“Chrome Children” is a joint project between [adult swim] and Stones Throw records. After years of using the music of Stones Throw artists like Madlib, Oh No and J Dilla in our bumps and packaging, we decided to take our partnership a bit further. The result? “Chrome Children”- 19 songs deep, a year in the making, it features all new music from each member of the Stones Throw roster.

Also packaged with the album is a DVD with an hour long documentary featuring live performances by Egon, M.E.D., Peanut Butter Wolf, J Rocc, Oh No and Roc C, Percee P, Madlib, and Madvillain. The documentary was shot by us, your favorite [adult swim] crew, at this year’s South By Southwest music festival. We also threw a few of our “cards” in there to make it feel like home.

First we brought you Dangerdoom,
then Chocolate Swim,
and now, “Chrome Children.”
Don?t sleep o­n it.

http://www.stonesthrow.com/chromechildren/

http://www.adultswim.com/williams/music/chromeremix/index.html

http://www.adultswim.com/williams/music/chromeremix/Chrome_Children_2.zip

These TV Cuts are more than a Documentary about Techno . 

How was the original Berlin Techno Trance Vibe in the early 90s !

e-Werk – Bunker- Walfisch- Hardwax – Loveparade – Techno Trance

Berlin Techno City 1993 (German TV feature incl. Mijk explaining How To Produce Techno)

Berlin Trance 1994 (English TV feature incl. Mijk playing Schöneberg live + Interview)

download via http://keepvid.com/

more infos abou early berlin trance >  http://www.tursa.de/ >

Pyramidal Trancendence

( more >Audio / Releases )

01 :: Sine Die – The Shaman Trip
02 :: Astrancer – Dzog Chen
03 :: Mindsphere – Molecular Restrictive
04 :: Travma – Zaman
05 :: Ethereal – Stream of Life (2006 Mix)
06 :: Aura – Walk o­n Earth
07 :: Lost Buddha – Lost in Paradise
08 :: Infinite Dimensions – Far Beyond the Stars
09 :: Afgin – Tribute to the Sun

Download here in MP3 or Full Wav for FREE ! http://www.goagubbar.nl/download/

The debut compilation from netlabel Metapsychic Records has just been released! Pyramidal Trancendence, available in high-quality MP3 and WAV formats, is an impressive piece of work, charting a course through the mystic realms of spiritual Goa trance. Nine artists provide modern interpretations of the classic style popularized by bands such as Etnica and Astral Projection ten years ago.

Perhaps the most impressive aspect of this release is the sheer quality of the music and presentation. With an excellent cover design by Astrancer and professional mastering by Kenneth of Colorbox, Pyramidal Trancendence comes closer to the quality standards of a physical release than any other freebie I have promoted through my site thus far. Filipe Santos (Lost Buddha), Cosmogenesis, Martin Marinov, and everyone at Metapsychic have done an excellent job reviving the hopes of classic Goa trance fans worldwide with this excellent compilation release!

Download it direct from goagubbar.nl, or leech the MP3 or WAV versions with BitTorrent straight from Ektoplazm! I am sure that everyone involved would appreciate comments and feedback, so leave over to Psynews to share a few words. Enjoy!

GOA is still alive!

Metapsychic records would like to thank the following people for their
help and support:

Yohan a.k.a “Noda/Sine Die”: http://www.noda.free.fr (France)
Bruno “Astrancer”: http://fiberonline.uol.com.br/artista.php?id=1822 (Brazil)
Ali “Mindsphere”: http://www.psyturk.com (Turkey)
Enver “Travma”: http://www.travma-psychedelic.com (Turkey)
“Ethereal”: http://ethereal.recallbeats.co.uk (Sweden)
Erik & Christian “Aura”: http://www.auratrance.com (Sweden)
Filipe “Lost Buddha”: http://www.myspace.com/lostbuddhagoa (Portugal/U.K.)
Dave “Infinite Dimensions”: http://www.infinite-dimensions.co.uk (U.K.)
Elad “Afgin”: http://www.o-zen.com/art/bands/633/ (Israel)

Metapsychic records presents its first release, “Pyramidal Trancendence”.
A wonderful psychic odyssey with multiple symbols, meanings and concepts.
This compilation is an artistic interpretation of each listener/dancer’s state
of mind, when the goa sound enters its intellect and touches in all its senses.

The first 5 pieces begin with a progressive spiritual & emotional ascension
until the top of the pyramid, where this character (the listener) tries to
reach the ether, which is, the seventh sky.

His cardiac pulsation, like the bpm’s of the tracks, becomes faster until he
gets trancended and feels, the stream of life. Then, in the last 4 tracks,
he starts to walk down the pyramid, step by step, until he reaches the earth
once again.

He realizes that, at that moment, in the end of this experience, that he has
lived a sublime and peaceful journey. The transition between darkness and
light, between sadness and euphoric/happy feeling. The sensitive touch during
the listening of this VA is intentional.

“Pyramidal Trancendence” was made to deliver this subsconscious message which
is hidden in every goa listener:
 
despite the dark times that the goa music lives, we’re all still keeping the
secret positive hope of a new goa resurrection.

http://www.metapsychicrecords.com

Kos (unverified): Much sooner than I expected… thanks a lot! Compilation is a killer o­ne… the best o­ne in 2006.

Nov 5, 2006, 08:22 PM (UTC 0)

Adam (unverified): Thanks!

Nov 5, 2006, 06:17 PM (UTC 0)

sputnik (unverified): shining gold

Nov 5, 2006, 08:04 AM (UTC 0)

Psyonic (unverified): Fantastic… Really Cool

Nov 4, 2006, 09:19 PM (UTC 0)

MentallyDisturbed (unverified): YEAH

Nov 3, 2006, 12:53 PM (UTC 0)

Download here in MP3 or Full Wav for FREE ! http://www.goagubbar.nl/download/

…via http://www.ektoplazm.com/section/audio/

 This is HIPHOP  RAP POETRY IN FULL EFFECT !

http://www.cs.sonoma.edu/~nwerner/music/saulwilliamslivejan312003.mp3

SaulWilliams__TwiceTheFirstTime.mp3

?Man, this love of hip-hop is like investing in a martial relationship, way past its prime, simply for the sake of the children, not realizing that we are actually f*cking up their entire conception of relationships. They will be forced to work it out for the rest of their lives, falling in and out of love. I?ve outgrown you? (144). -From The Dead Emcee Scrolls: The Lost Teachings of Hip-Hop by Saul Williams
Award-winning screenwriter/actor and MC, Saul Williams is o­ne of the most influential and important poets around. While Hip-Hop has grown stagnate, the poets of the spoken word movement shake off the industry constraints and openly bring light to the injustices that are currently taking place. o­n the other hand, rather than providing a voice of defiance, Hip-Hop now mirrors society. As the author of The Dead Emcee Scrolls, Saul identifies with the artistic struggles that come with enforcing categorical restrictions. ?I Used To Love H.E.R.? by Common is just o­ne example of Hip-Hop being compared to a significant other, but if this love for this significant other does go through peaks and valleys like a relationship past its prime, maybe more artists should take a page out of Saul?s poetry and outgrow a relationship that has distorted everyone?s perception of what Hip-Hop is. Recently, JIVE Magazine was able to catch up with Saul to gain insight o­n what he feels the next 10 years of Hip-Hop will bring, the importance of the spoken word movement, his collaboration with Trent Reznor, and what needs to take place for Hip-Hop to be resurrected.

JIVE MAGAZINE: Recently the Wake Up Show had a clip show dedicated to conscious artists. They played a clip of you speaking o­n how you heard in Public Enemy in 1998 and looked forward to what the next 10 years would bring, and then 10 years later you heard Jay-Z rhyming jigga what. Since you have seen this progression away from lyricism over the last decade, what do you think the next 10 years will bring?

Saul Williams: Well I don?t know what the next 10 years of Hip-Hop will bring but I think the next 10 years of music will bring a lot more experimentation. I think you will find a lot more freedom of expression from urban areas. I think we have run out of stupid sh*t to do, so we can o­nly do smart sh*t [laughs]. Everyone is kind of expanding their vocabulary. Jay-Z is working with Chris Martin from Coldplay trying to write a more profound album about his past and show while showing his vulnerability. As MCs we have done all of the crazy sh*t; the o­nly thing we haven?t done is commit ourselves to grow through the music. I was thinking about Jay-Z yesterday and that verse where he says he rapes Def Jam, and I saw a commercial for the HP computer where he says he wants to be a role model and a rock star, and I immediately thought about that verse. Unfortunately, you can?t rape a record industry as an artist without raping our community because the community and the children within it are so fixated o­n music. You can see straight up how our society has followed what is happening in the songs. There should be no question about the power of music, and I think that cats are slowly starting to figure that out. Maybe enough drug dealers have used Hip-Hop to clean their money, and we can start talking about other sh*t now.

JIVE MAGAZINE: Staying with the idea of the media?s relationship with Hip-Hop, this past September ushered in the 10 year anniversary of the death of Tupac. How has the media and Hip-Hop learned from this tragedy?

Saul Williams: Nah. The thing about the media or people learning from the death of Tupac is most legends go down but the thing happening doesn?t teach you without people pointing out what you are supposed to get from it, and no o­ne has really done that. You can tell people haven?t really learned enough from Tupac; I mean look at Hip-Hop. Tupac is the legend that he is because of the amount of passion he put into his work, and you really don?t have MCs putting that level of passion into their work now. They are passionate about making money, but Tupac was about much more than that. People haven?t learned a lot from him because if they did, the game would probably be little different. As far as the media?s role in escalating fires, I don?t know [laughs]. That?s o­n you guys. Every individual in the media is an individual and it?s your voice reporting the news, so if you bow down to much to a boss or an idea of how you are supposed to portray something, that?s o­n the individual.

JIVE MAGAZINE: o­n ?TELEGRAM? from your self-titled album, you address how Hip-Hop has adopted murder and money into its list of elements. When and why do you think it became trendy to be ignorant?

Saul Williams: Hip-Hop is a reflection of society and what has become commonplace is warped values. I well tell you, I was immune to a lot of sh*t that was happening in New York while I was living there in the mid 90s with Jay-Z and Biggie. From the time I heard Biggie say ?get money, make money?, I was like oh boy we are headed in the wrong direction. It?s not ignorant; it?s misdirection. From that point o­n (the Puffy era in Hip-Hop), it all became about misplaced values. There is nothing wrong with getting your money straight, but to put that in the position of being thee most important thing, I think that leads us down the same road that we were bought and sold o­n; that capitalist mentality. Believe me; I am not opposed to money. I make money, but that is not the end point or the beginning point. There has to be a sense of integrity. What happened was many artists said ?f*ck integrity. I am going to do whatever I need to do to get my money right.? And that is how the trend of misdirection took place. As opposed to a trend of ignorance it is a trend of misdirection. So the trend became now you can do whatever for money. Think about it, in the 90s it wasn?t very popular to see groups doing music in commercials especially in the rock world even. You would be considered a sell out if you did that sh*t, and now it is completely acceptable. Like oh sh*t your song is o­n a show. That?s great. Now it is o­n by any means sh*t.

JIVE MAGAZINE: It seems like that has become a staple of success to say ?I got my song o­n an iPod commercial.? It signifies that an artist has made it.

Saul Williams: But the thing is you have to be balanced because there is nothing wrong with that. For instance, you said an iPod commercial. Would I do an iPod commercial? I probably would because I use my iPod every f*cking day. It is a part of my life, but would I do a commercial for something that I don?t drink or believe in that I don?t know. I wouldn?t if I feels it does more harm than good.

JIVE MAGAZINE: THE DEAD EMCEE SCROLLS are about discovering yourself as a poet. Tell me a little bit about what your intentions were for this book?

Saul Williams: That?s what it is all about. It is an artistic book of self discovery. It?s a story that is there to connect the idea of imagination to the outside world and things that have been separated. It is there to inspire and open up the minds of people and make them think ?Wow. Those are things that actually could happen? There are a world of possibilities beyond that which we imagine. That is the intention of the book.

JIVE MAGAZINE: Outside of the world of Hip-Hop, you have toured with groups like the Mars Volta and NIN. Recently Trent Reznor spoke about when you were touring together, he gave you an instrumental CD as he was going out to perform, by the time he came back, you had already written a song. Whereas Trent expressed a struggle to write at times, do you find it easier to get into that poetic zone?

Saul Williams: It?s all about inspiration. The music that Trent has been giving me has been extremely inspiring. If the music wasn?t inspiring, the song wouldn?t have been written. He is producing my album and we are several songs deep into it now. Its not so much a poetic zone as but as living o­nes life as a poem. We are talking about two things here. o­ne hand we are talking about song writing. Can you just make that happen at the snap of a finger? No. It takes inspiration, focus, and discipline. Maybe at this time of day I could get some writing done. I try. Sometimes it works and sometimes it doesn?t. As far as entering the poetic zone or what have you, o­ne lives o­nes life as a poem. The writing down of sh*t is just the chronicling of thoughts that pass all the time. Poetry is about shifting o­nes perspective, so we don?t just shift our perspective when we write; its when we live, and the writing is a reflection of our living.

JIVE MAGAZINE: There has been a resurgence in the spoken word movement over the last few years. What impact do you think it is having o­n maintaining the culture of Hip-Hop?

Saul Williams: I think that MCs have realized who the lyricists are. That?s why you see Lupe Fiasco and Kanye working with poets, but I think it is short sided if we connect it just to Hip-Hop. Anytime poetry has gotten popular, something major has followed. During the Harlem Renaissance what followed was the Civil Rights Movement. Poetry became popular in the 50?s as Beat poetry and what followed was the hippie movement. Black Power poetry became popular in the 60s and early 70s, and what followed was the black power movement. Any and every time poetry gets popular, it has been followed by a movement. It?s not about the effect it will have o­n the music, but the effect it is going to have o­n the world. And the reason poetry isn?t popular is because the music has stripped itself of poetry but because society has. Remember, Hip-Hop is just a reflection of society. We had gangsters ruin Hip-Hop at the same time the United States had gangsters ruining it. Those six summers that Jay-Z ran are the same six summers that Bush ran. It?s all the same. Bush and 50 Cent have the same birthday(July 6th). It is all in sync. It is a reflection. It is not IT. It can be more if we make it more. It is supposed to be the pligthest voice of independent expression. It is there to inspire a generation of youth across the board, so they can stand up and be themselves confidently. Hip-Hop is the confidence of that expression.

JIVE MAGAZINE: What do you think that movement will be?

Saul Williams: That movement is us realizing that we are funding terrorism, that those we are labeling as terrorist are not Arab. They are western; they are American. They are in blue suits and striped ties. It?s about shifting the f*cking world we are living in, and it is happening right now.

JIVE MAGAZINE: There is a section in your book where you say, ?In my estimation Portishead is Hip-Hop. Tricky is Hip-Hop. Bjork is Hip-Hop. And They are Hip-Hop in ways that you have failed to be.? Do you find that these artists outside of the Hip-Hop spotlight tend to represent the music more earnestly than ?Hip-Hop? artists?
Saul Williams: I think if you are confined to a category when you are making an album then you will remain confined. There are artists in Hip-Hop like Outkast that have always music for themselves first and as a result they are being very true to themselves. It is not that the people outside have more respect per say but sometimes I think we tend to trap ourselves, and I fall guilty of that too.

JIVE MAGAZINE: Your remix to ?Black Stacy? features Nas. What do you think of the title of his latest project, Hip-Hop Is Dead?

Saul Williams: [laughs] Yah it has. It has gotten really boring, and the o­nly thing cats can think of to bring life to it is experimenting outside of Hip-Hop. That?s why you see Jay-Z working with Chris Martin. Everyone is expanding their vocabulary. We have run the gambit of basic sh*t we can do. The o­nly thing left to do is be creative. via http://www.jivemagazine.com/article.php?pid=6142

check : http://www.music–downloads.org/Saul+Williams.html

check http://www.saulwilliams.com/

ZILLA & Buddy Peace: A Friendly Game Of Chess Mix

http://www.samurai.fm/player/play.php?id=2096&t=audio&m=wmp&s=1

show with Mr Trick

This week Trick takes a rummage through the crates to bring you fine malt music from all over the Rhythm Inc universe?

Playlist:
Subtitle – Restructure Reroute feat Thavius Beck [Alphapup]
Nocando – Wild Ride [24-7 Records]
Boxcutter – Brood [Hot Flush]
Spectre – Time and Space feat MY Werkz [Wordsound]
Maker – Elephant Strut [Bully Records]
Blockhead – The First Snowfall [Ninja Tune]
Machine Drum – Jiggawhy (Juggle Version) [Norm Rex]
The Bug – Jah War [Planet Mu]
Glue – A Lot To Say (Mr Dibbs RMX) [Fat Beats]
Clark – The Autumnal Crash [Warp]
Elektro4 – Nothing Left But Appetite [unreleased]
Crux – Hotair [Wordsound]
Kode9 and Spaceape – Sine [Hyperdub]
David Jack – Chequered Research [?]
Spank Rock – Far Left (Eriksolo RMX) [unreleased]

————————————————————>

show with Waxfactor

Waxfactor ? Intro (The Most Sunday Monday)
Hifana ? Wamono
Clark ? Heir Bar
Prince Paul ? Inside Your Mind [Female Fun]
Amon Tobin & P-Love ? Hot Korean Moms [Ninja Tune]
E Moss ? Watch The Skies (revisited)
Caural ? Entre Chien Et Loup [Mush]
Mekalek ? Love, Life, Money, Guns (feat Fedd Hill)
Tom Burbank ? Baghdad Mood [Planet-Mu]
Waajeed ? Cake [Bling47]
Ill Suono ? The Ring World (Omid Remix)
Mia Doi Todd ? My Room Is White (Flying Lotus remix) [Plug Research]
Take ? The Start of Our Ending [Buttermilk]
Afra & The Incredible Beatbox Band ? Apache
Blue Sky Black Death ? Long Division (feat Rob Sonic & Mike Ladd) [Mush]
DJ Mitsu ? Cannon Baller (feat DJ Kentaro) [Jazzy Sport]
2Tall & Lamont ? Senses Overloaded (2Tall Remix)

 DJ Spooky speaking about his book «Rhythm Science» (see MIT Press) and the the theory and musical practice of sampling in general. 28:25 minutes, 26MB, includes some pretty cool samples of his musical work.

Listen and enjoy!

In this Artcast: Paul Miller (aka DJ Spooky – that subliminal kid) known worldwide, has performed as a turntabelist, DJ and VJ extensively.  He told us about his first book “Rhythm Science” (MIT Press) and his remixing of music, sound and film. He’s a producer of the recent CD “Drums of Death”, where he collaborated with Chuck D of Public Enemy and Dave Lombardo of Slayer. Paul Miller is also editor of the new magazine “21C”. And he is also a faculty member of the “European Graduate School“, a 21st century version of John Cages “Black Mountain College”. Netwise he’s connected with Bruce Sterling, Manuel DeLanda and the nettime mailinglist @ thing.net.

In this ArtCast: DJ Spooky, in a taxi and at the dinnertable, o­n collage, film remixing, Guy Debord, Cocteau, Basel Graffiti

In this edition: Conversations with Paul D. Miller, conceptual artist and writer o­n Art and his re-emerging o­n the artscene. He talks about netart, art-institutions, Matthew Barney, Leni Riefenstahl, Andy Warhol, props and propaganda

…………………………………………………………………………………………………………………………

some real killer tracks ! >

DJ_Spooky_and_Dave_Lombardo_B-Side_Wins_Again_2005…

Not In Our Name – Not In My Name [Pledge of Resistance…

Under the Influence – Rock the Nation

Info o­n DJ Spookys new album and a stream ..

some more very soulful stuff

DJ Spooky-Franz Hackl-Badal Roy-Adam Holzman
DJam 1 DJam 2 
http://www.outreach.at/pics_db/DJSpookyHacklRoyHolzman3.mp3 http://www.outreach.at/pics_db/DJSpookyHacklRoyHolzman1.mp3

MRS. MILLER’S MIX
http://www.theagriculture.com/promos/djwally/

by DJ Wally and DJ Willie Ross
-the Agriculture Records- www.theagriculture.com

PLAY THE MIX HERE

1. psychiatric consultaions……. no.6……. Roche Recordings
2. the Audio Janitor ….composition 11…………Liquid Sky Music
3. Dj Wally…………zeta Reticuli……… Liquid Sky Music
4. Bruce Gilbert……….Ovo Mix………Mute Records
5. Dj Wally………So Soo Sad……..Liquid Sky
6. Edwin Torres & Dj Wally……Emroidered Delirium…..Kill Rock Star’s Records
7. Addic Beats Vol. 1 …………Beat 26………TNT Records
8. Tomita ……..Infernal Dance Of King Katchei…….RCA Records
9. Dj Wally……..Bitchley’s Kow Korn…….Liquid Sky Music
10. Eric Gale……….She Is My Lady……….Columbia Records
11. Earthling……Nefisa…….Cooltempo Records
12. Prince Jazzbo…..Ital Corner……Jazzbo Music
13. Negrea Love Dub……Rock Me In Dub……Trojan Records
14. Bruce Gilbert……..Orf Mix……. Mute Records
15. Fanu Samurai……Skyscraper Dreams…….Subtle Audio Recordings
16. Biz Markie……Benny And The Jet’s………Grand Royal Records
17. The Egg……..Fuzz……2 Kool Records
18. Mrs. Miller’s House…….Land Of The Dead ……..The Agriculture Records
19. Mrs. Miller’s House……Mrs. Miller……….The Agriculture Records
20. Mrs. Miller’s House……The Other Side……..The Agriculture Records
21. Fat Albert……….Createtivity………Kid’s Stuff Records
22. Marcus Belgrave……..Space Odyssey……Soul Jazz Music
23. Mrs. Miller’s House……Restless Slumber………The Agriculture Records
24. Mrs. Miller’s House……Don’t Ever Come Back…………The Agriculture Records
25. Mrs. Miller’s House……Odd Man Out………..The Agriculture Records
26. Mrs. Miller’s House……Unwelcome……….The Agriculture Records
27. Fanu……..Heavenless………Subtle Audio Recordings
28. Dj Wally & Swingset……..Hungry In The Abstract………..Ubiquity Records
29. Mrs. Miller’s House……Fading Fast…………The Agriculture Records
30. Mrs. Miller’s House……Close Your Weary Eye’s………The Agriculture Records
31. Mrs. Miller’s House……Kane’s Alien Trainwreck……..The Agriculture Records
32. Leo Sayer……….You Make Me Feel Like Dancing……..Warner Bros. Record’s
33. Dj Willie Ross………Short Curcuit……….Demo

Mrs. Miller’s Mix by DJ Wally and DJ Willie Ross > download link

This is Techno ! if you try to find the real o­ne try these Techno DJSets / Dj-Mixes !!!

all live Dj-Sets from the Detroit electronic Music Festival 2006

derrick may

robert hood

kevin saunderson

neil landstrumm

richie hawtin

josh wink – part 1

josh wink – part 2

carl craig

daniel bell

collabs3000 tour with speedy j & chris liebing

magda – part 1

magda – part 2

troy pierce – part 1

troy pierce – part 2

krikor

dnb

photek w/ mc sharpness

experimental :

otto von schirach

richard devine
kero

j dilla tribute featuring:

– baatin, black milk, dj rhettmatic, dj romes, finale, guilty simpson

– havana, houseshoes, invincible, j rocc, m.e.d., nick speed, oh no

– phat kat, roc c, ta’raach, 87 & big tone (wasted youth)

– part 1

– part 2

– part 3

click more for full list !

check site : http://www.demf.com/