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[LOGO] BROWSE LEARN LISTEN For Artists Search Log In / Register The Lumineers The LumineersThe Red Paintings The Red PaintingsThe So So Glos The So So Glos What Is PledgeMusic? Nam dapibus nisl vitae elit fringilla rutrum. Aenean sollicitudin, erat a elementum rutrum, neque sem pretium metus. Quis mollis nisl nunc et massa. Vestibulum sed metus in lorem tristique ullamcorper id vitae erat. Nulla mollis sapien sollicitudin lacinia lacinia. Vivamus facilisis dolor et massa placerat, at vestibulum nisl egestas. Lorem tristique Featured Artists Project Card Project Card Project Card Project Card Find Artists Placeholder Advanced Search Popular in Rock Project Card Project Card Project Card Project Card Recent News Older > 9/13 - Lorem Ipsum Dolor Sit 9/10 - Lorem Ipsum Dolor Sit 9/8 - Lorem Ipsum Dolor Sit Big Machine Showcase Project Card Project Card Project Card Project Card Browse Artists Browse Artists YOUR ACCOUNT CONNECT WITH US Learn About Pledge Learn About PledgeOrders Orders Listen to Music Listen to MusicSettings Settings Android Contact Contact Log Out Log Out Our team Our team FOR ARTISTS Careers Careers LAUNCH A PROJECT Blog Blog [LOGO] FeatureD Artists [Project CarD] [Project CarD] TrenDing this Week [Project CarD] [Project CarD] About PledgeMusic Vestibulum sed metus in lorem tristique ullamcorper id vitae erat. Nulla mollis sapien sollicitudin lacinia lacinia. Vivamus facilisis dolor et massa placerat, at vestibulum nisl egestas. [Music] [Updates] [Exclusive Items] [Personalized Recommendations] Recent News 9/13 - Lorem Ipsum Dolor Sit More News [FOOTER] [FOOTER] BROWSE FLOWS Browse by Genre (e.g., Rock) Browse by Subgenre (e.g., Punk) Browse by Carousel Group (e.g., What’s New) All Projects Filter to Rock All Projects Filter to Punk All Projects Sort by Recency All Genres All Genres Punk Homepage Browse Browse (filtered to Rock) Homepage Browse Browse (filtered to Punk) Homepage Browse Browse (sorted by recency) Rock Rock See All Rock Punk All Genres All Genres See All Whatʼs New Rock Rock Browse by Other Factor (e.g., Buy Now) All Projects Filter to Buy Now Genre Page (Rock) Genre Page (Rock) Homepage Browse Browse (filtered to Buy Now) Punk (if featured on Homepage) Categories -> Buy Now (if in Categories) FIND ARTISTS ABOUT US FOR ARTISTS SIGN UP LOG IN Rock → → BACK TO ALL GENRES SEE SUBGENRES FEATURED THE FLAMING LIPS THE PIXIES THE FLAMING LIPS The Flaming Lips have released a new record and its super amazing. Theyʼre so crazy and psychadeli. That Wayne Coyne, what a creative guy. MEGADETH Trending This Week SEE ALL→ Artist Name Artist Name Artist Name Trending This Week SEE ALL→ Artist Name Artist Name Artist Name SEE ALL Artist Name Artist Name Subgenres Acid rock C86 Garage rock Indie pop Post-rock Shoegazing Alternative rock Death metal Glam rock Indie rock Power pop Soft rock American roots Desert rock Gothic rock Industrial Progressive metal Southern rock Anarcho punk Doom metal Groove metal Metalcore Progressive rock Blank metal Dream pop Grunge New Wave Psychedelic rock Blues Emo Hard rock Pop punk Punk rock Britpop Female-fronted rock Hardcore punk Post-grunge C-Rock Folk rock Heavy metal Post-punk.

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That Ain't Bad (The Main Single Off Tingles), the Band Are Drowned out by the Crowd Singing Along
THAT AIN’T BAD A ZINE DEDICATED TO SYDNEY INDIE POP FROM THE EARLY 90’S BY ANDY PAINE INTROduction In the late 1980's and early 1990's, a group of bands emerged from Sydney who all played fuzzy distorted guitars juxtaposed with poppy melodies and harmonies. They released some wonderful music, had a brief period of remarkable mainstream success, and then faded from the memory of Australia's 'alternative' music world. I was too young to catch any of this music the first time around – by the time I heard any of these bands the 90’s were well and truly over. It's hard to say how I first heard or heard about the bands in this zine. As a teenage music nerd I devoured the history of music like a mechanical harvester ploughing through a field of vegetables - rarely pausing to stop and think, somethings were discarded, some kept with you. I discovered music in a haphazard way, not helped by living in a country town where there were few others who shared my passion for obscure bands and scenes. The internet was an incredible resource, but it was different back then too. There was no wikipedia, no youtube, no streaming, and slow dial-up speeds. Besides the net, the main ways my teenage self had access to alternative music was triple j and Saturday nights spent staying up watching guest programmers on rage. It was probably a mixture of all these that led to me discovering what I am, for the purposes of this zine, lumping together as "early 90's Sydney indie pop".
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In Search of Nirvana: Why Nirvana: the True Story Could Never Be'true'
This may be the author’s version of a work that was submitted/accepted for publication in the following source: Thackray, Jerry (2015) In search of Nirvana: Why Nirvana: The true story could never be ’true’. Popular Music and Society, 38(2), pp. 194-207. This file was downloaded from: https://eprints.qut.edu.au/81973/ c Consult author(s) regarding copyright matters This work is covered by copyright. Unless the document is being made available under a Creative Commons Licence, you must assume that re-use is limited to personal use and that permission from the copyright owner must be obtained for all other uses. If the docu- ment is available under a Creative Commons License (or other specified license) then refer to the Licence for details of permitted re-use. It is a condition of access that users recog- nise and abide by the legal requirements associated with these rights. If you believe that this work infringes copyright please provide details by email to [email protected] Notice: Please note that this document may not be the Version of Record (i.e. published version) of the work. Author manuscript versions (as Sub- mitted for peer review or as Accepted for publication after peer review) can be identified by an absence of publisher branding and/or typeset appear- ance. If there is any doubt, please refer to the published source. https://doi.org/10.1080/03007766.2014.994326 In Search of Nirvana: Why Nirvana: The True Story Could Never Be ‘True’ Jeremy Thackray In my book Nirvana: The True Story (2006), I undertake an autoethnographical approach to biography, attempting to impart an understanding of my chosen subject—the rock band Nirvana—via discussion of my own experiences.
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Introduction: Listening in on the 21St Century 3
This file is to be used only for a purpose specified by Palgrave Macmillan, such as checking proofs, preparing an index, reviewing, endorsing or planning coursework/other institutional needs. You may store and print the file and share it with others helping you with the specified purpose, but under no circumstances may the file be distributed or otherwise made accessible to any other third parties without the express prior permission of Palgrave Macmillan. Please contact [email protected] if you have any queries regarding use of the file. Proof 1 2 Introduction: Listening 3 in on the 21st Century 4 5 Richard Randall and Richard Purcell 6 7 8 9 10 11 12 13 14 This anthology is the result of a scholarly collaboration we started in 15 2011. Thanks to the generosity of the Center for the Arts in Society 16 and the Frank-Ratchye STUDIO for Creative Inquiry at Carnegie Mellon 17 University we were able create Listening Spaces, an interdisciplinary 18 project to examine the variety of ways people listen to, consume, and 19 produce music in an increasingly digitized world. It was an attempt to 20 combine the methodological and analytical approaches of music theory, 21 musicology, and psychology with the historical materialism of cultural 22 studies. We also conceptualized our project as a way of bridging a 23 practitioner’s emphasis on musical performance with a humanities and 24 social science focus on the objects, cultures and politics human beings 25 create out of music-making. Our approach is not entirely new. This set 26 of concerns is broadly understood as the province of ethnomusicol- 27 ogy, which attends to the above set of interlocking concerns with an 28 anthropological thrust.
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Kalbod Goshaie Janrhae Mosighi(Pdf)
2 ﮐﺎﻟﺒﺪﮔﺸﺎﻳﯽ ژاﻧﺮﻫﺎی ﻣﻮﺳﻴﻘﯽ ﭘﻮرﻳﺎ ﻣﻔﺘﻮن [email protected] 3 ژاھی ه : ر ن :ن ، ر ان وم آور: " ژاھی $#":ل،راک ، ھ$.-پ ، ,+ز،پ و )$ه ه:رن 12ت :/-ان: آ,4$3 ران 1387 12ت ظھی : 184 ص. 978 - 964 - 9353 68- :5- 8, و;9$ :9- ": :$. >ع: $#" ھ= – /ر? و # رده ,ی 4ه : 1387 2 ک 7 مML 3470 A رده ,ی د" : /63 781 =ره ," +" : 1152015 ژاھی ر ن [email protected] ﺷ : آ,4$3 ران ل پ : 1388 پ : اول طا : آرش B زاده و()' و %$#" آرا : E +خ ﺷ+رن : 2000 2 F$=9 : 3200 /ن =ره ,8: 5- 8- 93536 - 964 - 978 [email protected] " آ,4$3 ران: /-ان - I$,ن /92 طووس - I$,ن $=د - K زدھL - Jک 12 - واM 4 . 4 =ره /=س: 09126051710 – 88739148 4 , ) 9 9 ---------------------- ------ ----- ---------------------- # /رN2 اي ا,اO از ھ ------------------------ -- -------- -14 -14 دوران رو -------------------------------------------- 21 21 دوران ر$Qم --------------------------------------------- 22 22 :$QKم ------------------------ -------------------------- 22 22 رR $ر در اان ------- --- ----- - 23------------------------ $#S $ Oر Popular ------------- --- --- ------ - 24-------- $#O پ Pop -------------- ------------- --- ---- --------- 28 28 30------------- --- ------- --- ------------------- Trance T/ 31--- --- ------------- -- ------------------------- Techno U/ ,+ز Blues ------------------------------ - -------- ---- ------ 36 36 QWَ ,+ز Jazz blues -------- -------- ------ ---- 37------------- $#Jazz QWَ O ------------------ ---- --- --- ------------- 37-- و$ Progressive Jazz QWَ - ---- -- -- --------- ------- 41 41 Xل Soul --------------------------- --- -- -----
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Traditions of Punk and the Politics of Empowerment
Anyone Can Do It: Traditions of Punk and the Politics of Empowerment By Pete R.W. Dale Re-submission for PhD ICMuS Newcastle University 2010 Blank page ii Anyone Can Do It: Punk, Folk and the Politics of Empowerment Contents Title Page Page i Contents Page Page iii Introduction page vi Chapter One page 1 i. What Is Punk? Style vs. Substance page 2 ii. What Is Folk? Getting the Folk ‘Us’ in Focus page 27 iii. Punk as Folk: Two Sides of the Same Coin? page 57 iv. Chapter Conclusion page 84 Chapter Two page 88 i. Punk, Avant-gardism and Novelty page 90 ii. Marxism, Anarchism and the Issue of Universality page 119 iii. Justice to Come and the Micromatic Recoil page144 iv. Chapter Conclusion page 183 Chapter Three page 189 i. An Original Re-Birth? page 191 ii. There Is No Authority, But… : Anarcho-punk page 195 iii. Indie-Pop Ain’t Noise Pollution: The Cutie Movement page 231 iv. Chapter Conclusion page 269 iii Chapter Four page 275 i. Still Birth? page 277 ii. The Arrival of a New, Renegade, Girl-Boy Hyper-Nation: Riot Grrrl page 284 iii. Delivering the Groceries at 128 Beats per Minute: Math Rock page 326 iv. Chapter Conclusion page 366 Conclusion page 369 Bibliography page 389 iv Blank page v Introduction When the word punk is invoked, a majority of people – in the UK, at least – will think of the Sex Pistols, safety pins through the nose and other such bands and signifiers from the late 1970s. The purpose of this research, in large part, is to show that punk has in fact been a persistent and consistent tradition in the decades since.
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Punk, Politics and British (Fan)Zines, 1974-84:'While the World Was Dying, Did You Wonder Why?
Punk, Politics and British (fan)zines, 1974-84:'While the world was dying, did you wonder why? Article Accepted Version Worley, M. (2015) Punk, Politics and British (fan)zines, 1974- 84:'While the world was dying, did you wonder why? History Workshop Journal, 79 (1). pp. 76-106. ISSN 0309-2984 doi: https://doi.org/10.1093/hwj/dbu043 Available at http://centaur.reading.ac.uk/39957/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . Published version at: http://hwj.oxfordjournals.org/content/current To link to this article DOI: http://dx.doi.org/10.1093/hwj/dbu043 Publisher: Oxford University Press All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online ‘While the world was dying, did you wonder why?’: Punk, Politics and British (fan)zines, 1976–84 Matthew Worley Abstract: This article recovers and contextualizes the politics of British punk fanzines produced in the late 1970s and early 1980s. It argues that fanzines – and youth cultures more generally – serve to provide a contested cultural space for young people to express their ideas, opinions and anxieties. Simultaneously, it maintains that punk fanzines offer the historian a portal into a period of significant socio-economic, political and cultural change.
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By Ian King Isbn: 9780062688880
APPETITEAPPETITE FORFOR DEFINITIONDEFINITION BY IAN KING ISBN: 9780062688880 Appetite for Definition is an entertaining, enlightening encyclopedia of over two hundred genres of rock music. One part reference guide, one part history book, and one part road map to navigating the interconnectedness of genre, this book is a must- read for any rock fan. To accompany his expansive guide, author Ian King has created Spotify playlists for every genre featured in his book, delivering the best each has to offer. Take an auditory tour as you explore over six decades of rock music with Appetite for Definition. SPOTIFY PLAYLISTS Visit @ianfking1 on Spotify or click the links below to access each genre’s playlist # C 2 Tone C86 Canterbury Sound A Celtic Punk Acid Rock Chamber Pop Alternative Country Chillwave Alternative Metal Christian Metal Alternative Rock Christian Punk Ambient Rock Christian Rock Anarcho Punk College Rock Art Punk Comedy Rock Art Rock Country Rock America, America Crossover Thrash B Crust Punk Baggy and Madchester Cuddlecore Baroque Pop D Beat Boom D-Beat Black Metal Dance Punk Blues Rock Darkwave Boogie Rock Deathcore British Invasion Death Metal Britpop Desert Rock Digital Hardcore Glam Rock Doom Metal Goth Metal Dream Pop Goth Rock Drone Metal Grindcore Dunedin Sound Groove Metal Dressing Up Grunge E H Electric Folk Hard Rock Electronicore Hardcore Emo(core) Heavy Metal Ethereal Wave Hypnagogic Pop Experimental Metal Have a Sense of Humor F I Folk Metal Indie Folk Folk Punk Indie Pop Folk Rock Indie Rock Freak Folk Industrial
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Year End Booklet 2006
philippa’s intro bit... It’s been a fantastic year here at Piccadilly Records, what with one thing or another, so here’s a look at the 2006 highlights: Obviously winning the Music Week award for best independent record store was a major coup, and a real reward for all the hard work everyone here puts into making the shop and website good places to buy music. Hopefully we manage to pass on our enthusiasm for the records and CDs we sell, without any of the elitism or snobbery often found in indie shops. On the back of the Music Week award we also ended up being one of the best record shops in the country (The Guardian) and best shops (not just record shops!) in the world (The Observer), while Tim and I were invited onto the airwaves GMR and Radio 4 respectively. The shop’s usual summer heat-wave coincided in part with the World Cup meaning we actually got to take a bit of time off to watch the England matches (oh, lucky us!). Looking back at my intro from our Summer booklet shows how wildly optimistic I was: I mean, England to get knocked out of the World Cup in the semis by Brazil - like that was going to happen! Hopefully we’ll do better in The Ashes (only a few days away as I write this!). On the staffing front Mark Ward added us to the long list of Manchester record shops he’s worked for then decided to head out to the sunnier climes of Australia to work for his dad instead, so good luck to him.
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The Parallelograms
The Parallelograms The Parallelograms started in 2005 as a Rosehips tribute band. After a few gigs including The Rosehips 20th anniversary gig (for which they managed to get three of the original Rosehips on stage with them) they started writing their own songs and thus The Parallelograms was born. Their influences are Talu- lah Gosh, The Popguns, The Flatmates, The Shop Assistants, The Primitives and, of course, The Rosehips. 'Dream on Daisy' is their debut 7" and it's pure c86 indie pop heaven. The band previously released a split 7" with The Pains of Being Pure at Heart on Atomic Beat Records and a 3" cd single on Cloudberry. Finally, and quite excitingly, Cloudberry have finally, finally released 'Dream On Daisy' by the sorely missed Parallelograms. If you've never heard the Parallelograms, and I envy you the delight of discovery, think The Rosehips, Talulah Gosh, the best bits of C86 and Subway records, girl vocals and more than a touch of charm. You can listen to some stuff on their myspace, but you should probably rush over to cloudberry and buy it right now. Who knows it might be worth a fortune one day. Even if it's not, if the band sell enough of them, they might be able to pay Markie's airfare and get him to come back. You know it makes sense. BEER AND BANDS blog The Parallelograms have split, but their music is still alive. Three more future bubblegum-punk classics coming your way on one pretty 7". A worthy farewell indeed. ALL THAT EVER MATTERED 1013 - THE PARALLELOGRAMS DREAM ON DAISY POPKIDS OF THE WORLD UNITE! Cloudberry PAPAGENO Records MAKING FACES [email protected] cloudberryrecords.com www.myspace.com/theparallelograms myspace.com/cloudberryrecords.
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And It's You That Is the Lovegod
And It’s You That Is The Lovegod Bittles‘ Magazine | Music Review It was a time when anything seemed possible. The overriding sense of depression had come to an end making the late 80s, early 90s a truly glorious time to be young. Music, sex, drugs and fashion were the key, with the elitism and separatism of the Thatcher years being dissolved in one youth culture movement of inclusiveness and hope. The gap between rap, indie and rave was almost nonexistent, while a wave of E’d up positivism was flooding through the veins of the nation’s teens. These were glorious times indeed! By JOHN BITTLES Into this heady mix came Scotland-based indie-rockers The Soup Dragons. Together with the likes of Primal Scream, Happy Mondays, The Beloved, etc, they had become smitten with the acid house spirit and wanted to recreate the chugging, mechanical grooves erupting from warehouses and bedrooms throughout the UK. The difference was that these bands sought to add a face and a guitar-based sense of raucousness to the mostly faceless house music scene. Having originally formed in 1985, and named after the deranged antics of a cartoon character from The Clangers the band were originally seen as part of the jangly C86 movement which included fellow Bellshill residents BMX Bandits and Teenage Fanclub. Debut album This Is Our Art was released to middling acclaim, and it seemed as if a short-lived career of public indifference was to follow. Then, a chance encounter with acid house saw the band change direction, adding sampledelica and beats to their baggy rock oeuvre.
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British Indie Music in the 1990S: Public Spheres, Media and Exclusion
British Indie Music In The 1990s: Public Spheres, Media and Exclusion Rachel White . Goldsmiths College Submitted for the degree of PhD Abstract Developing existing theories of public and counterpublic spheres, this thesis moves beyond theoretical ideals to formulate a working model of the cultural counterpublic sphere in which British indie music is understood, legitimated and ascribed value. This 'indie public' is then interrogated with the central aim of understanding the continued discrepancy in levels of male and female participation in British indie music at every level during the 1990s. Given the centrality of the media to contemporary, geographically dispersed publics it is through a discursive analysis of the British music press, particularly the NME and the Melody Maker, that the masculine constitution of the indie public is revealed. The music press is viewed as not just representing or reflecting the indie scene, but as central to its construction as a genre and the discursive production of privileged subject positions therein. The empirical research analyses how discourses of gender, and to a lesser extent race, class and sexuality, inform the key themes and concepts through which the music press both constructs and evaluates artists and audiences in the indie public. The bulk of the analysis focuses the extended coverage of four prominent 90s' indie bands; Suede, Elastica, Oasis, and Echobelly. The findings are presented thematically in four main areas; the construction of authenticity and 'the artist', the construction of stars and the bases of their appeal, the importance of British national identity during the 'Britpop' era of the mid-1990s and the production of fans and audiences in the indie public.
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HERE: Spectral Presences in Musical Absences: the Transition from Joy Division to New Order – Kieran Cashell
November 25th Registration 8.45 -9.15am, Foyer outside Room , UL Welcome Remarks and Official Conference Launch by, UL Room, UL Wednesday 9. 15 -10.45 1 Missions of Dead Souls: A Hauntology of Room the Industrial, Modernism, and Esotericism , UL SESSION A – in Joy Division and Industrial Music – Michael Goddard Chair: Eternal Winter of Discontent 2 Saturday Night In: 17 May 1980 – Benjamin Halligan 3 Crack/clatter in the shadows of Unknown Pleasures – Paul Hegarty Coffee Break Wednesday 11 .00 - 12.30 1 Playing The Offbeat With a Good Deal of Room Vigor: The Modernism of Martin Hannett , UL SESSION B – in the production of the Joy Division Sound - John Samuel Greenwood Chair: Sounds, Style and Transitions 2 Transits and transmissions: Joy Division in space – Robin Parmar 3 THINGS THAT AREN’T THERE: Spectral Presences in Musical Absences: The Transition from Joy Division to New Order – Kieran Cashell Lunch Wednesday 1.45 - 3.15 1 Mining For Counterculture In The Room Twenty-first Century - Colin Malcolm SESSION C – Chair: 2 Incubation – Johnathan Lindley Joy Division: A Cultural Legacy 3 Atrocity, Isolation and Pleasures: The Legacy of Joy Division among contemporary Iranian musicians - Gay Jennifer Breyley Coffee Break Wednesday 3.30 - 4.30 1 Remediating transcultural memories of Room postpunk Manchester: homosocial nostalgia SESSION D – and contemporary city branding - Dagmar Chair: Brunow. Post-Punk Memories (Remembering Manchester) 2 Factory Flicks – Joy Division on film and the Factory Video Unit - Nick Cope Room Wednesday 4.45- 5.45 KEYNOTE 1 , UL Like It Never Happened: Faux Nostalgia and the Branding of Joy Chair: Division - Jennifer Otter Bickerdike Wednesday 7:00 “Unknown Pleasures” Q&A with Peter Hook November 26 th Thur sday 9.
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