Rock

8

Dizzee Rascal - Math + English (CD, Album)

02.09.2021

Leaving the ferocity of Blood Death Fire behind, slower tempos, brooding atmospheres and heathen choirs accompany a tamer Quorthon who channels his energy into roaring battle cries and off key singing. He conjures the viking spirit with this hard pressed voice that should turn the nose up in theory, yet the genuine passion in his voice pushes the Nordic spirit of the music into a vision coming to life.

Its the final piece solidifying this inspired music of mythic heritage fit to conjure candle lit halls and mighty landscapes of rural natural beauty. Although now a common thing to experience in Viking Metal, this must of been something special at the time of its release.

The album opens up with two lengthy epics, Valhalla crashing with lightning strikes into a mountainous passage of drawn out power chords and thunderous drum pounding that sounds practically lifted from Call Of The Cthulhu. Its a recurring section that elevates the music but also feeds into claims of plagiarism against the band. Something I had yet to touch on but much of the early material is akin to Venom yet Quorthon often claims to have not been influenced by them.

It is however a moment of power from the percussive battery and throughout the album tumbling strikes of tom drums help propel these epic and heathen calls to the gods. Moving into Fire And Ice and Father To Son, sections of dense distortion guitar singularly erupt with a keen parallel to Groove Metal, a genre yet to unfold at this point in time. Its not often the riffs are thrusted forth to the light as they mostly meld with synths to conjure the distinct atmospheres.

That measure of fretwork is often subtle but a keen feature throughout. The surprise is these eruptions of meaty groove. This is a pivotal album for Bathorybeing at the forefront of one movement and in one stride to the next, forging and mastering an entirely new sound for the Metal umbrella of sub-genres.

Where his last two albums showed flashes of this genius and reveled in a little diversity, Hammerheart is a very unified sound from stand to end that is near impossible to deny as a classic. I am so glad to have found my way back to it! A Wonderful Life sounds like it has an arching theme with some recurring lyrics of pain and struggle, so neatly packaged it feels hard to relate with.

Its inline with the tone of "light" European Metal, often female fronted, that puts emphasis on clean singing and routine reductions of intensity. A couple tracks stray right into this territory and others linger nearby sticking to their distinct style. There is nothing wrong with that sound but its a temperament that fails to stir emotional resonance with me.

A couple of songs in the mid section play up big theatrical themes with slow unravellings and a sense of grandiose story telling with the music. Its reasonable but far from being remarkable. Again the lyrical themes seem to play up suffering with a lack of resonance. It ties in to the opening barrage of intense operatic singing which rears its ugly head again towards the end and on the closing track. Again, nothing wrong with this but it feels so out of place, a rigid attempt to compliment the theme.

Overall its been a few sluggish spins with some moments of intrigue but mostly dull and drawn out songwriting dressed up by the bands aesthetic and intensity which is enjoyable.

Its a competent production so listenable but hardly a memorable one. Yet to master the Djent tone, the group have a shorter measure of polyrhythms in the guitar riffing, playing out stomping grooves with tightly picked riffs often dizzying around single notes and bends. After an analytical listen one can see the path they took. At this stage their songs are strong, decent but yet to be exceptional. The Meshuggah influence not so obvious.

They do however have the songwriting to lead their collection of choppy riffs to climaxes as both the songs led to a satisfying conclusion. Singer Neema Askari has yet to knuckle down that bleak forceful tone in his screaming and so sounds rather amateurish in that typical feel of local bands.

His cleans however are far more emotive and expose a chemistry that prevails to their later work. Both the songs I heard are fantastic and grow fondly with many repetitions. It Dizzee Rascal - Math + English (CD not have been obvious at the time the potential this group of young lads had but all the pieces are there in one form or another.

Its really uncanny just how much it all reminds me the other bands in the scene of this era but perhaps not so given how in the early naughties we were still mostly geographically defined, even though the internet culture was starting to blossom. Such a treat to enjoy but more so for personal reasons.

This demo is a fine starting point for the band and on a final note, very well produced for a scene demo! Its a great listen, wish I could just find that third track! Showing posts with label Metal. Show all posts. Wednesday, 22 September Carcass "Torn Arteries" Email This BlogThis! Friday, 10 September Jinjer "Wallflowers" Friday, 20 August Body Count "Carnivore" Wednesday, 18 August Tetrarch "Unstable" Saman Ali plays a wonderful roll with the keyboards, often subtle with aesthetics and timely with inflections of melody, his performance feels possibly under utilized as the electronic and symphonic aspects were class when in focus When there record fumbles is in production.

Saturday, 5 June Chevelle "Niratias" I'm glad I'd taken the time to discover Tool before encountering a record like this. Chevelle have won me over with their thoughtfully tempered and artistically angered take on Rock and Alternative Metal. It was on the second listen that the resemblance to Tool suddenly clicked and its been unshakable since then. Singer Pete Loeffler emulates Maynard at every turn, both in style, pitch and delivery. I feel that I can only refer to his obvious influence as the distinction.

His multi-instrumentalist brother Sam does much of the same with the song writing, arrangements and riff ideas with an occasional big riff more akin to perhaps Nu Metal in delivery. Even deviations from the norm on instrumental interludes with ghostly pianos have an echo of similarity. Either I'm right on the nose with this or infantile to the web of influence Tool have undoubtedly cast on bands like Chevelle.

Similarities aside, this album has been a blast. Niratias runs an expressive line of crafted writing, steering clear of leaning to hard on tropes and arrives at its conclusions with the grace of lavish instrumentation that gets everything involved in intervals with space for individuals to shine in the gaps between. So often do the guitars drop back for the bass guitar to rumble.

Lead guitars get to sweetly slide into focus with elongated stretches of atmospheric melody and around it all the drums weave together a narrative. Its theme is supposedly rooted in the talks of the times when it comes to a commercial era of space flight and the now popular philosophical discussion of simulation theory. Its most potent lyrics to me tho, where the impassioned cries towards misinformation and science skepticism which too have risen to prominence during the pandemic.

At a meaty fifty minutes, Niratias offers up some fantastic vibes, balancing aggression and artistry with something I can only describe as the "festival feel". Many of these songs feel set for the summer stage to be shared with thousands of fans, delivering those big riffs and crunches after grueling through the gradual build ups and hold over sections that keeps the music in lane.

In the past I think its the sort of music I'd gloss over but I am happy to say that ignorance is gone! For all the familiarity this has been an exciting listening experience that feels best as a whole, having found it hard to pick favorites from the track listing. Peach however Oh too easy but yes this one has an exception bite to it as so quietly builds to its blunt force guitar throwing down thumping slabs of low end noise.

Pete absolutely makes this song pop with his fiery singing, crying out woes of foreboding limb removal! Saturday, 19 December Bathory "Nordland I" Monday, 9 November Carcass "Despicable" Sunday, 1 November Havok "V" Friday, 23 October Kataklysm "Unconquered" Wednesday, 14 October Bathory "Octagon" Our lengthy Bathory journey now embarks to the eighth installment, hence the Octagon title, supposedly the low point.

Following on from the polarizing RequiemQuorthon's DIY spin on Thrash Metal takes another nose dive into a pale abrasion the ears do somehow adjust too. The snare rattles and bites, piercing at all times among the clatter of symbols and smothering of bass pedals.

Distortion guitars make headway with a narrow band of fuzzy mud, just fractions shy of masking the tight riffage at work. He tones down his vocals to a more manageable degree of horror and again we have a disastrous formula you can't just outright dismiss. For the year it would seem that influences from the emerging Groove Metal scene make subtle marks on the swing and bounce present in some compositions. Most remarkable is track two, Born To Die.

Smelly angsty acoustic guitars open up what retroactive ears can only describe as a prototypical Nu Metal song. Getting past its initial thrashy opener, the music pivots to a syncopated sway of Drop D styled riffing an atypically generic trait. The delivery of anger fulled snarls and shouts are just the icing on the cake of this forecasting, bizarre oddity. Glimmers of this moment teeter throughout but from this point its a downward trend.

With exception to its keenest power chord arrangements and the blazing lead fretwork, the quality gives off local band vibes.

Especially the lyrics, a lot of which caught my ear for sounding smart but often not saying a lot, just blasting phrases and social political words. Quorthon is a talented musician but the production is dreadful, stripping out anything inviting the songs offer.

Its a bit like St. Angeryou're not sure what part is actually awful about this because it can produce some enjoyable moments. Despite confusion, in this eternal form it is a stinker. Although it is impossible not to enjoy a Metallica set list, this project feels inferior, cast to the shadows of its former glory with some flaws present throughout that just let you know the original was a magnitude better. Ironically it is this release the press seemed to have gotten onboard with, heaping on praise where the first one was often misunderstood.

As the band age so do their performances and all too often can you hear Lars struggling to keep pace, Kirk's solo's become a little scattered and sloppy and James too struggles with his voice infrequently. At the live show, its hardly an issue given the immersion and event but taken to wax, its all too noticeable.

What is also very apparent is the often meager and timid nature of the symphony. Its either the mixing or composition but these numbers feel far more like a Metal songs with some added sparkle. I wasn't keeping tabs on if the symphonies were identical for songs that were featured again but overall it just felt quiet and less involved than before. That being said one delight to behind where the new songs. They sounded fantastic!

After a couple of years its proven they fit in alongside Metallica 's many hits and the symphonic gloss worked ever so well, even if just a complimentary element.

There was also an opertunity to take the two Classical songs and spice them up with some Metal but the one track they did this on was simply a disappointment.

Its hardly surprising that retreading old footsteps hasn't yielded anything special here. My impression of it today comes with more appreciation than ever. Most of the time, even if you sign with a major, the discs end up wasted, the company goes bankrupt or is sold. Musicians are used to being insistent and resilient, they hang on even when the financial conditions are bad. But the major label employees only know one way of selling CDs, which is to place them in stores and wait.

They do that for a month or two, then they get bored. They can't think on a smaller scale, adopt a more grassroots approach. They're hooked on the system and can't see beyond it. By starting my Screwgun label inI sought to reach people more directly, because we play all over the world and people always want to know where they can get our CD. That tells me that distributors aren't doing their job. I didn't want to go on like that, so I take my albums with me to sell after concerts.

You can also get them by mail or order them from the web site, alongside the distribution networks in the stores. Also, I didn't want to be subjected to other people's calendar and whims: this way, we make a record, we put it out and we move on to the next one.

It's worked very well, it's totally viable. It was easy enough, except that it's a huge investment of time and energy. Mwanji Ezana of be. Do not miss it. The review in question is just below. Corey Dargel website MySpace blog has a nice backstory: classical training as the saying goes allows him to be reviewed by Anthony Tommasini and write serious manifestos for NewMusicBox the big onethe more modest early onebut he also lets his pop instincts lead him to a twisted confluence of art song and electronic pop and offbeat publicity photos.

Less Famous Than You embodies Dargel's artsongwriter concept: he writes music, then sets his own words to them. Corey's singing is affecting without much emoting. The distance thus created indicates that these are portraits rather than confessions.

The cover art shows us his viewpoint: observing those who are looking at others more worthy of recognition. For example, the joy of "Glasses" is sung in much the same way as the loss and loneliness of "I Don't Remember.

Most songs are about mental disorders, obsessions or psychological violence of some sort kind of like Gnarls Barkley, actually. This is unsurprising, given that Dargel has also written a series of songs based on the effects of prescription drugs.

Stalkers, fan atic s, exploited child stars, jilted lovers and others illustrate a media and pharmaceutical system that generates or exacerbates individuals' weaknesses. The music is often an intricate weaving of superposed keyboard parts and beats that range from staticky to euro-house.

It has a certain brand of well-crafted sloppiness: elements are positioned so as to create the illusion of being a little out-of-sync and disturbances bubble just under the surface.

The densely-layered melodies are quietly exuberant in their orchestration and profusion, betraying a warm, beating heart underneath a cool exterior. Dargel's deadpan is thus emphasised but also lent crucial shading. Logically, Corey manipulates the conventions of pop like a native but also subverts them like an outsider. All songs are of pop-ideal length, hovering around the 3 minute mark, but the slowly unfurling narratives and frequent lack of oft-repeated choruses go counter to the time constraint and create a kind of laid-back tension.

The distinction between the metaphorical and the concrete is often blurred, which allows Corey to be neither obvious nor cryptic while creating complex stories. Still, even the most elusive song can suddenly drop a hard-hitting line like "Since when does disability equal a lack of devotion? Despite music and lyrics being conceived independently, some tracks sound quasi-programmatic. This is echoed by the way Corey seems to deliberately warp and distort his usually gorgeous keyboards into grotesque shapes.

On the wistful "Change The World," as Dargel sings about reuniting a former band, the track's instrumentation grows from a solo act to a full band. There's room for humour too. It comes in pinches, such as the Madonna-ish oops-I-didn't-know-we-couldn't-talk-about-that way he says "sex" on "Global World View" or the computer-enhanced high-note on the chorus of "The News" an ascending line that peaks on "untrue"or in dollops: pretty much the whole of " Gay Cowboys "' epic road trip and "Every Word Punk rock may now be by the babies, for the parentsbut I don't really care about punk rock.

Despite piano lessons and a futile attempt to count my father's LPs I stopped after a few hundred that was probably the seed of my collector-ism, I was never featured in a magazine of any description. Graphic design is obviously not my strong point, but I've attempted to get a sleeker, lighter look.

Let me know what you think: easier or harder to read? More or less eye fatigue? Oh well. Bojan Z 's Xenophonia is easily among the best and, especially, most pleasurable recent albums jazz or otherwise I've heard in a good long while.

It's bursting with imagination and sure to be on a number of lists. I don't have his previous album, Transpacifikbut I've heard it a few times and it's another lovely record, more of an acoustic trio, despite the presence of a Fender Rhodes. Here's an interview in English I'm happy to see: In general that's where I find my inspiration, in life. One thing I know for sure my inspiration is life and not death. It's interesting, that I know for sure from those few years of war [in Yugoslavia], you know, there was death all over the place—nothing artistic was coming out of this.

But life! You know, colors, people, food and nature, smells, the sounds of course. I'm very, how do you say, sensitive to it? For example, on some of the instruments I play, I had this set-up which was acoustic piano, Fender Rhodes and customized Fender Rhodes which gives me quite a lot of possibilities sound-wise— mixing the piano with Fender Rhodes In general, about the performance, we were all working on textures and sounds more than who's going to be the fastest, that's where the difference for me is.

I bought my first Fender Rhodes in ' 81 in a bar in a village next to Belgrade and the funny thing is that a few years ago, knowing that in Belgrade I can eventually find a Fender Rhodes cheap I called my brother to try to find something there and he found actually the same village.

But he found just the shell of a Fender Rhodes and just a few keys. I actually wanted every note to sound different because it was not the point to have to have just another Fender Rhodes—I was dreaming about having an instrument that I could tamper with for Arabic scales or scales coming from cultures other than European for quite some time.

With a piano you cannot do it because you have to have your own tuner. It's impossible. But I thought finally, that's what I'm going to do with this guy; it's easier to learn how to tune it, instead of having to find some effects, distortion, treating it like a guitar and thing like this you know. What is this?! The xenophone is key to the record's success. It does sound something like a guitar albeit a strange oneactually, but in a natural way.

No cheesy modulator wheel note-bending, for instance. Rather, the instrument isn't tempered like a piano and notes come out a bit unpredictably, mirroring the slight imprecision of the motion of a guitarist's hands. There's the sound and, of course, the way Bojan integrates it with the other two keyboards. At times he manages to make the piano sound just as weird: sometimes by preparing, but the miraculous moments are when, suddenly you think "what's that strange sound?

Generally speaking, I'm more attracted to the Keith Jarrett school of Fender playing: the guys who hate the instrument and do everything in their power to destroy it. Jarrett on the Cellar Door? That "broken key" solo is one of my favourite Fender Rhodes moments ever. The "oooh, those vintage Fender Rhodes sounds are so pretty" school can be nice, but is often quite toothless. Bojan Z loves the instrument, but manages to turn Jarrett's destructive urge into a reconstructive one quite literally, as described above and the result is great.

Recently I bought a record of the Dixie Chicks. Toshiko Akiyoshi and Lew Tabackin! Q: What is your favourite wine? They are serious! Besides that then you have the thing that middle class gigs are non-existent. So this has completely killed the economy that the music can generate The reverse side of the coin is if you find yourself in front of saxophonist Joe Lovano, he is going to blow your mind!

I just love hearing all these different things piano-wise, just on the one hand to remember the lost colors of this instrument because there is a tendency nowadays growing into a certain pattern of piano playing that most of the pianist are using and they just forget about these things for example, Errol Garner or Earl Hines and guys like this, the way they were using this instrument—so all these colors are a bit left aside.

So, Duke Ellington is one of my favorite piano players because he's the one I like listening to at almost any moment of the day, so fresh and so mysterious and his attitude so Now that Switzerland's favourite son has his own churchhe's surely doomed to never win another Grand Slam again After Burton and a bit of Greencome Patton and Benjamininevitably.

That's good to know. Part of the psychology of collecting jazz is that we fans covet not only the music but also the record labels. I semi-agree with this, contra Darcy's disdain for a world "where listeners not just promoters actually care about what label you're on.

Come to think of it, a label is a little and, today, increasingly like a dematerialised record store. The ones that seem to have a personality of their own a few current-day examples in alphabetical order: Ayler, Clean Feed, De Werf, Fresh Sound New Talent, Moserobie, Thirsty Ear's Blue Series; a current-day counter-example: Verve can suffice as reasons to listen to or studiously avoid something.

Of course, it's just one factor among others. But if you're going to know the names of the sidemen and of the engineer, as well as the recording date, you're bound to know the label, too.

Why else would labels strive to develop a visual identity? I don't know where the truth lies. The full list isn't available on the website, but the last three are, two of which are be. Groundbreaking, it gave young British jazz bands the guts to label themselves like rock bands and to stretch beyond their comfort zones. You know, get inside there, push the furniture over, chuck things out of the window and generally make a nuisance of themselves A pied piper who led British jazz out of the trough of despond after its brilliant flowering in the s I'm assuming Kind Of Blue is 1.

I'll update the list if I hear more or buy the issue. Listening to Clipse for the first time. Me Too ," their current Pharell-enhanced single, is alright, but make sure to check out "WAMP WAMP," which is awesome: the beat is an echo-y one-bar timbales sample and a two-note steel drum riff that spirals out into a little melody at every eight bars.

Add a kick booming in the distance, some synths on the chorus and a shaker that resonates particularly well with the s-rhyming third verse. That's about it no snare, no hi-hat. Can she get any closer to rapping without actually rapping? A typical song will have male rappers sing the verses and female singers perform the chorus, but variations are not rare.

Eurodance was at its peak from to the early s, with acts such as Snap! A bulk of the production of the era was made in Italy and Germany. Entering the s, the style changed drastically and branched out to be associated with new subgenres, including Italodance and Hands Up, while sometimes still being called Eurodance.

ExperimentalReleases Experimental music consciously deviates from established musical norms of a particular genre, or of music in general. Music of almost any genre can be considered experimental — but the term is most associated with the more abstract and challenging strains of electronic music, jazz, and the modernist avant-garde of the midth century.

Experimental music might explore new compositional techniques e. Also featured heavy use of Latino instruments in the rhythm track e. Other common characteristic is the groove flow that feels quite similar to locally-popular dangdut music, also originated from Indonesia. Tommy Fans particularly was the most advanced thinking and professional equiped music creator in Indonesia at that time. Many yet-to-become future producers looked up to these early legends as their inspirations and also tutors.

These remix method proved to be very well received by most Indonesian partygoers at the time due to its culturally familiar sound result. This modification extended over time from partial to eventually entire song utilizised various sampled materials from many classic hits such as percussion loop, instrumentals and voice phrases makes it a new unique bootleg genre. Because general club tracks in early s have a universal tempo range around BPM — BPM means almost every song existed technically could be remixed to a club track.

The genre itself keep changing forms and adapt many new music trends from all over the world, with its leading pioneer Jockie Saputra became its first main developer with his iconic pumping percussion sound and fat bassline style. In their hands the genre reached its peak popularity and creative performance.

Unfortunately until then this genre had not yet recognized outside Indonesia mainly due to poor management and lack of proper promotion skills of the producers. In most cases many independent individuals self-published their own tracks or remixes, even the ones officially published by record label were not distributed or promoted very well.

Resulting in degrading production quality and image. Lately due to the extensive efforts of well designed promotion and constructive interactions between some Indonesian Funkot pioneers and other producers worldwide the genre already started to recognized by several small community groups in related countries such as Japan, India, US, Myanmar etc, and so far it generally received positive responses.

Ironically while it seems to start blossom in some countries it actually begin to lost significant popularity in its own birthplace Indonesia. The main cause beside introduction of new fresh genre is funkot considered dated right now by most Indonesians after aired for more than 10 years whilst in other countries it is still a fresh and exciting new stuff.

Some producers from other countries are even already active producing their own version of Funkot. The light may already started to dim at home but the story is just about to begin in other places. For those creative minds everywhere the limit of what this genre can do is endless. As for the ones who from the very beginning dedicated their career for decades to developing and bring this genre till this point, it sure will always has a special place in their hearts.

Future Jazz 28, Releases Arising in the second half of the s and also called nu jazz, Future Jazz is higher tempo, less funky, and less live performance-oriented than acid jazz. It has stronger influences of Brazilian and Latin jazz styles, although it rarely uses horns.

Gabber 24, Releases Style of hardcore born in Rotterdam the Netherlands in the early 90s as a counter-reaction towards the house scene of Amsterdam with its luxurious clubs and snobby clubgoers. Sometimes the music and its culture are linked to soccer hooliganism and the extreme right movement, and not completely without a reason, for these subcultures do possess similar characteristic elements.

Also known and referred to as gabba, hardcore or gabberhouse. With such a bass drum, an additional or a separate bassline is seldom used. Almost as important to a gabber song is the wet-reverberated clap accompanied with a snare drum and open hi-hat. These aforementioned sounds can be played in between the kick drums, as well.

It is common in gabber music to play the vocal samples, synths and drum loops on two different octaves. All these things contribute to the drive, dynamics and the hefty, bouncing rhythm of this style.

The BPM-range varies from to In the heyday of gabber music — the leading trend was a tempo of — BPM. The Dutch sound turned into something much darker, sinister and less melodic.

German gabber, on the other hand, had always been from the darker and less happy side. Garage House 38, Releases While classic Chicago house music has a very strong Album) influence, Garage House music is heavily influenced by soul music. This style was popular in the early s, up to and including around In the European record shops, it was one the first style available on the market due to the better distribution from New-Yorker labels as Nervous Records or Strictly Rhythm on the club circuit.

A good Chicago answer was held by Cajmere on his label Cajual Records. Its sound combines elements of the ghetto house style of Chicago with electro, Detroit techno, Miami bass, and UK garage.

It is often faster than other dance music styles, and utilizes repetitive, gritty vocals along with fast-paced mixing and turntablism. Glitch 24, Releases An electronic music style taking advantage of the characteristics of glitchy electronics or other components used in a process to make sound. Examples include; CD drive hum, Skipping records, etc.

Glitch Hop Releases Glitch hop is a style of electronic music that combines the mid-tempo beats and rhythms of hip hop with the heavily processed electronic sounds and intentional use of unintended malfunctioning or abused audio sounds of glitch. Glitch hop spiked in popularity in the mids as the style became more influenced by mainstream electronic dance music and has since been declining in popularity as most artists have moved on to other styles.

In the beginning the terms Goa and Psychedelic became intermingled, with the full term being Psychedelic Goa Trance, later as the sound progressed after the term Goa was used only in reference of the old pre sound and releases.

Psychedelic Trance along with its sub genres was what inherited the continuity of the Goa term. Goa Trance is played in tempo around bpm. This kind of Trance is hypnotic, with pulsing melodies, floating basslines and use a lot of Mid-Asiatic musical phrasing. Most of the technology used was popular analogue synthesizers. Grime 14, Releases Grime is a genre of electronic dance music that emerged in London in the early s.

It developed out of earlier UK electronic music styles, including UK Dizzee Rascal - Math + English (CD and jungle, and draws influence from dancehall, ragga, and hip hop. The style is typified by rapid, syncopated breakbeats, generally around bpm, and often features an aggressive or jagged electronic sound.

Rapping is also a significant element of the style, and lyrics often revolve around gritty depictions of urban life.

The style initially spread among pirate radio stations such as Rinse FM and underground scenes before achieving some mainstream recognition in the UK during the mids through artists such as Dizzee Rascal, Kano, Lethal Bizzle, and Wiley.

In the mids, grime began to receive popular attention in Australia. In its original incarnation, it was characterized by strong bass drums, pitch shifted vocals and s disco like synths. Nowadays postHands Up is a thriving genre with many artists and record labels. It is today considered an alternative form of hardstyle.

In the UK, the genre emerges in the early s and is originally characterized by breakbeat sound samples and variants of other musical styles such as hip hop and italohouse.

Inhappy hardcore reaches its peak of popularity in mainly British and Dutch markets through the growth in sales of music compilations like Bonkers UK, the Dutch Thunderdome and Happy 2b Hardcore in Canada, as well as the fact that many singles of the genre appear in international music charts.

In the early s however, it revives partially in the form of a new related genus reworked named UK hardcore, mainly directed towards the euphoric trance.

Typically has a fast tempo around BPM. The later tracks would often have lengthy intro and outro drum and percussion for DJ mixing. The style started to spread across to the straight scene from the early s with club nights such as Tidy, Sundissential and Storm.

Hard Techno 6, Releases At the end of the s, fueled by the Schranz movement, a new, extremely hard style of Techno became popular, which is now generally referred to as Hardtechno. This style runs at very high bpm, usually or more and features heavy distortion and prominent kickdrum.

Not to get confused with Dark Techno. Many affluent mainstream Techno listeners often regard the darker variant of it as being called Hard Techno. Hard Trance 66, Releases Hard Trance falls into two distinct periods, but both have their birthplace in Germany. This new style brought the tempo down into the bpm range, and focused more on Euphoric Trance in construction. Originated and popular in Germany, Belgium and Holland.

Also favoured and prominent since the early days in UK and US. Developed from the sounds of acid, techno, house and hardcore breakbeat of which more later.

In Belgium the style of new beat should be mentioned as precedent to techno. Later faster variation of techno was being produced in Belgium which eventually led to hardcore and gabber over there. Hardcore can be fairly minimal and refined consisting of synthetic pad sounds, a Roland TB acid line, drum pattern Roland TR or TR, for example and sampled vocal sounds. The beat from the drum machine is similar to any other harder variety of electronica: open and closed hi-hats, snare, clap, ride cymbal and cymbal at the beginning of a pattern and on the fills at the end.

Usually used in a way that gives the style its distinctive frenzy and hardness, and making the hectic beat sound even faster than it actually is. All the drum sounds can be also heavily reverberated, echoed, flangered or being filtered up and down on the breakdowns or throughout the entire song.

Distortion is extremely often used especially on the kick drum making it a highly distinguishable feature of the style. Compared to gabber, hardcore tends to be a bit slower but the tracks are executed in a more complex way sound- and structurewise. The BPM-count may be lower but the overall atmosphere of a song is darker and harder-edge.

Hard techno and industrial hardcore are two other styles akin. The kick drum can be hard, sharp and technolike or harsh, distorted and raw. It can be echoed or reverbed to give it a full, pumping character that moves the track forward. The distortion can also be used in the same manner as in jumpstyle, gabber, hard trance or US hard house: making the bass drum low and booming but not turning the waveform jaded or jagged; maintaining certain roundness and softness to it.

The tempo is within — BPM. Emerged in the UK in the early 90s. Lots of pitched-up rap vocal samples and drumloops, hoovers, stabs, pianos and chords used. Heavy on bass; sub-bass sounds used. BPM: — While early hardcore punk was extremely tied to punk rock, the genre developed into a more aggressive and of shorter songs. Canadian Band D. Hardstyle 32, Releases Hardstyle is an electronic dance genre mixing influences from hard trance and hardcore.

Hardstyle typically consists of a deep, hard-sounding kick drum, intense faded or reversed basslines accompanying the beat, a dissonant synth melody, and detuned and distorted sounds. Many hardcore artists produce hardstyle tracks as well, and many newer Hardstyle tracks are written in compound time for example older Headhunterz and Noisecontrollers work.

HNW is distinct in the fact that the music consists of unchanging walls of sound that can go on for extremely long periods of time. Many artists opt to distort and process white noise for their recordings, but other source material can be used. Despite the name, HNW is not always harsh and can also have a gentler sound or entirely consist of pops and clicks.

It evolved from disco, preserving the four-on-the-floor kick drum and emphasizing strong melodies and simple octave bass lines, but also having a harder, more rock-like sound, with pop vocals and snare hits on the 2s and 4s. This coincided with an increasing influence of house music, like the use of longer, more repetitive bass lines and open hi-hat sounds on the off beat. The peak was followed by a very rapid decline as house music and Eurodance overtook the club scene in Hip Hop 52, Releases Hip hop music, also called hip-hop, rap music, or hip-hop music, is a music genre consisting of a stylized rhythmic music that commonly accompanies rapping, a rhythmic and rhyming speech that is chanted.

Other elements include sampling or synthesisand beatboxing. The term hip hop music is sometimes used synonymously with the term rap music, though rapping is not a required component of hip hop music; the genre may also incorporate other elements of hip hop culture, including DJing and scratching, beatboxing, and instrumental tracks.

Hip-House 13, Releases House music with a hip-hop influence. Vocals are usually rapped over a house beat. The actual hip-house scene was almost exclusively a Chicago phenomenon which started on wax in and had run its course by the end of It was created by house music producers, and featured a fast, syncopated rapping flow.

On Discogs, the Hip-House tag tends to be applied to any combination of rap vocals with house music, thus it includes all of these variations from to the present day. House music, as a genre of electronic dance music, originated in Chicago in the mid s.

In the mid-to-late s, house music became popular in Europe, and then other major cities in North America, South America, and Australia. Since the early to mids, house music has been infused in mainstream pop and dance music worldwide. The term IDM is now used almost exclusively in its acronym form, as the actual meaning came to be interpreted as implying that other styles of dance music are not intelligent.

Illbient 4, Releases Illbient is characterized by dub-wise layering of soundscapes, hip hop-influenced use of samples, and a progressive approach to beat programming that encompasses all genres of world groove and electronic music. It can be thought of as the dark, industrial, and often abstract, experimental side of the Downtempo genre.

IndustrialReleases Industrial music is a genre of experimental music that emerged in the mids. Its basic components are semi-acoustic and include the use of electronic instruments as well as unusual objects such as metal rods and pipes, and rigged power tools.

Traditional instruments are sometimes used, but usually in non-traditional ways. Vocals, if present, tend to be either disaffected or angry. Lyrical content tends to embody dark themes, as well as protest, tension, uncertainty, and the like. As with many alternative styles, it generally eschews pop melodies, virtuosic solos, and romantic themes.

In its early years mids to mid sindustrial music was partly rhythmic but rarely danceclub-friendly, and was predominantly a product of the heady British, Australian, and European art-school scenes. After the split of Throbbing Gristle inIndustrial music spawned several subgenres that have been described as Post-industrial music.

Many of these styles have their own entry on Discogs. EBM and Rock music and laid the foundations of Industrial rock. It was mainly popular in Italy, the U. The main characteristic of this musical genre originally was the use of samples, especially female vocal samples over a House groove that was predominantly ruled on some tracks by electronic piano chords.

Taking influences from the early Chicago House hits of the late 80s. Typically the vocals used in most Italo House tracks where sampled from early U. These powerful vocals would usually be used for the chorus, sometimes even not making much sense, due to the Italian musicians and producers at the time not understanding English very well.

During this time, Italo House musicians, producers also featured acid sounds within their music and ventured as far as producing Techno, some producers also incorporated the exciting piano sound that had now become the basis of Italo House within some of their Techno releases.

Probably the most well known Label and Distributor of the Italo House genre would have to be Discomagic Records in Rome, which had many subsidiary labels that featured Italo House music. This label along with Media Records set the standards for an entire genre of music. DJs such as Sasha championed the Italo House sound and featured the genre heavily within his sets. Italo-Disco 43, Releases Generally, Italo-Disco consists of English pop vocals often sung a little weirdly by non-native English speakers over mid-tempo, heavily synthetic disco or hybrid disco-electro rhythms, with emphasized lead synths.

It was mostly produced by Italians in the mids. Thus, the term is sometimes used more broadly to describe dance music from outside of Italy and from different eras and in more diverse styles. Very formulaic, this style makes heavy use of synthesizers: strong basslines, pounding beats, with a set tempo anywhere between and beats per minute.

A typical song will have male rappers sing the verses and female singers perform the chorus, but variations of that formula are frequent. Songs featuring heavy sampling are not rare. Instrumental releases were also fairly frequent. During this era, production was absolutely massive; many records were being quickly produced, which leaded to inconsistent output quality between releases.

For a long time Album) was no term coined for this kind of music, but when this style gained international fame the term was coined around and from then on this style of music was referred to as J-Core. This second movement was very much about self-made doujin fandom releases, not bothered by copyright since it was a very underground niche culture at the time.

As a result, many albums feature unlicensed remixes and in recent years some labels have had to shut down the production of these albums or face consequences. S and X-Treme Hard started to emerge which brought a more polished sound to the scene and started to become more mainstream as the years progressed. At this time the scene also gained international fame. Various stores sold the albums internationally and events across the border started to happen too such as Hardcore Synergy at Anime Central.

Despite the amount of releases though, it is still a very fleeting and underground scene. When first added to Discogs, it was envisioned as another name for late s Acid Jazz, or the slower side of Future Jazz.

However, the term is also said to have been used in the s among Northern Soul nightclub DJs, in reference to some of the s—s funk, soul, and jazz music they curated for the dancefloor.

With these examples, there is little to differentiate jazzdance from acid jazz. Gone and Soulstance. Like Northern Soul from which it kind of branched offthey were catch-all terms for highly danceable jazz usually Latin or Brazilian inflected. It morphed into Acid Jazz as a marketing term when Acid House got huge in late 80s.

Loud claps are layered over the kicks, thus creating a stomping beat that encourages dancers to jump to it. Bass and Dizzee Rascal - Math + English (CD are usually arranged in a shuffle beat, which supports the stomping character. Jumpstyle became one of the most popular Hard Electronic music genres during the period The genre emerged out of styles such as Hardcore, often using the same breakbeats and the same equipment.

Jungle is characterized by high tempos to BPM being the averagechopped-up and often seemingly random breakbeat sequencing, heavy basslines, Reggae influence, and the iconic sound of Akai cyclic timestretch.

Jungle also focuses on a sense of atmospheric intelligence contrasting with the violent sound of high tempo drums and basslines, juxtaposing the sounds of Romplers and samples of New-Age songs with the heavy, relentless chopping of breaks such as the famous Amen break. It is said to have given birth to such genres as Drum And Bass and Breakcore.

Sometimes it is used as a less-alienating alternative for the term Experimental. Lento Violento Releases Lento Violento is a style of electronic dance music that developed in Italy.

It consists of a hard kick, like the ones present in Hardcore or Hardstyle, but played at a very slow tempo, with vocal samples and dark acid sounds on loop. Makina 9, Releases Spanish blend of hard house, happy hardcore and hard trance. Usually quite fast, bouncy and with over-the-top happy melodies. When it arrived to Britain, the genre became hugely popular especially in the North East of England and Scotland but also attracts ravers from as far as Yorkshire, Greater Manchester, Merseyside, Lancashire, Staffordshire and the West Midlands to name but a few MinimalReleases Minimal is an adjective, and as such must be used to sharpen the style descritpion minimal techno for instance.

The term was first time used on a track from Speedy J. When used by itself, it generally denotes electronic music that uses only one synthesizer and one drum machine, without complex, layered melodies and instruments. Usually no vocals. Can also be used for field recordings and other soundscapes. Neofolk may either be solely acoustic or combine acoustic folk instrumentation with various other sounds. It is coincidental that these were named similarly. At the peak of its popularity it had a significant following in Japan, though it remains largely an unseen, fleeting and mysterious movement outside of Japan.

It tends to be made with synthesizers or digital keyboards, played in traditional styles as a piano ordinarily would bealthough it can lean toward the experimental as well.

On the experimental side, it includes a broad range of ambient music, space music, field recordings of nature sounds rainfall, lightning, trees rustling, animals, etc. However, it almost always emphasizes tonal sounds and a lead melody. Strong modal harmonies may be present. It does not resemble dance music and is usually made by people with no connection to underground or even mainstream dance scenes.

New Beat 7, Releases New Beat was a wave of electronic dance music specific to the Belgian club scene from around and intowith its greatest popularity in and New Beat was often characterized by a relatively slow beat incorporating samples, synths and hypnotic bass lines.

Influences from New Beat evolved into the foundation of trance music e. New Beat faded into history as its artists increasingly converted to making higher-tempo music more strongly associated with techno or trance. Most nu-disco has no named sub-style or clearly defining characteristics, other than being rhythmically disco-based and not fitting into any other genre. Some nu-disco has a very retro, Italo-Disco inspired sound but probably should not be tagged as Italo-Disco.

Power Electronics 19, Releases Power electronics was originally coined by William Bennett as part of the sleevenotes to the Whitehouse album Psychopathia Sexualis, and is related to the early Industrial Records scene but later became more identified with noise music. It consists of static, screeching waves of feedback, analogue synthesizers making sub-bass pulses or high frequency squealing sounds, and screamed, distorted, often hateful and offensive lyrics.

Deeply atonal, there are no conventional melodies or rhythms. The label Limbo Records launched from legendary Glasgow record store 23rd Precinct was also a major actor of the style.

In a sense, it is a combination of house and trance, with the soulful, booty-shaking elements toned down and replaced by long chords and dubby ear candy. Progressive Trance 83, Releases Progressive trance often very close to the musically progressive house is a style of Trance appeared well after acid trance, goa, and hard trance. With a beat and a bassline faster to the house BPMthe songs are long and have an interesting construction where different elements are brought gradual and gentle way hence the name of this style.

There are also less multi-layered melodies; making the sound more techno-like. The Scandinavian artists also brought a major influence to the style with a colder and harder sound. Artists like Atmos, Koxbox or Son Kite made it popular till With technology the style has developed immensely, starting to sound like the modern psy-trance at around Rhythmic Noise 11, Releases Rhythmic Noise is a form of Industrial music and a fusion of Noise with various styles of Electronic dance music. Rhythmic Noise, aka power noise, should not be confused with Power Electronics, which is not influenced by Electronic dance music and is closer to harsh Noise.

Its origins are predominantly European. Yay for architecture! I attended an historic event last week — the first ever program of queer music videos to be screened in the world. Infamous for their outrageous live act, the band was once banned from venues in rural Kentucky. Most fun. This is Jeanette typing, and Leanda is dictating. A man that looks like JFK Jr. Lots of gigs coming up for TGID, so check out their myspace page for all the details and get out!

Our new site is up and updated regularly, so add us if you feel so inclined: www. We will be happy to be your friend. Amer will be having his sophomore records, release party at the Rivoli on Friday night. A few weeks back I Lea!! We receive many e-mails from people asking where they can hear previously aired interviews, so I thought this would be a great way to get the goodness out there in a friendly, easy, downloadable way! Aside from Podcastville antics and setting up some brilliant interviews for you to enjoy re: below links!

They are loud, large, bright and sweaty Tune in next week to here an interview I did with Adam Drucker when he was in Toronto. That night he was playing with another brilliant performer who you should definitely check out - Jel Subtle — Wishingbone Lex, www. His coarse vocal style, Dizzee Rascal - Math + English (CD spitfire rhyming and sharp, stab you in the eye lyrics are what set him apart from the masses of other copycat performers out there.

The Subtle band is also comprised of some savage musicians, including beatmaster and anticon member Jel…they create a force to be reckoned with! This E. P is a collection of new material and re-mixes produced by Subtle and some great guest musicians mike patton, beck, ms.

The DVD is also something special, creepy…yes…but still special. I will however say that Pretty Girls Make Graves was always one of those bands that I was familiar with, but never fully got into. I must say that I am really enjoying this new CD.

Since Drazy has released 6 albums of pure, detailed, and truly brilliant rock flecked folk music. So I am now hooked up with a spiffy new laptop and am ready to take over the world!!!! I know my picks are a tad obscure this week, but that tends to be the name of the game at camp ATM at the best of times, right?! With the debut Has a Good Home, Owen marvelled and delighted listeners with his violin and loop pedal, creating waves of charming melodies both strummed and plucked.

The compositions have been enriched on this CD with the addition of a string quartet, harpsichord, piano, percussion and vocals from folk singer Lori Cullen and a choir of little children.

It tells the story of an impotent real estate agent and his dysfunctional marriage.

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