Leftfield Song of Life Lyrics
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Mixology Shaken Or Stirred? Olive Or Onion? Martini Cocktail Sipping Is an Art Developed Over Time
Vol: XXXVI Wednesday, April 3, 2002 INSIDI: THIS WI;I;K ^ PHOTO BY SOFIA PANNO Various dancers from all the participating tribes and nations in this event; Blood Tribe, Peigan Nation and Blackfoot Nation performing a dance together. LCC celebrates flboriginal Ruiareness Day BY SOFIA PANNO president. the weather," said Gretta Old Shoes, Endeawour Staff The Rocky Lake Singers and Blood Tribe member and first-year Drummers entertained the crowd student at LCC. gathered around Centre Core with their Events such as this help both aboriginal As Lethbridge Community College traditional singing and drum playing, as and non-aboriginal communities better First Nations and Aboriginal Awareness did the exhibition dancers with their understand each other. Day commenced, the beat of the drums unique choreography. "It's very heart-warming to see students and the echoes from the singing flowed According to native peoples' culture from LCC take in our free event because through LCC's hallways on March 27, and beliefs passed down from one that's our main purpose, to share our 2002. generation to the next, song and dance is aboriginal culture," said David. "Our theme was building used to honour various members of a LCC First Nations Club members relationships," said Salene David, First tribe. Some songs honour the warriors indicate that awareness of native peoples' Nations Club member/volunteer. while others, the women of the tribe. current needs at LCC is a necessary step, According to the club's president Bill Canku Ota, an online newsletter in understanding them and their culture. Healy, the LGC First Nations Club Piita celebrating Native America explains the "We [the native peoples] have been Pawanii Learning Society is responsible Midewiwin Code for Long Life and here since the college has been opened for the organizing of this year's event. -
The Menstrual Cramps / Kiss Me, Killer
[email protected] @NightshiftMag NightshiftMag nightshiftmag.co.uk Free every month NIGHTSHIFT Issue 279 October Oxford’s Music Magazine 2018 “What was it like getting Kate Bush’s approval? One of the best moments ever!” photo: Oli Williams CANDYCANDY SAYSSAYS Brexit, babies and Kate Bush with Oxford’s revitalised pop wonderkids Also in this issue: Introducing DOLLY MAVIES Wheatsheaf re-opens; Cellar fights on; Rock Barn closes plus All your Oxford music news, previews and reviews, and seven pages of local gigs for October NIGHTSHIFT: PO Box 312, Kidlington, OX5 1ZU. Phone: 01865 372255 NEWS Nightshift: PO Box 312, Kidlington, OX5 1ZU Phone: 01865 372255 email: [email protected] Online: nightshiftmag.co.uk host a free afternoon of music in the Wheatsheaf’s downstairs bar, starting at 3.30pm with sets from Adam & Elvis, Mark Atherton & Friends, Twizz Twangle, Zim Grady BEANIE TAPES and ALL WILL BE WELL are among the labels and Emma Hunter. releasing new tapes for Cassette Store Day this month. Both locally- The enduring monthly gig night, based labels will have special cassette-only releases available at Truck run by The Mighty Redox’s Sue Store on Saturday 13th October as a series of events takes place in record Smith and Phil Freizinger, along stores around the UK to celebrate the resurgence of the format. with Ainan Addison, began in Beanie Tapes release an EP by local teenage singer-songwriter Max October 1991 with the aim of Blansjaar, titled `Spit It Out’, as well as `Continuous Play’, a compilation recreating the spirit of free festivals of Oxford acts featuring 19 artists, including Candy Says; Gaz Coombes; in Oxford venues and has proudly Lucy Leave; Premium Leisure and Dolly Mavies (pictured). -
KMFDM What Do You Know, Deutschland? Mp3, Flac, Wma
KMFDM What Do You Know, Deutschland? mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: What Do You Know, Deutschland? Country: US Released: 1991 Style: Industrial MP3 version RAR size: 1769 mb FLAC version RAR size: 1775 mb WMA version RAR size: 1358 mb Rating: 4.3 Votes: 448 Other Formats: ASF MP1 FLAC AHX DMF WAV VQF Tracklist 1 Kickin' Ass 4:08 2 Me I Funk 8:24 3 What Do You Know? 5:36 4 Conillon 6:03 5 Itchy Bitchy 3:38 6 Deutsche Schuld 4:49 7 Sieg Sieg 5:36 8 Positiv 3:32 9 Lufthans 4:49 10 Itchy Bitchy (Dance Version) 3:58 11 The Unrestrained Use Of Excessive Force 7:12 Companies, etc. Phonographic Copyright (p) – Wax Trax! Records, Inc. Copyright (c) – Freibank Credits Performer – En-Esch*, Jr. Blackmale, Nainz Watts*, Sasha Konietzko* Producer – KMFDM Written By – Blackmale/Blackmale (tracks: 9), Konietzko/Watts (tracks: 1 to 4, 6 to 8, 11), Konietzko/Watts/Blackmale (tracks: 5, 10) Written-By – Blackmale* (tracks: 5, 9, 10), Watts* (tracks: 1 to 8, 10, 11), Konietzko* (tracks: 1 to 8, 10, 11) Notes This is a reissue of KMFDM's first European release. Comes in a jewel case with a six panel folder. Recorded at The Building Site & Zitty Sound, Hamburg, West Germany. Published by Freibank. © Freibank ℗ Wax Trax Records Inc. Manufactured, marketed & distributed by Wax Trax Records. Printed in Canada. Made in U.S.A. by P.D.O. Kein Mehrheit Für Die Mitleid. "No pity for the majority." The durations on the back cover are incorrect: 1) 4:01, 2) 8:14, 3) 6:25, 4) 5:50, 5) 3:33, 6) 4:45, 7) 5:33, 8) 3:25, 9) 4:48, 10) 4:00, 11) 7:03 Below are the correct durations. -
Leftfield Leftism Mp3 Download
Leftfield leftism mp3 download click here to download Amazon Music Unlimited subscribers can play 40 million songs, thousands of playlists and ad-free stations including new releases. Learn More · Buy MP3. 1, Release The Pressure. 2, Afro-Left. 3, Melt. 4, Song Of Life. 5, Original. 6, Black Flute. 7, Space Shanty. 8, Inspection (Check One). 9, Storm 10, Open Up. Buy Leftism: Read 91 Digital Music Reviews - www.doorway.ru FreeDownloadMp3 - Leftfield free mp3 (wav) for download! Newest Collection of Leftfield albums in mp3 archive. download full album: Leftism (Cd 1). Leftism 22 | Leftfield to stream in hi-fi, or to download in True CD Quality on www.doorway.ru Click here to use our Flash Player (MP3 only). Listen free to Leftfield – Leftism (Release the Pressure, Afro‐Left and more). 11 tracks (). Leftism is the debut Song of Life. Buy. More. Set track as current. Download Leftfield Leftism (Cd 1) mp3 album. Leftism (Cd 1) high quality complete mp3 album. Song Of Life (Album Version) 5. Original (Album Version) 6. Black Flute 7. Space Shanty (Album Version) 8. Inspection (Check One) (Album. Buy Leftism at Juno Download. In stock now for same day shipping. Leftism. leftism 22 ( reissue) by leftfield buy online at resident, here, 1 of in with 'Not Forgotten' (a song that established a template for a new strain of British. Buy Leftism (reissue) at Juno Records. In stock now Format: trifold gram vinyl 3xLP + MP3 download code. Cat: Other releases by LEFTFIELD. Verified account. @Leftfield . Leftism "22" Out Now! . link to Tweet; Embed Tweet. COPELAND, Eric - Goofballs (DFA US) LP + MP3 download code #leftfield. -
Black Monday Magazine
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Negotiating Identity in Contemporary Playwriting
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by White Rose E-theses Online Negotiating Identity in Contemporary Playwriting Morven Crombie Hamilton Ph.D. University of York Department of Theatre, Film and Television January 2014 Abstract In this dissertation, I discuss the process of playwriting in Scottish dialect: why Scottish writers choose not to write in Standard English; how and why they choose their specific dialect; what problems lie in the writing of dialect plays; and what problems may arise in performance and production. Following on from that, I also investigate why Scottish playwrights often find themselves excluded from English theatres - particularly from the London stage - and what cultural stereotypes seem to fuel this problem. I have examined Scottish dialect plays and playwrights’ accounts from the 1940s onwards, as well as considering the critical response to these plays. In the light of this contextual background, I also analyse my own personal experience as a playwright over the course of my PhD by Practice at the University of York, and my experience as a Glaswegian playwright at an English university in a traditional English town. My dissertation begins by discussing why Scottish playwrights choose Scottish dialects, focussing in particular on the idea of language survival and resistance to English hegemony. I examine the merits and effects of urban and rural dialects, investigating why rural dialects are now largely neglected and why urban dialects are vital to representations of class and city life in modern Scotland. I scrutinise the problems of writing dialect, and the lack of official spelling and prevalence of profanity in urban dialects, which present particular problems. -
Stänkernde Chronisten Der Vorstadthölle
# 2014/16 dschungel https://jungle.world/artikel/2014/16/staenkernde-chronisten-der-vorstadthoelle Das englische Punk-Duo Sleaford Mods auf Tour Stänkernde Chronisten der Vorstadthölle Von Kristof Maria Künssler Das nordenglische Duo Sleaford Mods ist das, was Punk hätte werden können – würde er nicht seit vier Jahrzehnten an seiner eigenen Konservativität ersticken. Dass wir uns nicht falsch verstehen: Punk war zweifelsohne wichtig in der Geschichte der Jugendkulturen, und ist es nach wie vor – als Tape im Auto, kecker Modetipp und Zutat für die individuelle Charakterbildung. Und zumindest weißen Mittelstandsjungs kann in ihrer adoleszenten Sinnsuche kaum Besseres passieren, als mit dem Geschepper anderer wenig älterer weißer Mittelstandsjungs in Kontakt zu kommen. Allein, als Sprachrohr der Kritik an gesellschaftlichen Missständen dient Punk – seien wir ehrlich – schon lange nicht mehr. So wie die Popkultur generell seit einer Weile unfähig scheint, relevante Kommentatoren des Status quo hervorzubringen. Entweder äußern sich die Künstler auf banale Weise oder sie wissen schlicht nicht, wovon sie sprechen. Umso begrüßenswerter, wenn sie mal wieder auftaucht, die musikalische outsider art, die in abgehängten, miefigen Vorstädten so etwas wie ein – wenn auch mieses – Lebensgefühl treffend vertont. Sleaford Mods tun so etwas. Angefangen haben sie vor wenigen Jahren im drögen Großraum Nottingham. Mit einer handvoll CD-Rs und Veröffentlichungen auf Kleinstlabels sind sie bisher glücklicherweise nicht von der Musikindustrie vereinnahmt worden und bewegen sich bewusst in den Überresten der britischen und nun erstmals auch kontinentaleuropäischen DIY-Strukturen. Sleaford Mods, benannt nach einem Nachbarkaff, aus dem die beiden Bandmitglieder nicht kommen, und einer britischen Subkultur, der sie längst nicht mehr angehören, fabrizieren nichts Spektakuläres. -
The Art of Surprising Duos
proudly presents Ungewöhnliche Zeiten eröffnen Möglichkeiten jenseits des Standards. Wenn das Bekannte nicht möglich ist, ist es eine gute Zeit Ungewöhnliches zu präsentieren und die Räume hinter den sich öffnenden Türen zu betreten. Zeit für ein Denken abseits der bekannten Schubladen. Ein LUDENSMOVENDO Theater Special Offer In Zeiten von ungenauen Lockerungen möchten wir Theatern ein besonderes Angebot machen. Solange nicht mit vollen Häusern kalkuliert werden kann und auf den Bühnen keine Orchester oder Ensemble-Theater-Produktionen angeboten werden können, Solange überlegt werden muss, welches Angebot an hochwertigen Künstlern vor einem wegen der Einschränkungen halb vollen Saal Sinn macht. Solange beim Publikum die Sehnsucht nach Kultur im Theater auf neue Art entflammt ist, möchten wir das Fenster nutzen, um ungewöhnliche Musik-Duos vorzustellen, die das Publikum auf ihre jeweils sehr spezielle Art überraschen, unterhalten und inspirieren. Seien Sie gespannt auf je ein Duo aus den Stilrichtungen v Electronic/Rock n`Roll/Chansons Mona Mur & En Esch v Singer/Songwriter/Country Hanna Fearns & Ken Stringfellow v Jazz Roman & Julian Wasserfuhr v Klassik & Improvisation Sachiko Furuhata & Benedikt ter Braak Foto by Jan Riephoff "Strange and scary Rock n Roll Cabaret" "Halb Marlene Dietrich, halb Black Sabbath" (beide Nemesis to Go, OK) "Wie Ilse Werner auf Elektro-Drogen" (Westzeit) “.. ein schwüler Trip durch eine musikalische Landschaft tiefschwarz wie Tricky, wie eine Alptraum-Version von Donna Summer ...das Modern Jazz Quartet gone Stoner-Techno.“ (THE WIRE) 2 “Mona Mur und En Esch erzeugen das Feeling eines Brecht’schen Punk Cabarets viel effektiver als die Dresden Dolls es je hingekriegt haben. Zeigt der Auftritt nach außen einen Hauch kühle Zurückhaltung, so spürt man kochende Leidenschaften gleich unter der Oberfläche. -
PRESSEMITTEILUNG 15.06.2016 Sleaford Mods Kommen Am 25
FKP Scorpio Konzertproduktionen GmbH Große Elbstr. 277 a ∙ 22767 Hamburg Tel. (040) 853 88 888 ∙ www.fkpscorpio.com PRESSEMITTEILUNG 15.06.2016 Sleaford Mods kommen am 25. November in die Fabrik Nottinghams geliebte Söhne sind zurück – oder die meistgehassten Söhne, je nachdem, welcher politischen Richtung man angehört. Und nahezu jeder politische Richtung ist die falsche, denn wenn man den Ausbrüchen des Rappers Jason Williamson zuhört, muss man feststellen: Hass kann doch eine Lösung sein. Wie der Mann aus den East Midlands mit seinem schweren Dialekt über sein verf****tes Land, die besch*****ne Regierung, die verpi*****te Polizei, die verfl******te Armut, die verd*****te Langeweile und alles andere, was ihm auf dem Herzen liegt, herzieht, das ist schon aller Ehren wert. Sein Partner, der Multiinstrumentalist Andrew Fearn, legt minimalistische Beats und krachende Bassläufe darunter und versetzt das Konglomerat mit einigen Soundeffekten. Mehr braucht es nicht, um eine extrem pessimistische Zustandsbeschreibung von England zu geben. Das hat lange Tradition auf der Insel, denn seit Churchill bis Thatcher und Blair und Cameron lag und liegt doch immer noch vieles oder, wenn man den Sleaford Mods folgt, alles im Argen. Irgendwo zwischen Mod-Kultur und Wu-Tang Clan liegen die Wurzeln dieses Duos, das sich als Punk definiert und behauptet, es interessiere sich im Großen und Ganzen für gar nichts. Im vergangenen Jahr hatten Sleaford Mods nach vielen Jahren mit ihrem Album „Key Markets“ endlich auch den Charterfolg, der ihnen zusteht, denn die enttäuschte Jugend Großbritanniens hat längst erkannt, wer ihre Stimme in Wahrheit vertritt. Schon lange klang Verweigerung nicht mehr so gut wie hier. -
Chris Cunningham
CHRIS CUNNINGHAM Chris Cunningham es un video-artista fundamentalmente conocido por su trabajo en el área del video musical. Chris Cunningham nació en Reading (Inglaterra) en 1970. Desde muy niño se aficionó al dibujo, luego a hacer esculturas, las cuales fotografiaba. Su carrera artística la inició en la revista de cómics 2000AD bajo el pseudónimo de Chris Halls. Posteriormente trabaja en los efectos especiales de películas como Alien 3, Alien: Resurrección y el Juez Dredd. Trabajaría también en las maquetas de films como Hardware y Nightbreed. Estuvo involucrado en el proyecto del film Inteligencia artificial cuando Stanley Kubrick se ocupaba del mismo. Debutó en el terreno del video musical en 1995, de la mano de Warp Records, con la realización del video promocional de "Second Bad Vibel" (Autechre), y continuó su trabajo con artistas como Squarepusher, Björk, Madonna, Portishead y, sobre todo, Aphex Twin, entre otros. Su segundo video para este músico ("Windowclicker", 1999) fue censurado por MTV en Estados Unidos. En 2000, por su video para "All Is Full Of Love" (Björk), fue premiado por MTV, em los Music Week CAD Awards, en los MVPA Awards y en los Design And Art Direction Awards. En este último certamen obtuvo, entre otras medallas, una de oro por su dirección en la categoría "Pop Promos". Ha realizado comerciales de televisión para marcas internacionales como Nissan o Sony. Entre sus otros trabajos destacan la video-instalación Flex (presentada en ocasión de la exposición "Apocalypse" de la Royal Academy of Arts en 2000) y los cortometrajes Monkey Drummer y Rubber Johnny, todos ellos con música de Aphex Twin. -
394 GLOSSARY Acid Jazz Late 1980S and 1990S
GLOSSARY Acid Jazz Late 1980s and 1990s trend where “London fashion victims created their own early seventies-infatuated bohemia by copying jazz-funk records of the era note by note.”1 Associated with DJ Giles Peterson, acid jazz combined jazz and funk influence with electronica to produce a “danceable” version of jazz. Some of the most prominent British artists associated with acid jazz include are the band 4Hero, producer Ronny Jordan, and the James Taylor Quartet (the last of which at one point included Nitin Sawhney.) Ambient Music intended to create a particular atmosphere. Brian Eno, considered a pioneer of the genre, notes, “One of the most important differences between ambient music and nearly any other kind of pop music is that it doesn’t have a narrative structure at all, there are no words, and there isn’t an attempt to make a story of some kind.”2 Ambient music often substitutes distinct melodies and rhythmic patterns for a wash of sound. Some prominent British artists during the 1990s include The Orb, KLF, Mixmaster Morris and Aphex Twin. Bhangra Bhangra originated as a male folk dance in Punjab to accompany the harvest festival, Baisakhi. It is still performed as a folk dance and may be identified by its characteristic swinging rhythm played on the dhol and dholki, double-sided barrel drums. From the late 1970s onwards, Punjabi immigrants in Britain began to fuse with electronic dance styles including house music and later hip-hop.3 These styles produced a distinct genre of music that was recognized as one of the first prominent examples of British Asian youth culture. -
Dance Music Simon Halstead
After Techno and Rave: Status and Validity in Post- Dance Music by Simon Halstead Submitted for the degree of Doctor of Philosophy Department of Music and Sound Recording University of Surrey July 2009 © Simon Halstead 2009 ProQuest Number: 27558661 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 27558661 Published by ProQuest LLO (2019). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLO. ProQuest LLO. 789 East Eisenhower Parkway P.Q. Box 1346 Ann Arbor, Ml 48106- 1346 Abstract This dissertation explores the idea of electronica as a descendent of electronic dance music, which, although embodying many related aesthetic qualities, operates within a different set of musical values. This needs to be understood in the context of how dance music's character, form and modes of performance relate to its specific cultural function. Repetitive beats (as espoused by house and techno in particular) comprise part of the cultural experience of rave. In combination with drug technologies and an ethos of collectivity, rave encapsulates a set of political phenomena that are entrenched within the formal and textural priorities of dance music. I discuss how modes of reception are affected by changes in these priorities, and to what extent post-dance music neglects the physicality that defines the political dimension of dance music's relationship to the body.