Music for Nations Und Combat Records Zurück Bei Sony Music

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Music For Nations und Combat Records zurück bei Sony Music Gleich zwei namhafte Plattenfirmen sind aktuell zu Sony Music zurückgekehrt. Zum einen das britische Heavy Metal-, Rock- und nicht zuletzt Prog-Label Music For Nations, u.a. (ehemalige) Heimat von Opeth und – seit kurzem wieder – Anathema, zum anderen das Metal- und Hardcore-Label Combat Records. Aus einer Sony-Pressemitteilung zum Thema: „Music For Nations war eines der führenden europäischen Unternehmen im Metal- und Alternative Rock-Segment. Ob es um Verträge, Vertrieb oder andere Formen der Zusammenarbeit ging, Künstler wie Metallica, Tool, Slayer, Opeth, Cradle of Filth, Anathema, Entombed, Poison, WASP oder zum Beispiel Frank Zappa vertrauten auf die Expertise des Labels. Hinzu kamen Lizenz-Deals mit Plattenfirmen wie Metal Blade, Peaceville, Under One Flag und Rise Above.“ In einem ersten Schritt veröffentlicht Music For Nations am 10.04.2015 ihren Anathema-Backkatalog: Das 3CD+DVD-Bookset „Fine Days: 1999-2004“ mit den Alben „Judgement“, „A Fine Day To Exit“ und „A Natural Disaster“ sowie Einzel-Ausgaben der drei genannten Alben auf 180 Gramm Vinyl mit zusätzlicher CD. Die „A Fine Day To Exit“-CD bietet zudem einen Bonustitel und eine geänderte Titelliste. Weiterhin enthält das Set neue Liner Notes. Die DVD zeigt ein komplettes Konzert der Liverpooler vom 31.01.2004. Als Bonus gibt es ein akustische Performance mit einem Streichquartett, den Videoclip zu „Pressure“ und eine Liveaufnahme von „A Natural Disaster“ aus Hamburg. Neben weiteren Neuauflagen alter Klassiker von Bands wie Paradise Lost oder zum Beispiel Opeth, die ab Herbst 2015 geplant sind, wird das Label zum ersten Mal seit über zehn Jahren auch neue Künstler unter Vertrag nehmen. Music For Nations Trailer Combat Records veröffentlicht gleichfalls am 10. April zahlreiche digitale Releases, darunter solche von Agnostic Front, Possessed oder Sick Of It All. Viele dieser Titel werden erstmals als Download erhältlich sein..

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PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized.
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Jenna Miller 2/22/12 Megadeth Megadeth Has Been A
Jenna Miller 2/22/12 Megadeth Megadeth has been a very popular thrash metal band for over 20 years. The bands, like most others, have gone through many conflicts. Unlike other bands though, Megadeth has stayed strong since the 80’s and has impacted the heavy metal culture. Megadeth has successfully released thirteen albums, which attracted both underground and mainstream fans. They also have accompanied what popular trends into their songs, which resulted in keeping the band steady and popular throughout the years. The start of the band was back in the 1980’s, where Dave Mustaine (lead singer and guitarist) joined the band Metallica in 1982. Mustaine had a drug and alcohol addiction which made him difficult to get along with. In March of 1983, his constant disagreements with vocalist, James Hetfield, caused him to get kicked out. In the summer, Mustaine meets bassist David Ellefson, and they form Megadeth with guitarist Greg Handevidt and drummer Dijon Carruthers. Because of the unorganized nature of the band and constant bickering between band members, the lineup has constantly changed throughout the years. Many believe Mustaine’s drug and alcohol addiction is to blame for this because of his constant highs and lows in his mood. The only two members, Dave Mustaine and Dave Ellefson, were in Megadeth when the band first started and are still currently in the 2012 line up. Megadeth's first three gigs where February 15th, 18th, and 19th, of 1984. In May of 1985, Megadeth’s first album, “Killing is My Business…And Business is Good!” was released.
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Extreme Metal: Subculture, Genre, and Structure
Université de Montréal Extreme metal: Subculture, Genre, and Structure par Samaël Pelletier Université de Montréal Faculté de Musique Mémoire présenté en vue de l’obtention du grade de Maîtrise en musique option musicologie avril 2018 © Samaël Pelletier. 2018 Abstract Extreme metal is a conglomeration of numerous subgenres with shared musical and discursive tendencies. For the sake of concision, the focus throughout this thesis will mainly be on death metal and black metal – two of the most popular subgenres categorized under the umbrella of extreme metal. Each chapter is a comparative analysis of death metal and black metal from different perspectives. Thus, Chapter One is historical account of extreme metal but also includes discussions pertaining to iconography and pitch syntax. Subsequently, Chapter Two concerns itself with the conception of timbre in death metal and black metal. More specifically, timbre will be discussed in the context of sound production as well as timbre derived from performance, in particular, vocal distortion. The conception of rhythm/meter will be discussed in Chapter Three which will simultaneously allow for a discussion of the fluidity of genre boundaries between death metal and progressive metal – largely because of the importance placed on rhythm by the latter subgenre. Instead of a focus on musical practices, Chapter Four will instead take a sociological approach with the aim of answering certain issues raised in the first three chapters. Ultimately, this thesis aims to elucidate two questions: What are the different aesthetic intentions between practitioners of death metal and black metal? And, how do fans conceptualize these aesthetic differences? Sarah Thornton’s notion of subcultural capital – which is derived from Pierre Bourdieu’s notion of cultural capital – will help to answer such questions.
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Artist of the Year
THE 4 Trading Post Way Medford Lakes, New Jersey 08055 HARD REPORT' December 18, 1987 Issue #59 609-654-7272 ARTIST OF THE YEAR ZGI A a 112 MALE VOCAL ISLAND RADIO RATES THE BEST OF '87 COMEBACK BREAKTHROUGH GRATEFUL REM DEAD "DOCUMENT" "TOUCH OF GREY" IRS ARISTA FEMALE 6.vryttri,Vizer NEW FEMALE VOCAL SUZANNE VEGA ANN WILSON "SOLITUDE STANDING" "BAD ANIMALS" A&M CAPITOL IMAGE NEW MALE TURNAROUND RICHARD AEROSMITH MARX "PERMANENT EMI VACATION" GEFFEN WORLD PARTY NEW AMERICAN Private Revolution NEW IMPORT BAND ACT THE BRANDOS WORLD PARTY "HONOR AMONG "PRIVATE THIEVES" REVOLUTION" RELATIVITY CHRYSALIS AND NOW A WORD FROM OUR SPONSOR ... It's four in the morning and frcm where we sit, this Final Issue looks like a keeper. We've put a ton of time and energyinto this particular edition, and we think you'll have lots of fun with the overview. After all, with some 90 + stations responding to our sur- vey, it's basically your window on RockWorld as it went down this past year. The first year of any new business is hell on wheels, (Groanong, creaking, barking dog sound efx, please) and we've seen quite a parade in '87. When I look back over my final comments last year (after nine issues), it sounded as if we had moved mountains. And in a way we had, starting from scratch to a full service publication some 140 stations deep. But in the 12 months since, it has become readily apparent that we were barely walking then. We've extended our reporter roster well past the 200 mark; Our New Alternative and Hard Rock sections have inspired numerous imitators, and our combi- nation of high technology and people power has effectively re -defined what a tip sheet can and will be in the years to come.
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Metal for the Masses”: Or, Will Metal Ever Be Mainstream Again? (And Why We Should Want It to Be...)
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ResearchSPace - Bath Spa University MODERN HEAVY METAL: MARKETS, PRACTICES AND CULTURES International Academic Conference 2015 “METAL FOR THE MASSES”: OR, WILL METAL EVER BE MAINSTREAM AGAIN? (AND WHY WE SHOULD WANT IT TO BE...) Andy R. Brown Bath Spa University, UK Abstract Exploring the model of scene-based innovation and scarcity that characterised the 90s extreme metal underground, as eloquently outlined by Keith Kahn- Harris, this paper seeks to evaluate the extent to which its model of “eclipsed” symbolic capital accumulation is the key not to its success but relative failure to achieve innovation, development and change in metal music. Debating Lena and Peterson’s AgSIT model of genre trajectories, this paper argues such change in metal music have always been tied to the formation and demise of music “mainstreams.” The problem from this perspective is that NWOBHM, doom, power (including symphonic), thrash, grindcore, death and black metal did not mainstream enough (with the exception of some notable bands) to allow the next cycle of musical innovation to commence. Introduction In a striking series of recent posts, published on-line in the net.magazine Sou- ciant (2013; 2014), Keith Kahn-Harris has reflected on the question of Metal After Metal. Recalling the searching intelligence of a younger Lawrence Gross- berg (1990) and his anxious ruminations on whether rock was dead, dying or “going somewhere else” – published over twenty years ago – Kahn-Harris ec- hoes a similar set of fears, not about the break-up of the music-audience rela- tions that sustained the Anglo-American “rock formation” but the scenic- relations that sustained the creative-economy of the extreme metal under- ground.
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17 € Underground Power Records 2020
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Volume 22 - Issue 25 - Friday, May 8, 1987
Rose-Hulman Institute of Technology Rose-Hulman Scholar The Rose Thorn Archive Student Newspaper Spring 5-8-1987 Volume 22 - Issue 25 - Friday, May 8, 1987 Rose Thorn Staff Rose-Hulman Institute of Technology, [email protected] Follow this and additional works at: https://scholar.rose-hulman.edu/rosethorn Recommended Citation Rose Thorn Staff, "Volume 22 - Issue 25 - Friday, May 8, 1987" (1987). The Rose Thorn Archive. 733. https://scholar.rose-hulman.edu/rosethorn/733 THE MATERIAL POSTED ON THIS ROSE-HULMAN REPOSITORY IS TO BE USED FOR PRIVATE STUDY, SCHOLARSHIP, OR RESEARCH AND MAY NOT BE USED FOR ANY OTHER PURPOSE. SOME CONTENT IN THE MATERIAL POSTED ON THIS REPOSITORY MAY BE PROTECTED BY COPYRIGHT. ANYONE HAVING ACCESS TO THE MATERIAL SHOULD NOT REPRODUCE OR DISTRIBUTE BY ANY MEANS COPIES OF ANY OF THE MATERIAL OR USE THE MATERIAL FOR DIRECT OR INDIRECT COMMERCIAL ADVANTAGE WITHOUT DETERMINING THAT SUCH ACT OR ACTS WILL NOT INFRINGE THE COPYRIGHT RIGHTS OF ANY PERSON OR ENTITY. ANY REPRODUCTION OR DISTRIBUTION OF ANY MATERIAL POSTED ON THIS REPOSITORY IS AT THE SOLE RISK OF THE PARTY THAT DOES SO. This Book is brought to you for free and open access by the Student Newspaper at Rose-Hulman Scholar. It has been accepted for inclusion in The Rose Thorn Archive by an authorized administrator of Rose-Hulman Scholar. For more information, please contact [email protected]. Vol. 22, No. 25 Rose-Hulman instftute of Technology FRIDAY, MAY 8, 1987 5 Last Days Until Titsilfir Regular Graduation Issue • NEWS BRIEFS SGA votes on proposed budget by Gary Hall mittee after averaging ballots proposed budget was accepted Yesterday, the Student cast by SGA representatives.
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Le Black Métal : Un Genre Musical Entre Transgression Et Transcendance Camille Bera
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