Todd Merrell. Collaborators have included Aidan Baker, Duane Pitre, Patrick Jordan, Casey Block, Lou Rossi, Craig Colorusso, Robert Black, and BunnyBrains.
Influences
Bach, Stevie Wonder, Stravinsky, Marvin Gaye, Erik Satie, King Oliver, Thomas Dolby, The Spinners, Perotin, Louis Armstrong, Thomas Tallis, Isaac Hayes, Francois Couperin, Laurie Anderson, Palestrina, Earth Wind and Fire, Steve Reich, Fats Waller, John Cage, Barry White, John Adams, Bob Marley, Philip Glass, Peter Tosh, Richard H. Kirk, Fila Brazillia, Baby Mammoth, Bullitnuts, Moss, Solid Doctor, Leggo Beast, Delta-T, Fretless AZM, Universal Being, Brian Eno, Augustus Pablo and West African, Jamaican, Balinese, and English music.
Sounds Like
OUT NOW ON ARCHIVE RECORDINGS: 'NAGUAL' by MERRELL BAKER AND JORDAN
http://www.archivecd.com/dairy.htm
http://www.archivecd.com/shop.htm
Merrell, Baker & JordanNagual
ARCHIVE CD
Nagual documents a 2004 live performance in Hartford, Connecticut where the shortwave radio manipulations of longstanding collaborators Todd Merrell and Patrick Jordan were joined by Aidan Baker's guitar, melding smoothly to create several lengthy tracks of austere but optimistic drone.
Instead of the rapid wow and flutter and twitchy bursts of speech often teased from shortwave radios, Merrell and Jordan work in more abstract terms, processing the signal into distant electromagnetic roaring and slowly drifting whistles. Merrell's 2006 album Neptune featured tracks inspired by the planet's huge, frozen moons and there's a similar sense of the sublime evoked here. Like optical illusions which exploit the brain's perception of negative space, Nagual suggests being confronted with something too large and mysterious to be resolved into either cavernous space or supermassive presence. This is especially noticeable on the first track, "Undertow", which starts from a muffled loop like thunder heard from the ocean bed before moving with a graceful but unstoppable tidal power through a variety of slowly pulsating phrases.
Avoiding the danger of dominating the trio, Baker's guitar stays mellow and subtle, restraining melodic input to loops of clean, rippling tones. "Diomedea" sets up a gentle sea-saw of octaves which are gradually subsumed by Merrell and Jordan's drifts of indecipherable chatter and harsh solar winds. "Cygnus" may feature a more active, undulating guitar line, but only as a foil to his companions' invasive, ringing frequencies, reflecting the level of sympathy and vision in this collaboration.
-The Wire, February 2008
TODD MERRELL / AIDAN BAKER / PATRICK JORDAN - Nagual (Archive)
The beautiful photographs - a forest and an amass of superb clouds - that adorn the cover of “Nagual” give only a faint idea of its musical content. Looking at the instrumentation (shortwave radio, guitars, electronics, processing) and remembering the ambits in which these artists have worked, we realize in advance that an experience of altered perception will be likely met. The four tracks - recorded live in Hartford, Connecticut in 2004 - are presented as a single unit, a 60-minute suite that easily reaches the highest positions in my personal space/ambient rank of the last five years. The feel of proximity given by the ethereal qualities of Baker’s loops, the otherworldly voices and the modified emissions coming from Merrell and Jordan’s radios generate a state of perennial floating that, for a change, doesn’t sound like refined new age. Depths similar to the ones reached by the best Lustmord are observed, segments of gentle guitar arpeggios and powerful tempests of indefinite aural matter representing a stimulation for the being to remain awake, all the more in those moments when the tiredness of living amidst stupidity starts knocking at the door of our mind. The beginning of “Cygnus” is just memorable in its simplicity, a graceful line repeated over and over by Baker upon a fairly static background whose sonic appearance resembles a cross between the slow breathing of a whale and an aircraft taking off, before wailing moans by bionic mermaids define the evolution of the piece towards completion. If this cynical grumbler liked this one so much, then lovers of the genre should consider “Nagual” a must.
-Massimo Ricci, Touching Extremes
Merrell, Baker and Jordan
aRCHIVE 41 CD
Call this a meeting of the cosmic travelers. Back in November of 2004, Toronto experimental guitarist Aidan Baker joined shortwave radio explorers Todd Merrell and Patrick Jordan at Real Art Ways in Hartford, Connecticut for an evening of frequency exchanges and abstract sound fields, an immersion in dark ambience and dronology. The late Carlos Casteneda used the term "nagual" to describe a person who would lead people to new paths of consciousness, and that certainly seems to be on this trio's agenda, with Merrell and Jordan processing signals and waves from the ether and Baker's six-string shimmers straining towards transcendence. But before you accuse Jordan, Baker and Merrell of getting all New Age-gooey here, it's only fair to state that Nagual packs sufficient punch to equal any of the magnum-force drone heavyweights, as well as showing the kind of spatial awareness associated with Deep Listening. The rumbling wave of the opening "Undertow" flattens out into a gorgeous, calm pool when Baker's tremolo surfaces from the murk. "Diomedea" is more serene, with the guitarist's string taps playing off the disembodied voices and scrambled frequencies, while on "Cygnus" Baker's ringing accretions are constantly being threatened by stormy bursts of noise that keep picking up speed. Like the thick cloud formations that grace the inside cover, Nagual is full of subtle shadings, and sublimely ambiguous textures.
-Richard Moule, Signal To Noise, Summer 2008
MERRELL, BAKER AND JORDAN Nagual (aRCHIVE) cd
"Not sure who Todd Merrell or Patrick Jordan are, but we sure as heck are familiar with the third part of this drone trio, the Baker in question is none other than Mr. Aidan Baker, he of Nadja, Arc, and a million or so releases under his own name.
This live set finds Baker handling guitar duties, but you'd never know it from the sound, augmented by short wave radios, electronics, and various bits of processing, the sound here is deep and dark, a crumbling and epic expanse of rumbling shimmering low end. Roiling clouds of murky melodic fragments, distant swells, throbbing low end pulses, barely audible bits of static and washed out glitch. Very cinematic, if you were watching a film that was almost entirely dark, with just barely visible shifts in the various shades of black and grey. Lovely though, minimal and haunting. Think Coleclough, Chalk, Lustmord, that sort of ambient darkness.
But the second track is an entirely different beast. Simple guitar strums, minimal melodies, the strings struck softly, the metallic buzz and clang ringing out into the ether, some sort of underwater slow motion Fahey, smeared and soft and dark and dreamy. The final half of the track, the guitar disappears completely, leaving streaks of feedback that sound like the cries of gulls, grinding slow motion slabs of shifting low end, whirling windlike whirs, almost like a manufactured nature recording.
The guitar returns for the third track, drifting gently, while the background noise builds into a slow motion wash of sound, the track culminating in a cloud of chimes and reverbed percussion, seasick swirls and struck steel strings, before slipping languidly into the final track, a lugubrious underwater crawl, all of the sounds muddy and indistinct, a sonar like ping buried way down in the mix, underneath it all a thick blanket of constant whirring drones, quite lovely.
Packaged in one of those cool, 6 panel, gatefold aRCHIVE sleeves, glossy paper, super striking image of forest and clouds, LIMITED TO 600 COPIES!!"
-Aquarius Records
" [CA/US] collaboration between Aidan Baker, Todd Merrell and Patrick Jordan. stunning drony landscapes. one of my favorite release this year ! recommanded !"
-Salvation Records
"A lush dark ambient epic presented across four tracks, recorded back in 2004 by the trio of Todd Merrell, Patrick Jordan, and Aidan Baker. This is the first time that I have heard anything from Merrell or Jordan, but of course Aidan Baker is a well known quantity around here as both a prolific solo artist with several releases on the Crucial Bliss imprint as well as being one-half of ambient sludge duo Nadja, whose Desire In Uneasiness just came out earlier this year through Crucial Blast. Aidan brings his drifting guitar/amp ambience to this live recording that was captured in Hartford, Connecticut, joining his clouds of billowing, metallic ether and distorted tracers of melodic guitar with the swirling mist of fuzz and mysterious sonic transmissions that are created by Jordan and Merrell's excellent manipulations of shortwave radio and electronics. The first track "Undertow" blends the distant hum of distorted radio signals with bits of guitar, surging
sinewaves and deep, vaporous drones, everything cloaked in darkness and constant tidal movement as the musicians sprawl their massive dronescape across a vast expanse of crackling, cavernous roar streaked by strange electronic whirrs and pings. Haunting sounds emerge from the ashen swirl, loops of what might be a female voice singing, blurred melodies, bassy subterranean rumblings. Very eerie and beautiful, like a diaphanous version of Lustmord's dark ambience. The mood changes a bit with the second track is "Diomedea", which opens with a simple pretty melody played on a heavily delayed guitar, each plucked string sending off flecks of metallic scrape and buzz, the notes circling in the air and blurring together and floating upward. Later though, the shadows are cast again over the trio's elliptical drones as the guitar drifts off and smears of rumbling drift and keening alien cries take its place, soaring above slow moving whorls of muted, roaring arctic winds.
"Cygnus" follows, again opened by guitar; soft notes float against a backdrop of murmuring noise that gradually builds into a drowsy surge of low-end whoosh, the simple slow-core guitar strum becoming surrounded by melodious feedback, echoes of plucked strings, icy winds rushing down in slow motion. And the the last track, "Half-Life", which returns to the dark, alien ambience, hissing electronics and dense cloudscapes of static and darkness muted and obscured by shadows, electronic pings, broken machine rhythms and oscillations rising up from the fug, everything mingling together, viscous. This is as dark and phantasmal as Aidan's solo works, but the interplay between his guitar and the crackling, murky haze of the shortwave radio and electronics make this a bewitching piece of dark ambience. The disc is packaged in the signature Archive style, a full color six panel gatefold sleeve printed on heavy glossy cardstock, with gorgeous images of mirrored clouds and forests created by Seldon Hunt. Limited to 600 copies."
-Crucial Blast
"Taken from a live recording in 2004, Nagual features three artists known for their individual work -- Todd Merrell on electronics, Aidan Baker on guitar and Patrick Jordan on 'processing,' with Jordan and Merrell also working shortwave radio -- in an enjoyable collaboration. As is always the case with improvisation, the performance runs a risk of simply being indulgent rather than truly memorable, but in its understated fashion the four pieces featured here show that the three performers are able to combine forces well. The overall feeling is unsurprisingly one of sheer meditative chill, often being the kind of dark, reflective electronic pieces that call to mind everyone from Mick Harris to Robert Rich at the latter's most moody, with Baker's guitar work providing anchoring undertones and shades to the slightly stern mood conjured up by Merrell and Jordan. The opening "Undertow" is well named as a result, suggesting a dark pull downward throughout in its slowly rising flow of sound and echo. This said, not all is gloom by any means -- "Diomedea" is much more enclosed and cocoonlike, with Baker's guitar parts being gentle additions to a carefully building wash of warm sound that understatedly rhythmic as well as softly calming, a fine contrast to its concluding section where colder sonic winds sound like they're coming down from outer space. "Cygnus" blends these two impulses more carefully, Baker's soft melody providing a steady core for a series of interwoven drones that almost glow with lambent energy, serene and uplifting." 3.5 stars
— Ned Raggett, All Music Guide
"One hour, 3 performers, 4 pieces recorded live in Hartford, Connecticut. Todd Merrell, Aidan Baker and Patrick Jordan create huge patterns of drone with guitar, shortwave radio and electronic processing. The cover, which opens from the centre, has mirror images of trees and cloud, which suit the sounds admirably. (JC)"
-Boa Melody Bar
"quite nice set of atmospheric ambient music from nadja’s aidan baker, todd merrell, and patrick jordan, recorded at hartford’s real-art-ways (did i ever tell you about the time that i got stranded there after a tony conrad / jim o’rourke & zeena parkins / richard youngs & simon wickham-smith show in 2004? well, i did. nice place though...) space a coupla years back..."
-Mimaroglu
Sounds Like:
Thomas Koner, Biosphere, William Basinski, Francisco Lopez, Pauline Oliveros, Ellen Fullman, The Orb, B. C. Gilbert, Phill Niblock, Nocturnal Emissions, Rapoon, Muslimgauze, etc...
Since 1978 Todd Merrell has been fascinated with the imperceptible environment of electromagnetic radiation that shortwave radio and processing can capture, and transform into an immersive, musical environment. In 1991 he began exploring the musical possibilities of this world in a collaboration with Patrick Jordan. The result was SWR, a two movement work that was performed several times in Chicago, and on WBEZ National Public Radio. Composer Lou Mallozzi, of the Experimental Sound Studio in Chicago, wrote in P-Form Magazine:
"It soon becomes clear that the focus of the work is not on acheiving any particular musical moment, but on the ephemerality of sonic transformation itself. Unlike compositions that utilize radio in part for its referential or signifying qualities, SWR is more in the minimalist tradition of relying on the primacy of the material itself. The work is a celebration of the radio as material and of the belief that minutiae and limited systems can yield rich results. But it is also a celebration of the rich, ragged, unstable thickness of analog sound in a world anesthetized by the crisp and clean precision of digital audio."
He has since developed these techniques and incorporated them into a larger, more visually and sonically evocative world, with an emphasis on live performance, and the thrilling contingency and danger that such site- and time- specifically dependent work produces. Along with several current solo projects, he continues to work with like-minded musicians and sound artists, and recently completed a new project with Aidan Baker, who joined him in 2004 on a mini-tour of the Northeastern United States.
Todd Merrell studied music composition and voice at Berklee College of Music, and with composer James Sellars of the Hartt School. His works have been performed by The New York Festival Of Song, Chicago A Capella, and double bassist Robert Black of Bang On A Can Allstars. Merrell has performed in New York, Chicago, Boston, and Hartford, and at such venues as The Guggenheim Museum, Knitting Factory, Issue Project Room, Galapagos Art Space, Cake Shop, Hot House, WBEZ Chicago Public Radio, Berklee Performance Center, 119 Gallery, Real Art Ways, and free103point9’s Wave Farm. He has collaborated with BT, Aidan Baker, Duane Pitre, Craig Colorusso, Casey Block, Lou Rossi, Patrick Jordan, Gary Higgins, Bunny Brains, Blaise Siwula, and Jake Bell, and appeared with Francisco Lopez, Joan La Barbara, Robert Dick, Ricardo Arias, Barbara Ess, Peggy Ahwesh, and Sybarite. Merrell’s newest album with Aidan Baker and Patrick Jordan, 'Nagual', was released on Archive Recordings in November, 2007, and he has recorded for Dreamland Recordings and Whirlybird Records. He was also recently named a 2008 recipient of the New Boston Fund Individual Artist Fellowship.
"Like Tod Dockstader, Connecticut-based Todd Merrell is a sound explorer who has been processing radio frequencies and spectral communications from shortwave radios and transforming them into soundscapes since 1978. Neptune was recorded in real time with no overdubs and no post-production in two-track, direct to DAT with Merrell using only a single band shortwave receiver, a loop sampler, delay and reverb effects processor and mixer. Each of the eight tracks are devoted to one of Neptune's 13 moons (the five most recently discovered have yet to be named). While the eighth planet from the Sun is one of the gaseous planets (Jupiter, Saturn, Uranus), whose composition is made up of ice, rock, helium and hydrogen, and whose winds reach up to 200 kms/hr, astronomers know
little about these moons. This leaves the door wide open for Merrell to imagine what the sounds on and surrounding these moons would be. Too often when the solar system is evoked in music, it is often depicted in quasi-mystical terms with the music falling into cliched psychedelia. Merrell avoids this pitfall and wisely assumes that the moons have some of the same characteristics of their parent planet. So that while Merrell's immersive drone-based soundscapes are definitely celestial, they are equally forbidding; gaseous in shape with a temperature that is glacially cold and an omnisciently thick, turbulent, distant roar, something like being trapped in one of Neptune's howling wind storms. Sometimes this ghostly audio manifests as a massive, swirling echo chamber as on "Thalassa" and "Larissa" or a gigantic bass tone on "Galatea" or more benignly as on the piercing, ringing loops of "Naiad" and "Despina". Only "Proteus" and "Nereid" break from the template, the former dominated by a granular buzzing static that comes close to Francisco Lopez's abrasive fissures of sound, the latter employing the microtonal static as a broken rhythm to the companion staccato overtones, as if the Raster-Noton camp had decided to embrace the dark ambience of Robert Rich. Of course, if your source material is radiophonic transmissions, you're bound to tune into some human voices and on "Neptune" they come in two forms, either as barely perceptible echoing voices struggling to be heard amidst the murky waveforms on "Thalassa" or as a washed out angelic choir that forms the basis for "Triton". This, despite the fact, that humanity's first up close contact with Neptune was through the photos relayed by the Voyager 2 spacecraft in 1989. Neptune is a compelling and occasionally harrowing celebration of this distant blue-colored orb."
— Richard Moule, Signal To Noise (Winter, 2007)
"As befitting an album named after a distant planet and with its individual tracks named after said planet's moons, Neptune begins with a dark, evocative chill very much in keeping with many of the best practitioners of the danker side of ambience -- this isn't so much a healing wash of sound as a sense of desolate, empty landscapes under a coal-black sky. But "Naiad" isn't the album in miniature, as Todd Merrell explores various shades of murk and disorienting gloom throughout the album. Rather than being entirely calm to the point of death, activity crops up in careful ways -- the seemingly random, heavily echoed blips and burps on "Galatea" set against the absolute zero of the background wash, the slow, steady rhythm of "Triton," feeling like an endless, regular but syncopated pulse through gauze. Some pieces definitely have the feeling of alien broadcasts -- consider the distorted, bubbling flow of what sounds like language of some form or another on "Thalassa," rising out of infinite depths (all the more appropriate given the nautical imagery applied to the planet and its moons). The concluding "Nereid" provides a fine counterbalance to the opening "Naiad," sounding even more like a Thomas Köner piece lost somewhere in the outer cosmos -- further living up to the inspiration for the album as a whole." 3.5 stars
— Ned Raggett, All Music Guide
"Admittedly, there are more than a handful of things about this recording that emit new-agey warning signals. The cover kinda screams ECM, 1978, the title along with the track names (eight of Neptune's moons) and, on a superficial level, even the music. But at least that last bit is misleading. Merrell sources short-wave emissions from the electro-magnetosphere, makes minimal adjustments or enhancements, mostly involving loops and reverb, and presents the results as thick, sometimes smooth, sometimes gnarly slabs of hum n static. If, after all is said and done, it tends more toward the tonally agreeable and if the reverb is ladled on a tad heavily for my taste, I can see the music having wide appeal for people who enjoy (for example) Pauline Oliveros drone work or the long string music of Ellen Fullman.
Merrell has also worked with Francisco Lopez and you can hear a certain affinity, particularly if you pump up the volume a few notches. In some pieces, such as Larissa, you get toward a similar cavernous massiveness of sonic space; Lopez may seek to place you inside a jet engine but Merrell wants to situate you directly in line with a solar flare. A track like this comes closest to abandoning any traditional musical elements and is most successful, to these ears, as a pure, heady chunk of sonics. One can easily imagine, given a strong enough sound system, how immersive this music could be in live performance. The following cut, Proteus, takes things a step further by injecting some rude splats of static into the mix, creating an even grainier, less cloying stew. Nereid, the final piece here, breaks formation with the others, initially discarding the drone-wash and utilizing a series of semi-regular pulses, dusted with static and navigating between sine-like tones at various aural distances though eventually it too settles into the ether. Its an intriguing tack, recalling (of all things) recordings like Hancocks Sextant, pared and reduced but retaining a vestige of funk.
As mentioned above, Neptune is likely to be right up the alley for those already attuned with Oliveros and associated musicians, less so for the noisier inclined."
— Brian Olewnick, Bagatellen (August, 2006)
"Taking his inspiration from the isolationist music of Thomas Koner or the more recent works of Biosphere, Merrell crafts a dark, empty space in which nothing seems to live. Like a cold, glacier wind coming out of your speakers, with small events happening, but that never work their way upfront. Everything seems to be happening in a low key mode. Silent and tranquil, but ever so dark that 'new age' isn't a term that even comes closely to this. Great stuff..."
— Frans de Waard, Vital Weekly (issue 525)
"Shortwave radio sounds have been attractive to electronic music composers since John Cage twiddled the dials for his Imaginary Landscapes and Karlheinz Stockhausen sought alien communication in the music of the spheres. More recently, John Duncan has used shortwave sounds extensively in his recent experimental work. The range of sounds that come from the deep unknown connects musicians with something larger than themselves, something from Out There (like Mulder’s Truth). Connecticut composer Todd Merrell has used shortwaves in his work for many years, and his spirit on Neptune is closer to Duncan than Stockhausen, especially to Duncan’s more ambient works like Phantom Broadcast.
Neptune is the second album released in the Australian label Dreamland Recordings’ projected set of nine Planetary Series albums. Each of the eight tracks (corresponding to Neptune’s named satellites) was composed in real-time, solo, with no overdubs or post-production. Merrell used only a short wave receiver, a loop sampler, a couple of effects and a mixer. Several tracks are deep ambient drones that wouldn’t be out of place on Oöphoi’s Umbra label, but on Thalassa and Galatea the voices from the original source transmissions are still in evidence, albeit heavily processed. Proteus is the noisiest piece, with a continuous buzzing underlying the sustained drones. The longest track, Nereid, has a repeating rhythmic ostinato with slow melodic lines over a low-fidelity background noise like tape hiss.
Merrell succeeds in getting a variety of sounds from his material, with each track like a short vignette of messages from deep space. At low volumes, Neptune is suitable for late-night drifting, but there is a lot of detail for headphone listeners."
— Caleb Deupree, Ambient Visions (December, 2006)
"Todd Merrell creates powerful, unsettling ambient sound sculptures using short wave radios."
— Time Out New York
"They take shortwave radios and use a variety of effects to transform the signals they pull out of the air into music. But that's like saying Rachmaninoff wrote music for orchestras. Playing at Real Art Ways on Saturday night, they
looked like -- and sometimes sounded like -- spies in
a submarine, engineering the next missile crisis. No
sooner would a rhythm become familiar than one of them
would tear it down with a piercing squawk or an
eruption of bass. Baker's chiming guitar offered
respite from the storm, multiplying upon itself in
minimalist phrases until these, too, were almost too
much to bear; he then deftly pulled the plug, letting
the listener fall back onto a cushion of ambient white
noise. And through it all, echoes of human voices and
glimpses of broadcast music wove in and out like
tentative reminders that we, indeed, are the stuff
their music is made of. Brilliant."
— Dan Barry, Hartford Advocate
"Todd Merrell is an expert at subtlety. His sounds do not beg for attention, rather they simmer in the background and slowly work their way into the psyche."
— Zac Keiller, Dreamland Recordings
"Quite enjoyable detailed obscure spaces in there."
— Francisco Lopez
"Merrell and Jordan construct and traverse a fascinating soundscape choral undulations, mechanical grindings, distant swoops and plunges, waves of white noise. As one vein is exhausted, they find another to mine, moving the piece along at just the right moment and settling momentarily, at just the right place."
— Lou Mallozzi, P-Form Magazine
"Thanks to the composers' sensitivity to sonic nuances, they remind us that this old and still ubiquitous technology this radiophonic nowhere can be a pleasant place to travel."
— Eric Leonardson, New Art Examiner
PURGE AT DAWN..... WHAT UP todd merrell ............CHECK US OUT.................................................. HIT US UP.......................... ..........THANKS..................
Pending the new release "Melotonine" (release date coming soon), i decided to offer you a part of my best recent works in a free EP, "Cupboard Replacement", downloadable in all numeric formats with special graphic art works by Flint on Music AutOmatiK's Website :
We can stay in contact on facebook now... Thanks for your support !
Thx a lot, friend. Excellent sound art on this page. Hope you like some of our bands & artists. Have a good time and keep in touch CMP-Crew (www.ContraMusikProduktion.de)
News: (CMP 23) Rita Galetti - Falter Canadian female sound artist "Rita Galetti" offers songs with great variety and depth. You can hear drones, sound sculptures, experimental guitar sounds, field recordings, electro acoustic, noise, ambient and more.
Strictly limited collectors edition, 3x foldable (6 panel) cover, prof. thermo printed CD, diamond dye, pvc protection sleeve. Artwork & photography by Ralf Rabendorn. Release date: 21 July 2009 - Album is OUT NOW! ************************************* (CMP 22) The Infrared Experience - White Pure Guitar project. Beautiful melodies mixed with haunting atmospheres and sound textures. Experimental guitar sounds/Ambient Post Rock/ drones/ Guitar Sound Textures etc.
3x foldable cover, strictly limited collectors edition, pro diamond dye. Artwork & photography by Ralf Rabendorn. Release date: 15th June 2009. Album is out now! Albums available here (worldwide) ContraMusikProduktion-Shop
Rick Pier O'Neil - Spaceship Exclusive in Beatport Store
Rick Pier O'Neil - Rpo Summer Mix 2009 (compilation Mixed) The new summer compilation with Exclusive unreleased mixed By Rick Pier O'Neil Aka Rpo Exclusive in Beatport Store
Click on Pic To listen Or Buy Our Music Bye Rpo Records
Rpo Records Presents : Tekno Minimal Sound Sampler 04 The new summer compilation with Exclusive unreleased tracks By Rick Pier O'Neil Aka Rpo Exclusive in Beatport Store
Still Available Rpo & Mar C - Over Me Charted best sales progressive Beatport Click on Pic To listen Or Buy Our Music Bye Rpo Records
Online Now!
