DOCSLIB.ORG

Meshuggah Yob from Ashes Rise Terror Wold Witch

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Meshuggah Yob from Ashes Rise Terror Wold Witch Metal Zine Vol. 8 MESHUGGAH YOB FROM ASHES RISE TERROR WOLD WITCH MOUNTAIN STAFF Scion Project Manager: Jeri Yoshizu, Sciontist Editor: Eric Ducker Creative Direction: Scion Art Direction: BON Contributing Editor: J. Bennett Graphic Designer: Jamie Story CONTRIBUTORS Writer: Fred Pessaro Photographers: Bliss, Gregory Bojorquez, Katie Egger, Nolan Wiley CONTACT For additional information on Scion, email, write or call. Scion Customer Experience 19001 S. Western Avenue Mail Stop WC12 Torrance, CA 90501 Phone: 866.70.SCION Fax: 310.381.5932 Email: Email us through the Contact page located on scion.com Hours: M-F, 6am-5pm PST Online Chat: M-F, 6am-6pm PST Scion Metal Zine is published by BON. For more information about BON, contact: [email protected] Company references, advertisements and/ or websites listed in this publication are not affiliated with Scion, unless otherwise noted through disclosure. Scion does not warrant these companies and is not liable for their performances or the content on their advertisements and/or websites. © 2012 Scion, a marque of Toyota Motor Sales U.S.A., Inc. All rights reserved. Scion and the Scion logo are trademarks of Toyota Motor Corporation. 00430-ZIN08-MT Cover: From Ashes Rise photographed by Gregory Bojorquez Background: Psychic TV at Scion Rock Fest photographed by Bliss SCION A/V SCHEDULE AUGUST August 18 Scion Label Showcase: Bridge 9, featuring H2O, Verse, Soul Control, and Expire at the Glasshouse, Pomona, California August 28 Scion A/V Presents: Pallbearer (10-inch and digital release) SEPTEMBER September 11 Scion A/V Presents: Saint Vitus — Live from Scion Rock Fest (vinyl and digital release) September 13 Scion A/V Presents: Moshpit Tragedy Label Showcase (live recording) September 15 Scion Label Showcase: Metal Blade Records, featuring 6 Feet Under, Cattle Decapitation, Pilgrim, Gypsy Hawk, and Battlecross at the Glasshouse, Pomona, California September 25 Scion A/V Presents: Revocation EP (digital release) OCTOBER October 9 Scion A/V Presents: Bridge 9 Label Showcase (live recording) October 13 Scion Label Showcase: Season of Mist, featuring the Casualties, Saint Vitus, Cynic, and A Life Once Lost at the Glasshouse, Pomona, California NOVEMBER November 10 Scion Label Showcase, featured label and acts TBA, at the Glasshouse, Pomona, California November 13 Scion A/V Presents: Metal Blade Records Label Showcase (live recording) Story: Fred Pessaro Photography: Katie Egger If it weren’t for some well-placed vulgarities, you might mistake Terror vocalist Scott Vogel for a preacher, leading the masses on a crusade towards positivity through a succession of vicious mosh-beatdowns, violent crowd surfers, and group sing- alongs. But Vogel is also a ringmaster, shepherding these “wild animals” through hardcore music and peppering his onstage banter with notes about unity, staying true to yourself, and, perhaps most shockingly, delivering it with a dose of humor. To say that Scott Vogel is charismatic is an understatement. Vogel has had some time to develop that stage presence. His roots lie in the fertile Buffalo, New York scene of the early 1990s that also birthed hardcore heavyweights Snapcase. Vogel’s rise with Slugfest led to stints fronting Despair and Buried Alive, and eventually matched him with drummer Nick Jett, his longtime Terror bandmate and the only other constant in their Los Angeles hardcore crew. A string of 7-inches with respected hardcore labels lead to the their breakthrough full length, One With the Underdogs. It was all uphill from there: cycles of relentless touring eventually resulted in another two full lengths before a move to the mostly metal-leaning label Century Media. The madness never stopped, though; more touring and recording persisted, giving way to 2008’s The Damned, The Shamed and 2010’s Keepers of the Faith. The band is planning its next release, Live By The Code, for Reaper Records later this year. You’d think that being as entrenched in the hardcore scene for as long as Terror has been might make bandmembers jaded. Not so for these lifers, according to drummer Nick Jett, who readily admits that the state of the music today is as crucial to their sound as the bands of yesteryear. “I definitely think that young hardcore bands influence us,” he says. “That’s what gives us motivation to play our style of hardcore music today—seeing young, fresh kids’ take on it.” It’s these constant changes and “knowing their roots” (as Scott Vogel’s tattoo says) that helps keep Terror relevant in a largely fast-paced and oversaturated genre like hardcore. Yet the most central component to the Terror sound is the message. The band’s unrelenting work ethic is strictly old school, and their songs teach a no-nonsense code of tolerance, freedom, and positivity while channeling those ideas through an outwardly negativity-fueled genre. It’s working, but more importantly, it gets the kids stage diving. terrorlahc.com Watch performances from Terror at Scion Rock Fest at scionav.com/rock Story: J. Bennett Photography: Gregory Bojorquez ROYAL THUNDERStory: J. Bennett Photography: Gregory Bojorquez The name was a mistake. When guitarist Josh Weaver started a band with his brother Ryan and his best friend Jason Kelly, Kelly already had a moniker in mind. “Jason suggested that we call the band Royal Thunder, after a tour that Bob Dylan had done,” Weaver explains. “We found out not long afterwards that Dylan’s tour was actually called Rolling Thunder. But we were happy with the name, so we stuck with it.” The newly minted trio played a handful of shows as an instrumental outfit around their hometown of Atlanta, Georgia. Between gigs, they’d practice at Weaver’s house, where he lives with his wife, Mlny Parsonz. “When they’d practice, I’d hang out in the other room and wait ’til it was over,” she explains. “The whole time, I’d sing melodies out loud, and they thought it sounded pretty good.” Parsonz turned out to be Royal Thunder’s missing ingredient. She joined the band on bass and vocals in 2007 and they released a self-titled EP in 2009. A satisfying collusion of dark Sabbathian blues and distinct Southern overtones, Royal Thunder set the stage for the band’s 2012 masterpiece, CVI. By then, Kelly and Ryan Weaver had left the band and were replaced by drummer Lee Smith and guitarist Josh Coleman. “It’s the Roman numerals for 106,” Weaver says of the album’s title. “It’s a number we’ve seen so much in our lives. Like today, we took a shuttle from the airport, and it cost $106. Our original drummer was born on January 6, which is 1/06. The number has been following me since I was a teenager, when I found $106 on the ground at a stoplight. It isn’t good or bad, it’s just always there. So it felt right to call the album that.” As for having a husband and wife in the same band, Parsonz says she and Weaver always check their domestic life at the door. “What we have outside the band is sacred to us, but we don’t intertwine the two—ever,” she explains. “A lot of people actually think we’re brother and sister.” facebook.com/royalthundermusic Download live tracks from Royal Thunder’s performance at the Scion Label Showcase: Relapse Records at scionav.com/relapserecords As told to Eric Ducker With six years in the game and a new self-titled album on Metal Blade Records, Whitechapel is an established live draw in the metal community. In fact, when this deathcore crew first set foot in Southern California they were able to pull 300 people to their show just because of strong word of mouth and what people were writing about them on the internet. And though the band now regularly tours the entire country, we spoke with guitarist Alexander Wade about playing in the band’s hometown of Knoxville, Tennessee. Knoxville, Tennessee is where we started out. It’s always cool to play hometown shows and have your friends come out and your family come out. They can see how we’ve progressed. They were the ones who were there when we were playing rec centers and gyms and benefit shows. Now we’ve grown into a career-level band. We’ve gone from using my Jeep Cherokee to pull the trailer to touring in tour buses. The venue in Knoxville we play is called the Valarium and it’s really awesome It’s one of my favorite places to play. The PA is killer and everything about it is really nice. Usually when we play there we plan for it to be on a headlining tour, so we’ll either start or end it there. There used to be more DIY things going on in Knoxville. There was a coffee shop, Old City Java, where some of my early bands played. They weren’t even supposed to have shows, it was like a 60-person capacity space, but they would pack 200 people in there and the cops would always show up. A lot of that kind of stuff doesn’t go on any more [in Knoxville]. When we were up-and-coming, there were a lot more people doing DIY shows, renting out VFW halls, but as we grew older, the younger generation didn’t really catch on to that. Nobody in Knoxville does anything else like that any more. Watch a video for “I, Dementia” by Whitechapel, part of the Scion A/V Video Series, at scionav.com/media Story: Eric Ducker Photography: Nolan Wiley Witch Mountain has been together since 1997, back when Portland’s metal scene was basically nonexistent.
Load more

Recommended publications
  • 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.
    [Show full text]
  • Downloadable Fires Within Fires
    NEUROT RECORDINGS 2900 North Government Way PMB 271 Coeur d'Alene, ID, 83815 United States tel/fax: 208.623.6402 email: [email protected] Neurosis www.neurotrecordings.com Fires within Fires NR102 Of all that humankind has inherited through our ancestry, no single language has transcended every age as powerfully as music. For those few who channel that inheritance of sound today, none have wielded its command and authority like Neurosis. Showing their discontent with convention from the very beginning, Neurosis revealed what would become an instinct for transformation in sound and scope. With each release, the sound became interchangeable with vision. A vision of the conscious and unconscious coexisting in an audial spectrum that challenged not only the constraints of what listeners expected but of the listeners themselves as beings. Over the collective’s past ten albums, Neurosis have invited listeners to join them on the path their music carved. Going beyond the remarkable, Neurosis became unforgettable. Throughout the last 30 years, the journey of their music has found the band relishing the unpredictable and embracing the unknown possibility of where the music was capable of taking them. This year finds Neurosis taking their most dominant step yet with their eleventh full-length, Fires Within Fires. Three decades in the making, Fires Within Fires is a testament both to the history and future of Neurosis. Striking the band's signature balance between light and dark, beauty and repulsion, Fires Within Fires gives due to its predecessors while progressing forward into the unfamiliar and formidable. Featuring exquisite album artwork from the renowned Thomas Hooper and the stellar recording work of the group's longstanding engineer Steve Albini, Fires Within Fires is at once a beautiful and forbidding work of mastery.
    [Show full text]
  • The Meshuggah Quartet
    The Meshuggah Quartet Applying Meshuggah's composition techniques to a quartet. Charley Rose jazz saxophone, MA Conservatorium van Amsterdam, 2013 Advisor: Derek Johnson Research coordinator: Walter van de Leur NON-PLAGIARISM STATEMENT I declare 1. that I understand that plagiarism refers to representing somebody else’s words or ideas as one’s own; 2. that apart from properly referenced quotations, the enclosed text and transcriptions are fully my own work and contain no plagiarism; 3. that I have used no other sources or resources than those clearly referenced in my text; 4. that I have not submitted my text previously for any other degree or course. Name: Rose Charley Place: Amsterdam Date: 25/02/2013 Signature: Acknowledgment I would like to thank Derek Johnson for his enriching lessons and all the incredibly precise material he provided to help this project forward. I would like to thank Matis Cudars, Pat Cleaver and Andris Buikis for their talent, their patience and enthusiasm throughout the elaboration of the quartet. Of course I would like to thank the family and particularly my mother and the group of the “Four” for their support. And last but not least, Iwould like to thank Walter van de Leur and the Conservatorium van Amsterdam for accepting this project as a master research and Open Office, open source productivity software suite available on line at http://www.openoffice.org/, with which has been conceived this research. Introduction . 1 1 Objectives and methodology . .2 2 Analysis of the transcriptions . .3 2.1 Complete analysis of Stengah . .3 2.1.1 Riffs .
    [Show full text]
  • Razorcake Issue #82 As A
    RIP THIS PAGE OUT WHO WE ARE... Razorcake exists because of you. Whether you contributed If you wish to donate through the mail, any content that was printed in this issue, placed an ad, or are a reader: without your involvement, this magazine would not exist. We are a please rip this page out and send it to: community that defi es geographical boundaries or easy answers. Much Razorcake/Gorsky Press, Inc. of what you will fi nd here is open to interpretation, and that’s how we PO Box 42129 like it. Los Angeles, CA 90042 In mainstream culture the bottom line is profi t. In DIY punk the NAME: bottom line is a personal decision. We operate in an economy of favors amongst ethical, life-long enthusiasts. And we’re fucking serious about it. Profi tless and proud. ADDRESS: Th ere’s nothing more laughable than the general public’s perception of punk. Endlessly misrepresented and misunderstood. Exploited and patronized. Let the squares worry about “fi tting in.” We know who we are. Within these pages you’ll fi nd unwavering beliefs rooted in a EMAIL: culture that values growth and exploration over tired predictability. Th ere is a rumbling dissonance reverberating within the inner DONATION walls of our collective skull. Th ank you for contributing to it. AMOUNT: Razorcake/Gorsky Press, Inc., a California not-for-profit corporation, is registered as a charitable organization with the State of California’s COMPUTER STUFF: Secretary of State, and has been granted official tax exempt status (section 501(c)(3) of the Internal Revenue Code) from the United razorcake.org/donate States IRS.
    [Show full text]
  • NEUROSIS 30.07.2011 Stuttgart-Wangen Longhorn/LKA NEUROSIS Needs No Introduction. the Bay Area's Legendary Masters of Behemoth
    NEUROSIS 30.07.2011 Stuttgart-Wangen Longhorn/LKA NEUROSIS needs no introduction. The Bay Area's legendary masters of behemoth, psychedelic operatic guitar girth has influenced a wide array of artists and nearly singlehandedly defined vast extremes of heavy music popular today. However, now in its third decade, NEUROSIS' latest album finds the group's sound transforming yet again so dramatically that even to diehard fans, Given To The Rising might seem starkly different, a stunning reintroduction. Given To The Rising is like being submerged in an isolation tank -- it's enveloping, subverting the senses with surreal visions we'd swear were our own, cleverly jarring and disorienting consciousness beyond any footing in reality. As any diehard NEUROSIS fan will tell you, there's a moment with every new record and live show at which the band will stop as if the world has frozen in position, then suddenly kick into the primordial wail that we've all come to recognize as the "NEUROSIS note" that forces the listener's head and shoulders to lurch and sway almost uncontrollably. “Given To The Rising” is NEUROSIS at its most captivating and hypnotic. Put simply, the album is some of the band's most raw and immediate material to date, but it is also more complexly orchestrated and richly thickened with psych- damaged overtones. “Given To The Rising” is more than a just a powerful collection of songs -- it's more like a religious experience. While personal epiphanies are repeatedly told by those who've been converted by NEUROSIS' sensory overloading live show as well as its recordings, there's a hypnotic quality to this album that takes hold from the opening guitar squall of the title track.
    [Show full text]
  • Terror the 25Th Hour ENG
    th “The 25 Hour” Available as: Special Edition Digipak CD, LP, Digital Album European Release Date: August 7 th , 2015 For centuries we lived without fear of repercussion, as our greed and depravity has driven us to our collapse. We have lost all compassion for our fellow man and abused everything in sight. “The 25th Hour” is upon us. Terror formed in 2002 as a direct reaction to what was occurring in the underground musical scene that they called home. Disgusted with what was being presented and passed off as hardcore, they attempted to reclaim the bastardized genre by playing the music as it had originated; in its most raw, honest and angry form. Immediately, there was a connection with likeminded people across the globe, and led the band to continually play shows all over the world. Terror started as an idea, but quickly turned into a crusade. Terror captured the ferocity that the genre had been missing, and with their amazing work ethic and nihilistic approach to touring, they became the hardcore flag-bearers of this generation. Terror’s last few albums created movements immediately upon their release. The titles summed up the current climate of hardcore music and served as a rally cry for all its believers. Their new album follows this same suit. The current incarnation of the band, which features the longest tenured lineup in their history, assembled last fall with one intent: to act defiantly in “The 25th Hour.” If this is truly our potential climax, all would be stripped away and we would return to our most basic form.
    [Show full text]
  • Read Razorcake Issue #27 As A
    t’s never been easy. On average, I put sixty to seventy hours a Yesterday, some of us had helped our friend Chris move, and before we week into Razorcake. Basically, our crew does something that’s moved his stereo, we played the Rhythm Chicken’s new 7”. In the paus- IInot supposed to happen. Our budget is tiny. We operate out of a es between furious Chicken overtures, a guy yelled, “Hooray!” We had small apartment with half of the front room and a bedroom converted adopted our battle call. into a full-time office. We all work our asses off. In the past ten years, That evening, a couple bottles of whiskey later, after great sets by I’ve learned how to fix computers, how to set up networks, how to trou- Giant Haystacks and the Abi Yoyos, after one of our crew projectile bleshoot software. Not because I want to, but because we don’t have the vomited with deft precision and another crewmember suffered a poten- money to hire anybody to do it for us. The stinky underbelly of DIY is tially broken collarbone, This Is My Fist! took to the six-inch stage at finding out that you’ve got to master mundane and difficult things when The Poison Apple in L.A. We yelled and danced so much that stiff peo- you least want to. ple with sourpusses on their faces slunk to the back. We incited under- Co-founder Sean Carswell and I went on a weeklong tour with our aged hipster dancing.
    [Show full text]
  • Harmonic Resources in 1980S Hard Rock and Heavy Metal Music
    HARMONIC RESOURCES IN 1980S HARD ROCK AND HEAVY METAL MUSIC A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts in Music Theory by Erin M. Vaughn December, 2015 Thesis written by Erin M. Vaughn B.M., The University of Akron, 2003 M.A., Kent State University, 2015 Approved by ____________________________________________ Richard O. Devore, Thesis Advisor ____________________________________________ Ralph Lorenz, Director, School of Music _____________________________________________ John R. Crawford-Spinelli, Dean, College of the Arts ii Table of Contents LIST OF FIGURES ............................................................................................................................... v CHAPTER I........................................................................................................................................ 1 INTRODUCTION ........................................................................................................................... 1 GOALS AND METHODS ................................................................................................................ 3 REVIEW OF RELATED LITERATURE............................................................................................... 5 CHAPTER II..................................................................................................................................... 36 ANALYSIS OF “MASTER OF PUPPETS” ......................................................................................
    [Show full text]
  • Compound AABA Form and Style Distinction in Heavy Metal *
    Compound AABA Form and Style Distinction in Heavy Metal * Stephen S. Hudson NOTE: The examples for the (text-only) PDF version of this item are available online at: hps://www.mtosmt.org/issues/mto.21.27.1/mto.21.27.1.hudson.php KEYWORDS: Heavy Metal, Formenlehre, Form Perception, Embodied Cognition, Corpus Study, Musical Meaning, Genre ABSTRACT: This article presents a new framework for analyzing compound AABA form in heavy metal music, inspired by normative theories of form in the Formenlehre tradition. A corpus study shows that a particular riff-based version of compound AABA, with a specific style of buildup intro (Aas 2015) and other characteristic features, is normative in mainstream styles of the metal genre. Within this norm, individual artists have their own strategies (Meyer 1989) for manifesting compound AABA form. These strategies afford stylistic distinctions between bands, so that differences in form can be said to signify aesthetic posing or social positioning—a different kind of signification than the programmatic or semantic communication that has been the focus of most existing music theory research in areas like topic theory or musical semiotics. This article concludes with an exploration of how these different formal strategies embody different qualities of physical movement or feelings of motion, arguing that in making stylistic distinctions and identifying with a particular subgenre or style, we imagine that these distinct ways of moving correlate with (sub)genre rhetoric and the physical stances of imagined communities of fans (Anderson 1983, Hill 2016). Received January 2020 Volume 27, Number 1, March 2021 Copyright © 2021 Society for Music Theory “Your favorite songs all sound the same — and that’s okay .
    [Show full text]
  • Order Form Full
    JAZZ ARTIST TITLE LABEL RETAIL ADDERLEY, CANNONBALL SOMETHIN' ELSE BLUE NOTE RM112.00 ARMSTRONG, LOUIS LOUIS ARMSTRONG PLAYS W.C. HANDY PURE PLEASURE RM188.00 ARMSTRONG, LOUIS & DUKE ELLINGTON THE GREAT REUNION (180 GR) PARLOPHONE RM124.00 AYLER, ALBERT LIVE IN FRANCE JULY 25, 1970 B13 RM136.00 BAKER, CHET DAYBREAK (180 GR) STEEPLECHASE RM139.00 BAKER, CHET IT COULD HAPPEN TO YOU RIVERSIDE RM119.00 BAKER, CHET SINGS & STRINGS VINYL PASSION RM146.00 BAKER, CHET THE LYRICAL TRUMPET OF CHET JAZZ WAX RM134.00 BAKER, CHET WITH STRINGS (180 GR) MUSIC ON VINYL RM155.00 BERRY, OVERTON T.O.B.E. + LIVE AT THE DOUBLET LIGHT 1/T ATTIC RM124.00 BIG BAD VOODOO DADDY BIG BAD VOODOO DADDY (PURPLE VINYL) LONESTAR RECORDS RM115.00 BLAKEY, ART 3 BLIND MICE UNITED ARTISTS RM95.00 BROETZMANN, PETER FULL BLAST JAZZWERKSTATT RM95.00 BRUBECK, DAVE THE ESSENTIAL DAVE BRUBECK COLUMBIA RM146.00 BRUBECK, DAVE - OCTET DAVE BRUBECK OCTET FANTASY RM119.00 BRUBECK, DAVE - QUARTET BRUBECK TIME DOXY RM125.00 BRUUT! MAD PACK (180 GR WHITE) MUSIC ON VINYL RM149.00 BUCKSHOT LEFONQUE MUSIC EVOLUTION MUSIC ON VINYL RM147.00 BURRELL, KENNY MIDNIGHT BLUE (MONO) (200 GR) CLASSIC RECORDS RM147.00 BURRELL, KENNY WEAVER OF DREAMS (180 GR) WAX TIME RM138.00 BYRD, DONALD BLACK BYRD BLUE NOTE RM112.00 CHERRY, DON MU (FIRST PART) (180 GR) BYG ACTUEL RM95.00 CLAYTON, BUCK HOW HI THE FI PURE PLEASURE RM188.00 COLE, NAT KING PENTHOUSE SERENADE PURE PLEASURE RM157.00 COLEMAN, ORNETTE AT THE TOWN HALL, DECEMBER 1962 WAX LOVE RM107.00 COLTRANE, ALICE JOURNEY IN SATCHIDANANDA (180 GR) IMPULSE
    [Show full text]
  • Pitman, Sophie; Smith, Pamela ; Uchacz, Tianna; Taape, Tillmann; Debuiche, Colin the Matter of Ephemeral Art: Craft, Spectacle, and Power in Early Modern Europe
    This is an electronic reprint of the original article. This reprint may differ from the original in pagination and typographic detail. Pitman, Sophie; Smith, Pamela ; Uchacz, Tianna; Taape, Tillmann; Debuiche, Colin The Matter of Ephemeral Art: Craft, spectacle, and power in early modern Europe Published in: RENAISSANCE QUARTERLY DOI: 10.1017/rqx.2019.496 Published: 01/01/2020 Document Version Publisher's PDF, also known as Version of record Please cite the original version: Pitman, S., Smith, P., Uchacz, T., Taape, T., & Debuiche, C. (2020). The Matter of Ephemeral Art: Craft, spectacle, and power in early modern Europe. RENAISSANCE QUARTERLY, 73(1), 78-131. [0034433819004962]. https://doi.org/10.1017/rqx.2019.496 This material is protected by copyright and other intellectual property rights, and duplication or sale of all or part of any of the repository collections is not permitted, except that material may be duplicated by you for your research use or educational purposes in electronic or print form. You must obtain permission for any other use. Electronic or print copies may not be offered, whether for sale or otherwise to anyone who is not an authorised user. Powered by TCPDF (www.tcpdf.org) The Matter of Ephemeral Art: Craft, Spectacle, and Power in Early Modern Europe PAMELA H. SMITH, Columbia University TIANNA HELENA UCHACZ, Columbia University SOPHIE PITMAN, Aalto University TILLMANN TAAPE, Columbia University COLIN DEBUICHE, University of Rennes Through a close reading and reconstruction of technical recipes for ephemeral artworks in a manu- script compiled in Toulouse ca. 1580 (BnF MS Fr. 640), we question whether ephemeral art should be treated as a distinct category of art.
    [Show full text]
  • Doom • Appalachian Terror Unit Warcollapse • Imperial
    DOOM • APPALACHIAN TERROR UNIT WARCOLLAPSE • IMPERIAL LEATHER SHADES OF GREY • MASSMORD • resistant culture RESIST •AGRIMONIA • POLICE BASTARD • WAR/PLAGUE AGAINST EMPIRE • OI POLLOI • DRESDEN IN DEFENCE • OILTANKER • NO TOMORROW DEVIATED INSTINCT Now Exclusively Distributed by DOOM Street Date: POLICE BASTARD, 7˝ AVAILABLE NOW! INFORMATION: Artist Hometown: Birmingham, England Key Markets: USA/EUROPE For Fans of: DOOM, DISCHARGE, DEVIATED INSTINCT This is a crust classic back in print. Five songs recorded in 1989, during the same session in which DOOM recorded their brilliant split LP with NO SECURITY. Considered by many to be their best early material. This classic EP contains the songs “Means to an End,” “Relief, Pt. 2,” and of course, “Police Bastard.” This was the second release ever by Profane Existence Records and is considered by many to be a ARTIST: DOOM masterpiece. There are at least five different versions of the cover, but TITLE: POLICE BASTARD all of the records were made using plates from the original masters. LABEL: PROFANE EXISTENCE CAT#: EXIST 001.5 FORMAT: 7˝ Marketing Points: GENRE: CRUST PUNK / D-BEAT * Classic Crust Punk Record by a Legendary Crust Punk Band / METAL * Consistent Seller Over The Years BOX LOT: - SRLP: $4.98 UPC: 661799085205 EXPORT: NO RESTRICTIONS OTHER TITLES DISTRIBUTED BY ILD: Tracklist: POLICE BASTARD / WAR//PLAGUE Split LP 1. Relief Pt. 2 EXIST 117 2. Police Bastard 661799085267 3. Diseased 4. Circles 5. Means To An End Exclusively Distributed by Contact your sales rep: Mike Beer - [email protected] phone 414-672-9948 fax 414-672-9936 www.ildistro.com APPALACHIAN TERROR UNIT Street Date: ARMAGEDDON WON’T BE BROUGHT BY GODS..., 7˝ AVAILABLE NOW! INFORMATION: Artist Hometown: Huntington, West Virginia Key Markets: USA/EUROPE For Fans of: NAUSEA, WOLFBRIGADE, ANTISCHISM Every once in a great while, a new band comes along with such intense fury that they captivate all who hear and see them — APPALACHIAN TERROR UNIT is one such band.
    [Show full text]