DOCSLIB.ORG

Shpongle Codex VI Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Shpongle Codex VI Mp3, Flac, Wma Shpongle Codex VI mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Codex VI Country: UK Released: 2017 Style: Downtempo, Ambient, Dub MP3 version RAR size: 1484 mb FLAC version RAR size: 1629 mb WMA version RAR size: 1628 mb Rating: 4.3 Votes: 826 Other Formats: DMF AC3 DXD VQF VOX RA AA Tracklist Hide Credits Remember The Future 1 Drums, Bass, Electric Guitar, Synth, Effects [Sonic Manipulation] – Simon PosfordFlute, 7:18 Voice – Raja RamWritten-By – Raja Ram, Simon Posford The Magumba State Cello, Piano – Harry EscottDrums, Bass, Synth, Effects [Sonic Manipulation], Programmed 2 By – Simon PosfordFlute, Voice [Talking] – Raja RamGuitar – Pete CallardSynth [Modular] – 9:32 Nektarios Meintanis*Vocals – HariOm*, Michele AdamsonWritten-By – Abigail Gorton, Harry Escott, Michele Adamson, Raja Ram, Simon Posford Empty Branes 3 Bass Flute, Alto Flute, Flute [Silver], Voice – Simon PosfordDrums, Bass, Acoustic Guitar, 10:18 Electric Guitar, Synth – Raja RamWritten-By – Raja Ram, Simon Posford Are We There Yet? 4 Instruments [All], Effects [Sonic Manipulation] – Simon PosfordSampler [Victorian Steam 6:12 Fayre Samples Provided By] – Simon MacaraWritten-By – Raja Ram, Simon Posford Herr Gringleflapper's Secret Stash Box 5 Flute, Voice – Raja RamSynth, Drums, Bass, Piano, Effects [Sonic Manipulation] – Simon 9:32 PosfordWritten-By – Raja Ram, Simon Posford Strange Planet... 6 Drums, Synth, Programmed By – Avi Astrix*, Simon PosfordVocals – Raja RamWritten-By – 8:55 Avi Shmailov, Raja Ram, Simon Posford I Woke Up As A Shlummutz Cello – Harry EscottDrums, Bass, Piano, Guitar, Synth, Effects [Sonic Manipulation] – 7 6:48 Simon PosfordFlute, Voice [Talking] – Raja RamGuitar – Pete CallardVocals – Hari OmWritten-By – Harry Escott, Raja Ram, Simon Posford Celestial Intoxication Acoustic Guitar – Pete CallardCello – Harry EscottDouble Bass – Christoffer Borud*Drums, 8 9:08 Piano, Synth, Electric Guitar, Programmed By – Simon PosfordFlute – Raja RamVocals – Durga Mc Broom*Written-By – Durga McBroom, Pete Callard, Raja Ram, Simon Posford Hammock Therapy 9 2:15 Flute – Raja RamPiano – Simon PosfordWritten-By – Raja Ram, Simon Posford Companies, etc. Phonographic Copyright (p) – Twisted Records Ltd. Copyright (c) – Twisted Records Ltd. Recorded At – Hallucinogen Sound Labs Mixed At – Hallucinogen Sound Labs Mastered At – The Soundmasters Designed At – La Plage Pressed By – MPO Credits Artwork [Original Mask Sculpture] – Sat Ram Bradley Illustration – Raja Ram Mastered By – Kevin Metcalfe Photography By – Simon Posford Recorded By, Mixed By – Simon Posford Sleeve, Design, Art Direction – Simon Notes Released in a jewel case with 8 page booklet. All tracks recorded and mixed at Hallucinogen Sound Labs, UK. Mastered at Soundmasters. ℗ 2017 Twisted Records Ltd © 2017 Twisted Records Ltd Barcode and Other Identifiers Barcode: 6 30883 00603 7 Barcode (UPC (A)): 630883006037 Label Code: 02112 Matrix / Runout: CA TWSCD48 @ IFPI L039 08/07/17 10:15:50 PM Mastering SID Code: IFPI L039 Mould SID Code (Variant 1): IFPI 1262 Mould SID Code (Variant 2): IFPI 1280 Other versions Category Artist Title (Format) Label Category Country Year Twisted TWSDL48, Codex VI (9xFile, TWSDL48, Shpongle Records, UK 2017 TWSDL 48 FLAC, Album) TWSDL 48 Twisted Records TWSCDJ48 Shpongle Codex VI (CD, Album) Twisted Records TWSCDJ48 Japan 2017 Codex VI (10xFile, none Shpongle Twisted Records none UK 2017 WAV, Album, P/Mixed) Codex VI (10xFile, none Shpongle Twisted Records none UK 2017 FLAC, Album) Codex VI (3xLP, TWSLP48 Shpongle Twisted Records TWSLP48 UK 2017 Album, Ltd, Blu) Comments about Codex VI - Shpongle Related Music albums to Codex VI by Shpongle Raja Ram - Raja Ram's Stash Bag Vol. 6 Apache Indian - Don Raja Paul Simon - There Goes Rhymin' Simon Chandrabose - Raja Chinna Roja Planet Boelex - Raja Shpongle - Museum Of Consciousness Lord RAJA - Rubies EP Raja Amin Feat DJ Lichar - In Dub Eye Of Jah.
Load more

Recommended publications
  • Hallucinogen LSD (Live Mix) Mp3, Flac, Wma
    Hallucinogen LSD (Live Mix) mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: LSD (Live Mix) Country: UK Released: 1995 Style: Goa Trance MP3 version RAR size: 1524 mb FLAC version RAR size: 1155 mb WMA version RAR size: 1510 mb Rating: 4.7 Votes: 731 Other Formats: APE AUD WMA DTS MIDI MOD ASF Tracklist Hide Credits LSD (Live Mix) A 9:05 Producer, Remix – Hallucinogen LSD (L.S. Doof Remix) B1 6:19 Remix – DoofWritten-By – N. Barber* LSD (Original Version) B2 6:46 Producer [Additional] – Ben KemptonProducer, Mixed By – Hallucinogen Companies, etc. Mixed At – Doof Studios Produced At – Hallucinogen Sound Labs Mixed At – Hallucinogen Sound Labs Phonographic Copyright (p) – Dragonfly Records Copyright (c) – Dragonfly Records Credits Written-By – Simon Posford Notes B1: Mixed at Doof Studios, London. B2: Produced & mixed at Hallucinogen Sound Labs, London. ℗ Dragonfly Records 1995 © Dragonfly Records 1995 Comes in three versions - green, orange or purple label on the A side. Durations extracted from vinyl rip Other versions Category Artist Title (Format) Label Category Country Year LSD (Live Mix) (12", BFLT 29 Hallucinogen Dragonfly Records BFLT 29 UK 1995 Pur) LSD Remixes (4xFile, TWXDL01 Hallucinogen Twisted Records TWXDL01 UK 2008 MP3, 320) SUB 4804.1 Hallucinogen LSD (CD, Single, Ora) Substance SUB 4804.1 France 1996 LSD (Live Mix) (12", BFLT 29 Hallucinogen Dragonfly Records BFLT 29 UK 1995 Gre) TWST 13RX Hallucinogen LSD (12", Ltd) Twisted Records TWST 13RX Europe 2001 Comments about LSD (Live Mix) - Hallucinogen Nuliax If you like this then you like Goa/Psy Trance. Tired of people whining about how Goa/Psy all sounds the same.
    [Show full text]
  • Final Copy 2019 01 31 Charl
    This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Charles, Christopher Title: Psyculture in Bristol Careers, Projects and Strategies in Digital Music-Making General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Psyculture in Bristol: Careers, Projects, and Strategies in Digital Music-Making Christopher Charles A dissertation submitted to the University of Bristol in accordance with the requirements for award of the degree of Ph. D.
    [Show full text]
  • Download Brochure
    Name: Niraj Singh ACOUSTAMIND Hometown: Mumbai Genre: Electronic Dance Music: Psytrance, Dark Progressive Likes (Facebook): 1270 likes About: Acoustamind - is Niraj Singh who is born and bred from Bombay, India. Niraj got acquainted with disc joking at a very tender age of 16. In his Djing journey, he was hit by the psychedelic music wave in 2005 which gave birth to his psychedelic project “Psyboy Original” under which he performed in several events and festivals throughout India. Completed his “Audio Engineering” from the prestigious SAE institute in the year 2012 to deepen his understanding of music production and is currently pursuing Acoustical instruments. He spends majority time of the day in his studio (Rabbit Hole Soundlab), producing music which consists of dark and harmonic atmospheres, deep and powerful bass lines, psychedelic melodies and synthesized rhythms. His music is a smooth blend of familiar Sounds from the nature and unheard Alienated sounds. “Acoustamind” as a project believes and focuses on working with collaboration with various artists like Karran, Shishiva, etc to produce music with cross collaboration of creative ideologies. Niraj has shared the stage with many senior artists of the dark and forest psychedelic trance genre on numnerous occasions in Goa and other parts of India. Acoustamind’s objective is to spread UNBOUNDED FRESH BREATHTAKING AND BRAIN TRANSFORMING ELECTROMAGNETIC WAVES with a humble smile through SOUNDCARPETS MELTED WITH PHAT KICKS AND ULTRAUEBERROLLING GROOVY BASSLINES and wishes to travel the world. http://bhooteshwara.com/artist/acoustamind/ http://soundcloud.com/…/acoustamind-vs-kosmic-baba-bad-robot Name: Ovnimoon records ALPHATRANCE Hometown: Toulouse, France Genre: Psychedelic trance, Progressive trance Psytrance, Trance Likes(Facebook): 10,588 About: Dj Alphatrance (Ovnimoon Records) is DJ who is spiritually enlightened by Buddhism.
    [Show full text]
  • Genre in Practice: Categories, Metadata and Music-Making in Psytrance Culture
    Genre in Practice: Categories, Metadata and Music-Making in Psytrance Culture Feature Article Christopher Charles University of Bristol (UK) Abstract Digital technology has changed the way in which genre terms are used in today’s musical cultures. Web 2.0 services have given musicians greater control over how their music is categorised than in previous eras, and the tagging systems they contain have created a non-hierarchical environment in which musical genres, descriptive terms, and a wide range of other metadata can be deployed in combination, allowing musicians to describe their musical output with greater subtlety than before. This article looks at these changes in the context of psyculture, an international EDM culture characterised by a wide vocabulary of stylistic terms, highlighting the significance of these changes for modern-day music careers. Profiles are given of two artists, and their use of genre on social media platforms is outlined. The article focuses on two genres which have thus far been peripheral to the literature on psyculture, forest psytrance and psydub. It also touches on related genres and some novel concepts employed by participants (”morning forest” and ”tundra”). Keywords: psyculture; genre; internet; forest psytrance; psydub Christopher Charles is a musician and researcher from Bristol, UK. His recent PhD thesis (2019) looked at the careers of psychedelic musicians in Bristol with chapters on event promotion, digital music distribution, and online learning. He produces and performs psydub music under the name Geoglyph, and forest psytrance under the name Espertine. Email: <[email protected]>. Dancecult: Journal of Electronic Dance Music Culture 12(1): 22–47 ISSN 1947-5403 ©2020 Dancecult http://dj.dancecult.net http://dx.doi.org/10.12801/1947-5403.2020.12.01.09 Charles | Genre in Practice: Categories, Metadata and Music-Making in Psytrance Culture 23 Introduction The internet has brought about important changes to the nature and function of genre in today’s musical cultures.
    [Show full text]
  • Aliens, Afropsychedelia and Psyculture
    The Vibe of the Exiles: Aliens, Afropsychedelia and Psyculture Feature Article Graham St John Griffith University (Australia) Abstract This article offers detailed comment on thevibe of the exiles, a socio-sonic aesthetic infused with the sensibility of the exile, of compatriotism in expatriation, a characteristic of psychedelic electronica from Goatrance to psytrance and beyond (i.e. psyculture). The commentary focuses on an emancipatory artifice which sees participants in the psyculture continuum adopt the figure of the alien in transpersonal and utopian projects. Decaled with the cosmic liminality of space exploration, alien encounter and abduction repurposed from science fiction, psychedelic event-culture cultivates posthumanist pretentions resembling Afrofuturist sensibilities that are identified with, appropriated and reassembled by participants. Offering a range of examples, among them Israeli psychedelic artists bent on entering another world, the article explores the interface of psyculture and Afrofuturism. Sharing a theme central to cosmic jazz, funk, rock, dub, electro, hip-hop and techno, from the earliest productions, Israeli and otherwise, Goatrance, assumed an off-world trajectory, and a concomitant celebration of difference, a potent otherness signified by the alien encounter, where contact and abduction become driving narratives for increasingly popular social aesthetics. Exploring the different orbits from which mystics and ecstatics transmit visions of another world, the article, then, focuses on the socio- sonic aesthetics of the dance floor, that orgiastic domain in which a multitude of “freedoms” are performed, mutant utopias propagated, and alien identities danced into being. Keywords: alien-ation; psyculture; Afrofuturism; posthumanism; psytrance; exiles; aliens; vibe Graham St John is a cultural anthropologist and researcher of electronic dance music cultures and festivals.
    [Show full text]
  • The Globalization of Goatrance
    Interview with Graham St John By Geert Lovink Australian cultural critic Graham St John has written a groundbreaking study on the way the electronic dance music (EDM) genre called Goatrance globalized itself as a movement. In Global Tribe: Technology, Spirituality and Psytrance (Equinox, 2012), he describes Goatrance not merely as a subcategory of EDM. Psytrance, as it is also called, is first and foremost a culture that is celebrated through events such as parties and festivals. The emphasis here is not on regular clubs or labels but on personal transformation which is celebrated in a collective fashion. Music has a supportive role here, it is literally a medium, a transportative vehicle to carry us into another realm of consciousness. As Graham points out in the intro, “Enabling departures from dominant codes of practice and arrivals at alternative modes of being, the dance floor and the community proliferating around its verges, are built according to the design of a radical utopian imagination.” The traveller-scholar St John has given himself the task to articulate, theorize and popularize that imagination. Because of the ‘serving’ task of the music, music criticism plays less of a role in this case. If anything, Graham St John is a Critic of the Cosmic Event. I’d love to see him as a contemporary organic intellectual (as Gramsci defined it) of the psytrance movement. His intimate knowledge of the festivals and their ‘architechtonics of transition’ has put Graham St John at odds with traditional (Anglo-Saxon) academia that has a hard time understanding underground cultures which position themselves outside of the pop mainstream.
    [Show full text]
  • Strange Sounds Strange Sounds This Page Intentionally Left Blank Strange Sounds
    Strange Sounds Strange Sounds This page intentionally left blank Strange Sounds Music, Technology, &Oulture TIMOTHY D. TAYLOR ROUTLEDGE NEW YORK LONDON Published in 2001 by Routledge 270 Madison Ave, NewYorkNY 10016 Published in Great Britain by Routledge 2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN Routledge is an imprint of the Taylor & Francis Group. Transferred to Digital Printing 2010 Copyright © 2001 by Routledge All rights reserved. No part of this book may be printed or reproduced or utilized in any form or by electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording or in any information storage or retrieval system, without permission in writing from the publisher. The publisher and author gratefully acknowledge permission to reprint the following: An earlier version of chapter 7 appeared as "Music at Home, Politics Afar" in Decomposition: Post-Dis­ ciplinary Performance, edited by Sue-Ellen Case, Philip Brett, and Susan Leigh Foster, © 2000 by Indiana University Press. Example 4.1, an exceprt from "Moon Moods," music by Harry Revel, © 1946, reprinted by permission of Michael H. Goldsen, Inc., and William C. Schulman. Figure 4.5 used courtesy of Capitol Records, Inc. Figure 7.2 and figure 7.3 reprinted by permission of Geert-Jan Hobijn. Figure 8.1 and figure 8.2 reprinted by permission of Synthetic Sa:dhus. Figure 8.3, figure 8.4, and figure 8.5 reprinted by permission of Tsunami Enterprises, Inc. Cataloguing-in-Publication Data is available from the Library of Congress. ISBN 0-415-93683-7 (hbk.) - ISBN 0-415-93684-5 (pbk.) Publisher's Note The publisher has gone to great lengths to ensure the quality of this reprint but points out that some imperfections in the original may be apparent.
    [Show full text]
  • The DIY Careers of Techno and Drum 'N' Bass Djs in Vienna
    Seasoned Exodus The Exile Mosaic of Psyculture Feature Article Graham St John University of Queensland (Australia) Abstract Psychedelic trance music and culture (psyculture) is explored as a culture of exodus rooted in the seasonal dance party culture evolving in Goa, India, over the 1970s/1980s, and revealing a heterogeneous exile sensibility shaping Goa trance and psyculture from the 1990s/2000s. That is, diverse transgressive and transcendent expatriations would shape the music and aesthetics of Goa/psytrance. Thus, resisting circumscription under singular heuristic formulas, Goa trance and its progeny are shown to be internally diverse. This freak mosaic was seasoned by expatriates and bohemians in exile from many countries, experienced in world cosmopolitan conurbations, with the seasonal DJ-led trance dance culture of Goa absorbing innovations in EDM productions, performance and aesthetics throughout the 1980s before the Goa sound and subsequent festival culture emerged in the mid-1990s. Rooted in an experimental freak community host to the conscious realisation and ecstatic abandonment of the self, psyculture is heir to this diverse exile experience. Keywords: Goa trance, psytrance, psyculture, exodus, cultural exile, counterculture, festival Graham St John is an Honorary Research Fellow at the Centre for Critical and Cultural Studies at the University of Queensland. His book forthcoming with Equinox in 2012 is Global Tribe: Spirituality, Technology and Psytrance. Other recent books include Technomad: Global Raving Countercultures
    [Show full text]
  • Ozorian Prophet May 2013
    Universally Owned | Our 4th year. Issue No.27 Saturday, August 8, 2015 Independent and Free INTERVIEW MUSIC + CIRCUS More complex music The child within By novishari more difficult in terms of On the Way to Ozora, one getting around authorities of our favorite villains, for proper free parties, but London born Phil Getty, a when it's good, it's still spe- true Fagin’s Reject joined cial, and that's why I still us for a bit of a talk. do it. In terms of sound, it's definitely been an im- – So what hooks someone provement though! No coming from a psychedel- more DAT tapes and crap ic rock and metal back- quality, now it's all about ground to Goa? the crystal-clear sound – It was a natural pro- systems that will do jus- gression for me to go tice to the more complex from metal to psychedel- music. ic rock, especially after I – You have a collection got into Led Zeppelin and of limited vinyl releas- Hendrix. Then from bands es dating back to those like Ozrics, Hawkwind and early 90’s. What is/are the Gong to goa trance. I think greatest vinyl treasure/s this was because of the syn- you have? thesisers used for the trip- – All of it. It's a journey py stuff, I could never work through my life in musi- out how they made those cal form. But If I had to sounds. But the thing that pick something it would sticks out most in my mind be Jungle High by Juno was seeing Eat Static live Reactor as it was the first in 1992.
    [Show full text]
  • Hadra Trance Festival V July 07Th to 10Th, 2011
    press kit Hadra Trance Festival V july 07th to 10th, 2011 38 ( Isère ) - France Stade de Neige - Lans-en-Vercors HADRA : the Association The HADRA association was founded in 2001, since then a loyal team commits their selves for the recognition and promotion of electronic music and trance culture. The main activities include: concert and party organization, production and artistic career management, trainings and workshops... but above all these, the Hadra Trance Festival, which put France on the psy- trance world map. This year Hadra celebrates its 10 years of existence, the Hadra team has been promoting Trance Music and artistic expression the last decade, and the best way to celebrate this in style is with another edition of the Hadra Trance Festival! the Festival The Rhone-Alps region in the south-east of France has become the welcoming land for psychedelic trance, thanks to the Hadra Trance Festival. Last year, Lans-en-Vercors, a small town located on the slopes of the Alps, hosted the Festival; this was attended by more than 12000 festival-goers from around the globe, spread over 4 days. It featured more than 120 concerts, dance and street performances, video projections, art, design and much more... The Festival is for most people a remarkable and unforgettable event, due to its organization, the setting it takes place in and the values it stands up for, but also mostly to its eclectic multi disciplinary program,which features musicians, Vjs, visual artists and performers. Over the last years it has become the largest Trance gathering in France, and a reference in Europe and all over the world.
    [Show full text]
  • Each Note Will Be Analyzed, Effected, and Tweaked Out, with Layer Upon
    16 w x{ © { x{ G Electronic Music and Psychedelics: W _{{ ~ i f | z | i~ }{ By David Jay Brown Simon Posford is an acclaimed British electronic musician and producer whose mu- sic spans many genres from psychedelic trance (psytrance), to rock, to electronica. Posford’s first studio album, Twisted, was released in 1995 under the artist name “Hallucinogen.” Twisted is considered one of the most influential albums in the genre of psytrance, and Posford’s connection with psychedelics was evident from the title of the very first track—“LSD,” which, to this day, remains the defining sound of a form of electronic music that originated during the late 1980s in Goa, India, called “Goa trance.” Simon Posford In 1996, Posford and Australian musician Raja Ram created one of the most popular electronica music projects of all time—Shpongle. Arguably, not since The Grateful Dead has a brand of popular music been so positively associated with psychedelics as Shpongle. Psychedelics have played a huge role in the creation, performance, and experience of Shpongle’s music, which is extremely popular among members of the electronic music community. Posford is generally responsible for coordinating a delightful eloquence to the way that Simon ex- the synthesizers, studio work, and live instru- presses himself, and a vibrant sense of creativity mentation, while Raja contributes broad musical continually comes through his words. We spoke [wy~ { concepts and flute arrangements. Shpongle’s about how his psychedelic journeys have affected unique style combines Eastern ethnic instruments, his creativity and his experience with music. x{ ww{zB flute riffs and vocals, with contemporary Western synthesizer-based electronic music, hyper-dimen- David: In general, how would you describe your {||{y{zB wz sional sound effects, sound clips from television creative process with Shpongle? shows, and spoken words.
    [Show full text]
  • Ozorian Prophet May 2013
    Universally Owned | Our 4th year. Issue No.24 Wednesday, August 5, 2015 Independent and Free ATTENTION! THE ADVENTURES ARE ON INTERVIEW For the safety and well-be- ing of all of us, please take these cautions seriously! Super DO NOT USE fireworks and The valleydays have begun also avoid lanterns work- ing with fire! We have been warned by the local author- ities already. Use the ones Mario with the leds inside. By Chemical NOTE that due to the heat we face an extreme level of The heroes of the Pumpui fire risk. Tent, D-Nox & Beckers A lot of personal documents are just about to return to have been found already. the scene to take you to a We have a well-operat- truly exciting and hypnot- ing Info POINT where you ic journey. We caught up can get guidance if you are with them to discuss their looking for the LOST AND Ozorian experiences, festi- FOUND. val life, green solutions and We have more than 600 the creative atmosphere of green toilets on the fes- Berlin, capital of electronic tival territory. They are to music. be used so do not piss on others’ tents for they are OP: Having a look at your their homes! hectic tour schedule you perform at the most di- FORECAST verse events, psychedelic or not. What does it feel like to play non-psy music at a psy festival? Beckers: Honestly, I don´t feel that way. We play less bpm, but I there are so many psychedelic elements D 34°C | 93°F in house & techno music N 28°C | 82°F nowadays.
    [Show full text]