Various - The Punk Scene (CD)


These bands combined elements of jazz, rock and classical music with arrangements for brass and woodwinds. Many other styles of music have been combined with jazz to create fusion including traditional music from around the world, R'n'B, rock, electronic music and pop music and jazz from Africa, Latin America, India and other places. One of the earliest examples of the use of the term fusion comes from the Indo-jazz fusion of Joe Harriott and John Mayer.

Some of the more popular early practitioners of fusion included Weather Report and Herbie Hancock's Sextant. A few years later Shakti appears on the scene and expands the boundaries of fusion further, foreshadowing the World Fusion movement of the 90's. In part Nu. The jazz with electronia experiments that Jon Hassell was conducting in the late 80's, with the likes of Eno, were to be Various - The Punk Scene (CD) major influence especially on the dance side of nu.

Three main elements make nu. First of all there is less of an emphasis on instrumental virtuosity in nu. Second, more use of electronics especially skilled turntablism and studio trickery that emphasizes sound textures. Third, nu. Progressive nu. It may seem that the only difference between the two genres is the country the artist is from or what scene they came up through.

All artists have elements of progressive rock in their music e. Jean Luc Ponty, Bill Bruford or David Sancious or they represent the most forward-looking and progressive element in their genre e. It should be noted that those many Canterbury jazz rock fusion bands, e. It was intended to go beyond the eccentricities developed by the wild psychedelic rock universe of the US, by giving a special emphasis to electronic treatments, sound manipulation and minimal hypnotic motifs continuing the style of "musique concrete" and minimalist repetitive music but within a more accessible environment.

Krautrock put the emphasis on extended and ecstatic instrumental epics, neglecting the format of conventional psych-pop songs. The term Krautrock was first used by the British music press in a very derogatory way. The term rapidly found a better reputation in underground music circles and finally gained a certain popularity thanks to the Brain-Festival Essen With their own particular artistic expression, these musical collectives provided rocking psychedelic incantations, mantra like drones, melancholic lugubrious atmospheres, long and convoluted collective improvisations, binary repetitive drum pulses, fuzz guitars, feedback, primitive electronic noises, hallucinatory ballads, and garage blues rock trips.

Krautrock can be described as an anarchic, intense, acid, tellurian, nocturnal, spacey, dark and oniric "adventure" through rock music. The most consistent years of the Krautrock scene cover a relatively short period from to After their first spontaneous, hyperactive and psychedelic efforts, the bands generally split up or declined into other musical sensibilities, more in line Various - The Punk Scene (CD) mainstream rock or with ambient soundscapes.

Each region develops its particular musical scene, interpreting differently the Krautrock musical structure. Cologne and Dusseldorf underground scenes focused on happenings, political rock, electronics, pulsating rhythms and clean sounding Krautrock Floh de Cologne, La Dusseldorf, Neu!

This musical cartography is correct in the absolute but naturally reveals some variations and exceptions. This intriguing and freak 'n' roll 's German scene enjoyed a rebirth in recent years thanks to a large number of reissues of long lost Various - The Punk Scene (CD) published by several independent labels Spalax, Garden of Delights, Long Hair Music There are actually some neo psychedelic rock bands who try to hold up Krautrock, and who notably find a major place to express themselves during the historical Burg Herzberg Festival in Germany.

Neo-Progressive rock more commonly "Neo-Prog" is a subgenre of Progressive Rock that originally was used to describe artists strongly influenced by the classic symphonic prog bands that flourished during the s. At the beginning of the neo-prog movement, the primary influence was early to mid's Genesis. Debate over when Neo-Prog actually came into being often takes place, with some asserting it began with Marillion's Script for a Jester's Tear in Others contend it began with Twelfth Night at the dawn of the 80s, while some even suggest the popular symphonic prog band Genesis gave rise to Neo-Prog with their album, A Trick of the Tail.

This new form of progressive rock originated in the UK, and is most strongly associated with bands such as Marillion, Pendragon and IQ; and while theatrical stage antics were a part of the live performances of many artists exploring this subset of the progressive rock genre it's the musical elements that are key to the genre; typified by the use of atmospheric guitar and synth soloing with symphonic leanings, with a tendency towards floating synth layers and dreamy soloing. An additional trait is the use of modern synths rather than vintage analogue synths and keyboards.

The main reasons for Neo-Progressive artists to be separated from the ones exploring Symphonic Prog in the first place are the above, as well as a heavier emphasis on song-form and melody than some of their earlier symphonic counterparts. As time went by other artists appeared that also deviated from the norms created by the classic wave of progressive rock artists in the 70's. The late 70's had given the world punk music; the 80's gave the world new wave; and the 90's grunge.

These, as well as other forms, had a tremendous amount of influence outside of the progressive rock realm. The advent of the modern synth also inspired artists like Tomita, Vangelis and Kitaro to explore dreamier musical works. These and other forms of more or less newly made musical genres influenced artists exploring progressive rock as well.

Although many artists did so within the framework of 70's progressive rock, more and more artists developed a sound and style so heavily influenced by these more recent musical developments that categorizing them within the existing subgenres of progressive rock became increasingly difficult.

While the Neo-Progressive genre initially consisted of artists exploring a modernized version of Symphonic Prog, these days artists coined as Neo-Progressive cover a multitude of musical expressions, where the common denominator is the inclusion - within a progressive rock framework - of musical elements developed just prior to and after The Neo-Progressive genre in it's refined form thus covers a vast musical territory, to some extent covering all existing subsets of progressive rock and also searching out towards genres as different as new age on one side and punk and metal on the other.

POST-ROCK : The term post-rock was coined by Simon Reynolds in issue of The Wire May to describe a sort of music "using rock instrumentation for non-rock purposes, using guitars as facilitators of timbres and textures rather than riffs and powerchords.

Bands from the early s such as Slint, or earlier, such as Talk Talk were influential on this genre. As with many musical genres, the term is arguably inadequate: it is used for the music of Tortoise as well as that of Mogwai, two bands who have very little in common besides the fact that their music is largely instrumental.

The aforementioned Tortoise was among the founders of the movement. After Millions In the late nineties, Chicago, Illinois, became the home base of many different groups. Post-rock began to range from the slow, guitar-based ambience of Various - The Punk Scene (CD) Ensemble to the up-tempo electronica of Stereolab.

Black Emperor' - brought a political element with anti-globalization movement leanings. By the early s, the term had started to fall out of favor, while the major artists kept on making high quality recordings. The wide range of styles covered by the term had robbed it of its usefulness almost from the moment it was coined.

Closely related to post-rock is the genre known as Math rock, characterized by more percussive timbres, and more dissonant harmonic gestures. It uses material from the Wikipedia article "Post-rock". The music is characterized by complex structures, angular melodies and constant abrupt changes in tempo and time signature. The name Math Rock is a term that grew out of the Chicago scene and the artists working with engineer Steve Albini in an effort to describe the new style.

The basic building blocks of Math Rock can be traced back to the late 60's and 70's where Progressive Rock artists were making more elaborate compositions than the standard rock bands and were experimenting with song structures. Early Avant-garde groups like Massacre, and artists such as Captain Beefheart and John Zorn were highly influential to Math Rock bands and traces of their music can still be heard throughout the genre.

Another big influence to the Math Rock approach was Slint with their album "Spiderland" which showcased many techniques that Math Rock bands will follow in the future. Punk also had significant impact on the sound of Math Rock bands. Although there are Math Rock bands in different countries around the world, most reside in the United States, the Midwest in particular, and tend to be divided by regions: Pittsburgh bands Don Caballero, Six Horse Chicago bands Shellac, U.

In the wake of the s, a Folk revival started on both sides of the Atlantic, and got quickly linked with a protest movement, not always, but often linked to more left-wing tendencies, which did not sit well with the authorities. As DYLAN turned electric with his Highway 61 Revisited album, much to the dislike of purists who yelled for treason, Folk Rock was born, opening the floodgates for younger artists to turn on the electricity.

By this time, most connoisseur were talking of Acid Folk, Psych Folk, and Progressive Folk, all having limited differences and no particularly drawn-out limits or boundaries, but all relying on experimental or groundbreaking adventures and good musicianship but not necessarily of an acoustic nature.

Byall of the glorious precursors bands were selling fewer records and had problems renewing themselves and a newer generation of groups was relying in a more Celtic jigs or really traditional sounds.

Ian Anderson another Scots was very keen in acoustical traditional songs. There is also a very important medieval music influences dimension in some groups as the term Medieval Folk was also mentioned for a while but apparently dropped by musicologists. No musical genre exists in a vacuum. Not all of the bands that have been a part of the history and development of progressive rock are necessarily progressive rock bands themselves.

This is why progarchives has included a genre called prog-related, so we could include all the bands that complete the history of progressive rock, whether or not they were considered full-fledged progressive rock bands themselves.

There are many criteria that the prog-related evaluation team considers when deciding which bands are considered prog-related. Very few bands will meet all of this criteria, but this list will give an idea as to some of the things that help evaluate whether an artists is prog-related or not.

Although both of these artists created rock music in a dizzying array of genres, both contributed to the ongoing history of progressive rock several times within the span of their careers. It may surprise some people that as late as the mids the US had very few original progressive rock bands that did not sound like exact copies of British bands. Journey was one of the first US bands to present a uniquely American brand of prog-rock before they eventually became a mainstream rock band.

We have collaborators from all over the world who tell us which bands helped the progressive rock scene develop in their corner of the globe, even if those bands were like Journey and were known more for being mainstream rock bands.

In the late 70s and early 80s prog-rock was barely a blip on the radar. During this time artists such as David Bowie and Metallica released albums that captured key elements of the spirit of prog rock and did so while contributing their own original modern elements to the mix.

Although Led Zeppelin, Black Sabbath and Wishbone Ash may seem like mere hard rock bands, in their time they stood apart from other hard rockers with their more serious lyrical content and more developed compositions. Put simply, in the early 70s every prog-rock record collector usually had full collections of all three of these artists. These three bands were very much part of the prog-rock scene without being total prog-rock bands them selves. Once again, as we enter the second decade of the 21st century a melting pot of prog-metal, math-rock, progressive electronics and post-rock influences have once again made a progressive tendency in rock music almost more a norm than a difference.

Yet in other periods of musical history receiving influence from progressive rock could really set a band apart and make them worthy of our prog-related category. Being influenced by progressive rock is hardly the only factor we look at, and in some periods of musical history it is almost meaningless, but still, it is almost a given that most of the artists listed in prog-related were influenced by the development of progressive rock.

Sometimes you just have to use some common sense and look at the big picture. A very good way to describe prog-related would be to imagine an exhaustive book that covered the history of progressive rock. Probably so. Born in the late 60's after the expansion of avant-gardist, modern, post-modern and minimalist experimentation, the progressive electronic movement immediately guides us into a musical adventure around technologies and new possibilities for composition.

As an author or a searcher, the musician often creates his own modules and electronic combinations, deciding his own artistic and musical action. It was here that they started releasing new music, culminating in their tense, riotous debut, Image. Their new record, Several Othersis a much sparser affair. Grounded by the haunting vocals of Fenne Kuppen, the album seems intent on getting more from less. Sophomore outing Point Finger showever, was darker, concerned topics like divorce and mental health.

The trio recently released a live recording of a performance in Ghentessential listening for anyone wanting to experience the band in action from afar. Over the course of several albums and EPs, the quartet have developed a reputation as a ferocious live act, and that same energy translates to their LPs.

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CPAR 67 bonjours a tout le monde. Stinky deelux A. Aujourd'hui Top posteurs cette semaine Top du mois Membres les plus actifs kony Messages aujourd'hui: Mireille Messages aujourd'hui: 5. Dreamea Cette semaine: Mireille Messages du mois: Dreamea Messages du mois: AnarchX Messages: 4 The police department shut down the club, but Katz led a 60s style peaceful protest inside the lobby of City Hall, joined by more than a hundred punk rockers.

The protest made the cover page of the Sacramento Union. Aroundthe first group in the area was a Moorpark band called the Rotters, emulating the new sounds of English punk rock. After playing a few parties for high school age audiences, Agression latched onto the style. The younger, future members of Dr. Know and Ill Repute were in the audiences saying "Oh, we can do that. The local Skate Scene played heavily in the scene, many people riding in backyard half pipes or breaking into backyards with empty pools to skate.

There was and still is a strong sense of unity and community among the Various - The Punk Scene (CD) of Nardcore bands. Some unity came from the coverage by a local publication called 60 Miles Northwhich began in initially as a xeroxed flyer for an Alley Cats concert in nearby Camarillo. Much of the early promotion of nardcore was due to Mystic Recordsin Hollywood, Californiaand its founder Doug Moody, and promotion director, Mark Wilkins.

Mystic launched many bands onto vinyl which helped them form relationships with the music industry. By combining the words "Oxnard" and "hardcore", [11] the name is a reference to the Oxnard, California hardcore punk scene. Know guitarist Ismael Hernandez as the originator of the term. Their collective sound became known as "Nardcore. A congealing of the style was the eponymous compilation LP release in Punk music was ExploitedDischarge.

The bands coming from England, and the bands that copied them were punk bands. The stuff we were producing was an original form of Californian music, thrash, or skateboard punk. It originated here. By the mids, many major punk acts such as Black Flag and Dead Kennedyshad broken up. Other bands that had remained such as T. InBad Religion reemerged from a hiatus and returned to Punk Rock with their 2nd EP, Back to the Known, featuring a sound that would later be continued and expanded on with albums like Suffer and No Control.

In the late s and early s, San Diego was home to a burgeoning post-hardcore scene centered on bands like PitchforkRocket From the Cryptthe Renegades and Unwritten Law.

Several of these bands played important roles in the so-called math rock movement. The Bay Area punk scene began to flourish in the late s. Other Bay Area bands were Mr. T ExperienceIsocracySamiamand Crimpshrine. While many of the second wave bands still retained the speed and anger of the first wave bands, others focused on a more melodic Ramones approach featuring lighthearted lyrics about relationships and other non-political situations.

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