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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. -
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. -
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. -
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. -
17 € Underground Power Records 2020
You can find the Underground Power Records LIST 2 – 2020 for download or print as .pdf on the starting site: www.underground-power.de Next days we will have the copies of the mighty SNAKEPIT Book 1 -5 incl. Jag Panzer 7” (You will find them below under MAGAZINES) and also of the LEGEND 12” – Before the Fjords With all the Corona Shit and the new fantastic Underground Power Records Release “SIREN” we are nearly 24/7 on the working desk, so please be patient – we will need a few days to answer ! Brandnew Underground Power Records Vinyl releases ! ANGEL SWORD - Neon City (NEW*LIM.250 BLACK V.*HEAVY LOAD*ACCEPT) - 17 € Underground Power Records 2020 - Brandnew Vinyl Edition of this Classic Heavy Metal Masterpiece from Finnland ! Limited Edition of 250 copies in Black Vinyl + Insert ! Brandnew 2nd Album with the finest in Heavy Metal / Hard Rock from FINLAND ! Razorsharp Riffs, twin guitars, powerful, remarkable and melodic voice and fantastic songs with great hooks! Triumphant, anthemic expert songcraft with catchy as sin Riffs and infectious melodies, Lyrics to help exist in the cold, Neon City For Fans of Heavy Load, Accept, Thin Lizzy, Manilla Road, Motörhead or Freeways ANGEL SWORD - Neon City (NEW*LIM.100 GREEN V.*HEAVY LOAD*ACCEPT) - 20 € Underground Power Records 2020 - Brandnew Vinyl Edition of this Classic Heavy Metal Masterpiece from Finnland ! Limited Edition of 100 copies in Smoke Green Vinyl + Insert ! Brandnew 2nd Album with the finest in Heavy Metal / Hard Rock from FINLAND ! Razorsharp Riffs, twin guitars, powerful, remarkable -
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. -
Musikproduktion Im Modernen Extreme Metal: Technische Und Gestalterische Standards Sowie Besonderheiten Des Genres
Musikproduktion im modernen Extreme Metal: technische und gestalterische Standards sowie Besonderheiten des Genres. Recording, Mixing und Mastering Gerald C. Hauzenberger MASTERARBEIT eingereicht am Fachhochschul-Masterstudiengang Digital Arts in Hagenberg im September 2013 © Copyright 2013 Gerald C. Hauzenberger Diese Arbeit wird unter den Bedingungen der Creative Commons Lizenz Namensnennung–NichtKommerziell–KeineBearbeitung Österreich (CC BY- NC-ND) veröffentlicht – siehe http://creativecommons.org/licenses/by-nc-nd/ 3.0/at/. ii Erklärung Ich erkläre eidesstattlich, dass ich die vorliegende Arbeit selbständig und oh- ne fremde Hilfe verfasst, andere als die angegebenen Quellen nicht benutzt und die den benutzten Quellen entnommenen Stellen als solche gekennzeich- net habe. Die Arbeit wurde bisher in gleicher oder ähnlicher Form keiner anderen Prüfungsbehörde vorgelegt. Hagenberg, am 20. September 2013 Gerald C. Hauzenberger iii Inhaltsverzeichnis Erklärung iii Vorwort vii Kurzfassung x Abstract xi 1 Einleitung 1 2 Extreme Metal 3 2.1 Historische Entwicklung . 3 2.2 Abkehr vom Mainstream . 5 2.2.1 Thrash Metal . 5 2.2.2 Death Metal . 8 2.2.3 Black Metal . 13 3 Preproduction 17 3.1 Vorbereitung . 17 3.2 MIDI-Notation und Click Tracks . 19 3.3 Weitere Überlegungen . 23 4 Recording 24 4.1 Strategien . 24 4.1.1 Overdubbing . 24 4.1.2 Mikrofonauswahl und Aufstellung . 27 4.1.3 Effektbearbeitung und Headroom . 31 4.2 Drums . 33 4.2.1 Mikrofonierung . 34 4.2.2 Alternative Ansätze . 45 4.3 E-Gitarren . 51 4.4 E-Bass . 59 4.5 Vocals . 62 iv Inhaltsverzeichnis v 5 Editing 65 5.1 Power Through Order . 65 5.2 Fades und Comping . -
The Ever-Evolving Maze – the Analysis of Metal Genres
#0# Rocznik Komparatystyczny – Comparative Yearbook 11 (2020) DOI: 10.18276/rk.2020.11-15 Krzysztof Skórski John Paul II Catholic University of Lublin ORCID: 0000-0003-4782-8780 The Ever-Evolving Maze – The Analysis of Metal Genres Most scholars define metal music as a genre of rock music that separated from the mother genre in the early 1970s (Weinstein: 11). In the book Heavy Metal: The Music and Its Subculture, Deena Weinstein also states that both rock and roll and rock are “far too broad to be considered genres themselves […] Neither rock and roll nor rock have a standard definition. Each is a bricolage that can only be defined or totalized from one of its aspects” (Weinstein: 11). Therefore heavy metal is a genre within a greater musical current, not a subge- nre of rock music. However, this kind of music turned out to be particularly prolific and gave birth to numerous genres, subgenres, and fusion genres on its own. Therefore, modern metal music may be treated as a meta-genre since it encompasses many distinct genres that evolved from a common stem – heavy metal of the 1970s. In this article, I intend to explore and describe metal music and its internal subdivision to demonstrate that despite its harsh façade it is, in fact, an intricate, eclectic, and ever-evolving genre. But first, it is necessary to define the key features of metal. Krzysztof Skórski What constitutes metal? As far as the sonic structure of metal music is concerned, probably the quintes- sential elements are its volume and power that should overwhelm the listeners and immerse them into the music (Weinstein: 24). -
Why Collect Heavy Metal?
COLLECTING HEAVY METAL MUSIC BY KARSON JONES THE ROYAL CONSERVATORY WHY COLLECT HEAVY METAL? Heavy Metal, more than most forms of popular music, has endured scathing criticism from all sides. Music critics, politicians, and parent groups have all decried the musical degeneracy1 and moral decrepitude2 of the genre. In the face of this, however, metal has simply become more popular and more extreme in its sound, imagery, and values. Heavy metal music and culture has, for most of its existence, fallen very much outside the mainstream and in many ways defines itself as anti-establishment. Many might ask whether this music, being so frequently derided, is worthy of academic study and whether libraries should be adding it to their collections. The fact is that, regardless of how one feels about the music and culture of heavy metal, an increasing amount of social scientific and musicological research is being done on the subject. There is also evidence that heavy metal is increasingly being included in post-secondary curricula.3 Research collections and archives are needed to support this study and teaching. These collections need to contain not only the academic literature and the seminal sound recordings, but also the visual art, fashion, and other ephemera that are inseparable from the metal experience. At various institutions, one will find substantial collections dedicated to other marginal genres and subgenres of music, national musics, and even individual bands or performers, yet metal has been, for the most part, ignored so far.4 There is a dearth of library literature on this topic. In 2002, Robert Freeborn performed a search in Library Literature for the keywords heavy metal and retrieved four results, only one of which was in English. -
Long Hailed As the Band Who Spawned the Burgeoning Bay Area
“A lot of people will ask me things like, ‘EXODUS is achieving a lot of popularity again. Do you think it's due to thrash metal coming back?' And I say, 'No. I think thrash metal's coming back because of EXODUS.” – Gary Holt For the troops in the trenches, it began in 1982 with a low generation copy of a local band’s three-song demo. For some, it began with their first listen to Combat Records’ version of Bonded By Blood in 1986. Still others will say what really mattered began on August 11th, 2001. Regardless of the year, these dates all have one thing in common: the tenacity of Gary Holt. One cannot discuss the power and influence of EXODUS without going into the genealogy of metal music itself. Long hailed as the band that spawned the burgeoning Bay Area Thrash scene in the early ‘80s, the band’s most admirable quality is that the word “surrender” has never existed in lead guitarist/songwriter/General-In-Chief Gary Holt’s vocabulary. Surviving decampment (original guitarist Kirk Hammett left to join Metallica in 1983), death (original vocalist Paul Baloff died in early 2002), untimely disaster (long-time second vocalist Steve Souza abandoned the band in 2004 on the eve of a South American tour), dejection (original drummer Tom Hunting was incapacitated by panic attacks in May 2005), and drug abuse (guitar comrade-in-arms Rick Hunolt’s resignation in June 2005 was due in part to addiction issues), it would have been easier for many to interpret these events as a signal to retire, but then again, not everyone is Gary Holt. -
Univerzitet U Beogradu Master Rad: Slika Hladnoratovskog I Posthladnoratovskog Sveta U Hevi Metal Muzici (1970-2017)
Univerzitet u Beogradu Filozofski fakultet Odeljenje za istoriju Master rad: Slika hladnoratovskog i posthladnoratovskog sveta u hevi metal muzici (1970-2017) Kandidat: Miloš Čabraja Mentor: prof. dr Radina Vučetić IS -16/27 Beograd, septembar, 2019 Sadržaj Predgovor .............................................................................................................................................. 1 Uvod ....................................................................................................................................................... 6 Hladnoratovske krize u hevi metalu (1970-1991) ................................................................................. 7 Strah od nuklearne apokalipse u hevi metalu (1970-2017) ................................................................ 13 Nuklearna histerija u Hladnom ratu 1970-ih i 1980-ih ........................................................................ 15 Nuklearna histerija u Zalivskom ratu i posthladnoratovskom periodu (1990-2017) ............................ 26 Uticaj stripa i filma na nuklearnu histeriju u hevi metalu .................................................................... 30 Biohemijska paranoja i antropoceno doba u hevi metalu (1980-2017) .............................................. 36 Proliferacija biohemijskog naoružanja 1980-ih ................................................................................... 36 Strah od laboratorijskih virusa i epidemija AIDS-a u hevi metalu ....................................................... -
Doktori (Phd) Értekezés
DOI: 10.15774/PPKE.BTK.2018.008 Doktori (PhD) értekezés Fejes János Budapest, 2018 DOI: 10.15774/PPKE.BTK.2018.008 Pázmány Péter Katolikus Egyetem Bölcsészet- és Társadalomtudományi Kar Irodalomtudományi Doktori Iskola Fejes János Bibliai és mitológiai minták recepciója az extrém metal dalszövegeiben Doktori (PhD) értekezés Az Irodalomtudományi Doktori Iskola vezetője: Dr. Hargittay Emil, DSc. egyetemi tanár Témavezetők: Dr. Bazsányi Sándor egyetemi docens Dr. habil. Kőszeghy Miklós egyetemi docens Budapest, 2018 DOI: 10.15774/PPKE.BTK.2018.008 Pázmány Péter Catholic University Faculty of Humanities and Social Sciences Doctoral School of Literary Studies Fejes János The Reception of Biblical and Mythological Patterns in the Lyrics of Extreme Metal Music Doctoral (PhD) dissertation Head of Doctoral School: Dr. Hargittay Emil DSc. Supervisors: Assoc. Prof. Dr. Bazsányi Sándor Assoc. Prof. Dr. habil. Kőszeghy Miklós Budapest, 2018 DOI: 10.15774/PPKE.BTK.2018.008 Table of Contents Acknowledgments ...................................................................................................................... 3 Köszönetnyilvánítás ................................................................................................................... 4 List of Tables .............................................................................................................................. 5 1. Introduction ............................................................................................................................ 6 2. Metal