JULY 2015 • Volume 26 • Issue 319 • SLUGMAG.COM • ALWAYS FREE
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Black Metal and Brews
Review: Roadburn Friday 20th April 2018 By Daniel Pietersen Day Two at Roadburn ‘18 and already Never wandering off into too-loose the bar is raised pretty high, with sets jam-band territory, the quartet unleash from Black Decades, Kælan Mikla and some of the best heads-down psych- Servants of the Apocalyptic Goat Rave rock I’ve seen and the crowd absolutely being my personal highlights from the lap it up over the set’s two-hour (two day before. We’ve a lot to get through, hours!) duration. though, and these bands won’t watch themselves. The Ruins of Beverast unleash a black metal stormcloud, all martial drums and lightning-strike guitars sweeping scythe-like over the field of nodding heads in a packed Green Room. It’s a ferocious, scathing display made all the more intense by the devastatingly tight musicianship. An immense start to the Panopticon (Paul Verhagen) day and that’s Roadburn in a nutshell; What Jeremy Bentham, the 18th even the first band on one of the century English philosopher who smaller stages are world class. developed the concept of the Panopticon, would think of his creation’s musical namesake is, sadly, impossible to know. I like to think that, even if the music were beyond him, the passionate social reformer would appreciate the politically relevant sentiments of the band, something which is made most obvious on their opening selection of country- influenced tracks. Banjo and mandolin Motorpsycho (Paul Verhagen) blend with mournful voices, singing of Next door, on the Main Stage, lost families and failing factories, into Motorpsycho are working up their songs that wouldn’t be out of place on groove and creating the kind of sounds, a Steve Earle record. -
Dennis Chambers
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Hip-Hop Pedagogy As Production Practice: Reverse-Engineering the Sample-Based Aesthetic
Journal of Popular Music Education Special issue on Hip-hop Hip-Hop Pedagogy as Production Practice: Reverse-Engineering the Sample-Based Aesthetic Mike Exarchos (a.k.a. Stereo Mike) | London College of Music (University of West London) Introduction Hip-hop1 production practice contains a rich matrix of creative methods within its paradigm, which have the potential to inform and inspire music production pedagogy in higher education. The techno-artistic trajectory of rap production consists of numerous phases that may involve live performance, recording, sampling, synthesis, programming, mixing and mastering. Furthermore, it is not rare for self-contained processes—such as interpolation2 and the creation of content for sampling—to be actualized as developmental phases within the larger production trajectory. The well-documented issues affecting phonographic sampling have given rise to alternative practices, inviting live instrumental musicianship within hip-hop music-making, but also a dependence on synthesized sonics (often as signifiers of geographical and stylistic divergence). As a consequence, contemporary hip-hop production—arguably more than any other commercial music-making form—can provide a dynamic, applied context for the exploration, implementation, interplay and interaction of most phonographic stages conceived of and practiced within popular music production. This is not to say that other musics do not deploy multiple methods within their production processes, or that Hip-Hop exemplifies a sole case of multi-layered—or bricolage—production. After all, many popular musics have borrowed from hip-hop practices, and the rap production paradigm can be traced outside of strict stylistic barriers 1 The terms ‘Hip-Hop’ and ‘Rap’ will be used interchangeably throughout the paper, referring to the musical genre, outputs and practices associated with hip-hop culture and art. -
Bertus in Stock 7-4-2014
No. # Art.Id Artist Title Units Media Price €. Origin Label Genre Release Eancode 1 G98139 A DAY TO REMEMBER 7-ATTACK OF THE KILLER.. 1 12in 6,72 NLD VIC.R PUN 21-6-2010 0746105057012 2 P10046 A DAY TO REMEMBER COMMON COURTESY 2 LP 24,23 NLD CAROL PUN 13-2-2014 0602537638949 FOR THOSE WHO HAVE 3 E87059 A DAY TO REMEMBER 1 LP 16,92 NLD VIC.R PUN 14-11-2008 0746105033719 HEART 4 K78846 A DAY TO REMEMBER OLD RECORD 1 LP 16,92 NLD VIC.R PUN 31-10-2011 0746105049413 5 M42387 A FLOCK OF SEAGULLS A FLOCK OF SEAGULLS 1 LP 20,23 NLD MOV POP 13-6-2013 8718469532964 6 L49081 A FOREST OF STARS A SHADOWPLAY FOR.. 2 LP 38,68 NLD PROPH HM. 20-7-2012 0884388405011 7 J16442 A FRAMES 333 3 LP 38,73 USA S-S ROC 3-8-2010 9991702074424 8 M41807 A GREAT BIG PILE OF LEAVE YOU'RE ALWAYS ON MY MIND 1 LP 24,06 NLD PHD POP 10-6-2013 0616892111641 9 K81313 A HOPE FOR HOME IN ABSTRACTION 1 LP 18,53 NLD PHD HM. 5-1-2012 0803847111119 10 L77989 A LIFE ONCE LOST ECSTATIC TRANCE -LTD- 1 LP 32,47 NLD SEASO HC. 15-11-2012 0822603124316 11 P33696 A NEW LINE A NEW LINE 2 LP 29,92 EU HOMEA ELE 28-2-2014 5060195515593 12 K09100 A PALE HORSE NAMED DEATH AND HELL WILL.. -LP+CD- 3 LP 30,43 NLD SPV HM. 16-6-2011 0693723093819 13 M32962 A PALE HORSE NAMED DEATH LAY MY SOUL TO. -
Cocteau Twins, I Crepuscolari Del Pop Tornano Indipendenti
24VAR01A2410 ZALLCALL 12 20:54:37 10/23/97 LINEE eSUONI l’Unità2 9 Venerdì 24 ottobre 1997 Esce Star Rise, una raccolta di remix La band scozzese dopo il divorzio dalla Polygram ha creato l’etichetta Bella Union Time Zones La dance music & Bari, è partita Cocteau Twins, i crepuscolari la XII edizione la tradizione pakistana È cominciato ieri a Bari la XII edizione di Times Zones. E la manifestazione (nonostante Un album per capire del pop tornano indipendenti il disimpegno delle ammini- strazioni: il contributo alla Intervista con Simon Raymonde, uno dei tre membri del gruppo; il suo cd solista «Blame Some» è rassegna si riduce a 137 milio- la prima uscita dell’etichetta. «E in primavera i Cocteau tornano con un disco in due versioni». ni) continua a crescere. Sta- Nusrat Fateh Alì Khan volta la rassegna punta lo sguardo su discipline come la «Provo un grande senso di perdita, quantenario dell’indipendenza del L’uscita di Blame Some, esordio similitraloro». trovare nuovi spazi nei mezzi di co- danza, il teatro, la poesia. Ed la perdita di un artista straordinario e Pakistan. Star Rise è il tentativo di co- solista di uno dei tre Cocteau «Blame Some» ha qualcosa a municazione per far arrivare la sua ecco allora che ieri c’è stato lo la perdita di un amico... Non ho mai struire un’antologia che metta insie- Ticketmaster Twins, è anche il primo passo nel chefareconl’etichettadiscografi- musica a un pubblico nuovo, i loro spettacolo di danza «Sparta- sentitotale spirito in una voce».Que- me la dance music con echi e suoni mercato europeo di una nuova ca che hai fondato con i Cocteau sistemi non funzionano. -
Grand Junction Chrysler • Jeep • Dodge • Ram
The FREE TAKE ONE Page 3 The Western Slope’s Guide to Entertainment, Arts & News for September 2013 Marble, CO Page 13 with Fall Fe s t Page 12 and NEW LEASE PROGRAMS NOW AVAILABLE! GRAND JUNCTION CHRYSLER • JEEP • DODGE • RAM 2578 HWY 6 & 50 Grand Junction (on the corner of motor & funny little street) 245-3100 • 1-800-645-5886 Test Drive the All New 2013 Chrysler 200 www.grandjunctionchrysler.com • Sales: Mon-Fri 8:30-6:00, Sat 8:30-5:00 • Parts and Service: Mon - Fri 7:30-5:30, Sat 9:00-1:00 / Closed on Sundays 3000 Square Foot Residential Lighting Showroom Largest in Western Colorado The SOURCE Lighting is the jewelry of your home. Imagine the possibilities! 2 Full Design Team On Site Commercial grade LED light bulbs • 5 year guarantee and 15 year life span. Don’t forget for all of your commercial lighting needs. Ask about our FREE Commercial Lighting Energy Audit. 243-2400 • 552 25 Rd • Grand Junction The SOURCE / September 2013 was dedicated in a special ceremony workforce campaign drives. Some hounded the workforce for dona- The SOURCE in August. The CLETC will provide of the larger organizations in the tions! A charitable spirit makes a County Corner ... regional law enforcement and first county, such as School District 51, St. stronger community for us all, so responders needed training oppor- Mary’s or Colorado Mesa University, if you have the opportunity to sup- tunities, including a high speed are considered Pacesetters. The port the work of benevolent orga- track to perfect tricky maneuvers, United Way anticipates expected nizations in Mesa County, please By Ryan T. -
Circus Report, August 13, 1979, Vol. 8, No. 33
JAVOjMTE 8th Year August 13,1979 Number 33 Wheeling - A Big One An all-time, record-breaking engagement was recorded by the Osiris Shrine Temple for its 31st annual circus at Wheeling, W. Va. The show was produced by William Kay, with performances presented on July 29th and 21st at the Wheeling Stadium. Finley Amos, Shrine Publicity Chairman, reports that advance ticket sales were up 30% over that of last year. Bill Kay, circus producer, AID STATION worked the media strong for ten Ralphie's grayish-black fur helped him blend with the rocks on the beach near days prior to the show dates, and Carmel, Calif. Nonetheless, Elizabeth Sherman and several of her friends spot- then the week of the show he had ted the elephant seal, in the same place day after day. Hugo Zacchini, the Sensational "Something obviously was wrong," she recalls. "We kept a lookout, even gave Leighs, the Dubskys and the Gutis him a name. Family, all making TV and radio Somehow he survived for three weeks liquid to offset the effects of dehy- show appearances to push the sale Finally someone called the Marine dration. of tickets. The work involved paid Mammal Center." One of the things they did to Ralphie off with the huge increase in at- A truck soon arrived and Ralphie, was name him Racquel • after discov- tendance. weakened by a skin sloughing dis- ering he was a female. In addition to William Kay, ease, was gently hoisted aboard. On Ttie rescue convinced Elizabeth she producer, the circus staff includ- the return trip. -
Family Album
1 2 Cover Chris Pic Rigablood Below Fabio Bottelli Pic Rigablood WHAT’S HOT 6 Library 8 Rise Above Dead 10 Jeff Buckley X Every Time I Die 12 Don’t Sweat The Technique BACKSTAGE 14 The Freaks Come Out At Night Editor In Chief/Founder - Andrea Rigano Converge Art Director - Alexandra Romano, [email protected] 16 Managing Director - Luca Burato, [email protected] 22 Moz Executive Producer - Mat The Cat E Dio Inventò... Editing - Silvia Rapisarda 26 Photo Editor - Rigablood 30 Lemmy - Motorhead Translations - Alessandra Meneghello 32 Nine Pound Hammer Photographers - Luca Benedet, Mattia Cabani, Lance 404, Marco Marzocchi, 34 Saturno Buttò Alex Ruffini, Federico Vezzoli, Augusto Lucati, Mirko Bettini, Not A Wonder Miss Chain And The Broken Heels - Tour Report Boy, Lauren Martinez, 38 42 The Secret Illustrations - Marcello Crescenzi/Rise Above 45 Jacopo Toniolo Contributors - Milo Bandini, Maurice Bellotti/Poison For Souls, Marco Capelli, 50 Conkster Marco De Stefano, Paola Dal Bosco, Giangiacomo De Stefano, Flavio Ignelzi, Brixia Assault Fra, Martina Lavarda, Andrea Mazzoli, Eros Pasi, Alex ‘Wizo’, Marco ‘X-Man’ 58 Xodo, Gonz, Davide Penzo, Jordan Buckley, Alberto Zannier, Michele & Ross 62 Family Album ‘Banda Conkster’, Ozzy, Alessandro Doni, Giulio, Martino Cantele 66 Zucka Vs Tutti Stampa - Tipografia Nuova Jolly 68 Violator Vs Fueled By Fire viale Industria 28 Dear Landlord 35030 Rubano (PD) 72 76 Lagwagon Salad Days Magazine è una rivista registrata presso il Tribunale di Vicenza, Go Getters N. 1221 del 04/03/2010. 80 81 Summer Jamboree Get in touch - www.saladdaysmag.com Adidas X Revelation Records [email protected] 84 facebook.com/saladdaysmag 88 Highlights twitter.com/SaladDays_it 92 Saints And Sinners L’editore è a disposizione di tutti gli interessati nel collaborare 94 Stokin’ The Neighbourhood con testi immagini. -
Music 5364 Songs, 12.6 Days, 21.90 GB
Music 5364 songs, 12.6 days, 21.90 GB Name Album Artist Miseria Cantare- The Beginning Sing The Sorrow A.F.I. The Leaving Song Pt. 2 Sing The Sorrow A.F.I. Bleed Black Sing The Sorrow A.F.I. Silver and Cold Sing The Sorrow A.F.I. Dancing Through Sunday Sing The Sorrow A.F.I. Girl's Not Grey Sing The Sorrow A.F.I. Death of Seasons Sing The Sorrow A.F.I. The Great Disappointment Sing The Sorrow A.F.I. Paper Airplanes (Makeshift Wings) Sing The Sorrow A.F.I. This Celluloid Dream Sing The Sorrow A.F.I. The Leaving Song Sing The Sorrow A.F.I. But Home is Nowhere Sing The Sorrow A.F.I. Hurricane Of Pain Unknown A.L.F. The Weakness Of The Inn Unknown A.L.F. I In The Shadow Of A Thousa… Abigail Williams The World Beyond In The Shadow Of A Thousa… Abigail Williams Acolytes In The Shadow Of A Thousa… Abigail Williams A Thousand Suns In The Shadow Of A Thousa… Abigail Williams Into The Ashes In The Shadow Of A Thousa… Abigail Williams Smoke and Mirrors In The Shadow Of A Thousa… Abigail Williams A Semblance Of Life In The Shadow Of A Thousa… Abigail Williams Empyrean:Into The Cold Wastes In The Shadow Of A Thousa… Abigail Williams Floods In The Shadow Of A Thousa… Abigail Williams The Departure In The Shadow Of A Thousa… Abigail Williams From A Buried Heart Legend Abigail Williams Like Carrion Birds Legend Abigail Williams The Conqueror Wyrm Legend Abigail Williams Watchtower Legend Abigail Williams Procession Of The Aeons Legend Abigail Williams Evolution Of The Elohim Unknown Abigail Williams Forced Ingestion Of Binding Chemicals Unknown Abigail -
Masculinity in Emo Music a Thesis Submitted to the Faculty of Arts and Social Science in Candi
CARLETON UNIVERSITY FLUID BODIES: MASCULINITY IN EMO MUSIC A THESIS SUBMITTED TO THE FACULTY OF ARTS AND SOCIAL SCIENCE IN CANDIDACY FOR THE DEGREE OF MASTER OF ARTS DEPARTMENT OF MUSIC BY RYAN MACK OTTAWA, ONTARIO MAY 2014 ABSTRACT Emo is a genre of music that typically involves male performers, which evolved out of the punk and hardcore movements in Washington DC during the mid-80s. Scholarly literature on emo has explored its cultural and social contexts in relation to the “crisis” of masculinity—the challenging of the legitimacy of patriarchy through “alternative” forms of masculinity. This thesis builds upon this pioneering work but departs from its perpetuation of strict masculine binaries by conflating hegemonic and subordinate/alternative masculinities into a single subject position, which I call synergistic masculinity. In doing so, I use emo to explicate this vis-à-vis an intertextual analysis that explores the dominant themes in 1) lyrics; 2) the sites of vocal production (head, throat, chest) in conjunction with pitch and timbre; 3) the extensional and intensional intervallic relationships between notes and chords, and the use of dynamics in the musical syntax; 4) the use of public and private spaces, as well as the performative masculine body in music video. I posit that masculine emo performers dissolve these hierarchically organized masculinities, which allows for a deeper musical meaning and the extramusical signification of masculinity. Keywords: emo, synergistic masculinity, performativity, music video, masculinities, lyrics, vocal production, musical syntax, dynamics. ABSTRAIT Emo est un genre musical qui implique typiquement des musiciens de sexe masculine et qui est issu de movement punk et hardcore originaire de Washington DC durant les années 80. -
Fullerton Observer Local News January 2014
COMMUNITY ullerton n bsCAeLENrDAvR Paege 12r-15 FFULLERTON’S INDEPENDENT NEWS • Est.1978 (priOnted on 20% recycled paper) • YEAR 36 #1 • JANUARY 2014 LITTLE BAKERS Oil Spill at Fullerton Creek INFRASTRUCTURE Above: Young students sing and dance to ARE THERE MORE IN OUR FUTURE? THE GOOD & BAD “Bake the Cake” during Authorities have been close-lipped ization Next Generation, acidizing uses the An overview of city infrastructure accom- a holiday dance recital about the causes of the recent oil spill into powerful solvent hydrofluoric acid (HF). plishments, deficits and longterm funding at the Plummer Auditorium. Fullerton Creek. There is also no informa- The substance is mixed with water and needs was presented by Public Works PHOTO PATTY SEGOVIA-KRAUSE tion available to the public about the vol- other chemicals and pressure-injected into Director Don Hoppe at the last council ume spilled and recovered, or test results wells. If used at too high a concentrate it meeting of the year. of the spill substances. can breach the steel walls of well casings The end of city Redevelopment Agencies The spill was called into the city early and enter the surrounding water table. HF which provided funding for many projects, a 7 . A Thursday morning, Jan. 2nd, by a citizen is on the Superfund list of Extremely 7 reduction in Gas Tax funds, and the effects of S D . 5 C I D 1 U who noticed oil flowing from the corner Hazardous Substances; rated by the US the recession have created significant funding A E . N P T D O of Bastanchury and State College into the Centers for Disease Control as one of the challenges, said Dir. -
Hipster Black Metal?
Hipster Black Metal? Deafheaven’s Sunbather and the Evolution of an (Un) popular Genre Paola Ferrero A couple of months ago a guy walks into a bar in Brooklyn and strikes up a conversation with the bartenders about heavy metal. The guy happens to mention that Deafheaven, an up-and-coming American black metal (BM) band, is going to perform at Saint Vitus, the local metal concert venue, in a couple of weeks. The bartenders immediately become confrontational, denying Deafheaven the BM ‘label of authenticity’: the band, according to them, plays ‘hipster metal’ and their singer, George Clarke, clearly sports a hipster hairstyle. Good thing they probably did not know who they were talking to: the ‘guy’ in our story is, in fact, Jonah Bayer, a contributor to Noisey, the music magazine of Vice, considered to be one of the bastions of hipster online culture. The product of that conversation, a piece entitled ‘Why are black metal fans such elitist assholes?’ was almost certainly intended as a humorous nod to the ongoing debate, generated mainly by music webzines and their readers, over Deafheaven’s inclusion in the BM canon. The article features a promo picture of the band, two young, clean- shaven guys, wearing indistinct clothing, with short haircuts and mild, neutral facial expressions, their faces made to look like they were ironically wearing black and white make up, the typical ‘corpse-paint’ of traditional, early BM. It certainly did not help that Bayer also included a picture of Inquisition, a historical BM band from Colombia formed in the early 1990s, and ridiculed their corpse-paint and black cloaks attire with the following caption: ‘Here’s what you’re defending, black metal purists.