, the band's fortunes continued to decline. 1979's Jass-Ay-Lay-Dee was their final Mercury effort, and upon signing to Arista, the Players returned with Everybody Up, followed by a pair of dismal releases on Boardwalk, 1981's Tenderness and 1982's Ouch! After 1984's Graduation, four years passed prior to the release of their next effort, Back. No new material was forthcoming, although various lineups continued performing live well into the following decades. Despite the deaths of core members Satchell (December 1995), Middlebrooks (November 1997), Ward (December 2008), Johnson (February 2009), and Bonner (January 2013), the band continued to sporadically record and extensively tour. On August 17, 2013, The Ohio Players were inducted into the inaugural class of the Official R&B Music Hall of Fame that took place at Cleveland State University in Cleveland, Ohio.

xxxxx xxxxxxxxxx xxxxx xxxxx

After greatly increasing their visibility with Skin Tight, the Ohio Players became even more visible with Fire -- an unpredictable masterpiece that boasted such explosive horn-driven funk jewels as "Smoke" and the wildly addictive title song. The Players were always best known for their hard-edged funk, but in fact, there was much more to their legacy. "I Want to Be Free," the almost innocent "Together," and the remorseful "It's All Over" demonstrate that their ballads and slower material could be first-rate soul treasures. The influence of gospel imagery and the black church experience had asserted itself on Skin Tight's "Is Anybody Gonna Be Saved," and does so once again on the intense "What the Hell" and the hit "Runnin' From the Devil." Without question, Fire was one of the Ohio Players' greatest triumphs -- both commercially and artistically.

Ohio Players - Fire  (flac 200mb)

01 Fire 4:33
02 Together 3:06
03 Runnin' From The Devil 4:47
04 I Want To Be Free 6:52
05 Smoke 5:58
06 It's All Over 4:14
07 What The Hell 5:36
08 Together / Feelings 1:12

Ohio Players - Fire   (ogg 89mb)

xxxxx xxxxxxxxxx xxxxx xxxxx

Honey may have had the most controversial LP cover of 1975. Its erotic cover, which depicted a nude model covered in honey, was protested by feminists when it was alleged that the model had become stuck to the floor during the photo shoot. Some retailers, in fact, refused to carry it. All the controversy certainly didn't hurt the album commercially. In 1975, the Ohio Players were one of R&B's most successful acts, and were inescapable for anyone who listened to black radio at the time. The album kept the band's commercial momentum going thanks to such hard-driving funk as "Love Rollercoaster" (a song that was sampled to death by rappers in the 1980s and '90s and covered by the Red Hot Chili Peppers in 1996), "Fopp," and the playfully jazz-influenced hit "Sweet Sticky Thing." While the Players' outstanding contributions to funk would continue to have an enormous impact long after the band's popularity faded, it's important to stress that only about half of Honey falls into the funk category. In fact, lead singer Sugarfoot's moving performance on the remorseful "Alone" makes one wish that the Players' ballads were discussed more often.

Ohio Players - Honey  (flac 196mb)

01 Honey 5:19
02 Fopp 3:52
03 Love Rollercoaster 4:54
04 Ain't Givin' Up No Ground 1:42
05 Sweet Sticky Thing 6:16
06 Let's Do It (Interpolated With Let's Love) 5:18
07 Alone 4:37

xxxxx xxxxx xxxxx xxxxx xxxxx

Upon the release of this album, the Ohio Players were at the pinnacle of their long music careers, which date back to the late '50s. This album produced the number one Billboard R&B single "Who'd She Coo." The rhythm arrangement and jazzy horn arrangement are complemented by a titillating guitar, colorful vocals, and a suggestive lyric. While the title is "Who'd She Coo," the chant is actually "oochie coo", but was modified due to its racy content. The ballad "My Life," with its rolling rhythm and frigid background vocals, shines with Leroy Bonner's agile baritone. Still on a somber note, "Bi-Centennial" sends a social message to the masses, and the title track is a direct reflection of life. Some of these compositions stray from the course with instrumental interludes, but that can be understood considering that the group was initially assembled as an instrumental band. "Who'd She Coo" was the funk ensemble's last number one hit, but they would return to the Top Ten on their album, Angel, with "O-H-I-O." Though there were competitive groups emerging, internal strife facilitated the demise of this pioneering funk band.

Ohio Players - Contradiction  (flac 237mb)

01 Contradiction 4:36
02 Precious Love 4:55
03 Little Lady Maria 4:16
04 Far East Mississippi 4:54
05 Who'd She Coo? 4:31
06 My Life 3:58
07 Tell The Truth 3:39
08 My Ladies Run Me Crazy 3:54
09 Bi-Centennial 3:45

 Ohio Players - Contradiction (ogg 91mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

After taking a break from aggressive, sweaty funk on Mr. Mean, the Ohio Players made an artistically successful return to it with the neglected Jass-Ay-Lay-Dee. By 1978, their popularity had decreased considerably, and funk fans were much more interested in what newer arrivals like Cameo, Bootsy Collins, Slave and Rick James were up to. But the Players still had some life left in them, and energetic offerings like "Dance (If Ya Wanta)," "Sleepwalkin'" and the single "Funk-O-Knots" aren't anything to be ashamed of. This album may not be in a class with Skin Tight, Fire, or Honey, but it's certainly decent. Jass-Ay-Lay-Dee turned out to be the Players' last album for Mercury -- after that, they moved to Arista and recorded one more worthwhile album, 1979's Everybody Up. And when the early 1980s rolled around, a downsized version of the Players would end up on Boardwalk and record the worst albums of their career.

Ohio Players - Jass-Ay-Lay-Dee  (flac 228mb)

01 unk-O-Nots 4:53
02 Sleepwalkin' 5:32
03 Jass-Ay-Lay-Dee 8:13
04 Nott Enuff 5:00
05 Time Slips Away / Shoot Yer Shot 7:12
06 Dance (If Ya Wanta) 6:13

 Ohio Players - Jass-Ay-Lay-Dee (ogg 93mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

RhoDeo 1547 Goldy Rhox 237

Hello, today the 237th post of GoldyRhox, classic pop rock, in the darklight a British progressive rock band, active between 1975 and 1990, consisting of Eric Woolfson and Alan Parsons surrounded by a varying number of session musicians and some relatively consistent band members such as guitarist Ian Bairnson. Behind the revolving line-up and the regular sidemen, the true core of the Project was the duo of Parsons and Woolfson. Woolfson was a songwriter by profession, but also a composer and pianist. Parsons was a successful producer and accomplished engineer. Almost all songs on the band's albums are credited to "Woolfson/Parsons".

Through the late 1970s and early 1980s, the group's popularity continued to grow (although they were always more popular in North America and Continental Europe than in their home country, never achieving a UK Top 40 single or Top 20 album). Most of the their titles, especially the early work, share common traits, they were concept albums, and typically began with an instrumental introduction which faded into the first song. The group was notable for using several vocal performers instead of having a single lead vocalist. Lead vocal duties were shared by guest vocalists chosen by their vocal style to complement each song. Woolfson sang lead on many of the group's hits (including "Time" and "Eye in the Sky") and the record company pressured Parsons to use him more, but Parsons preferred "real" singers, which Woolfson admitted he was not. The band sold over 50 million albums world-wide. Woolfsen died (age 64) from kidney cancer in London on 2 December 2009. He was survived by his wife, daughters Sally Seddon and Lorna Covington and three grandchildren

***** ***** ***** ***** *****

Most of the albums i 'll post made many millions for the music industry and a lot of what i intend to post still gets repackaged and remastered decades later, squeezing the last drop of profit out of bands that for the most part have ceased to exist long ago, although sometimes they get lured out of the mothballs to do a big bucks gig or tour. Now i'm not as naive to post this kinda music for all to see and have deleted, these will be a black box posts, i'm sorry for those on limited bandwidth but for most of you a gamble will get you a quality rip don't like it, deleting is just 2 clicks...That said i will try to accommodate somewhat and produce some cryptic info on the artist and or album.

Today's mystery album is the second studio album by the band released June 1977. It's an art rock album that draws conceptually on author Isaac Asimov's science fiction Robot trilogy, exploring philosophical themes regarding artificial intelligence. The album was intended to be based on the Robot stories written by Asimov, and Woolfson actually spoke with Asimov, who was enthusiastic about the idea. As the rights already had been granted to a TV/movie company, the album's title was altered slightly, and the theme and lyrics were made to be more generically about robots rather than specific to the Asimov universe.

The cover inlay read: "The story of the rise of the machine and the decline of man, which paradoxically coincided with his discovery of the wheel... and a warning that his brief dominance of this planet will probably end, because man tried to create robot in his own image." The title of the final track, "Genesis Ch.1 v.32," follows this theme by implying a continuation to the story of Creation, since the first chapter of Genesis only has 31 verses.

The album cover photo of the band members is of the criss-crossing escalator tubes in the circular Terminal 1 building of Charles de Gaulle Airport outside Paris. Over this is superimposed a painting of a robot with a stylised atom for a brain. The original vinyl release had a gatefold-style cover; the inside spread had printed the lyrics for the non-instrumental selections and a monochrome photograph of the artist himself.

Today's mystery album has been reissued multiple times in various formats since its initial release on vinyl, including numerous audiophile releases. Mobile Fidelity Sound Lab (MFSL) released the album on standard vinyl (MFSL 1-084), UHQR vinyl (MFQR 1-084), and on aluminium CD (MFCD-1-804). Classic Records has released the album in analogue form on 180 Gram Vinyl, as well as digitally on HDAD (24bit/192 kHz & 24bit/96 kHz DVD-Audio). In 2007, as part of a larger campaign, Sony released a remastered version along with bonus tracks on CD. It was later released in Japan as an SHM-CD, with the same mastering. The album was re-released as a Legacy edition in 2013 on CD, with an extra disc with unreleased bonus tracks, mastered by Dave Donelly. This one is up for grabs here  N'Joy


Goldy Rhox 237   (flac 464mb)

Goldy Rhox 237   (ogg 182mb)

***** ***** ***** ***** *****

RhoDeo 1547 Aetix

Hello, clearly only the draw can prevent this years Champions final between Bayern Munich and Barcelona, these teams are more than a cut above the rest, both humilated the no 2 in their poule tonight. Enough said, the fascist Turks play with fire downing a Russian plane because it crossed a land tongue (20 seconds wide) but more because it bombed their favorite oil smuggling anti Assad terrorists, who finished the job by shooting the parachuted pilots out of the air (a warcrime by disgusting cowards). I hope Putin responds by levelling their hold outs. Meanwhile Turkey barks behind NATO cover, time to kick them out ! This would enable the West to support the Kurds and recognise their deserved independant country.


Looks to me that you are still in need of more industrial..Today's act was originally a band, formed in 1978 by Stapleton, John Fothergill and Heman Pathak. The band has performed in many genres such as avant-garde, experimental, industrial, noise, dark ambient, and drone.. ... N'Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

A loose experimental project formed in 1978 by Steven Stapleton, Nurse with Wound explored abstract music -- influenced by Krautrock, freewheeling jazz improvisation, and Throbbing Gristle but including a heavy debt to surrealists Dali and Lautréamont -- with an overpowering release schedule of limited-edition albums and EPs. Stapleton worked with an ever-changing list of collaborators during the early years of Nurse with Wound, though Current 93's David Tibet was the only frequent recording companion during the 1980s and '90s.

Nurse with Wound's first three albums (Chance Meeting on a Dissecting Table of a Sewing Machine and an Umbrella, To the Quiet Man from a Tiny Girl, and Merzbild Schwet) reflect a naked, minimalist slant with long periods of quiet suddenly interrupted by guitar chords inspired by the avant-garde wing of psychedelia/jazz-rock, chains, music boxes, and found-sound recordings. By the early '80s, Stapleton had begun to incorporate noisy, abrasive rhythms that put him more in line with contemporary EBM masters like Skinny Puppy and SPK. Though Stapleton continued his surrealist slant, he often moved back to more empty recordings. These works -- beginning with Soliloquy for Lilith in 1988 -- came to light in the context of the growing ambient/electronic movement, however, putting Nurse with Wound squarely in line with music trends for the first time.

Stapleton recorded two split singles with Stereolab during 1995 and continued his hectic, uncompromising release schedule from his base in southern Ireland. In 2005 the double-CD compilation Livin' Fear of James Last offered an overview of their output. That same year the two-CD compilation Judas as Black Moth was released through the Sanctuary label. On May 5, 2005, Stapleton recorded an improvisational live piece in Vienna and released it in 2006 under the title Soundpooling. Tooth, Teeth, Milk, Skin, Teeth was released in mid-2007, while NWW's terrifying 1982 cult classic Homotopy to Marie was reissued on CD just in time for Halloween 2007. Three new albums were issued in 2008: Huffin' Rag Blues, The Bacteria Magnet, and The Continuous Accident. In early 2009, the retrospective Paranoia in Hi-Fi: Earworms 1978-2008 prefaced a slew of new albums including Space Music, The Surveillance Lounge, and May the Fleas of a Thousand Camels Infest Your Armpits.

A collaborative work with krautrock legend Faust was released on CD in 2007 as Disconnected with a vinyl edition carrying additional mixes following in 2008. A NWW album entitled Huffin' Rag Blues, primarily a collaboration with British sound artist Andrew Liles, was issued in 2008 with a companion mini-LP entitled The Bacteria Magnet. A remix of Sunn O)))'s ØØ Void entitled The Iron Soul of Nothing was given a limited release with an expanded reissue of the out-of-print studio album The Man with the Woman Face following. An album of new material entitled The Surveillance Lounge was then released as a CD with a limited triple CD called The Memory Surface. A CD of new material entitled Space Music will be released on 17 November 2009.

A recent collaboration was a result of the chance meeting of Nurse With Wound's Steven Stapleton and Graham Bowers, both artists were appearing at Bangor Sound City's first art/sound event 'Wet Sounds' curated by Joel Cahen located at the Bangor Swimming Pool, North Wales, in January 2011. Both were admirers of each other's past works and felt that a collaboration on a new piece of work could be an interesting and exciting prospect, consequently 'Rupture' is the first full-length work, and is released as a Double Vinyl album/LP, a CD and Download. The Vinyl album and CD have been released through Dirter.

The follow-up to last year's Rupture sees Steven Stapleton and Graham Bowers exploring the inner reaches of the psyche. The thematic work, Parade was released on the interdisciplinary arts group/record label Red Wharf and distributed by Cargo. The third collaboration, ExcitoToxicity was released July 2014, and the fourth, Mutation released March 2015 all through Red Wharf and distributed by Cargo.

xxxx xxxxx xxxxx xxxxx xxxxx

The debut Nurse With Wound album lies halfway between the more tuneless explorations of Krautrock and the new industrialism practiced by Throbbing Gristle and Cabaret Voltaire. Across three lengthy tracks, obtuse guitar freak-outs are used to frame distorted synthesizers and mostly rhythm-less drum machines. Though it frequently defies easy analysis, Chance Meeting is one of the more glowing examples of uncompromising industrial-noise of the 1970s.

Nurse With Wound - Chance meeting  (flac 267mb)

01 Two Mock Projections 6:20
02 The Six Buttons Of Sex Appeal 13:14
03 Blank Capsules Of Embroidered Cellophane 29:16

Nurse With Wound - Chance meeting  (ogg  98mb )

xxxxx xxxxx xxxxx xxxxx xxxxx

Following on the footsteps of Chance Meeting on a Dissecting Table, To the Quiet Men From a Tiny Girl was Nurse With Wound's second album and shows the group refining itself from the debut and adding a lot more dynamics. The record starts off with the very short "Umbrella Link," really just some guitar riffing from engineer Nicky Rodgers as a concession for N.W.W. to use his recording studio, before segueing into the side-long "She Alone Hole and Open." Along with the clattering and clanking percussion and weird scraping noises and guitar burbles, French avant-jazz giant Jacques Berrocal joined in on pocket trumpet and Stapleton adds some sax squall for results a bit closer to free jazz than the first record. The side-two piece "Ostranenie" throws a bunch of strange voices into the din, and then later on, a creepy music box takes over. Both pieces have quiet moments that contrast with the noisier sections, and the use of editing is more prevalent, though not as advanced as later releases. Some sections ramble on for too long like a lot of early N.W.W., but it's still an intriguing release, if not as fully realized as later works.

NWW - To The Quiet Man To The Tiny Girl  (flac 332mb)

01 Umbrella Link, She Alone Hole And Open  25:43
02 Ostranenie 25:14

NWW - To The Quiet Man To The Tiny Girl  (ogg  114mb )

xxxxx xxxxx xxxxx xxxxx xxxxx

Nurse With Wound began as a trio, but by Merzbild Schwet, its third album, Steve Stapleton's singular vision took over, with no compromises to other band members. As such it can be considered the first fully realized N.W.W. record and is a far more mature effort than its predecessors, much more focused and sounding less like some stoned guys goofing off in the studio. Stapleton's editing techniques come to the fore, with abrupt transitions, quirky juxtapositions, and lots of strange sounds that would become the hallmark of future N.W.W. releases, even as one album might drastically diverge from the next. The first track (or first side of the original LP), "Futurismo" begins with clanking rhythms, record skip clicks, and horn riffs before veering off into a crazed quilt of women singing, laughing, and talking in French. About halfway through, wild screeches of distortion disrupt the piece, and then more bizarre sounds take over before the piece ends with a collage of over-modulated electronic hum and rambling piano. The other cut, "Dada X," goes further into weirdness with lots of silences, creepy creaking noises, tones that build up and collapse, and scattered spoken word in French and English from Eve Libertine from the political punk band Crass, and the piece certainly lives up to the Dada of its title.

Nurse With Wound - Mezbild Schwet  (flac 233mb)

01 Dada X 24:45
02 Futurismo 24:45

Nurse With Wound - Mezbild Schwet    (ogg 105mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Though Homotopy To Marie is the fifth album by Nurse with Wound, Steve Stapleton has said that he considers it the band's true debut because it's the first one he created by himself. Slowly created over the course of a full year's worth of studio sessions (Stapleton having booked one six-hour block per week for 52 weeks), Homotopy To Marie is no less unnerving and experimental than Nurse with Wound's previous albums, but it's far less chaotic. Stapleton created the album's five songs (four on the original LP; the 12-minute "Astral Dustbin Dirge," recorded during these sessions, was added to the CD editions) almost entirely through tape manipulation, artfully editing miles of audio tape into these lengthy dada-esque soundscapes. It may be more elegantly constructed, but it's just as difficult to penetrate. The opening track "I Cannot Feel You as the Dogs Are Laughing and I Am Blind" opens with a lengthy solo for random metal clanking that sounds like a drawer full of silverware being stirred with an axe handle and then fades into near-total silence for several minutes until a processed vocal wail wanders in, leading to an unexpected noise-burst climax that causes listeners to jump even when they know it's coming. The title track ("homotopy" is a mathematical term for the morphing of one two-dimensional shape into another, incidentally) consists of little more than gong crashes with occasional interjections of whispered voices, atonal violin-like creaks and other small and inexplicable noises. "Astral Dustbin Dirge" lulls the listener into complacency with a lengthy prologue of sounds resembling tape-manipulated whale song before a brief burst of cries and alarms then settles into possibly the most minimalist near-silence of the entire album. The 25-minute epic "The Schmurz (Unsullied by Sucking)" slowly builds into a symphony of feedback and electronic tones alternately droning at irritating frequencies and imitating natural sounds like woodpeckers and rainfall, like a more pastoral version of Lou Reed's Metal Machine Music. After that, the barely 90-second "The Tumultuous Upsurge of Lasting Hatred," a snatch of tape rendered near inaudible followed by several seconds of pure silence, sounds like a lullaby in comparison. While hardly accessible, Homotopy To Marie is at least generally comprehensible in its structures and sounds, and as such one of the most popular starting points in the Nurse with Wound catalogue. [The United Dairies CD reissue of 2008 fixes an indexing error made in the original early 1990s CD release, where the last three minutes or so of track one were inadvertently added to the start of track two.

Nurse With Wound -  Homotopy To Marie  (flac 336mb)

01 I Cannot Feel You As The Dogs Are Laughing And I Am Blind 10:14
02 Homotopy To Marie 16:37
03 Astral Dustbin Dirge 12:19
04 The Schmürz (Unsullied By Suckling) 24:54
05 The Tumultuous Upsurge (Of Lasting Hatred) 1:25

Nurse With Wound - Homotopy To Marie    (ogg 146mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

RhoDeo 1547 Re-Ups 39

Hello,

Storage maybe dirt cheap these days -compared to 5 years ago, but the hosts are much more money orientated and look at turnover and notice that keeping data longer than 1 month isn't making them money. Thus the coming months i'm making an effort to re-up, it will satisfy a small number of people which means its likely the update will  expire relativly quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section prefarbly at the page where the expired link resides....requests are satisfied on a first come first go basis. As my back up ogg hard disk is nonresponsive currently, i most likely will post a flac instead~for the the pre medio 2011 posts~ but i would think that is not really a problem...updates will be posted here and yes sign a name to your request and please do it from the page where the link died!

Looka here another batch of 26 re-ups, requests fullfilled upto 8th November.. ...N' Joy


5x France-ici-Paris-deux NOW In Flac (DJ Cam - Substances, Jay Alansky - Les Yeux Creves, Ekova - Soft Breeze & Tsunami Breaks, Burgalat - Sssound of Mmusic, Encre - Flux )


3x Linton Kwesi Johnson Back In Flac (Poet And The Roots - Dread Beat And Blood, In Dub, Making History)


3x Franco Back in Flac (Franco TP OK Jazz - 20th Anniversaire, Franco et le tout puissant OK Jazz - Vol 1, Franco Et L'OK Jazz - 1970-71-72)


3x Roots Back in Flac ( Zaiko Langa-Langa - Zaire-Ghana , Papa Wemba - Mzee fula-ngenge, Papa Wemba - L'Esclave)


3x Roots 1417 Back in Flac (Tshala Muana - The Best Of Tshala, VA - Congo Rhythm, VA - Congo Rhythm 2)


3x MC 900 Ft Jesus NOW In Flac (MC 900 Ft Jesus With DJ Zero – Hell With The Lid Off, MC 900 Ft Jesus – One Step Ahead Of The Spider, MC 900 Ft Jesus - Welcome To My Dream )


3x Mick Karn Back In Flac (Mick Karn - Titles, Dalis Car - The Waking Hour, Jansen Barbieri Karn - Beginning To Melt )


1x Gary Numan Back In Flac (Gary Numan's Tubeway Army - Tubeway Army)


2x Aetix 24 NOW In Flac (Modern English - After The Snow (82 Exp), General Public - All The Rage)


xxxxx xxxxx xxxxx xxxxx xxxxx

RhoDeo 1547 Quest 17

Hello,

Elven Quest... A series that will be running into the new year, 24 episodes of Elvenquest. It's is a sitcom about a misanthropic writer of fantasy novels who finds himself whisked away into a parallel universe by an elf, a dwarf and a warrior princess, where he must undertake to find the Sword of Asnagar in order to save Lower Earth from the evil Lord Darkness before he can get home. Today part 3 of season 3 .. N'Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

Plot

During the Third Age of Elven Princes of Lower Earth, a band of noble warriors – Vidar the Elf Lord (Boyd), Penthiselea the Warrior Princess (Winkleman) and Dean the Dwarf (Eldon) – plan to save Lower Earth from the evil rule of Lord Darkness by searching for the Sword of Asnagar, "for whoso'er wields the sword shall rule all of Lower Earth."[2] However, they first have to discover "The Chosen One" who will lead them to the Sword, whose name is "Amis". Amis is a dog belonging to Sam Porter, a misanthropic fantasy novelist in the real world.

Vidar, Penthiselea and Dean travel via a portal to take Amis, who is with Sam at a book signing in Totnes High Street, to Lower Earth. When they take Amis, Sam follows them and both Sam and Amis arrive in Lower Earth. When they arrive in Lower Earth, Amis is transformed into a human (played by Lamb), retaining many of his canine traits, such as becoming excited when there is a knock at the door, and being totally devoted to Sam. Sam believes he has been kidnapped by deranged fans until he sees the world outside the room in which he awakes. He asks to be sent back home, but is told that the portal is closed and can only be opened by the same Sword of Asnagar that Amis must seek.

Sam decides to travel with Amis, Vidar, Penthiselea and Dean to find the Sword. Meanwhile, Lord Darkness (Alistair McGowan) is planning to stop them from finding the Sword, helped by his evil but dimwitted assistant Kreech (also played by Eldon). Sam proves invaluable in using his modern instincts to trick his way past various creatures barring their way. For instance, he bluffs a three-headed troll guardian of Darkness' fortress in the same way as he would a security guard at a nightclub, distracting it long enough for Dean the dwarf to attack. He also tends to expect secret tunnels and concealed doors because that's the sort of thing he would have written into one of his plots. He is often right.

Characters

Sam Porter (Stephen Mangan). An author of fantasy novels with a jaded attitude, especially towards his more fanatical fans. As the series opens his career and personal life are not going well.

Amis, the Chosen One (Dave Lamb). Originally Sam's pet dog and best friend in the world, he transforms into a human in Lower Earth but retains canine traits and behaviours.

Vidar the Elf Lord, (Darren Boyd), last of a mighty family of Elf Lords, and the leader of the Questers, despite being somewhat dim. His name may be inspired by Víðarr, a god in Norse mythology associated with vengeance.

Penthiselea the Warrior Princess (Sophie Winkleman Series 1-3) (Ingrid Oliver Series 4) in silver breastplate armour and thigh-high boots, who has been promised to Vidar since childhood. Sam is very interested in her, but having been raised as a Warrior Princess she has no concept of relationships with men. Her name may be inspired by Penthesilea, a legendary Amazon warrior-queen.

Dean the Dwarf (Kevin Eldon), a mighty if diminutive warrior with unsavoury personal habits.

Lord Darkness (Alistair McGowan), Lord of Evil, whose efforts to dominate Lower Earth are frustrated by the Questers and his own staff of extremely dimwitted minions.

Kreech (Kevin Eldon), the Right Hand of Darkness, and only slightly less dimwitted than the other minions.

Other characters played by Chris Pavlo.


xxxxx xxxxx xxxxx xxxxx xxxxx



Elven Quest 17 The White Wizard (mp3  25mb)

17 The White Wizard 27:49


xxxxx xxxxx xxxxx xxxxx xxxxx

previously

Elven Quest Season 1 (01-06) (mp3  152mb)
Elven Quest Season 2 (07-12) (mp3  152mb)

Elvenquest 13 Love and Babies (mp3  25mb)
Elvenquest 14 Barbarian (mp3  25mb)
Elven Quest 15 The Mines of Grazak'Dun (mp3  25mb)
Elven Quest 16 The Grundel (mp3  25mb)


xxxxx xxxxx xxxxx xxxxx xxxxx

Sundaze 1547

Hello, well the media storm around Adele's new album has subsided somewhat a day after it's release. It had been a completely over the top affair and unnecessary, but then it's all about eyeballs these days. The divine one has birthed a new album and everyone wants a stake. Poor Adele, next will come the big labels and a fat checkbook forcing her to sign a 3 record deal worth 500 million dollars, and a commercial bonanza ensues, millions will worship her holograms. Adele gets more and more isolated and only her children keep her sane (i'm sure she'll have several more). Yes your future is so bright, you better ware shades (and a bomb vest).


In 1998, Youth (Martin Glover) decided to set up, LSD - Liquid Sound Design as Dragonfly's sister label, specializing in chilled out soundscapes, sonic beats and mellow grooves. LSD was as natural progression for Dragonfly keen to create an outlet for more experimental and down-tempo music as well as satisfying the demand for the post club chill out sounds. Today a second post of their compilations..  .... N'joy

xxxxx xxxxx xxxxx xxxxx xxxxx

Martin Glover, also known as Youth or Orion, (born 27 December 1960 in Farnworth, Lancashire) is a record producer and a founder member and bassist of Killing Joke.

Glover originally named himself Pig Youth after the reggae chanter Big Youth, who was popular with late 1970s London punk bands. At age 15 he was in a punk band named The Rage, which toured with The Adverts. Later he joined 4" Be 2" - a band formed by John Lydon's brother Jimmy Lydon - and recorded the "One of the Lads" single with them.

Glover is most famous for being the bass player in Killing Joke. He left the band in 1982, together with Ben Watkins he released 2 albums, The Empty Quarter and Delerium, soon after he founded his own commercially orientated dub funk band Brilliant, which recorded one album in 1986 before later disbanding.

In 1989, Youth and Alex Paterson started the WAU! Mr. Modo label. Their early releases of a selection of industrial techno dubs and heavy sound system dubs from artists such as Napthali, Manasseh, Bim Sherman and Jah Warrior are long deleted and fetch high sums in private sales.

Youth's connections with dub continued in the mid-1990s when he was asked by Adrian Sherwood to remix some of Bim Sherman's tracks for a reworking of the Miracle album. He also recently appeared on a Ted Parsons/NIC dub album, contributing a remix which opens with a sample from Glen Brown's "Version '78", a track originally released on the South East label.

In the early nineties, Glover formed techno and house music duo Blue Pearl together with American singer Durga McBroom. They scored a handful of hit singles including their blue vinyl debut "Naked In The Rain", which reached #4 in the UK Singles Chart and was also a #5 dance hit in the U.S. in 1990.

Glover is credited with founding the first psychedelic trance record label, Dragonfly Records, as well as the Liquid Sound Design and Kamaflage Records labels. He is well known on the psychedelic trance scene, collaborating with Simon Posford and Saul Davies as Celtic Cross, with Greg Hunter and Simon Posford as Dub Trees, and on the project Zodiac Youth. He has performed both full-on trance as well as chill-out DJ sets at several Return to the Source parties, and released the Ambient Meditations 3 mix album on their label in 2000. His Butterfly Studios were also home of the Return to the Source offices circa 1999-2002.

Glover is a member of the band Transmission, together with Simon Tong of The Verve, Paul Ferguson of Killing Joke and Tim Bran of Dreadzone. He also played guitar on several tracks on the 2007 Client album "Heartland."

In mid-2010, Glover teamed up with Alex Paterson (The Orb) to compile a retrospective compilation album of tracks from the WAU! Mr Modo label. The album titled "Impossible Oddities" was released on CD and double vinyl on 25 October 2010 via Year Zero records.

On 27 October 2012, during the International Festival of Music Producers and Sound Designers SOUNDEDIT, Glover was awarded The Man with the Golden Ear Award


xxxxx xxxxx xxxxx xxxxx xxxxx

Yet another brilliant old chillout compilation that holds in the magnificent Nomads of Dub song Spirals. That song itself hasn't aged a bit since it first saw the daylight in Twisted Records' compilation Eclipse: A Journey of Permanence & Impermanence. Followed by Dub Trees' Buffalo and the funny samples in it. And in this point it's always good to fly off to distant beach and we get that with Albatross by Suns of Arqa, this is has been one of my favourites ever since I first heard it. Let's continue to drift off with Guy Pratt & Alex Paterson and their song 4 Horsemen. Kiosk's a bit over two minute Pip in the Pudding is quiet, it let's you calm down a bit before Killing Joke's Requiem (Remix) which itself is a bit more harsh. Industrial Suicide Tribe continue to taking more deeper, it has a nice guitar in it too. After this it's time to make you feel easier and D'ya Dig' and close things off with an outro. This is how more chillout albums should sound and Alex Paterson has done a great job with selecting and mixing his voyage into paradise. This has a darker side and a happier side, it's soft and it's hard. It's magical! This is an must have for all Liquid Sound Design fans.

Various - Dr Alex Paterson's Voyage Into Paradise  (flac 354mb)

01 Nomads Of Dub - Spirals 7:23
02 Dub Trees - Buffalo 10:44
03 Suns Of Arqa - Albatross 3:51
04 The Rob - 4 Horseman 6:43
05 Kiosk - Pip In The Pudding 2:19
06 Killing Joke - Requiem 9:30
07 Industrial Suicide Tribe - Aqua Sufi 15:07
08 Easy - D'ya Dig' 6:24
09 Unknown Artist - Outro 0:58

Various - Dr Alex Paterson's Voyage Into Paradise (ogg 137mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Chilled albums were the curse of dance music in 2001. Hidden between the Ministry-Essential-Clubbers Guide chillout releases there were some more underground-friendly releases that catered more to the discerning electronic fans than the coffee-table lounge set. And quietly, Liquid Sound Design has pulled a blinder with a nice set of unpredictable, unclassified grooves that are a veritable cool breeze on the feet for your summer listening pleasure. DJ Humphrey (Cafe Del Mar, Big Chill) has selected a smooth and smiling set of tunes high on the pleasure factor, and away from the cheese and uniformity that characterises a lot of other chilled releases.

Ott and Drum Druid (new moniker for the much-missed Laughing Buddha) offer a nice slice of psychedelic dub, the latter’s contribution being a trifle delight of nice pads and cute lines. Lusine ICL’s “WScheming” is another particularly special tune, and Abacus’ “Return to Rama” is a sweet tune, plenty to lay back and remember summers past (excuse me) as well as pleasing everyone from the Cafe Del Mar posse. All in all a solid album, fresh stuff and manages not to fall into the traps set by previous noncey downtempo groove compilations.

Various - Elucidations (flac 408mb)

01 Ott - Ott Meets Billy The Kid 6:52
02 Kiwa Arachnoid Dub 8:08
03 Drum Druids -Last Summer (Dub) 6:49
04 Humito - Monkey Puzzle 7:51
05 Violet Vision - Sign Of Bliss 6:53
06 Lusine ICL - Scheming 6:00
07 The Kumba Mela - Himalayan Dub 7:51
08 Abacus - Return To Rama 8:37
09 Humito - Wider Horizons (Drum Druids Remix) 6:31

Various - Elucidations  (ogg   158mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

DJ Unity Dub has chosen a fine series of some of the best proponents of modern dub and mixed them flawlessly into a steadily rising set. Sounds From The Ground, Groove Corporation, Bill Laswell and Global Youth shine out. Starting with a lovely, natural intro of waves, waterfalls and birdsongs the bass of Jah Wobble then kicks in to shake the floor. The overall vibe is deep, witty and adventurous. Every track is a highlight and the mixes are sometimes dramatic and sometimes very subtle. One of the highlights is the bizarrely named Chillage People and their version of the Dr Who theme tune that's a must for any other Dr Who fans out there. The album is perfect for a bit of post-club chilling or relaxing to on a summer's day.

Various - Unity Dub's Voyage Into Paradise (flac 491mb)

01 Unity Dub - Pastoral Journey (Intro) 2:32
02 Jah Wobble & Bill Laswell - Subcode 7:43
03 Shpongle - A New Way To Say Hooray 6:28
04 Mere Mortals - Last 4:19
05 Zen Lemonade - Die Ashanti 6:15
06 Chillage People - Dr Whooo (Live At Destination Venus) 7:24
07 Global Youth - All Of The Youth 4:57
08 The Kumba Mela Experiment - Cleaning Fluid (Druids, Dreads & Sadhus Mix) 8:30
09 Sounds From The Ground - Where The Wild Things Were 7:17
10 Dub Mix Convention - But Do You Realize? 5:09
11 UVX - Bug Dub 7:24
12 Groove Corporation - Roots Controller 5:13

Various - Unity Dub's Voyage Into Paradise  (ogg   193mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

RhoDeo 1546 Grooves

Hello,

Today's artists with their slinky, horn-powered grooves, impeccable musicianship, and eye-popping album covers, the Ohio Players were among the top funk bands of the mid-'70s. .  ... N'joy

xxxxx xxxxx xxxxx xxxxx xxxxx

Emerging from the musical hotbed of Dayton in 1959, the group was originally dubbed the Ohio Untouchables, and initially comprised singer/guitarist Robert Ward, bassist Marshall "Rock" Jones, saxophonist/guitarist Clarence "Satch" Satchell, drummer Cornelius Johnson, and trumpeter/trombonist Ralph "Pee Wee" Middlebrooks. In late 1961, a relative of Ward's founded the Detroit-based Lupine Records, and the group traveled north to the Motor City to back the Falcons on their hit "I Found a Love"; the Ohio Untouchables soon made their headlining debut with "Love Is Amazing,". Ward had proved to be an unreliable leader, who would sometimes, during gigs, walk off the stage, forcing the group to stop playing. Eventually, the group vowed to keep playing even after he left. Ward and Jones got into a fistfight in 1964, after which the group broke up.

At that point, the nucleus of Middlebrooks, Jones, and newly added guitarist Leroy "Sugarfoot" Bonner returned to Dayton; there they recruited saxophonist Andrew Noland and drummer Gary Webster, the latter a somewhat elusive figure whose true involvement in the group's convoluted history has never been definitively answered -- some sources credit him as a founding Untouchable, others even as the band's early leader. In any case, by 1967, with the subsequent addition of singers Bobby Lee Fears and Dutch Robinson, the newly rechristened Ohio Players were signed as the house band for the New York-based Compass Records, backing singer Helena Ferguson on her lone hit, "Where Is the Party," before issuing their solo debut, "Trespassin'," which hit the R&B charts in early 1968.

Although the Players' trademark bottom-heavy, horn-driven sound was already blossoming, their follow-up, "It's a Cryin' Shame," flopped, and as Compass teetered on the brink of bankruptcy they exited the label. (Their early Compass sides were later packaged as First Impressions.) the Players then landed on Capitol, where 1969's "Here Today, Gone Tomorrow" was a minor hit; an LP, Observations in Time, soon followed, with covers of "Summertime" and "Over the Rainbow" offering a strong hint of the stylistic detours to follow. In 1970 the group disbanded, however; Fears and Robinson both mounted solo careers, while the remaining members again decamped to Dayton, eventually re-forming with keyboardist, vocalist, and songwriter Walter "Junie" Morrison, trumpeter Bruce Napier, and trombonist Marvin Pierce.

Influenced by the groundbreaking funk of Sly & the Family Stone -- and with the nasal, cartoon-voiced Bonner assuming vocal duties -- the new Ohio Players lineup made their debut with the single "Pain," issued on the small local label Rubber Town Sounds; it was soon picked up for distribution by the Detroit-based Westbound label, reaching the R&B Top 40 in late 1971. An LP, also titled Pain, appeared that same year, and was followed in 1972 by Pleasure, which launched the absurdist smash "Funky Worm." Ecstacy appeared in 1973, and after 1974's Climax, the Players signed to Mercury; the label change also heralded yet more lineup changes, with keyboardist Billy Beck replacing Morrison (who later signed on with Parliament) and drummer Jimmy "Diamond" Williams taking over for Webster.

At Mercury, the Ohio Players enjoyed their greatest success; not only did their sound coalesce, but they became notorious for their sexually provocative LP covers, a tradition begun during their Westbound tenure. Their 1974 Mercury debut, Skin Tight, was their first unequivocal classic, launching the hit title track as well as "Jive Turkey." Its follow-up, Fire, remains the Players' masterpiece, topping the pop charts on the strength of its bone-rattling title cut, itself a number one hit; "I Want to Be Free," one of the band's few attempts at social commentary, was also highly successful. 1975's Honey -- which featured perhaps the Players' most controversial and erotic cover to date -- was another monster, generating the chart-topping masterpiece "Love Rollercoaster" in addition to the hits "Sweet Sticky Thing" and "Fopp."

The insistent "Who'd She Coo?" from 1976's Contradiction, was the Players' last number one R&B hit; "O-H-I-O," from 1977's Angel, was their last major hit on any chart, and as the '70s drew to a close, the band's fortunes continued to decline. 1979's Jass-Ay-Lay-Dee was their final Mercury effort, and upon signing to Arista, the Players returned with Everybody Up, followed by a pair of dismal releases on Boardwalk, 1981's Tenderness and 1982's Ouch! After 1984's Graduation, four years passed prior to the release of their next effort, Back. No new material was forthcoming, although various lineups continued performing live well into the following decades. Despite the deaths of core members Satchell (December 1995), Middlebrooks (November 1997), Ward (December 2008), Johnson (February 2009), and Bonner (January 2013), the band continued to sporadically record and extensively tour. On August 17, 2013, The Ohio Players were inducted into the inaugural class of the Official R&B Music Hall of Fame that took place at Cleveland State University in Cleveland, Ohio.

xxxxx xxxxxxxxxx xxxxx xxxxx

Creatively, commercially, and conceptually, Pain was a major step forward for the Ohio Players. This 1971 album was quite a departure from their previous work -- in the late-'60s, the Midwesterners' forte had been raw, hard-edged Southern-style soul along the lines of Sam & Dave, Rufus Thomas, and Wilson Picket. But with Pain, they became a lot more experimental and unveiled an interesting, distinctive brand of funk that incorporated elements of jazz and blues as well as rock. The jazz influence is especially strong on "Never Had a Dream," "Singing in the Morning," and the hit title song, while "The Reds" is a progressive blues number that draws on jazz as well as psychedelic rock. It was with Pain, the Players' first album for Westbound, that they unveiled their goofy Granny character, which the funksters continued to have fun with on their subsequent Westbound releases but discontinued when they moved to Mercury with 1974's Skin Tight. And it was with Pain that they became famous (some would say infamous) for their erotic LP covers. Employing S&M/bondage imagery, Pain's front cover was considered shocking in 1971. Although the Velvet Underground had written songs about S&M, and the British spy thriller The Avengers frequently hinted at kinky sex -- Diana Rigg's Emma Peel character often dressed like a dominatrix -- S&M and fetishism were very taboo subjects for Middle America in 1971. And not surprisingly, some retailers refused to carry Pain. But the album, although not huge, was a decent seller. With Pain, the Ohio Players' Westbound period was off to an impressive and creative start.

Ohio Players - Pain  (flac 182mb)

01 Pain 6:12
02 Nener Had A Dream 4:36
03 Players Balling (Players Doin' Their Own Thing) 4:26
04 I Wanna Hear From You 2:52
05 The Reds 5:05
06 Singing In The Morning 7:00

Ohio Players - Pain  (ogg 221mb)

xxxxx xxxxxxxxxx xxxxx xxxxx

When the Ohio Players recorded their second Westbound album, Pleasure, in 1972, they weren't as big as they would be from 1974-1976. But their popularity was growing -- slowly but surely -- and those who were hip to the band recognized it as one of the most cutting-edge acts in the funk field. A lot of bands were providing funk in 1972, but not many of them used jazz progressions as creatively as the Players use them on "Laid It," "Walked Away From You," and Pleasure's title song. Those tracks are gems, and the Players are equally captivating on the sweet soul ballad "Varee Is Love." But the best known tune on the album is the goofy "Funky Worm," which employed the Players' amusing Granny character and was, in 1972, their biggest hit to date. Long after the band's popularity faded, "Funky Worm" would live on in the 1980s and 1990s thanks to the various hip-hoppers who sampled its irresistible bassline. Like Pain in 1971, Pleasure had a kinky cover that generated some controversy -- the same bald woman who brandished a bullwhip and wore dominatrix attire on the front cover of Pain was chained up on the cover of Pleasure. Some folks found the Players' kinky LP covers intriguing, while others were shocked and offended. And the Players, having struggled in the 1960s, were happy to be noticed. But ultimately, it is the quality of the music -- not the bondage-minded cover -- that makes Pleasure a funk classic.

Ohio Players - Pleasure  (flac 367mb)

01 Pleasure 5:30
02 Laid It 3:01
03 Pride And Vanity 4:22
04 Walt's First Trip 3:09
05 Varee Is Love 2:40
06 Walked Away From You 2:30
07 Paint Me 2:04
08 Funky Worm 2:40
09 Our Love Has Died 4:55

Ohio Players - Pleasure  (ogg 142mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Throughout the 1970s, the Ohio Players were famous (or infamous) for their erotic album covers. But there are major differences between the covers of Mercury albums like Skin Tight, Fire, Honey, and Contradiction and the covers of such Westbound releases as Pleasure and Pain. At Mercury, the Players' album covers favored softcore erotica à la Playboy or Penthouse, whereas the covers of their Westbound LPs were more bizarre and offered kinky bondage/S&M imagery. Those covers came under attack from different parts of the political spectrum; some of the more radical feminists accused the Players of objectifying women, while Republicans and Christian fundamentalists accused them of promoting moral decline. And the Players were laughing all the way to the bank -- at least from 1974 on. When their third Westbound album, Ecstasy, came out in 1973, they were still a year away from signing with Mercury and becoming really huge. But they did have a small cult following, which found that Ecstasy fell short of the excellence of Pain and Pleasure. Nonetheless, the material is respectable and generally decent. Serious Players fans will find sweaty funk items like "Spinning," "Black Cat," and the title song to be enjoyable even though they aren't among the band's essential recordings. While Ecstasy isn't recommended to casual listeners, it isn't a bad album to have in your collection if you fancy yourself a hardcore Players addict.

Ohio Players - Ecstasy  (flac 226mb)

01 Ecstasy 2:27
02 You And Me 3:12
03 Not So Sad And Lonely 3:20
04 (I Wanna Know) Do You Feel It 4:23
05 Black Cat 4:25
06 Food Stamps Y'all 3:12
07 Spinning 3:04
08 Sleep Talk 3:15
09 Silly Billy 4:26
10 Short Change 2:55

 Ohio Players - Ecstasy (ogg 92mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Skin Tight was a major turning point for the Ohio Players, who had enjoyed several hits on black radio (including "Pain," "Funky Worm," "Varee Is Love," and "I Wanna Hear From You") but hadn't been huge. Switching from Westbound to Mercury, the Dayton funksters became exactly that -- huge -- and went from enjoying a cult following to being one of the most celebrated funk bands of the 1970s. With Skin Tight, the band's erotic album covers went from employing bizarre S&M/bondage imagery to being more Playboy-ish, and its music became less abstract (but remained quite risk-taking and unpredictable). The title song and "Jive Turkey" are down and dirty funk classics, and the jazz-influenced "Heaven Must Be Like This" illustrates the fact that the Players could also be captivatingly romantic. The first in a series of platinum sellers.

Ohio Players - Skin Tight  (flac 200mb)

01 Skin Tight 7:52
02 Streakin' Cheek To Cheek 5:40
03 It's Your Night / Words Of Love 8:00
04 Jive Turkey 7:08
05 Heaven Must Be Like This 7:19
06 Is Anybody Gonna Be Saved? 5:01

 Ohio Players - Skin Tight (ogg 76mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

RhoDeo 1546 Goldy Rhox 236

Hello, today the 236th post of GoldyRhox, classic pop rock in the darklight an American rock band formed in Los Angeles in 1971 by brothers Ron (keyboards) and Russell Mael (vocals), renamed from Halfnelson, formed in 1968. Known for their quirky approach to songwriting, their music is often accompanied by intelligent, sophisticated, and acerbic lyrics, and an idiosyncratic, theatrical stage presence, typified in the contrast between Russell's wide-eyed hyperactive frontman antics and Ron's sedentary scowling. They are also noted for Russell Mael's falsetto voice and Ron Mael's keyboard style.

The history of today's mystery band spans five decades, from inception in the late 1960s LA club scene, through adoption by British fans in the middle 1970s, electronic experimentation in the late 1970s, and finally breaking through in the US in the early 1980s, a cinematic sojourn at the end of that decade with a return to form in the mid-1990s which continues to this day as they continue to push the boundaries of pop music.

Brothers Ron and Russell Mael grew up in Pacific Palisades, in western Los Angeles County, California, during the "Golden Age" of the LA club scene, with The Doors, Love and The Standells regularly playing the Whisky-a-Go-Go on Sunset Strip and the Beach Boys playing the afternoon event Teenage Fair. Both Ron and Russell Mael are seen in the audience during the Ronettes section of the rock movie Big TNT Show, filmed in 1966. Both attended UCLA, Ron studying cinema and graphic art, Russell theatre arts and filmmaking. Detesting the folk music scene, which they considered "cerebral and sedate and we had no time for that", they developed a particular taste in English bands of the time such as The Who, Syd Barrett's Pink Floyd, The Kinks and The Move, which led to their description of themselves as "Anglophiles".

They've been very active this last decade no surprise then, they performed at the Glastonbury Festival John Peel Stage on 28 June 2015

***** ***** ***** ***** *****

Most of the albums i 'll post made many millions for the music industry and a lot of what i intend to post still gets repackaged and remastered decades later, squeezing the last drop of profit out of bands that for the most part have ceased to exist long ago, although sometimes they get lured out of the mothballs to do a big bucks gig or tour. Now i'm not as naive to post this kinda music for all to see and have deleted, these will be a black box posts, i'm sorry for those on limited bandwidth but for most of you a gamble will get you a quality rip don't like it, deleting is just 2 clicks...That said i will try to accommodate somewhat and produce some cryptic info on the artist and or album.

Today's mystery album is the third album by today's mystery band. The album was released in May 1974 and is considered to be their commercial breakthrough album. The album's title is a pun on the song "Come On-a My House", made famous by Rosemary Clooney. In 1973, prior to the recording of the album, the brothers Ron and Russell Mael had accepted an offer to relocate to the United Kingdom in order to participate in the glam rock scene. Their previous lineup were replaced with British musicians: Martin Gordon, Adrian Fisher and Norman "Dinky" Diamond were hired to play bass, guitar and drums respectively. The group signed a record contract with Island Records and recorded Kimono My House in 1974. Although the Mael brothers had wanted Roy Wood to produce the album, he was unavailable, so Muff Winwood was hired as producer.

The new album embraced the more pop-oriented side of the Mael brothers' song-writing. The album slotted in with the current popularity of glam rock—which was dominating the charts—in particular, the more experimental and electronic sound of Roxy Music and David Bowie. Lyrically, the songs remained unusual and humorous. The great number of words filled with pop-culture references, puns and peculiar sexual content sung often in falsetto by Russell Mael set them apart from other groups. Integral to the sound was Adrian Fisher's bluesy guitar playing and Martin Gordon's sonorous Rickenbacker bass. This was aided and abetted by the physical presence of the group. Ron and Russell milked their peculiar image: Ron's toothbrush moustache, reserved wardrobe and usually silent demeanour sat in diametrical opposition to his younger brother's long curly hair and energetic and flamboyant stage persona. Taken together, the sound and look of the group caused a sensation, producing what seemed to the mass audience to be an "overnight success."

The cover is notable for having neither the name of the band nor the album title on the front cover. The two girls pictured, in kimonos, were members of a Japanese dance company touring England in 1974. The mystery album reached #4 on the UK Albums Chart, and was awarded gold status by the BPI in September 1974. The single "This Town Ain't Big Enough for Both of Us" was a surprise hit and reached #2 in the UK Singles Chart. Smiths frontman Morrissey has frequently cited today's mystery album as one of his favorite albums and famously wrote a letter to the NME at age 15 extolling its virtues. He later told the Mael brothers that it had been a key influence on him deciding to embark upon a music career. In 2010, Morrissey included it on a formal list of his 13 favorite albums of all-time for The Quietus. Kurt Cobain has also named the album as one of his all-time favourites. Here today for your pleasure its 21st century edition....



Goldy Rhox 236   (flac 306mb)

Goldy Rhox 236   (ogg 114mb)

***** ***** ***** ***** *****

RhoDeo 1546 Aetix

Hello,

Today we're back with DVA, that have remained as precursors since it's inception, always a step ahead of current trends, where they force others to make an emulation. Sampled in form and in sound. DVA - music is neither cyberpunk or virtual ambient, not techno - it's all those things and something unique that can only be described by the name - DVA. In this sense they have carved out their own niche. An individual position in a world of Xerox copies and instant video playbacks. Their direction remains a mystery - always anticipated but never guessed. ... N'Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

Clock Dva are a futuristic project invariously described by the press as 'cyber punk, techno, electronic, trance", etc., with a glorious past and a brilliant future. They are not simply musicians but the true apotheosis of the new century; a synthesis of science - art, in equal parts. Sheffield, England is their origin and the place where Adi Newton, charismatic leader and soul of DVA, started to be involved in music during the years of the great musical and social revolution, the "punk-age". His first experiences saw among his co-musicians names like Martin Ware, Martin Fry, Genesis P-Orridge in bands like "The Future" and 'Vice Versa", bands that were to become hugely famous under the names "Human League" and "ABC!". Adi Newton didn't follow his friends on the easy road to big bucks, he preferred to go on working without making any compromise on the hard, lonely road of art an experimentation.

 It was 1978 when he founded Clock Dva with his best friend Steven Turner, taking the bands name from Anthony Burgess' novel "A Clockwork Orange" and giving it a meaning of "temporal deviation". The choice of the name intended to make clear the experimental nature of the band and it's strong will to explore every possible for of expression. The first results were two self produced cassettes, "Fragment" and "Deep Floor", which were followed by a contribution to a compilation on Phillip Fichots (Die Form) "Bain Total" label. Another cassette "White Souls In Black Suits" was DVA's first commercial release and appeared on Industrial Records, the famous (of infamous) label of Adi's long time friend Genesis P-Orridge and his Throbbing Gristle.

 All these productions finally attracted the attention of Fetish records - one of the leading British indie-labels that offered DVA a first regular record deal. In 1981 appeared Clock Dva's first mythical masterpiece "Thirst", a milestone for the black-clad generation of white souls. Thirst is their perennial state in their never ending quest for knowledge. Songs like "4 Hours" soon became symbols of a whole generation of true believers in the possibilities of "real" free creativity. This long-selling work (80,000) copies made Clock Dva a very "hot" band for major labels too, and Polydor won the race in 1982 putting them under contract. After a couple of singles, Clock Dva recorded "Advantage", their second LP. Needless to say it's another masterpiece, this time of cold poetry, noire stories and free jazz. The road to success was wide open, songs like "Breakdown' and "resistance" (with it's unforgettable video clip!) were great weapons to storm charts with - Adi started to feel quite uneasy: the direction his music was taking was too safe for his fulfillment and dealing with a major could represent a limitation to his artistic freedom. He left the band after a gig in Paris during their first big world tour, devoting himself to other more experimental musical areas. The band tried to substitute him with a female singer, but the result was embarassing and disappointing (there's a bootleg of the Italian tour witnessing the poorness of the bands musical consistence without Adi). Adi started working on a new project, The Anti-Group, where he began his cooperation with Robert Baker, a musician with his same passions and interests.

 In 1987 finally Adi and his friends Dean Dennis and Paul Browse decided to return to his first love, Clock Dva - this time with a different approach though...

 Years spent studying cybernetics, mathematics and similar disciplines (besides the usual literature and cinema) culminated in an electronic version of Clock Dva, obsessed with the future and the possibilities of exploitation of computers and technology applied to man. This "new" version of Clock Dva started spreading around the world it's new message and after an Anti-Group gig in Berlin, Interfisch Records decided to support the idea of re-founding DVA and signed a contract for forthcoming productions. The result was a series of EP's and highly acclaimed album "Buried Dreams". Press and audience alike were ravished by this unexpected futurist comeback. People started to look at music in a different way. But as often happens, the bands policy didn't satisfy all it's members and 1/3 of Clock Dva - Paul Browse - decided to move to Berlin and without being followed by the rest of the band. As a consequence of this new development, Adi and Dean were joined by Robert Baker of TAG and the new line-up developed a totally new live concept, supporting the musical part of the show with intriguing and fascinating videos.

 This was of working was experimented successfully on the following tour and has now become a distinctive part of Clock Dva's genial activity. As a result of the big success of DVA's first tour since 1983, Interfisch released a live album witnessing the genial evolution of the band ("Transitional Voices" - without the permission of the band... As an immediate consequence DVA cancelled all contracts with Interfisch and started to negotiate with Contempo Records.

 A contract was signed in early 1991 and an agreement with Interfisch at the end of the same year allowed Contempo for the first time to concentrate all Clock Dva releases from 1978-1992 in one company.

 Backed by this new, strong support, Clock Dva prepared a new act of digital terrorism under then name of "Final Program" (single) and "Man-Amplified" (album). The music is pushed so far forward that "soundtrack for the year 2001" is an apt definition for these two releases. "Man-Amplified" with sons like "Bitstream", "NYC Overload" or "Technogesit" allowed the band to storm the European indie-charts and to penetrate, at last, in a triumphant way also the U.S. Market with incredibly high sales and great acclaim form both press and audience. 1992 finally also saw the band extensively touring the world including America where they hadn't been since 1983. On that occasion they also headlined a new music seminar at the Limelight in New York.

At the end of the year DVA release "Digital Soundtracks", a side project they had been working on for a long time. "Digital Soundtracks" represents the intermediate interests of DVA with the concepts and techniques of the visual realm as utilized in the classic science films of the 40's and 50's. The album lays somewhere within and beyond what can be termed Techno of Ambient and has been described as "Music for the inner cinema". In this interest for new musical forms lays the inspiration for the new studio album "Sign" - released in June 1993. Due to musical differences during the recordings bass player Dean deis leaves the band. which chooses to not replace him. "Sign" is undoubtedly Clock Dva's carrer high. They have been working at this true masterpiece harder than on any DVA release before, building every song brick by brick, intuition after intuition. The result is amazing and moving at the same time. In 1993 DVA sounded different by maintaining their good old technoteric soul with a new. exciting touch of genius.

The first single taken from the album "Voice Recognition Test" is both catchy and commercial and tops indie-charts throughout the world. The album itself is released for the first time also on new musical territories such as Argentina, Mexico, Czechoslovakia - a compilation covering the period 1981-1983 entitled "Horology" has been designed for major release in South America only - a new step towards worldwide DVAiation.

1993 ends with a highly successful 6 week European tour through 11 European Countries and the release of "Eternity", the latest DAV single. The tour schedule includes - amongst many others - all major European capital cities in east and west like Paris, Berlin, Rome, Vienna, Prague, Budapest, Amsterdam, Zagreb, Ljubijaria. Live onstage with Adi for this tour: His wife Ari Radion, Andrew Mackenzie (Halfer Trio) and Maurizio Fasolo (Pankow).

Following Dennis's departure from the group, Newton and Baker produced the album Sign (1993). After the release of Sign and related singles, Clock DVA toured Europe (line-up: Newton & Baker with Andrew McKenzie and Ari Newton) and Newton relocated to Italy. However, their Italian record label at the time, Contempo, folded which caused a number of problems. Collective, an anthology album and a box set was released in 1994. Newton began working on new material with Brian Williams, Graeme Revell (from SPK) and Paul Haslinger but continued problems with record labels eventually caused Newton and Clock DVA take a long break from the music scene.

In 1998, Czech record label Nextera released a reissue of Buried Dreams, sanctioned by Dean Dennis and Paul Browse but not by Newton. Adi Newton reactivated Clock DVA along with his creative partner Jane Radion Newton in 2008. Since 2011 Clock DVA has performed at several electronic music festivals and venues throughout Europe [6][7][8] with a new line-up consisting of Newton, Maurizio "TeZ" Martinucci and Shara Vasilenko. In November 2011, a new Clock DVA track "Phase IV" was featured on Wroclaw Industrial Festival compilation album. In January 2012, German record label Vinyl on Demand announced Horology, a vinyl box set compilation of early (1978–1980) Clock DVA material.

A historical overview exhibition of Clock DVA (photographs, video and audio) took place at the Melkweg cultural centre, Amsterdam, Netherlands in February/March 2012. In July 2013, a new Clock DVA album called Post-Sign was released on Anterior Research. It was produced and composed by Adi Newton in 1994–95 as an instrumental companion album to Sign, though it remained unreleased at that time due to problems with record labels. According to Adi Newton, Mute Records were set to re-release the eight Clock DVA albums remastered in a box set in 2012.

In 2014, Clock DVA released the album Clock 2 on a USB drive through their label Anterior Research. This limited edition release consists of 3 new studio tracks and various remixes of them, in addition to 4 video files. A 12" called Re-Konstructor / Re-Kabaret 13 was released shortly after. Another EP, Neo Post Sign, containing tracks recorded 1995-96 but omitted from the Post-Sign album, was released early 2015.


xxxx xxxxx xxxxx xxxxx xxxxx

In 1987, Newton reactivated DVA and invited Dean Dennis and Paul Browse back into the fold to aid Newton's use of computer aided sampling techniques which he had been developing in The Anti Group. In 1988 they released the sample-fueled EP's The Hacker and The Act, gathered here in one package.

some prescient lyrics from 1988

A digital murder
Programmed by mathematical terrorists
Outside of mortal bounds
Silently hacking
A binary plague
Serving information
This is the time of the hacker
This is the code of the hacker
This is the hacker
An algebra of fear

Within the language of machines
Uninfringed my human emotions
Within global systems
Silently moving
A digital maze
Cutting information
This is the way of the hacker
This is the extremity of the hacker
This is the hacker
Protect now or be erased forever

A binary virus
Unleashed by subversive programmers
Inside corporate systems
Silently eating
The endemic wave
Erasing information
This is the sign of the hacker
This is the genius of the hacker
This is the hacker
Learn now
Or be cut down forever

Clock DVA - The Hacker / The Act  (flac 246mb)

01 The Hacker 7:27
02 The Act 6:30
03 The Connection Machine 5:57
04 The Hacker (Hacked Version) 7:27
05 Re/Act 6:29
06 Sonology Of Sex 4:27
07 Re/Act 2 6:28

Clock DVA - The Hacker / The Act  (ogg  106mb )

xxxxx xxxxx xxxxx xxxxx xxxxx

This band, and in particular the albums "Buried Dreams" and "Man-Amplified" made electronic music in the late 80's and early 90's that was light years ahead of its time, and yet went largely unrecognized--the sophistication of their electronic wizardry puts much of the primitive rave culture of the day to shame--the beats used on this album are fairly simplistic--what makes it stunning is the DVA-unique, rhythm oriented synth work--not to mention the sound experimentation and sampling--this is dance music with a purpose--maybe it went largely unrecognized because industrial music was going the metal route, this band was content with exploring the world of a gothic techno, given the violent imagery and sound of the album, all components come together to create a theme that could only be described as brooding and scary. Clock DVA  played vintage electronic through analog equipment which gives this album a very retro feel without sounding dated--it really is rare for electronic music to have so much atmosphere--Clock DVA pulled it off big time.

Clock DVA - Buried Dreams  (flac 332mb)

01 Buried Dreams 4:01
02 Hide 4:30
03 Sound Mirror 5:43
04 Velvet Realm 6:44
05 The Unseen 5:19
06 The Reign 5:26
07 The Act 5:22
08 The Hacker 7:23
09 Connection Machine 5:55
10 The Sonology Of Sex I 4:23
11 The Sonology Of Sex II (Le Comtesse De Sang) 3:45
12 The Hacker (Video Mix) 3:24

Clock DVA - Buried Dreams  (ogg  143mb )

xxxxx xxxxx xxxxx xxxxx xxxxx

Transitional Voices is a quickie live album from Adi Newton's Clock DVA project. How much of the material is truly live is up for grabs with heavily sequenced music like this, but there are enough flourishes and frills that the essence of a live performance is almost assured. So then why a live album from Clock DVA, as the music they produce is so reliant on sequencing? "Sound Mirror" appears here in a nascent version of what would appear on Buried Dreams, with a vastly different bassline and a different bridge than the final studio version. Others for the most part are very similar, especially the icy filter sweeps and unremitting electro-bass pulse of "N.Y.C. Overload." Probably the last release from Clock DVA to pick up, because the low fidelity of the recording at times masks the stunning electronic programming that this group is known for.

Clock DVA - Transitional Voices  (flac 258mb)

01 Transitional Voices 6:29
02 Sound Mirror 5:49
03 Syntactic 6:13
04 N.Y.C. Overload 5:11
05 Fractal 9 6:14
06 Technogeist 5:50
bonus
07 Sound Mirror II 5:42

Clock DVA - Transitional Voices    (ogg 100mb)

xxxxx xxxxx xxxxx xxxxx xxxxx