Students Slam Sampson
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Hallo Zusammen
Hallo zusammen, Weihnachten steht vor der Tür! Damit dann auch alles mit den Geschenken klappt, bestellt bitte bis spätestens Freitag, den 12.12.! Bei nachträglich eingehenden Bestellungen können wir keine Gewähr übernehmen, dass die Sachen noch rechtzeitig bis Weihnachten eintrudeln! Vom 24.12. bis einschließlich 5.1.04 bleibt unser Mailorder geschlossen. Ab dem 6.1. sind wir aber wieder für euch da. Und noch eine generelle Anmerkung zum Schluss: Dieser Katalog offeriert nur ein Bruchteil unseres Gesamtangebotes. Falls ihr also etwas im vorliegenden Prospekt nicht findet, schaut einfach unter www.visions.de nach, schreibt ein E-Mail oder ruft kurz an. Viel Spass beim Stöbern wünscht, Udo Boll (VISIONS Mailorder-Boss) NEUERSCHEINUNGEN • CDs VON A-Z • VINYL • CD-ANGEBOTE • MERCHANDISE • BÜCHER • DVDs ! CD-Angebote 8,90 12,90 9,90 9,90 9,90 9,90 12,90 Bad Astronaut Black Rebel Motorcycle Club Cave In Cash, Johnny Cash, Johnny Elbow Jimmy Eat World Acrophobe dto. Antenna American Rec. 2: Unchained American Rec. 3: Solitary Man Cast Of Thousands Bleed American 12,90 7,90 12,90 9,90 12,90 8,90 12,90 Mother Tongue Oasis Queens Of The Stone Age Radiohead Sevendust T(I)NC …Trail Of Dead Ghost Note Be Here Now Rated R Amnesiac Seasons Bigger Cages, Longer Chains Source Tags & Codes 4 Lyn - dto. 10,90 An einem Sonntag im April 10,90 Limp Bizkit - Significant Other 11,90 Plant, Robert - Dreamland 12,90 3 Doors Down - The Better Life 12,90 Element Of Crime - Damals hinterm Mond 10,90 Limp Bizkit - Three Dollar Bill Y’all 8,90 Polyphonic Spree - Absolute Beginner -Bambule 10,90 Element Of Crime - Die schönen Rosen 10,90 Linkin Park - Reanimation 12,90 The Beginning Stages Of 12,90 Aerosmith - Greatest Hits 7,90 Element Of Crime - Live - Secret Samadhi 12,90 Portishead - PNYC 12,90 Aerosmith - Just Push Play 11,90 Freedom, Love & Hapiness 10,90 Live - Throwing Cooper 12,90 Portishead - dto. -
Touchandgo (Page 5)
die nächste CD gemacht, die sich sicherlich eben- Der kleine “Trust-TNG-Einkaufszettel” falls gut verkauft hätte. Wenn eine Band zu mir kommt, weil sie gehen will, hat sie ganz offensicht- Es wäre müßig, an dieser Stelle eine komplette Oise: lich schon etliche interne Diskussionen geführt und Diskografie von Touch And Go Records aufzustellen. (ohne Reihenfolge) ist zu einer Entscheidung gekommen. Denn es ist Stattdessen habe ich die Trust-Autoren nach ihren zehn Negative Approach - ‘Tied Down’ nicht so einfach, das vorzutragen. Es ist also sinn- Lieblingsalben auf dem Label gefragt. Die Regeln lau- Shellac - ‘1000 Watt Hurts’ los, ihnen das auszureden. Selbst wenn man ihnen teten: zehn Platten in absteigender Reihenfolge, darun- Supersystem - ‘Always Never Again’ Schuldgefühle macht und sie überzeugt zu bleiben, ter keine Discografie-CDs und keine The Ex - ‘Turn’ Wiederveröffentlichungen. Naja, hätte man sich denken Iron & Wine / Calexico - Split weiß man, dass das nicht ist, was sie eigentlich können, dass sich keiner an die Regeln hält. Deshalb Girls Against Boys - alles wollten. hier die kompletten Listen. Offensichtlich musst du ja gute Kontakte zu all Jan: den alten Bands haben, wenn die auf dem Dolf: (konfus wie immer) Festival spielen. (Bands in alphabetischer Reihenfolge 1.Negative Approach - ‘Total Recall’ Da fühle ich mich auch sehr geehrt, das Bands, die ohne besondere Plattenangaben) 2.The Meatmen - ‘Crippled Children Suck’ eigentlich schon lange aufgelöst sind, sich für die- Big Black 3.The Meatmen - ‘We're the Meatmen and You Suck’ ses Festival zusammen tun. Didjits 4. The Fix - ‘Vengeance / In This Town’ Wie hast du denn Scratch Acid dazu gebracht zu Girls Against Boys 5. -
Type Artist Album Barcode Price 32.95 21.95 20.95 26.95 26.95
Type Artist Album Barcode Price 10" 13th Floor Elevators You`re Gonna Miss Me (pic disc) 803415820412 32.95 10" A Perfect Circle Doomed/Disillusioned 4050538363975 21.95 10" A.F.I. All Hallow's Eve (Orange Vinyl) 888072367173 20.95 10" African Head Charge 2016RSD - Super Mystic Brakes 5060263721505 26.95 10" Allah-Las Covers #1 (Ltd) 184923124217 26.95 10" Andrew Jackson Jihad Only God Can Judge Me (white vinyl) 612851017214 24.95 10" Animals 2016RSD - Animal Tracks 018771849919 21.95 10" Animals The Animals Are Back 018771893417 21.95 10" Animals The Animals Is Here (EP) 018771893516 21.95 10" Beach Boys Surfin' Safari 5099997931119 26.95 10" Belly 2018RSD - Feel 888608668293 21.95 10" Black Flag Jealous Again (EP) 018861090719 26.95 10" Black Flag Six Pack 018861092010 26.95 10" Black Lips This Sick Beat 616892522843 26.95 10" Black Moth Super Rainbow Drippers n/a 20.95 10" Blitzen Trapper 2018RSD - Kids Album! 616948913199 32.95 10" Blossoms 2017RSD - Unplugged At Festival No. 6 602557297607 31.95 (45rpm) 10" Bon Jovi Live 2 (pic disc) 602537994205 26.95 10" Bouncing Souls Complete Control Recording Sessions 603967144314 17.95 10" Brian Jonestown Massacre Dropping Bombs On the Sun (UFO 5055869542852 26.95 Paycheck) 10" Brian Jonestown Massacre Groove Is In the Heart 5055869507837 28.95 10" Brian Jonestown Massacre Mini Album Thingy Wingy (2x10") 5055869507585 47.95 10" Brian Jonestown Massacre The Sun Ship 5055869507783 20.95 10" Bugg, Jake Messed Up Kids 602537784158 22.95 10" Burial Rodent 5055869558495 22.95 10" Burial Subtemple / Beachfires 5055300386793 21.95 10" Butthole Surfers Locust Abortion Technician 868798000332 22.95 10" Butthole Surfers Locust Abortion Technician (Red 868798000325 29.95 Vinyl/Indie-retail-only) 10" Cisneros, Al Ark Procession/Jericho 781484055815 22.95 10" Civil Wars Between The Bars EP 888837937276 19.95 10" Clark, Gary Jr. -
Komplette Ausgabe Als
TRUST NR 16 3.-DM DAS HEILIGE LAND: S.N.F.U. ACCÜSED SCUMROCK E. FRIED EROSION i í ' BEATNIGS NAYKED RAYGUN LUÜ IC lIftiS T Ma c u i FUCK'^ a REATr LUDICHRIST / EROSION ON TOUR: 15.11. Lûbeck/AlternaUve, 17.11. Hamburg/Fabrik(+Idiots+LWS). 19.11. Wolfsburg/Juze, 2 5 .1 1 Villingen-Schwenningen OUT AT THE END OF OCTOBER! GOVER N M E N T ISSUE - YOU LP - C R A S H LP TWO GREAT ALBUMS OFT1IIS D.C. BAND.CRASII IS BRANDNEW. YOU WAS RECORDED LAST YEAR GWEB iVME îVT ISSWÏ DAG NASTY DAG NASTY - F1ELD DA Y LP A 1 T I T U D E - TO W H O M IT MA Y CO N C E R N 12 "EP WITII OSE UOSUS SOSG. A CIASSIC l'l SK AISO AVAIIABLE AS IJMITED 7 /.V COl.Ol RED MEETS rar› AU MM r a u (OSl.Y AT TUE \VE UWE MAIL ORDER!! W ACCUSED - MADDEST STORIES EVER TOLD-THE NEW LP BY THE KINGS OF SPLATTERCORE COMING IN NOVEMBER: CAPITOL PUNISHMENT - NEW 4 SONG T ‘EP, USTLARDCORE, FIRST TIME WTTH NEW LINE HP Saarstrafk 18, 7400 Tübingen 6, West-Germany, Phone (07073) 6672 Leserbriefe für ein Fanzine hinzubringen. Z.B. Hallo! Hallo TRUST! sind nicht alle Länder im IWF, sondern derzeit 151. Die UdSSR oder Sicher ist es euch auch schon oft Zunächst einmal ganz kurz etwas Birma sind beispielsweise nicht im so ergangen, wenn ihr zu Konzerten Ansicht von hier über Euer IWF. Mir erscheint Alexanders oder einfach so in eine andere Machwerk: es tut gut, zu sehen, daß Artikel wie ein auf "radikal" Stadt gefahren seid, wo ihr niemand es noch Leute gibt, die sich in getrimmter Reformartikel. -
Ve Got a Bomb’: Sounding Anti-Nuclearism in the Anarcho-Punk Movement in Britain, 1978–84
Rock Music Studies ISSN: 1940-1159 (Print) 1940-1167 (Online) Journal homepage: https://www.tandfonline.com/loi/rrms20 ‘They’ve got a bomb’: sounding anti-nuclearism in the anarcho-punk movement in Britain, 1978–84 George McKay To cite this article: George McKay (2019): ‘They’ve got a bomb’: sounding anti- nuclearism in the anarcho-punk movement in Britain, 1978–84, Rock Music Studies, DOI: 10.1080/19401159.2019.1673076 To link to this article: https://doi.org/10.1080/19401159.2019.1673076 Published online: 03 Oct 2019. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rrms20 ROCK MUSIC STUDIES https://doi.org/10.1080/19401159.2019.1673076 ‘They’ve got a bomb’: sounding anti-nuclearism in the anarcho-punk movement in Britain, 1978–84 George McKay Film, Television & Media Studies, University of East Anglia, Norwich, UK ABSTRACT KEYWORDS This article explores the links and tensions in Britain between Anarcho-punk; anti-nuclear; a musical subculture at its height of creative energy – anarcho- punk rock; protest; sound; punk – and the anti-nuclear movement, including the Campaign for voice Nuclear Disarmament. It identifies and interrogates the anti- nuclear elements of anarcho-punk, looking at its leading band, Crass. At the center is an exploration of the sounds of Crass’ music and singing voices – termed Crassonics – in the context of anti-nuclearism: if the bomb changed music and art, what did the new music sound like? Who can say how much [the Bomb] changed all of us . -
Seth's Music Packet-Tossups Answer
Seth's Music Packet-Tossups 1. The critic Eduard Hanslick compared listening to a two-piano arrangement of this piece to "getting a beating from two incredibly intelligent people." Schoenberg admired the economy of the E minor first movement, pointing out that the first theme is constructed almost entirely from descending thirds. The second movement begins in the Phrygian mode, while the adagio final movement is a passacaglia with 30 variations that takes its bass line from the finale of a cantata of J.S. Bach. For 10 points, name this last symphony of Johannes Brahms. Answer: Brahms's Fourth Symphony in E minor ("fourth symphony" acceptable after Brahms is mentioned) 2. Although a popular interpretation holds that this song is a commentary on nuclear proliferation, guitarist Stefan Doroschuk explains that it is actually about "non-conforming." The singer spells the name of the song before the first verse, and later expresses the desire to "surprise 'em with a victory cry" and "act like an imbecile." In the chorus, he sings "everything is out of control" before the command, "everybody look at your hands." For 10 points, name this synth-pop classic by Men without Hats. Answer: ''The Safety Dance" 3. The 1960 album by this name was a single piece split between sides one and two, and it featured a double quartet that included the musicians Charlie Haden, Eric Dolphy, and Don Cherry. The style by this name had already been explored in the previous album Tomorrow is the Question, as well as in the work of pianist Cecil Taylor. -
Vancouver's Premier Live Music Venue Upcoming Events
^1 H i G i o « c » A mm * to«* straight Presents Back by Popular Demand $m*# Direct From Jamaica with Special guest MANGO DUB and ELMO SUPER SOUNDS . SATURDAY AUG. 19 At the Commodore TIX: At all T,cKMfi(fcA*rM»M> locations, info & ckargt 280-4444. Also Barrett's Electronics, Caribbean Market, Black Swan, High Life, The Patty Shop, Pelhams Auto, Ebony Eyes, Gerard Hair Styles and Zulu Records. </V^Wi»y.^ That Magazine from CITR FM 102 Julyl989* Issue #78 EDITOR Kevin Smith EDITORIAL ASSISTANT Viola Funk WRITERS Dale Sawyer, Pat Carroll, Annette, John cb LOCAL BAND GUIDE 14 CRO-MAGS Ruskin, Janis McKenzie, Warren Whyte, Viola Funk like a good idea at the time cry wolf ART DIRECTOR Scott Chernoff ARTIST Den Lebel PHOTOGRAPHERS Mandel Ngan, Chris Helgren 12 JOEY ARIAS 19 THAT'S COOL, THAT'S TRASH COVER Scott Chernoff, Bill Baker PRODUCTION MANAGER Harley McCauley a creature from another world what oan a poor kid do? PROGRAM GUIDE Randy Iwata ADVERTISING REP Bill Baker DISTRIBUriON MANAGER Pierre Huish ACCOUNTS GUY Randy Iwata SjUBSCRIFHONS Robynn Iwata Discorder is That Magazine from CiTR 101.9fM/pub- lished monthly by the Student Radio Society of the Uni versity of British Columbia/printed in Surrey, Canada. Discorder prints what it wants/the CiTR On the Dial program guide/ the CiTR Spinlist record chart/17,500 copies to over 200 spots. Twelve-month subscrip tions are $12 in Canada/$12 (US) to the US/$20 else where/payable by cheque to Discorder Magazine. We want your stuff: send in stories, drawings, photos/ and 5 AIRHEAD 20 ON THE DIAL we don't give it back. -
"Rock Against Reagan": the Punk Movement, Cultural Hegemony, and Reaganism in the Eighties
University of Northern Iowa UNI ScholarWorks Dissertations and Theses @ UNI Student Work 2016 "Rock against Reagan": The punk movement, cultural hegemony, and Reaganism in the eighties Johnathan Kyle Williams University of Northern Iowa Let us know how access to this document benefits ouy Copyright ©2016 Johnathan Kyle Williams Follow this and additional works at: https://scholarworks.uni.edu/etd Part of the Cultural History Commons Recommended Citation Williams, Johnathan Kyle, ""Rock against Reagan": The punk movement, cultural hegemony, and Reaganism in the eighties" (2016). Dissertations and Theses @ UNI. 239. https://scholarworks.uni.edu/etd/239 This Open Access Thesis is brought to you for free and open access by the Student Work at UNI ScholarWorks. It has been accepted for inclusion in Dissertations and Theses @ UNI by an authorized administrator of UNI ScholarWorks. For more information, please contact [email protected]. Copyright by JOHNATHAN KYLE WILLIAMS 2015 All Rights Reserved “ROCK AGAINST REAGAN”: THE PUNK MOVEMENT, CULTURAL HEGEMONY, AND REAGANISM IN THE EIGHTIES An Abstract of a Thesis Submitted in Partial Fulfillment of the Requirements for the Degree Master of Arts Johnathan Kyle Williams University of Northern Iowa May, 2016 ABSTRACT Despite scholars’ growing interest in the cultural movement known as punk, there has been a lack of focus on the movement’s relationship to its historical context. Punk meant rebellion, and this research looks at how the rebellion of the American punk movement during the eighties [1978 to 1992], was aimed at the president Ronald Reagan. Their dissent, however, was not only directed towards Reagan, but the culture that he encompassed. -
Approaching Sound: a Sonicological Examination of the Producer's Role
Approaching Sound: A Sonicological Examination of the Producer’s Role in Popular Music. Peter O’Hare Master of Philosophy (Research) University of Glasgow Faculty of Education June 2008 © Peter O’Hare June 2008 Contents Introduction 3 Chapter One History of Production Technology and Practice 7 Chapter Two Sonicology 13 Chapter Three The Role Of The Producer 23 Chapter Four Controlling The Sound 35 Chapter Five Case Study 1: Phil Spector 47 Chapter Six Case Study 2: Mike Stock 63 Chapter Seven Case Study 3: Steve Albini 75 Conclusion 87 Notes 90 Appendix 93 Bibliography 96 Discography 102 Glossary of technical terms 103 2 Introduction The recorded song has been the dominant carrier of popular music for the last 50 years, with recordings being relayed to the public through a variety of mediums (Radio, Television, and Internet) and numerous formats (vinyl, cassette tape, minidisk, MP3). As Frith points out “Twentieth-century popular music means the twentieth-century popular record” (1992: 50). The final recorded song is the end product of a recording process, a process that includes technical and creative input from a variety of personnel. These can include the artist, recording engineers, sound mixers and the record producer, what Hennion refers to as the “creative collective” (1990: 186). Additionally, Theberge notes that within this recording practice “The process of multitrack recording has become the primary mode of production in popular music” (2001: 11). Given this acknowledgement and the importance placed on the recording process it is surprising that there is still relatively little detailed academic research regarding the recording process, or those involved in it. -
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Sounding Anti-Nuclearism in the Anarcho-Punk Movement in Britain, 1978-84
“They’ve got a bomb”: sounding anti-nuclearism in the anarcho-punk movement in Britain, 1978-84 George McKay University of East Anglia, UK Who can say how much [the Bomb] changed all of us,… our music,… our art…? Crass (“Nagasaki nightmare” sleeve notes) This article explores the energetic links, contradictions and tensions in Britain between a musical subculture at its height of innovation and creative energy— anarcho-punk from around 1978 to 1984—and the anti-nuclear movement, including the social movement organization the Campaign for Nuclear Disarmament (CND), during these same years when CND was at the second peak of its national and international prominence (its first having been in the late 1950s and early 1960s). It identifies and interrogates the anti-nuclear elements of the musical package of anarcho-punk, looking at its leading band, Crass. Anarcho-punk was notable by its insistent political focus on war and the threat of nuclear destruction, and it presented a relentless cultural critique that drew on apocalyptic realities and drew post-apocalyptic imaginaries. The article offers a critical discussion of the often rich lyrical, visual, and performative texts Crass made, and explores key ways in which anarcho-punk also interrogated links between the nuclear and music industries. At the article’s centre is an exploration of the neglected question of the sounds of Crass’s music and singing voice—my term is Crassonics—in the very specific context of anti-nuclearism: if the bomb changed music and art, what did the new music (of -
The Turntablist Texts of DJ Shadow and Cut Chemist
The Aesthetics of Consumption in the Age of Electrical Reproduction: The Turntablist Texts of DJ Shadow and Cut Chemist Michael Phillips Thesis submitted to the Faculty of Graduate and Postdoctoral Studies In partial fulfillment of the requirements For the PhD degree in English Department of English Faculty of Arts University of Ottawa © Michael Phillips, Ottawa, Canada, 2012. ii ABSTRACT With new technology come new possibilities for the creation of artistic works. The invention of sound recording towards the end of the nineteenth century enabled musical performances to be “written” in the same manner as traditional, printed literature. The status of records as a form of writing and, moreover, as the material for further writing is demonstrated in the work of two hip hop artists, DJ Shadow and Cut Chemist, who assemble new, heteroglossic texts out of a wide array of sampled records. Two concerts by these artists, Product Placement (2004) and The Hard Sell (2008) – both of which have been memorialized on DVD – serve as fruitful examples of the potential for artistic production enabled by technology. Indeed, the genre of turntablism, which involves the live manipulation of vinyl records, requires the usage of technology in ways not intended by its original developers – a recurrent theme throughout the history of sound recording. By transforming the turntable from a passive playback device into an active compositional tool, turntablism, as exemplified by these performances, collapses the distance between consumption and production and so turns the listener into a performer. Furthermore, the exclusive usage of 45 rpm records as the source texts for the two sets dramatizes theories of intertextuality while simultaneously tracing the constraints placed on such artistic piracy by the copyright regime.