Rock Electronic Seen Live Alternative Indie Pop Female Vocalists Hip Hop

Total Page:16

File Type:pdf, Size:1020Kb

Rock Electronic Seen Live Alternative Indie Pop Female Vocalists Hip Hop rock 2995192 electronic 2030443 seen live 1657009 alternative 1586701 indie 1472781 pop 1319040 female vocalists 1284172 hip hop 1164534 metal 905190 classic rock 812175 jazz 810258 alternativerock 804560 punk 653645 experimental 637759 indierock 627463 ambient 621116 trip-hop 602642 folk 594342 singer-songwriter 591996 80s 564501 hard rock 561215 dance 549758 black metal 544750 instrumental 511304 death metal 488455 chillout 484975 hardcore 479949 british 461782 progressive rock 459867 heavy metal 450831 soul 447756 soundtrack 395952 classical 390344 punk rock 386430 industrial 385650 blues 365281 funk 363894 rap 352225 90s 335071 thrash metal 333349 post-rock 323053 acoustic 322794 metalcore 319162 reggae 300833 trance 298202 rnb 292120 japanese 280246 psychedelic 280163 drum and bass 274193 progressive metal 273959 electro 270631 german 264856 emo 261232 new wave 260277 house 258895 70s 252798 melodic death metal 252642 male vocalists 246487 power metal 245494 60s 243748 techno 243016 piano 241138 american 238460 indie pop 228665 country 228564 downtempo 219949 00s 214092 post-punk 212952 cover 203028 synthpop 198577 britpop 196768 gothic metal 194789 oldies 193421 grunge 192591 doom metal 190306 french 185773 j-rock 185073 gothic 184954 j-pop 182924 screamo 182500 guitar 177828 post-hardcore 175285 ska 174820 lounge 163986 idm 162189 polish 161445 symphonic metal 159406 swedish 159155 nu metal 158388 russian 156653 melancholy 153360 grindcore 144763 minimal 140634 new age 139194 folk metal 135281 progressive 134956 dark ambient 133623 pop rock 133453 psychedelic rock 128979 canadian 128873 noise 128149 pop punk 127410 ebm 123370 avant-garde 120144 darkwave 118329 blues rock 115245 latin 115182 industrial metal 115068 deathcore 110560 rock n roll 107151 disco 107058 dub 106500 female 104562 brutal death metal 104003 alternative metal 103054 gothic rock 102441 shoegaze 100908 celtic 99239 stoner rock 91606 folk rock 89503 deutsch 88963 atmospheric 87987 romantic 84591 hardcore punk 82887 anime 80171 psytrance 79044 metalirish 76401 spanish 76298 fusion 76008 italian 75049 sludge 73887 garage rock 73649 acid jazz 73538 lo-fi 73330 viking metal 71248 dubstep 70423 uk 69748 ballad 68930 visual kei 67747 australian 67529 swing 67172 brazilian 66768 dark 66694 smooth jazz 65831 rockhappy 65694 ethereal 65249 glam rock 64588 usa 64322 soft rock 64245 technical death metal 64086 alt-country 63367 norwegian 63264 electropop 62267 live 62203 emocore 60862 drone 60743 rockabilly 59994 baroque 58758 contemporary classical 58463 speed metal 57375 progressive trance 56886 melodic metal 56757 russian rock 56133 underground hip-hop 55709 remix 55637 neofolk 54781 brasil 54039 goth 53489 dancehall 51313 art rock 50892 bossa nova 50652 breakbeat 50380 dark electro 48981 electroclash 48559 rapcore 48279 nu jazz 47364 southern rock 47026 industrial rock 46462 dream pop 46419 mpb 46383 pagan metal 45306 minimal techno 44643 vocal trance 43866 medieval 43763 breakcore 43364 english 42636 christian rock 42338 nu-metal 42123 psychobilly 40175 ska punk 39392 thrash 37077 classic 8384 Rock Electronica Live Rock Indie Pop Genero Hip-Hop Metal Rock Jazz Rock Punk Rock Ambiental Hip-Hop Folk Epoca Rock Electronica Metal Metal Ambiental Punk Paises Rock Metal Afroamericana Epoca Rock Electronica Afroamericana Afroamericana Afroamericana Epoca Metal Rock Ambiental Metal Afroamericana Electronica Afroamericana Paises Rock Electronica Metal Electronica Paises Punk Punk Rock Electronica Epoca Metal Genero Metal Epoca Electronica Ambiental Paises Indie Pop Electronica Epoca Punk Pop Electronica Pop Metal Epoca Rock Metal Paises Rock Gotico Pop Punk Punk Punk Ambiental Electronica Paises Metal Paises Metal Paises Punk Ambiental Metal Folk Ambiental Rock Rock Paises Pop Punk Electronica Afroamericana Rock Paises Metal Metal Rock Afroamericana Electronica Genero Metal Metal Rock Paises Rock Rock Folk Paises Ambiental Epoca Punk Electronica Metal Paises Paises Rock Jazz Paises Metal Rock Jazz Metal Electronica Paises Metal Paises Jazz Paises Jazz Rock Rock Paises Rock Metal Paises Pop Electronica Live Punk Ambiental Noise Rock Epoca Epoca Metal Electronica Metal Rock Afroamericana Folk Paises Gotico Afroamericana Rock Electronica Pop Afroamericana Punk Jazz Rock Rock Pop Metal Electronica Electronica Epoca Punk Electronica Paises Rock Metal Punk Epoca.
Recommended publications
  • Zfwtvol. 9 No. 3 (2017) 269-288
    ZfWT Vol. 9 No. 3 (2017) 269-288 FEMINIST READING OF GOTHIC SUBCULTURE: EMPOWERMENT, LIBERATION, REAPPROPRIATION Mikhail PUSHKIN∗ Abstract: Shifting in and out of public eye ever since its original appearance in the 1980ies, Gothic subculture, music and aesthetics in their impressive variety have become a prominent established element in global media, art and culture. However, understanding of their relation to female gender and expression of femininity remains ambiguous, strongly influenced by stereotypes. Current research critically analyses various distinct types of Gothic subculture from feminist angle, and positively identifies its environment as female-friendly and empowering despite and even with the help of its strongly sexualized aesthetics. Although visually geared towards the male gaze, Gothic subcultural environment enables women to harness, rather than repress the power of attraction generated by such aesthetics. Key words: Subculture, Feminism, Gothic. INTRODUCTION Without a doubt, Gothic subculture is a much-tattered subject, being at the centre of both popular mass media with its gossip, consumerism and commercialization, as well as academia with diverse papers debasing, pigeonholing and even defending the subculture. Furthermore, even within the defined, feminist, angle, a thorough analysis of Gothic subculture would require a volume of doctoral dissertation to give the topic justice. This leaves one in a position of either summarizing and reiterating earlier research (a useful endeavour, however, bringing no fresh insight), or striving for a kind of fresh look made possible by the ever-changing eclectic ambivalent nature of the subculture. Current research takes the middle ground approach: touching upon earlier research only where relevant, providing a very general, yet necessary outlook on the contemporary Gothic subculture in its diversity, so as to elucidate its more relevant elements whilst focusing on the ways in which it empowers women.
    [Show full text]
  • Subjectivity in American Popular Metal: Contemporary Gothic, the Body, the Grotesque, and the Child
    CORE Metadata, citation and similar papers at core.ac.uk Provided by Glasgow Theses Service Subjectivity In American Popular Metal: Contemporary Gothic, The Body, The Grotesque, and The Child. Sara Ann Thomas MA (Hons) Submitted in fulfilment for the Degree of Doctor of Philosophy Faculty of Arts University of Glasgow January 2009 © Sara Thomas 2009 Abstract This thesis examines the subject in Popular American Metal music and culture during the period 1994-2004, concentrating on key artists of the period: Korn, Slipknot, Marilyn Manson, Nine Inch Nails, Tura Satana and My Ruin. Starting from the premise that the subject is consistently portrayed as being at a time of crisis, the thesis draws on textual analysis as an under appreciated approach to popular music, supplemented by theories of stardom in order to examine subjectivity. The study is situated in the context of the growing area of the contemporary gothic, and produces a model of subjectivity specific to this period: the contemporary gothic subject. This model is then used throughout to explore recurrent themes and richly symbolic elements of the music and culture: the body, pain and violence, the grotesque and the monstrous, and the figure of the child, representing a usage of the contemporary gothic that has not previously been attempted. Attention is also paid throughout to the specific late capitalist American cultural context in which the work of these artists is situated, and gives attention to the contradictions inherent in a musical form which is couched in commodity culture but which is highly invested in notions of the ‘Alternative’. In the first chapter I propose the model of the contemporary gothic subject for application to the work of Popular Metal artists of the period, drawing on established theories of the contemporary gothic and Michel Foucault’s theory of confession.
    [Show full text]
  • Live to the Metal Music Živi Uz Metal Muziku
    LIVE TO THE METAL MUSIC ŽIVI UZ METAL MUZIKU Autori: JOVANA KAZIMIROVIĆ IVA NICULOVIĆ VIII razred, OŠ “Branko Radičević” Negotin Regionalni Centar za talente Bor Mentor: VESNA PRVULOVIĆ prof. Engleskog jezika i književnosti, OŠ “Branko Radičević” Negotin Negotin, aprila 2013. godine 1 Contents Abstract……………………………………………………………………………………3 Summary…………………………………………………………………………………..4 Introduction………………………………………………………………………………..5 Metal music………………………………………………………………………………..6 Sub-genres of Heavy Metal……………………………………………………………….10 Conclusion………………………………………………………………………………...15 2 Abstract Metal is a movement of music that started essentially with the heavy rock movements. While there was not actual metal during that time, bands were experimenting with heaviness, and it was no surprise that the first metal band (Black Sabbath) was soon to be born. Metal music is a worldwide form of music that has held the attention of younger generations for over 50 years. Metal music has branched off into different sub genres, but one thing is the main motivator for the survival of metal music through all the generations. That is a need for younger generations to rebel against the status quo, to express themselves and their frustration of an outdated way of life. This paper presents the development of metal music from the 1960s to the present day, with special emphasis on some of the metal sub-genre of music. Originally, metal was one genre. But as time passed more genres were born. Today metal is a global movement and has hundreds of sub-genres such as Heavy, Death, Black, Doom, Power, Thrash, Speed, Folk, Industrial, Symphonic, Gothic & Nu-Metal, to name just a few. They range from sheer brutality to smooth and melodic rhythms.
    [Show full text]
  • Symphonic Metal: an Endangered Subgenre?
    Institute for the Study of Culture (IKV) U. of Southern Denmark (SDU) Campusvej 55, Odense Seminar Series Topics in the Aesthetics of Music and Sound Thursday, September 10, 2015 3:15-5 p.m. in U67 Clash of the Titans - Symphonic Metal: An Endangered Subgenre? Evelyn Schrauder is a second-year year student in the Master’s Program in Middle East Studies at the University of Southern Denmark. She holds a BA in English Literature from the Faculty of Letters, West University of Timişoara, Romania. Her research interests include anthropology, migration studies, music aesthetics, symbols in rock and metal lyrics, gender studies, black metal theory and visual arts. Evelyn has been writing poems for the past thirteen years and her first volume of poetry will soon be appearing. Abstract: Symphonic metal, often called “operatic metal” continues to be one of the most appreciated and fan-embraced metal subgenres. Since its emergence on the metal scene during the mid-1990s, it has gained large crowds of enthusiastic fans and countless positive reviews by music critics, while succeeding in broadening the horizons of two categories of public: metal aficionados and classical music lovers. The poetic and symbolic lyrics - together with astounding live performances that incorporate theatrical and fantasy elements - bestow an undeniable value to symphonic metal. The immense appreciation that this subgenre has garnered ever since it conquered the metal scene (with the help of Therion, Nightwish, The Gathering, Epica, Within Temptation or After Forever) notwithstanding, we have seen that recently, new symphonic metal identities are barely managing to emerge from their cocoons.
    [Show full text]
  • Metaldata: Heavy Metal Scholarship in the Music Department and The
    Dr. Sonia Archer-Capuzzo Dr. Guy Capuzzo . Growing respect in scholarly and music communities . Interdisciplinary . Music theory . Sociology . Music History . Ethnomusicology . Cultural studies . Religious studies . Psychology . “A term used since the early 1970s to designate a subgenre of hard rock music…. During the 1960s, British hard rock bands and the American guitarist Jimi Hendrix developed a more distorted guitar sound and heavier drums and bass that led to a separation of heavy metal from other blues-based rock. Albums by Led Zeppelin, Black Sabbath and Deep Purple in 1970 codified the new genre, which was marked by distorted guitar ‘power chords’, heavy riffs, wailing vocals and virtuosic solos by guitarists and drummers. During the 1970s performers such as AC/DC, Judas Priest, Kiss and Alice Cooper toured incessantly with elaborate stage shows, building a fan base for an internationally-successful style.” (Grove Music Online, “Heavy metal”) . “Heavy metal fans became known as ‘headbangers’ on account of the vigorous nodding motions that sometimes mark their appreciation of the music.” (Grove Music Online, “Heavy metal”) . Multiple sub-genres . What’s the difference between speed metal and death metal, and does anyone really care? (The answer is YES!) . Collection development . Are there standard things every library should have?? . Cataloging . The standard difficulties with cataloging popular music . Reference . Do people even know you have this stuff? . And what did this person just ask me? . Library of Congress added first heavy metal recording for preservation March 2016: Master of Puppets . Library of Congress: search for “heavy metal music” April 2017 . 176 print resources - 25 published 1980s, 25 published 1990s, 125+ published 2000s .
    [Show full text]
  • Exploring the Chinese Metal Scene in Contemporary Chinese Society (1996-2015)
    "THE SCREAMING SUCCESSOR": EXPLORING THE CHINESE METAL SCENE IN CONTEMPORARY CHINESE SOCIETY (1996-2015) Yu Zheng A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS December 2016 Committee: Jeremy Wallach, Advisor Esther Clinton Kristen Rudisill © 2016 Yu Zheng All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor This research project explores the characteristics and the trajectory of metal development in China and examines how various factors have influenced the localization of this music scene. I examine three significant roles – musicians, audiences, and mediators, and focus on the interaction between the localized Chinese metal scene and metal globalization. This thesis project uses multiple methods, including textual analysis, observation, surveys, and in-depth interviews. In this thesis, I illustrate an image of the Chinese metal scene, present the characteristics and the development of metal musicians, fans, and mediators in China, discuss their contributions to scene’s construction, and analyze various internal and external factors that influence the localization of metal in China. After that, I argue that the development and the localization of the metal scene in China goes through three stages, the emerging stage (1988-1996), the underground stage (1997-2005), the indie stage (2006-present), with Chinese characteristics. And, this localized trajectory is influenced by the accessibility of metal resources, the rapid economic growth, urbanization, and the progress of modernization in China, and the overall development of cultural industry and international cultural communication. iv For Yisheng and our unborn baby! v ACKNOWLEDGMENTS First of all, I would like to show my deepest gratitude to my advisor, Dr.
    [Show full text]
  • Death/Doom Metal As Dark Leisure
    Gloomy Divergence Death/Doom Metal as Dark Leisure M. Selim Yavuz, Leeds Beckett University [email protected] Overview • Leisure and Dark Leisure • Death/Doom and Style • Death/Doom culture and dark leisure activity Leisure Chris Rojek Leisure as an end in itself Escape Karl Spracklen Habermas Communicative and instrumental rationality Dark Leisure DJ Williams ‘Mythical vampires, like people, are a complicated mixture of light and dark. Many people who self-identify as vampires believe that it is healthy to acknowledge and manage one’s darkness, rather than deny and avoid it.’ 2008, Contemporary vampires and (blood-red) leisure: Should we be afraid of the dark? Leisure/Loisir, 32, 513-539. Spracklen and Spracklen ‘Individuals in the Goth scene deliberately seek out Goth as a place to express themselves through dark leisure: something out-of-the-ordinary, something that plays with mainstream fears of unbridled sexuality, the carnivalesque, and the dark spiritualities of anti-Christian paganism and elitist Satanism.’ 2012, Pagans and Satan and Goths, oh my: dark leisure as communicative agency and communal identity on the fringes of the modern Goth scene. World Leisure Journal, 54 (4), 350-62. Death/Doom ‘Doom metal has not received much media attention. It's been deemed a financial non-starter.’ Solstice in Terrorizer #14 (1994) ‘Doom is doomed never to be a commercial proposition.’ Terrorizer #143 (2006) Death/Doom [referring to doom/death music and listeners] ‘whiny goths’ ‘ghey [sic]’ ‘romantic bullshit’ ‘[As a response
    [Show full text]
  • Reading the Surface: the Danish Gothic of B.S. Ingemann, H.C
    Reading the Surface: The Danish Gothic of B.S. Ingemann, H.C. Andersen, Karen Blixen and Beyond Kirstine Marie Kastbjerg A dissertation submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee: Marianne Stecher. Chair Jan Sjaavik Marshall Brown Program Authorized to Offer Degree: Scandinavian Studies ©Copyright 2013 Kirstine Marie Kastbjerg Parts of chapter 7 are reprinted by permission of the publishers from “The Aesthetics of Surface: the Danish Gothic 1820-2000,” in Gothic Topographies ed. P.M. Mehtonen and Matti Savolainen (Farnham: Ashgate, 2013), pp. 153–167. Copyright © 2013 University of Washington Abstract Reading the Surface: The Danish Gothic of B.S. Ingemann, H.C. Andersen, Karen Blixen and Beyond Kirstine Marie Kastbjerg Chair of the Supervisory Committee: Professor in Danish Studies Marianne Stecher Department of Scandinavian Studies Despite growing ubiquitous in both the popular and academic mind in recent years, the Gothic has, perhaps not surprisingly, yet to be examined within the notoriously realism-prone literary canon of Denmark. This dissertation fills that void by demonstrating an ongoing negotiation of Gothic conventions in select works by canonical Danish writers such as B.S. Ingemann, Hans Christian Andersen, and Karen Blixen (Isak Dinesen), as well as contemporary writers such as Peter Høeg and Leonora Christina Skov. This examination does not only broaden our understanding of these culturally significant writers and the discourses they write within and against, it also adds to our understanding of the Gothic – an infamously malleable and indefinable literary mode – by redirecting attention to a central feature of the Gothic that has not received much critical attention: the emphasis on excess, spectacle, clichéd conventions, histrionic performances, its hyperbolic rhetorical style, and hyper-visual theatricality.
    [Show full text]
  • A Journal of the Radical Gothic
    issue #1 gracelessa journal of the radical gothic And the ground we walk is sacred And every object lives And every word we speak Will punish or forgive And the light inside your body Will shine through history Set fire to every prison Set every dead man free “The Sound Of Freedom” Swans cover photograph by Holger Karas GRACELESS Issue one, published in February 2011 Contributors and Editors: Libby Bulloff (www.exoskeletoncabaret. com), Kathleen Chausse, Jenly, Enola Dismay, Johann Elser, Holger Karas (www. seventh-sin.de), Margaret Killjoy (www. birdsbeforethestorm.net). Graceless can be contacted at: www.graceless.info [email protected] This work is licensed under the Creative Commons Attribution-NonCommercial- ShareAlike 3.0 Unported License. To view a copy of this license, visit http:// creativecommons.org/licenses/by-nc-sa/3.0/ or send a letter to: Creative Commons 171 Second Street, Suite 300 San Francisco, California, 94105 USA What this license means is that you are free (and encouraged) to take any content from Graceless and re-use it in part or whole, or make your own work that incorporates ours, as long as you: attribute the creator of the work, share the work with the same license, and are using the product non-commercially. Note that there is a photograph that is marked as copyright to its creator, which was used with permission and may not be included in derivative works. We have chosen a Creative Commons licensing because we believe in free cultural exchange but intend to limit the power of capitalism to co-opt our work for its twisted ends.
    [Show full text]
  • Bird Biodiversity in Heavy Metal Songs
    Journal of Geek Studies jgeekstudies.org Bird biodiversity in heavy metal songs Henrique M. Soares1, João V. Tomotani2, Barbara M. Tomotani 3, Rodrigo B. Salvador3 1 Massachusetts Institute of Technology. Cambridge, MA, U.S.A. 2 Escola Politécnica, Universidade de São Paulo. São Paulo, SP, Brazil. 3 Museum of New Zealand Te Papa Tongarewa. Wellington, New Zealand. Emails: [email protected]; [email protected]; [email protected]; [email protected] Birds have fascinated humankind since 1), birds are not typically seen as badass forever. Their ability to fly, besides being a enough to feature on heavy metal album constant reminder of our own limitations, covers and songs, even though sometimes was a clear starting point to link birds to they already have the right makeup for it deities and the divine realm (Bailleul-LeSu- (Fig. 2). er, 2012). Inevitably, these animals became very pervasive in all human cultures, myths As we highlighted above, the birds’ and folklore (Armstrong, 1970). In fact, they power of flight is their main feature, but are so pervasive that they have found their they have another power up their feathery way to perhaps the most unlikely cultural sleeves. And this feat is one that people tend niche: Heavy Metal. to consider one of the most human endeav- ors of all: music. Most birds are deemed With some exceptions, such as raptors melodious creatures, like the slate-colored (Accipitriformes) and ravens/crows1 (Fig. solitaire (Myadestes unicolor) from Central Figure 1. Examples of album covers with birds: Devil’s Ground, by Primal Fear (Nuclear Blast, 2004), and the fan- tastic Winter Wake, by Elvenking (AFM, 2006).
    [Show full text]
  • 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.
    [Show full text]
  • Everett Rock Band/Musician List "GH"
    Everett Rock Band/Musician List "G-H" Last Update: 6/28/2020 "G-H" List for Bands/Musicians Genre* From & Genre a Gamble in the Litter F I Mukilteo Minimalist / Folk / Indie G2 RB S H IL R&B/Soul / rap / hip hop Gabe Mintz I R A Seattle Indie / Rock / Acoustic Gabe Rozzell/Decency F C Gabe Rozzell and The Decency Portland Folk / Country Gabriel Kahane P Brooklyn, NY Pop Gabriel Mintz I Seattle Indie Gabriel Teodros H Rp S S Seattle/Brooklyn NY Hip Hop / Rap / Soul Gabriel The marine I Long Island Indie Gabriel WolfChild SS F A Olympia Singer Songwriter / folk / Acoustic Gaby Moreno Al S A North Hollywood, CA Alternative / Soul / Acoustic Gackstatter R Fk Seattle Rock / Funk Gadjo Gypsies J Sw A Bellingham Jazz / Swing / Acoustic GadZooks P Pk Seattle Pop Pk Gaelic Storm W Ce A R Nashville, TN World / Celtic / Acoustic Rock Gail Pettis J Sw Seattle Jazz / Swing Galapagos Band Pr R Ex Bellingham progressive/experimental rock Galaxy R Seattle Rock Gallery of Souls CR Lake Stevens Rock / Powerpop / Classic Rock Gallowglass Ce F A Bellingham traditional folk and Irish tunes Gallowmaker DM Pk Bellingham Deathrock/Surf Punk Gallows Hymn Pr F M Bellingham Progressive Folk Metal Gallus Brothers C B Bellingham's Country / Blues / Death Metal Galperin R New York City bossa nova rock GAMBLERS MARK Sf Ry El Monte CA Psychobilly / Rockabilly / Surf Games Of Slaughter M Shelton Death Metal / Metal GammaJet Al R Seattle Alternative / Rock gannGGreen H RB Kent Hip Hop / R&B Garage Heroes B G R Poulsbo Blues / Garage / Rock Garage Voice I R Seattle's Indie
    [Show full text]