Updated Spillers Records New Release List 7.2.20
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Album Top 1000 2021
2021 2020 ARTIEST ALBUM JAAR ? 9 Arc%c Monkeys Whatever People Say I Am, That's What I'm Not 2006 ? 12 Editors An end has a start 2007 ? 5 Metallica Metallica (The Black Album) 1991 ? 4 Muse Origin of Symmetry 2001 ? 2 Nirvana Nevermind 1992 ? 7 Oasis (What's the Story) Morning Glory? 1995 ? 1 Pearl Jam Ten 1992 ? 6 Queens Of The Stone Age Songs for the Deaf 2002 ? 3 Radiohead OK Computer 1997 ? 8 Rage Against The Machine Rage Against The Machine 1993 11 10 Green Day Dookie 1995 12 17 R.E.M. Automa%c for the People 1992 13 13 Linkin' Park Hybrid Theory 2001 14 19 Pink floyd Dark side of the moon 1973 15 11 System of a Down Toxicity 2001 16 15 Red Hot Chili Peppers Californica%on 2000 17 18 Smashing Pumpkins Mellon Collie and the Infinite Sadness 1995 18 28 U2 The Joshua Tree 1987 19 23 Rammstein Muaer 2001 20 22 Live Throwing Copper 1995 21 27 The Black Keys El Camino 2012 22 25 Soundgarden Superunknown 1994 23 26 Guns N' Roses Appe%te for Destruc%on 1989 24 20 Muse Black Holes and Revela%ons 2006 25 46 Alanis Morisseae Jagged Liale Pill 1996 26 21 Metallica Master of Puppets 1986 27 34 The Killers Hot Fuss 2004 28 16 Foo Fighters The Colour and the Shape 1997 29 14 Alice in Chains Dirt 1992 30 42 Arc%c Monkeys AM 2014 31 29 Tool Aenima 1996 32 32 Nirvana MTV Unplugged in New York 1994 33 31 Johan Pergola 2001 34 37 Joy Division Unknown Pleasures 1979 35 36 Green Day American idiot 2005 36 58 Arcade Fire Funeral 2005 37 43 Jeff Buckley Grace 1994 38 41 Eddie Vedder Into the Wild 2007 39 54 Audioslave Audioslave 2002 40 35 The Beatles Sgt. -
Thesis Submitted for the Degree Of
THE UNIVERSITY OF HULL School of Arts How do electronic musicians make their music? Creative practice through informal learning resources. being a Thesis submitted for the Degree of MA in Music by Research (25004) in the University of Hull by Wai Kuen Wan (BEng University of Leeds, BA Leeds Metropolitan University) June 2017 Contents Abstract iv Introduction 1 Context and literature review 7 1. Compositional approaches 16 1.1 Curation 17 1.1.1 Context of materials 17 1.1.2 Juxtaposition 19 1.1.3 Assemblage 20 1.1.4 Personal sound archive 22 1.2 Sound manipulation 24 1.2.1 Custom modular tools 25 1.2.2 Destruction and degradation 28 1.2.3 Manipulating recorded performance 30 1.3 Indeterminacy and serendipity 31 1.4 Specificity of objectives 34 2. Conditions for creativity 40 2.1 Motivation 41 2.1.1 Self-serving 42 2.1.2 Enthusiasm 44 2.1.3 Commercial success 46 2.1.4 Reactionary responses 50 2.2 Personal growth 53 2.2.1 Exploratory learning 53 2.2.2 Early experiences 56 2.3 Discography for reflection 59 ii 2.4 Duration and nature of composition 61 2.4.1 Intensive work practice 62 2.4.2 Promoting objectivity 65 2.4.3 Learning vs making 66 3. Technological mediation 70 3.1 Attitudes to technology 70 3.1.1 Homogenisation of technologies 71 3.1.2 New ideas do not require new technologies 74 3.1.3 Obsessing and collecting 76 3.2 Tools for realisation 80 3.2.1 Proficiency and fluency with instruments 83 3.2.2 Opacity and affordance - enslaved to the (quantised) rhythm 86 3.3 Redefining technology 89 3.3.1 Subversion – extending the lexicon 90 3.3.2 Active Limitation 94 3.4 Instruments and their influence 97 3.4.1 Resisting conformity 98 3.4.2. -
Le Monde.Fr : Imprimer
Le Monde.fr : Imprimer http://www.lemonde.fr/imprimer/article/2011/05/20/1525112.html 1 sur 5 07/11/2011 18:57 Le Monde.fr : Imprimer http://www.lemonde.fr/imprimer/article/2011/05/20/1525112.html Des "nuits hallucinées" avec notre sélection CD LEMONDE.FR | 20.05.11 | 17h30 olfgang Rihm Fetzen Teodoro Anzellotti (accordéon), Nicolas Hodges (piano), Arditti String Quartet. Enclin à la production monumentale, Wolfgang Rihm (né en 1952) entre dans la catégorie des compositeurs-titans dont l'Allemagne s'est fait une spécialité de Beethoven à Stockhausen. Même quand il se contente de "bribes" (notion rendue par le terme de Fetzen , titre d'une série de pièces composées entre 1999 et 2004), sa musique prend des proportions sidérantes. Ce cycle de toute beauté sollicite ponctuellement l'accordéon et le piano pour fixer dans un espace de fermeté la prodigieuse explosivité du quatuor à cordes. Avec une qualité de développement dans laquelle l'instinct et la science semblent intervenir à part égale. P. Gi 1 CD Winter & Winter distribué par Abeille Musique. Thierry Escaich Les Nuits hallucinées La Barque solaire, Concerto pour violon. Avec Thierry Escaich (orgue), Nora Gubisch (mezzo), David Grimal (violon), Orchestre national de Lyon, Jun Märkl (direction). La résidence de trois ans de Thierry Escaich, né en 1965, à l'Orchestre national de Lyon aura donc particulièrement réussi au compositeur et organiste français, qui propose en première mondiale dans ce disque trois créations écrites depuis 2007. Si La Barque solaire (poème symphonique avec orgue créé en octobre 2008 à Berlin) exalte les pleins feux de l'instrument des papes, il n'en requiert pas moins aussi ses facultés oniriques et subtilités extatiques. -
Miles Kane Bio 2012
Miles Kane Dubbed “one of Britain’s landmark composers” by MOJO, 26-year-old intrepid rock ‘n’ roller Miles Kane has gone from selling out Water Rats to winning over crowds at major UK and international festivals. Dapper of suit and young Macca of hair, he’s been capturing the nation’s hearts, souls and minds since May 2011, after storming the scene with acclaimed solo debut ‘Colour of the Trap’. One of the biggest selling debut LPs of that year – and one which would curry favour with critics and fans alike – it cemented Miles’ fate as a new British musical institution. Produced by Dan Carey in South London and Dan the Automator in San Francisco – to give his rhythm tracks a hip hop undertow – the album earned him endless plaudits – including 4* reviews from the NME, The Times, The Independent, the Guardian, Q and MOJO – and peaked at No.11 in the UK Charts. He became one of 2011’s success stories, nominated for Breakthrough Act at the MOJO Awards that year, and for Best Solo Artist at the NME awards 2012, as well selling out two headline tours and providing special guest support to Beady Eye, Kasabian and the Arctic Monkeys at their momentous hometown Don Valley Bowl shows. But now let’s dip into the recent past. Aged 18, Kane was a member of The Little Flames. In 2007, from the embers of that band he formed The Rascals. He first met Alex Turner when The Rascals supported the Sheffield four-piece the same year. He spent most of 2008 playing and touring with the Arctic Monkeys frontman as The Last Shadow Puppets, in support of their Mercury-nominated album ‘The Age Of The Understatement’. -
The Top Dance Songs of 2019 1
th 45 Year THE TOP DANCE SONGS OF 2019 1. HIGHER LOVE – Kygo & Whitney Houston (RCA) 124/104 51. YOU LITTLE BEAUTY – Fisher (Astralwerks/Capitol) 124 2. PIECE OF YOUR HEART – Meduza ft. Goodboys (Capitol) 124 52. GO SLOW – Gorgon City & Kaskade ft. ROMEO (Capitol) 124 3. I DON’T CARE – Ed Sheeran & Justin Bieber (Atlantic) 122/102 53. SUMMER DAYS – Martin Garrix ft. Macklemore & Patrick Stump (RCA) 126/114 4. SUCKER – Jonas Brothers (Republic) 126/138 54. ON MY WAY – Alan Walker, Sabrina Carpenter & Farruko (RCA) 120/85 5. BAD GUY – Billie Eilish (Interscope) 126/135 55. HEY LOOK MA, I MADE IT – Panic! At The Disco (Atlantic) 124/108 6. CON CALMA – Daddy Yankee & Katy Perry ft. Snow (El Cartel/Capitol) 109/94 56. FIND U AGAIN – Mark Ronson & Camila Cabello (RCA) 124/104 7. SENORITA – Shawn Mendes & Camila Cabello (Republic) 124/117 57. BREAK UP WITH YOUR GIRLFRIEND, I’M BORED – Ariana Grande (Republic) 124/85 8. 7 RINGS/THANK U NEXT – Ariana Grande (Republic) 126/70, 124/107 58. SELFISH – Dimitri Vegas & Like Mike ft. Era Istrefi (Arista) 126/96 9. DANCING WITH A STRANGER – Sam Smith & Normani (Capitol) 123/103 59. 365 – Zedd & Katy Perry (Interscope) 124/98 10. DANCE MONKEY – Tones and I (Elektra) 122/98 60. BEAUTIFUL PEOPLE – Ed Sheeran ft. Khalid (Atlantic) 120/93 11. OLD TOWN ROAD – Lil Nas X ft. Billy Ray Cyrus (Columbia) 124/70 61. QUE CALOR – Major Lazer ft. J Balvin & El Alfa (Mad Decent) 126 12. SO CLOSE – NOTD & Felix Jaehn ft. Georgia Ku & Captain Cuts (Republic) 126 62. -
Gig” “This Won’T TICKETS Be Just MONKEYSARCTICTO SEE
Gruff Rhys Pete Doherty Wolf Alice SECRET ALBUM DETAILS! Tune-Yards “I’ve been told not to tell but…” 24 MAY 2014 MAY 24 The Streets IAN BROWN IAN “This won’t Arctic be just another gig” Monkeys “It’s not where you’re from, it’s where you’re at...” on their biggest weekend yet and what lies beyond ***R U going to be down the front?*** Interviews with the stellar Finsbury Park line-up Miles Kane Tame Impala Royal Blood The Amazing Snakeheads TICKETS TO SEE On the town with Arctics’ THE PAST, PRESENT favourite new band ARCTIC & FUTURE OF MUSIC WIN 24 MAY 2014 | £2.50 HEADLINE US$8.50 | ES€3.90 | CN$6.99 MONKEYS BLACK YELLOW MAGENTA CYAN 93NME14021105.pgs 16.05.2014 12:29 BLACK YELLOW MAGENTA CYAN 93NME14018164.pgs 25.04.2014 13:55 ESSENTIAL TRACKS NEW MUSICAL EXPRESS | 24 MAY 2014 4 SOUNDING OFF 8 THE WEEK THIS WEEK 16 IN THE STUDIO Pulled Apart By Horses 17 ANATOMY OF AN ALBUM The Streets – WE ASK… ‘A Grand Don’t Come For Free’ NEW 19 SOUNDTRACK OF MY LIFE Anton Newcombe, The Brian Jonestown Massacre BANDS TO DISCOVER 24 REVIEWS 40 NME GUIDE → THE BAND LIST 65 THIS WEEK IN… Alice Cooper 29 Lykke Li 6, 37 Anna Calvi 7 Lyves 21 66 THINK TANK The Amazing Mac Miller 6 Snakeheads 52 Manic Street Arctic Monkeys 44 Preachers 7 HOW’s PETE SPENDING Art Trip And The Michael Jackson 28 ▼FEATURES Static Sound 21 Miles Kane 50 Benjamin Booker 20 Mona & Maria 21 HIS TIME BEFORE THE Blaenavon 32 Morrissey 6 Bo Ningen 33 Mythhs 22 The Brian Jonestown Nick Cave 7 Massacre 19 Nihilismus 21 LIBS’ COMEBACK? Chance The Rapper 7 Oliver Wilde 37 Charli XCX 32 Owen Pallett 27 He’s putting together a solo Chelsea Wolfe 21 Palm Honey 22 8 Cheerleader 7 Peace 32 record in Hamburg Clap Your Hands Phoria 22 Say Yeah 7 Poliça 6 The Coral 15 Pulled Apart By 3 Courtly Love 22 Horses 16 IS THERE FINALLY Courtney Barnett 31 Ratking 33 Arctic Monkeys Courtney Love 36 Rhodes 6 Barry Nicolson gets the skinny Cymbals Eat Guitars 7 Royal Blood 51 A GOOD Darlia 40 Röyksopp & Robyn 27 on their upcoming Finsbury Echo & The San Mei 22 Park shows. -
A Description of Metaphors in Arctic Monkeys's Selected
A DESCRIPTION OF METAPHORS IN ARCTIC MONKEYS’S SELECTED SONGS THROUGH AM ALBUM A PAPER WRITTEN BY HAFNI ILYA GHAISANI REG. NO: 172202005 DIPLOMA 3 ENGLISH STUDY PROGRAM FACULTY OF CULTURAL STUDIES UNIVERSITY OF SUMATERA UTARA MEDAN 2020 Universitas Sumatera Utara i Universitas Sumatera Utara ii Universitas Sumatera Utara AUTHOR’S DECLARATION I am HAFNI ILYA GHAISANI, declare that I am the sole author of this Paper. Except where the references in made in the text of this Paper, this Paper contains no material published elsewhere or extracted in whole or in part from a Paper by which I have qualified for awarded another degree. No other person‟s work has been used without due acknowledgement in the main text of this Paper. This Paper has not been submitted for the award of another degree in any tertiary education. Signed : Date : August, 2020 ii Universitas Sumatera Utara COPYRIGHT DECLARATION Name : HAFNI ILYA GHAISANI Title of Paper : A DESCRIPTION OF METAPHORS IN ARCTIC MONKEYS‟S SELECTED SONGS THROUGH AM ALBUM Qualification : D-III / Ahli Madya Study Program : English I hope this Paper should be available for reproduction at the direction the Librarian of Diploma-III English Study Program of Cultural Studies USU on the understanding that users made aware to their obligation under law of the Republic of Indonesia. Signed : Date : August, 2020 ii Universitas Sumatera Utara ABSTRACT This Paper is entitled,“A Description of Metaphors in Arctic Monkeys‟s Selected Songs through AM Album”. This Paper is aimed to describe and review the use of Metaphor and Associative Meaning found in song lyrics of AM album which was chosen as the problem of study to be discussed in this Paper and also it consisting to 12 songs. -
“Firework” by Katy Perry
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI REVEALING THE MESSAGES THROUGH FIGURATIVE LANGUAGE IN “FIREWORK” BY KATY PERRY AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters By GIOVANNI ERWIN INDRATNO Student Number: 124214084 DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS UNIVERSITAS SANATA DHARMA YOGYAKARTA 2020 PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI REVEALING THE MESSAGES THROUGH FIGURATIVE LANGUAGE IN “FIREWORK” BY KATY PERRY AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters By GIOVANNI ERWIN INDRATNO Student Number: 124214084 DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS UNIVERSITAS SANATA DHARMA YOGYAKARTA 2020 ii PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI TABLE OF CONTENTS TITLE PAGE ii APPROVAL PAGE iii ACCEPTANCE PAGE iv STATEMENT OF ORIGINALITY v LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH vi ACKNOWLEDGEMENTS vii TABLE OF CONTENTS viii ABSTRACT x ABSTRAK xi CHAPTER I: INTRODUCTION 1 A. Background of the Study 1 B. Problem Formulation 5 C. Objectives of the Study 5 D. Definition of Terms 6 CHAPTER II: REVIEW OF LITERATURE 7 A. Review of Related Studies 7 B. Review of Related Theories 11 1. Figurative Language 11 a. Metaphor 12 b. Simile 12 c. Personification 13 d. Metonymy 13 e. Symbol 13 f. Allegory 13 g. Paradox 14 h. Hyperbole 14 i. Understatement 15 j. Irony 15 2. Theory of Message 16 C. Theoretical Framework 17 CHAPTER III: METHODOLOGY 18 A. -
The Top Dance Songs of 2020 1
th 46 Year THE TOP DANCE SONGS OF 2020 1. DON’T START NOW – Dua Lipa (Warner) 124 51. BAILA CONMIGO – Jennifer Lopez (Sony Music Latin) 124 2. ROSES (IMANBEK REMIX) – SAINt JHN (HitCo) 122 52. ALONE PT. II – Alan Walker and Ava Max (RCA) 124/88 3. HEAD & HEART – Joel Corry ft. MNEK (Big Beat) 123 53. THIS IS REAL – Jax Jones and Ella Henderson (Island) 126/122 4. BREAKING ME – Topic and A7S (Astralwerks/Capitol) 125/122 54. WHY DO YOU LIE TO ME – Topic and A7S ft. Lil Baby (Astralwerks/Capitol) 125/120 5. ILY (I LOVE YOU BABY) – Surf Mesa ft. Emilee (Astralwerks/Capitol) 112/126 55. PURPLE HAT – Sofi Tukker (Ultra) 125/110/94 6. ON MY MIND – Diplo and SIDEPENCE (Mad Decent) 123 56. FIRE FOR YOU – Cannons (Columbia) 102 7. RIDE IT – Regard (Epic) 118 57. ANTHEM – Connor Bvrns and Bonn (Astralwerks/Capitol) 126/75 8. BREAK MY HEART – Dua Lipa (Warner) 120/113 58. LOVE IS KILLING ME – Bonnie and Clyde (Ultra) 126 9. BLINDING LIGHTS – The Weeknd (Republic) 126/175 59. BODY BACK – Gryffin ft. Maia Wright (Interscope) 123 10. RAIN ON ME – Lady Gaga and Ariana Grande (Republic/Interscope) 123 60. CONO – Jason Derulo and Puri ft. Jhorrmountain (Spinnin) 100 11. LOSE CONTROL – Meduza & Becky Hill ft. Goodboys (Astralwerks/Capitol) 124 61. GIRL – KC Lights (Armada) 124 12. KINGS AND QUEENS – Ava Max (Atlantic) 126/130 62. I REMEMBER – Chris Lake (Astralwerks/Capitol) 126 13. SECRETS – Regard and RAYE (Epic) 119 63. MAMACITA – Black Eyed Peas and Ozuna ft. Rey Soul (Epic) 105 14. -
A State of Dance Music 2019 Shines a Light on the Most Significant Insights from This Past Year Based on Our Aggregated Data
T H E M O M E N T S T H A T D E F I N E D E L E C T R O N I C D A N C E M U S I C I N 2 0 1 9 . C O V E R : F I S H E R PREFACE 2019 was another banner year for dance music – a year that saw the continued rise of artists like FISHER and CamelPhat, David Guetta flourish across both the mainstream and underground, and many more artists break through. On the performance side, there now are more major festivals and events than ever before, many of which are thriving in emerging markets – a promising sign for continued growth ahead! A State Of Dance Music 2019 shines a light on the most significant insights from this past year based on our aggregated data. This was a major year of growth for 1001Tracklists, and we showcase that with the inclusion of our Top Exclusive & Spotlight Mixes, Top Stories, and of course, the recently crowned Top 150 Producers. Some additional new insights for this year’s report include the Top Labels of 2019 (based on the Top 300 tracks) and a breakdown of the Top Tracks by genre. We hope you enjoy a deep dive into the numbers and trends that defined 2019. And lastly, we wanted to give a special note of thanks to each of our contributing users who are so passionate, diligent and responsive, and enable the community to thrive online and offline. See you on the dancefloor! Join us online at 1001tracklists.com or on social media @1001tracklists. -
From Independent Record Shops to the Internet: Recorded Music Communities in the Digital Age
AUCKLAND UNIVERSITY OF TECHNOLOGY SCHOOL OF COMMUNICATION STUDIES From independent record shops to the Internet: Recorded music communities in the Digital Age A thesis submitted to Auckland University of Technology in fulfilment of the requirements for the degree of Doctor of Philosophy. Lewis Tennant 1 March 2016 Abstract The Internet has altered notions of space and place. This study examines these changes against the backdrop of the independent brick-and-mortar record shop, a location where the transforming power of music has traditionally brought people together. Ideas, opinions, and histories are shared. Musical projects and friendships are formed; the art form of music critiqued. Globally these stores have decreased in numbers significantly since the turn of the 21st Century, particularly affected by the ‘post-Napster’ growth in the online acquisition of music and other media forms. In considering the substantial decline in numbers of brick-and- mortar independent record shops, and in turn what these spaces offer the people who frequent them, this thesis questions how recent technological changes have affected the social interactions of communities that are based on recorded music, also exploring the changing ways in which people engage with recorded music in their everyday lives. In doing so, this study investigates how communities manifest themselves on the Internet, examining in turn what aspects of physical spaces and face-to-face interaction may not be replicated in the online environment. In a series of focus groups and semi-structured interviews, notions of ‘space(s)’ and ‘place(s)’ for modern music communities and subcultures are examined in the context of decreasing numbers of physical spaces to congregate. -
Theme Seen Through the Use of Metaphors and Similes in Katy Perry’S Selected Songs in the Album Entitled Teenage Dream
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI THEME SEEN THROUGH THE USE OF METAPHORS AND SIMILES IN KATY PERRY’S SELECTED SONGS IN THE ALBUM ENTITLED TEENAGE DREAM AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters By REGINA RIENTINA Student Number: 144214066 DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS UNIVERSITAS SANATA DHARMA YOGYAKARTA 2018 PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI THEME SEEN THROUGH THE USE OF METAPHORS AND SIMILES IN KATY PERRY’S SELECTED SONGS IN THE ALBUM ENTITLED TEENAGE DREAM AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements for Degree of Sarjana Sastra in English Letters By REGINA RIENTINA Student Number : 144214066 ENGLISH LETTERS STUDY PROGRAM DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2018 ii PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI God helps those who help themselves vii PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI For my beloved parents and my beloved friends, who are always there for me viii PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI TABLE OF CONTENTS TITLE PAGE .....................................................................................................ii APPROVAL PAGE ...........................................................................................iii