#and greatest hits is technically a collection of songs from other albums

[ace-of-hearts-and-spades]

The NO-SKIP Albums: A Tag Game 🎶💖

rules: share the albums that you can listen to nonstop. those lightning in a bottle-albums that scratch ur brain just right. every single track, an absolute banger. u could not skip one if u tried. no notes. stunning, show-stopping, immaculate. ur no-skip albums. 🔎 bonus & optional (but imo, v fun) rules: 1) add a track rec for us to listen to! AND 2) share ur favorite line(s) from that track! 👀

Thank you SO much for tagging me in this @ventiswampwater, @rottent33th, and @visceravalentines. This was so much fucking fun, I love getting to talk about music sdhgsgdhsjdg <3

Absolutely no-pressure tags, only if you want to! @spookyscaryslashy, @lucifers-horror-harem, @bisexual-horror-fan, @bluecoolr, @slaasherslut, @ace-disgrace-on-the-case, @lady-of-glass-and-bone, and literally anyone else who might be interested in doing this. Consider yourself tagged! :3

Album info, track recs, and lyrics under the cut!

Black Labyrinth, by Jonathan Davis

Track recc: "Underneath My Skin" Something's crawling underneath my skin, I fear / Something's dying, rotting deep within / Something's crawling underneath my skin, I fear / Something's dying, I will not give in

Greatest Hits, by the Cure

Track recc: "Cut Here" So dizzy, Mr. Busy, too much rush to talk to Billy / All the silly frilly things have to first get done / In a minute, sometime soon / Maybe next time, make it June / "Until later" doesn't always come

Future Nostalgia, by Dua Lipa

Track recc: "Pretty Please" Put my mind at ease, trickle down my spine / Oh, you look so pretty, please / Every single night, I need your hands on me / When your kisses climb / Oh you give me sweet relief

Hybrid Theory, by Linkin Park

Track recc: "By Myself" Because I can't hold on when I'm stretched so thin / I make the right moves but then I'm lost within / I put on my daily facade again / But then I just end up getting hurt again

Fallen, by Evanescence

Track recc: "Imaginary" In my field of paper flowers / And candy clouds of lullaby / I lie inside myself for hours / And watch my purple sky fly over me

See You On the Other Side, by Korn

Track recc: "Throw Me Away" Flesh wound, flesh wound / With medication, it will fade / Should I assume / That someone hears me when I pray? / Love, full of hate / Don't you love / How I break?

Sevas Tra, by Otep

Track recc: "My Confession" I think about it all the time / I'm volatile and afraid to cry / But I'm still not comfortable in my skin / And the anesthetic's slowly wearing thin

Sinner, by Drowning Pool

Track recc: "All Over Me" Something I might just regret / Something you will not forget / Maybe I should throw away / Everything I've learned today

The Fear of Fear, by Spiritbox

Track recc: "Cellar Door" Transform my death into a conduit / This body separate from the fear of fear / Inside a coping mechanism for monotony / I will destroy the double vision / That I was forced to leave

[fuckyeahvanhalen86-95]

Boxed Set Introduces Four Newly Remastered VH Studio Albums With Sammy Hagar, Plus Rarities Recorded Between 1989 And 2004

5-LP And 5-CD Versions Arriving On October 6

PRE-ORDER NOW direct from VanHalenStore.com

Van Halen will release a new boxed set this fall spotlighting the band's second incarnation, with singer Sammy Hagar, guitarist Eddie Van Halen, drummer Alex Van Halen, and bassist Michael Anthony. The upcoming set includes newly remastered versions of four multi-platinum studio albums, along with a selection of rarities recorded between 1989 and 2004.

THE COLLECTION II will be available on October 6th on 5 Vinyl 180-Gram LPs for $124.98 and 5 CDs for $49.98. Pre-order both versions HERE. All the music in the set was mastered directly from the original master tapes, a process overseen by the band's longtime engineer, Donn Landee.

The new set is the long-awaited sequel to THE COLLECTION, a compilation released in 2015 that focused on the six studio albums recorded by the band's original line-up, which featured singer David Lee Roth. THE COLLECTION II picks up where its predecessor left off and covers the four consecutive #1 albums released during the Hagar era: 5150 (1986), OU812 (1988), For Unlawful Carnal Knowledge (1991), and Balance (1995).

The journey begins with 5150, Van Halen's seventh studio album and the band's first to claim the top spot on the Bilboard 200. Certified platinum six times in the U.S, the record treated fans to hits like "Dreams," "Love Walks In," and "Why Can't This Be Love" which peaked at #3 on the Billboard Hot 100. The group returned two years later with OU812, a quadruple-platinum smash that delivered four Bilboard Hot 100 hits, including "Finish What Ya Started" and "When It's Love."

The accolades continued with For Unlawful Carnal Knowledge, which earned Van Halen its first Grammy® Award for Favorite Heavy Metal/Hard Rock Album. Debuting at #1 and staying there for three weeks, the album achieved triple-platinum certification. The record produced an incredible seven singles, including hits like "Poundcake," "Top Of The World," and "Right Now."

In 1993, the band released its first live album, Live: Right Here, Right Now, before returning in 1995 with Balance, its final studio album with Hagar. The album was another commercial triumph, debuting at #1, selling more than three million copies, and earning a Grammy nomination for "The Seventh Seal."

THE COLLECTION II concludes with Studio Rarities 1989- 2004, an exclusive compilation that assembles eight gems from the Hagar era for the first time. Among these rarities is "Crossing Over" the B-Side to Balance's "Can't Stop Lovin' You", and the band's only non-album B-side.

The compilation boasts other exceptional highlights, including the band's cover of Little Feat's "A Apolitical Blues" and the instrumental "Baluchitherium" which were left off the vinyl versions of OU812 and Balance, respectively. Additionally, the set features two songs the band contributed to the Twister Soundtrack "Humans Being" and the Grammy-nominated "Respect The Wind."

Rounding out the set are "It's About Time", "Up For Breakfast", and "Learning To See" which were recorded during the band's temporary reunion with Hagar in 2004. All three debuted that year on Van Halen's second greatest hits collection, The Best of Both Worlds.

Sammy & Mike share their excitement:

Sammy Hagar: "Mikey and have been waitinga long time to get these remastered Van Halen records from my era. They did the whole nine yards. This stuff sounds SO GOOD!

These records were recorded before (without) ProTools or digital recording: it was analog on real to reel tape recorders. There's a very special sound to that type of recording. We were careful not to destroy any of that, but to re-master with more modern technical equipment to bring out that wonderful magical sound. It's never sounded better.

I know you're gonna enjoy it. There are some special bonus tracks in there. A Box Set. It's the whole Van Hagar era. All remastered. Finally! It's About Time! BOOM!"

Michael Anthony: "So excited about our Sammy era box set coming to ya!! Our longtime studio engineer Donn Landee remastered these albums and they are kicking ASS!"

Track Listing:

5150

Good Enough

Why Can't This Be Love?

Get Up

Dreams

Summer Nights

Best Of Both Worlds

Love Walks In

"5150"

Inside

OU812

Mine All Mine

When It's Love

A.F.U. (Naturally Wired)

Cabo Wabo

Source Of Infection

Feels So Good

Finish What Ya Started

Black And Blue

Sucker In A 3 Piece

For Unlawful Carnal Knowledge

Poundcake

Judgement Day

Spanked

Runaround

Pleasure Dome

In 'N' Out

Man On A Mission

The Dream Is Over

Right Now

316

Top of the World

Balance

The Seventh Seal

Can't Stop Lovin' You

Don't Tell Me (What Love Can Do)

Amsterdam

Big Fat Money

Doin' Time

Aftershock

Strung Out

Not Enough

Take Me Back (Déjà Vu)

Feelin'

Studio Rarities 1989-2004

A Apolitical Blues

Crossing Over

Baluchitherium

Humans Being

Respect The Wind

It's About Time

Up For Breakfast

Learning To See

[appears]

20th Anniversary

move: REWIND ~singles collection+~ (2004.03.24)

One thing Avex Trax is really great at is sticking to its time-tested and timeworn approaches. The label started out with mega-popular co-ed, hi-nrg, eurodance groups like trf in the 90s, and every few years, banked on that popularity by trying the same thing, whether by forming more co-ed groups when everybody else had stopped doing that a long time ago, or continuing to explore and dabble in dance music and all of its various sub-genres, like super eurobeat and trance, long after they had ceased to capture the attention of the general public and disappeared from the charts. In the late 90s they did both with the group move.

move were the successors to globe, with a makeup very much like their godfathers: a trio featuring a woman on lead vocals as the general face of the group, and two men, one the MC/rapper, and the other the aloof, technical mastermind. The group began releasing music in 1997 with their debut single "ROCK IT DOWN," and coasted along with a pretty solid set of dance-pop hits before they began making music in the style of the Avex dance-genre-of-the-moment, trance. Their trance-pop phase lasted from about 2001 to 2003. These first two phases of the group's career were collected in their second greatest hits collection, REWIND ~singles collection+~, released in 2004, just before they went into a third, entirely different musical direction, unnecessarily changed their name by adding periods and using all-caps instead of all lowercase, and started declining in popularity anyway. The only thing that really sets this release apart from their previous greatest hits is that move super tune -BEST SELECTIONS- from 2002 was released as a non-stop megamix that shortened some songs and played around with their structure a bit to create a seamless, DJ-like club experience. This singles collection presents each song in its entirety, and also features two years worth of extra singles, in addition to the bonus track "T.R.A.P.," a B-side to "¡WAKE YOUR LOVE!"

Since I fell off the move fan wagon after they stopped releasing trance music, this collection is pretty perfect. It has their most well-known hits from the late 90s, and then the amazing run of 8+ minute-long trance singles from the SYNERGY album, like "come together" and "Romancing Train."

One thing that really sticks out to me about this release is the track list. There are two discs, but rather than proceed chronologically so that the first disc contains singles from the group's first, more eurobeat musical phase, and the second the trance phase, they are split across the two in chronological order, so you get a progression of half of each of the phases on both discs. This really works if you like both of the genres, as it means you get a taste of both without being overwhelmed with just one of them all at once, though it might not work so well for somebody who just wants one of the genres on a single disc, or wants them strictly in the order that they were released.

The limited edition includes a DVD that contains music videos for many of the singles, for 17 in total (for comparison, there are 21 tracks on the two CDs). Just about all of them feature the members in front of green screens or other abstract settings, performing for the camera. motsu does all of the heavy-lifting re: energy and personality, yuri does the awkward, zombie avex-sway, and t-kimura is always too cool to be bothered, busy being surrounded by keyboards.

The limited edition also includes a mini cellphone cleaner that you could attach to the type of mobile phones people used back in 2004. There's nothing fancy here, but you get solid content, and if you like this era of the group, this compilation is recommended over the abridged and inferior m.o.v.e 10th Anniversary MEGA BEST or Best moves. ~and move goes on~.

Catalog Number: AVCT-10142~3/B

[effygiraffetalks]

Effy Giraffe: The Hits Collection | Releasing Next Week

Attention! We are releasing another greatest hits album -- this time it'll feature some songs not included on our last hits attempt entitled The Greatest.

This time around, we're naming the album Effy Giraffe: The Hits Collection. It won't feature any new songs (technically), just hits!! My reason for doing this is to build momentum for my come back album End of Everything!

The album is slated to release next week. We are awaiting final approval. Initially we wanted to launch this last month, but we were running into a few issues.

One major issue, our label. When I first started my music career I was under SD Records which was later acquired by Johnnyboy Records. Eventually, I broke away from Johnnyboy Records due to a disagreement and started my own label Effy Productions (also known as Effy Pro.).

DK Records then came along and purchased all of my former releases, promising to release them (as SD Records still held onto the rights for most of my older albums). The deal was finalized late 2019 which explained I could no longer release music under any other label. Just before signing the contract I decided I'd push two more songs out under Effy Productions.

One song being I'm Alive, the other being a Christmas song. The contract was then signed and ever since we've been releasing my music under DK Records.

I do not receive a dime for any of the songs released under them which has proven to be an issue, especially since I want to include I'm Alive on this hits collection. We are reaching an agreement to make this happen. I feel like the song deserve recognition and I really do feel it belongs on the hits release.

We shall see, I DO have the tracklist, though I don't want to announce it until I get final approval (which should be any day). If all goes according to plan the album will release next week.

Check out the album artwork above!!

Whose excited?

xx

Effy

[natromanxoff]

How prog were Queen?

By Dave Everley

On 9 January, 1971, Kevin Ayers and Genesis played a show together at the Ewell Technical College near Epsom in Surrey. Ayers was 18 months out of Soft Machine, and making a name for himself as a psychedelically-inclined art-folk rake. Genesis had released their second album, Trespass, a few months earlier, and were carving out a place in the vanguard of the burgeoning progressive rock movement.

There was a third band propping up the bill that night, a bunch of transplanted Londoners calling themselves Queen. In contrast to the wilfully artful approach of the headliners, their music was more straightforward: a heavy, if ornate blend of Led Zeppelin’s earthiness and the flights of fancy of Yes.

Not everyone in the small crowd watching them was impressed, but they caught the attention of one person. After the show, Genesis frontman Peter Gabriel pulled Queen’s blond-bombshell drummer Roger Taylor to one side. Gabriel’s band were about to dismiss their own drummer, John Mayhew, and were looking for a replacement. Was Taylor interested in joining Genesis? The reply was instant: thanks but no thanks. Taylor was utterly dedicated to Queen – there were gigs to play, places to go, and many musical adventures to embark on.

Had Taylor accepted the offer, the course of music – and specifically prog – would have been very different. Genesis would have flourished with Gabriel upfront, though whether they would have survived and prospered as they did without a Phil Collins to step into the breach after their talismanic singer’s departure was another matter.

The knock-on effect on Queen would have been greater. Taylor was an essential part of their carefully balanced four-way chemistry; a chemistry that would go on to throw up some of the most ambitious and game-changing music ever recorded. While Queen weren’t a capital ‘P’ prog band, they were infused with the spirit of the movement, combining its forward-looking values with its absolute disregard for the existing rules. Taking their cues from the likes of Yes, Genesis, Van der Graaf Generator and even Pink Floyd, their flamboyantly cavalier approach would go on to inspire such modern masters as Dream Theater, Queensrÿche and Muse. And, in Bohemian Rhapsody, they ensured that one of the biggest-selling singles in history was, at heart, a prog song. Forget the luxuriant moustaches and sawn-off mike-stands that would come to define them: if the prog ethos meant avoiding the expected, then Queen were definitely a prog band.

“Diversity was probably their greatest asset,” says former Dream Theater drummer and confirmed Queen devotee Mike Portnoy. “From song to song, they could be so different. You could have something that was folk followed by something that was rockabilly followed by something that was metal. And that’s one of the biggest things about prog, having that open-mindedness.”

Queen’s schooling in prog came early on. Brian May’s very first band, 1984, played a 4am slot supporting Pink Floyd at the Christmas On Earth Continued all-nighter in 1967. A year later, his next outfit, Smile – also featuring Roger Taylor – played with Floyd again, this time at London’s Imperial College. By the time of their gig opening for Kevin Ayers, Smile had changed their name to Queen and recruited Freddie Mercury. Collectively, they admired Yes, Van der Graaf Generator and especially Genesis. “Foxtrot is a prog rock classic,” Roger Taylor later wrote in the sleevenotes to Genesis box set 1970-1975. “Arrangements were highly complex in these early days, setting a benchmark for the style of the times.”

When it came to finding someone to produce their debut album, Queen’s first choice was John Anthony, who had worked with both Genesis and Van der Graaf. With Anthony and co-producer Roy Thomas Baker behind the desk, the eponymous album trod heavily in Led Zeppelin’s footsteps. But there was another, altogether more visionary band straining to spread their wings: My Fairy King was a filigreed slice of flamboyant rock’n’roll, while Liar metamorphosised through several different time changes and timings.

Those wings were fully unfurled on the follow-up, 1974’s Queen II. The title was the most prosaic thing about the record: the music inside was as fevered and baroque as rock gets, informed equally by Zeppelin, Yes and crazed Victorian artist Richard Dadd, whose 1864 painting The Fairy Feller’s Master-Stroke inspired one of the album’s most prog-leaning tracks. It may have been rooted in the heavy rock of the times, but its cavalier approach and sheer sense of scale pegged Queen as a defiantly progressive proposition.

“Queen weren’t like Yes, who had a dualistic role of guitar and keyboards, where both shared the terrain,” says Yes guitarist Steve Howe, supported by Queen at Kingston Poly in early 1971. “Brian had the terrain to himself. The remarkable thing was that he was the front and the back man. It required him to come up with more than guitar solos… He had to come up with a semi-thematic approach to play the guitar. And what he did was keep colouring.”

Queen’s prog inclinations would be deeply woven into the fabric of their early albums, from the audacious multi-part theatrics of Queen II’s March Of The Black Queen to the schizophrenic attack of the two-part Lap Of The Gods from 1974’s Sheer Heart Attack. Even in their more commercial moments, they marched to the beat of their own drum. What other band would have dared serve up something so unusual as Killer Queen?

“It was their diversity,” says Mike Portnoy, who first heard Queen as an eight-year-old in the mid-70s and covered many Queen songs while in Dream Theater. “Their albums took the prototype that The Beatles laid down with the White Album, where you had four different artists bringing in very different styles. Every song was so diverse. You get to A Night At The Opera, and you had this giant multi-layered epic like Bohemian Rhapsody next to something like Seaside Rendezvous or Love Of My Life.”

A Night At The Opera was Queen’s grand artistic statement and their most unashamedly prog album. Pitched around the epic twin tentpoles of The Prophet’s Song and Bohemian Rhapsody, it married their far-reaching vision to a distinctly British barminess. Taken on its own, the eight-minute The Prophets Song, with its incredible ornate a cappella middle section, would be enough to grant Queen access to the Prog Hall Of Fame. But even that sits in the inescapable shadow of Bohemian Rhapsody. Time and success might have lessened its impact, but that song remains the most dazzlingly unique piece of music ever to sell five million copies.

“There are epic things that come along every so often,” says Steve Howe. “There’s Sgt Pepper, there’s Bridge Over Troubled Water. And there’s Bohemian Rhapsody. I don’t know when I first heard it, but once it was there, it was such a formidable thing. You’re thinking: ‘How many tracks did they need to do those vocals? How did they write it? Who invented it? It really was astounding.”

Bohemian Rhapsody encapsulated one of the key things that gave Queen such a distinct identity. Like The Beatles and Beach Boys before them, they used the studio as an instrument – not least when it came to their vocals. And Bohemian Rhapsody raised the bar about as high as it could go.

“They sang each of those parts and triple-stacked them,” says Mike Portnoy. “You heard all three of their voices singing in all three vocal ranges. That’s what made the depth of their music so complex. It wasn’t the instrumentation, it was the vocals. That’s unusual for prog music. When I think of my favourite prog music, it’s always the musicianship that draws me. But with Queen, it was the vocals. It was so deep.”

For all its success, A Night At The Opera would be Queen’s grand kiss-off to their prog roots. Later albums streamlined their sound into a more conventional format. Much like Genesis, the 80s found them swapping experimentalism for chart rock.

It wasn’t until the end of their career as an active band that Queen would again sound so adventurous. During 1989 and 1990, the band began work on their penultimate album, Innuendo, in London and Montreux. In the summer of 1990, Yes guitarist Steve Howe paid a flying visit to the Swiss city, where a chance encounter with a former guitar tech found him being invited to Queen’s studio to hear the album as a work-in-progress.

“Inside, there’s Freddie, Brian and Roger all sitting together. They go: ‘Let’s play you the album,’” says Howe. “Of course, I’m hearing it for the first time: I Can’t Live Without You, I’m Going Slightly Mad. And they saved Innuendo itself until last. They played it and I was fucking blown away.”

If that was surprising, then what happened next was utterly out-of-the-blue. The members of Queen asked if Howe wanted to play on the title track. The Yes man politely suggested they’d lost their minds. It took the combined weight of Mercury, May and Taylor to persuade him.

“They all chimed in: ‘We want some crazy Spanish guitar flying around over the top. Improvise!’” recalls Howe. “I started noodling around on the guitar, and it was pretty tough. After a couple of hours, I thought: ‘I’ve bitten off more than I can chew here.’ I had to learn a bit of the structure, work out the chordal roots were, where you had to fall if you did a mad run in the distance; you have to know where you’re going. But it got towards evening, and we’d doodled and I’d noodled, and it turned out to be really good fun. We have this beautiful dinner, we go back to the studio and have a listen. And they go: ‘That’s great. That’s what we wanted.”

Released as a single in January 1991, Innuendo gave Queen their third Number One single. Like Bohemian Rhapsody 25 years before it, it was as unlikely as hit singles get: a six-and-a-half minute musical jigsaw, complete with flamenco runs, classically-inclined orchestral overloads and maverick 5/4 timing. Queensrÿche covered the song on 2007’s Take Cover album, while you can hear its echo in Radiohead’s Paranoid Android and Muse’s more elaborate sci-fi epics.

“In the world of rock, Queen stands out as a good example of the clash between guitar and piano in songwriting,” Muse’s Matt Bellamy has said. “I think that’s where you stumble across those more unusual arrangements and chord structures.”

Today, Queen have left a bi-polar legacy. They’re arguably best known for their pop hits – Radio Gaga, I Want To Break Free and of course, Bohemian Rhapsody, that ultimate prog Trojan Horse. But their spirit of adventure remains unmatched by all but the boldest of their peers.

“There was no rulebook for Queen,” says Mike Portnoy. “They broke most of the rules that existed, and then they wrote a new set.”

[hey-thats-farout]

3, 10, 15, 22, 34 :^)

First of all, thank you!!! :)))) here’s my answers!

3. Most valuable record in your collection?

I’m actually not that great with pressings and I haven’t used discogs in awhile but out of my records value-wise it’s probably my promo copy of “Purple Rain” by Prince on Purple vinyl. In terms of value to me, like the one I consider most valuable for myself, it has to be either my copy of “Space Oddity” that my dad bought for me the day I found out Bowie died or my Heroes 40th anniversary picture disc because the Marc show version of that song is one of my all time favorites and maybe for an honorable mention it’d be either the “1 album” because that album introduced me to The Beatles and it was a gift from my dad which made it even more special because he was the one who got me into them or my copy of “Pet Sounds” that I got at the Brian Wilson concert I went to back in 2017.

10. Last record you bought?

Oooh! The last record I bought was actually two records, I was at a small market/event and bought two bargain bin records and they were “Rod Stewart’s Greatest Hits” which I was excited to find because it was only $5! And I had found it at an antique store for $15 and passed that up, but got it for $5 and now I can blast “You’re in My Heart” and “Maggie May” whenever I want. The other is titled “Paul Simon Greatest Hits Etc.” which is another compilation album that I was stoked to find and didn’t actually know it existed to be honest, it was also $5 and it is a smidge warped but not awful, it has quite a few songs I really like like “Still Crazy After All These Years,” “Kodachrome,” and “Me and Julio Down by the Schoolyard” to name a few.

15. Have you ever gotten ripped off when buying?

I don’t think so, I mean technically I paid $12 for a Cat Stevens compilation only for it to be warped which was partially my fault for not checking it thoroughly. So I guess in that regard I did get ripped off?

22. Which record in your collection is in the worst condition?

Maybe my copy of “In the Lonely Hour” by Sam Smith? I’ve had it since the beginning so back when I first started and didn’t know how to properly handle a record. But honestly probably my copy of “Ringo Starr” by Ringo Starr because it’s really scratched on one side and didn’t even come with an inner sleeve? In my defense one side looked great and I forgot to check the other side to see if it looked alright.

34. What was the best deal you’ve ever gotten on a record?

Probably my copy of “Sgt. Pepper’s” that I got for $8 it’s not in great shape because it’s vintage from an antique store, but surprisingly enough it plays and while the condition overall isn’t amazing, it plays so to me I think that’s a good deal.

Thanks again :)

[chemicalpink]

Yoongi’s Friend (Jungkook x Reader)

Pairing: Jungkook x fem!reader

Warnings: none (so far)

A/N: I posted the teaser to this a few days ago so here is the continuation, hope you like it! xx

Summary: You are Yoongi’s friend and are spending too much time in his studio that you are just bound to bump a few too many times into Jungkook or the one where Kookie is too shy to talk to you but will drop by an annoyingly amount of times at the Genius Lab if it means seeing your face

“Okay so maybe if we bring it up half a key for the bridge” you said to Yoongi as you reached out to play the keyboard laying on his left as he watched you unamused, far too frustrated for this being the third day in a row working on the track. You and Min Yoongi had met not long ago through a mutual producer friend that was way too excited to get you both to collaborate, seen as you too were a musician, just obviously not as big as himself. 

“Hey hyung, Namjoon-hyung says that you need to have dinner with us toni-“ a voice coming from the door had you both turning towards it, spotting a messy mop of dark head and a surprised, childish like expression that belonged to none other than Jungkook, both your and his eyes locking for a brief second before you smiled at him, not that you two were close, hell, you two hadn’t even been introduced to each other because every time you came by BigHit, you spent it in Yoongi’s studio, but you’d be lying if you said you didn’t find the youngest attractive, especially after those beautiful vocals Yoongi had let you hear in the demos for the song you were currently working on.

Jungkook disappeared as quickly as he had appeared and without a further word, leaving Yoongi to release an annoyed sigh.

“It’s cute how they worry about you” you mentioned, starting to collect your things, not wanting to intervene in their plans “We can always clean the track some other day, Yoongles”

“Please don’t call me that” he had his head resting on the top of his chair, thinking about who knows what “It’s just that we’ve been on this for far too long and-”

“I’ll see what comes to mind back home, yeah?” you called from the door “I’ll text you”

･ ｡ﾟ☆: .☽ . :☆ﾟ.･ ｡ﾟ☆: .☽ . :☆ﾟ.･ ｡ﾟ☆: .☽ . :☆ﾟ.･ ｡ﾟ☆: .☽ . :☆ﾟ.･ ｡ﾟ☆: .☽ . :☆

They were all sitting across the living room, phones in hand as the TV played some movie in the back.“Yoongi-hyung?” Jungkook asked looking up from his phone as the elder just hummed in response, not bothering to look up “Who was that girl back in your studio?”

It wasn’t exactly like Yoongi didn’t share his side projects with the rest of the group- it was just that he liked to be sure they were coming out alright before announcing the news, but your collaboration was something that came out of nowhere, and so most of his time was spent inside the lab.

“Err… she’s just a producer” he said nonchalantly, hoping Jungkook would drop the topic and none of the other members paid attention to it, but of course, they didn’t. A string of questions ranging from ‘is it for your new mixtape’ to ‘is she pretty?” were thrown at him in the span of 10 seconds and he was forced to look up from the screen, making the room go silent at once “Her name’s Y/N, we met through a mutual friend, we’re working on a collaboration for her newest album, yeah she’s pretty and no, none of you idiots will get anywhere near her.”

No more words were shared as he got up from his spot and entered the studio once again, not before muttering a quick ‘thanks for the food’ to Jin.

･ ｡ﾟ☆: .☽ . :☆ﾟ.･ ｡ﾟ☆: .☽ . :☆ﾟ.･ ｡ﾟ☆: .☽ . :☆ﾟ.･ ｡ﾟ☆: .☽ . :☆ﾟ.･ ｡ﾟ☆: .☽ . :☆

The next day you arrived at the usual time, two americanos in hand.

“You know, I bumped into Jungkook and Jimin as I was entering the building,” you said, placing one of the cups on his desk as you took your usual spot on the couch next to it “Is it just me, or is the maknae growing prettier by the day?”

Yoongi almost choked on his sip of coffee as the words left your mouth “Please tell me I just hallucinated you saying that from sleep deprivation” you laughed at his reaction “Y/N...I’m going to have to ask you not so kindly not to even think about dating Jungkook” 

“Why though? He’s cute”

“Y/N, you and I are basically the same person, it would be as if Jungkook decided to date a female version of me” he shivered in an over-exaggerated way to show his disgust at the thought of it “And that’s a question I never want to be answered”

“Fine”

･ ｡ﾟ☆: .☽ . :☆ﾟ.･ ｡ﾟ☆: .☽ . :☆ﾟ.･ ｡ﾟ☆: .☽ . :☆ﾟ.･ ｡ﾟ☆: .☽ . :☆ﾟ.･ ｡ﾟ☆: .☽ . :☆

The next few days were spent with stolen glances while walking by Jungkook every time you set a foot in Big Hit’s building to go to Yoongi’s studio, and today was no exception as he shyly waved your way from one of the practice rooms you walked by on your way to the studio.

“Jungkook really is a cute one,” you said out loud as you were sitting in the couch scrolling through Twitter as Yoongi was typing away in the computer, your collaboration song almost done, just missing a few touch-ups 

“Gosh I thought we had talked about this, Y/N” Yoongi’s voice made your head turn faster than expected, cheeks going redder by the second, you surely didn’t mean for the phrase to escape your lips “I really really don’t want to know if Kook would date the female version of me” 

You rolled your eyes at that, but since you couldn’t tell whether or not he was being serious, decided to tease him further “I don’t know Yoongi, Jungkookie might have gotten you a new ARMY” you turned your phone screen for him to see your timeline overflowing with tweets from their fans, to what his eyes focused on yours in a disappointment manner

･ ｡ﾟ☆: .☽ . :☆ﾟ.･ ｡ﾟ☆: .☽ . :☆ﾟ.･ ｡ﾟ☆: .☽ . :☆ﾟ.･ ｡ﾟ☆: .☽ . :☆ﾟ.･ ｡ﾟ☆: .☽ . :☆

Of course, you weren’t about to admit that what began as a way of teasing Yoongi over his authoritary decision of prohibiting you to like the maknae, developed into a serious crush in the course of two weeks; aimlessly scrolling through Twitter turned into a full-consciously searching for ‘Boyfriend Material Jungkook thread’ and sure as hell you were not about to admit that most of your findings made you smile fondly, even making your heart skip a bit.

It was around 8 am as you were making your usual trip to Yoongi’s studio after getting two americanos in the cosy cafe on the way there that the rapper seemed to adore, smiling in the receptionist’s way as you greeted her and she granted you access to the building, making sure to wish her a nice day, nothing could have prepared you to what was about to happen.

“Y/N!” the mention of your name made you turn full 180 to be met by none other than Jungkook making his way to you, messy hair, loose black shirt and those goddamn grey sweatpants that made it so hard for you to look away from, it was almost impossible to believe that such a man let out the tiniest of ‘hi’ you way as he stood before you 

“Oh hey, Jungkook”  you could feel your cheeks redden by the second and it was hard to miss the bunny smile he threw your way, most probably at the increasing awkwardness thanks to the extending silence that grew between you, your wittiness and remaining brain cells leaving your body, making up the stupidest of excuses to run away from there “coffee, here” 

Jungkook laughed an adorable laugh as he threw a “thank you Y/N, I’ll see you around” as you were already entering the studio.

“God I have to be the greatest idiot living on Earth” you muttered as you took a sip from your coffee

“Well, I’m certainly not denying that-” Yoongi turned around on his chair “Wait where’s my coffee?” your eyes widened at that and offered him your cup

“Take mine, I gave yours to Jungkook”

“You gave, my coffee to Jungkook? Do I even wanna know?” he gladly took you cup from your hands as you groaned in annoyance, would it be so bad to just let him know about your crush? if anything, he was the one to blame in the first place.

“Listen, I panicked okay?” as you cringed at the events from a few moments ago, Yoongi’s expression remained the same, unreadable.

He took another sip from the cup and began to talk “Okay first of, may I just say I absolutely adore this coffee” he made a dramatic pause, much to his teasing style “Second, you’re trying to tell me that you pushed a cup of coffee in Jungkook’s hands and then ran off?” a few of his word cut off from small laughs escaping his mouth “The great Y/N fell into the charms of Jeon Jungkook? man…”

You hid behind your hands as he kept going with his monologue of how the youngest member was taking over the hearts of everyone “I mean technically… this is your fault”

Yoongi gasped “Aishh��� my fault?” he laughed, gummy smile showing “ Let’s just get to work, lover girl”  

As much as he adored to tease you back for all the times you had teased him, the song wasn’t about to finish itself, or perhaps after all of this, he had just the right thing in mind to kill two birds with one stone.

･ ｡ﾟ☆: .☽ . :☆ﾟ.･ ｡ﾟ☆: .☽ . :☆ﾟ.･ ｡ﾟ☆: .☽ . :☆ﾟ.･ ｡ﾟ☆: .☽ . :☆ﾟ.･ ｡ﾟ☆: .☽ . :☆

Yoongi had texted you early in the morning to drop by the studio as early as possible, saying he was finally able to find that je ne sais quoi that was missing in your song, and so you happily obliged, Yoongi was an amazing producer and you couldn’t help but let your mind wander to all the possibilities, was it a change in key? or perhaps a new beat?

Your heart pounded the fastest it had ever beaten as you opened the door to the recording studio and your ears were filled with amazing vocals that belonged to none other than the dark-haired boy inside the booth, Jungkook.

“That was just amazing, you can come out Jungkook” Yoongi called from the mixing board

“What is this all about, Yoongi?” he smiled and turned to Jungkook as he made his way out and greeted you in the smallest voice possible, both your cheeks and his slightly pink.

“Oh, I’ll just Kookie here explain to you as I, Min Suga genius, get a very well deserved coffee” he patted the younger’s shoulder and soon disappeared through the door

Jungkook took a seat in the rolling chair and barely faced you as he scratched the back of his head, you not understanding a single thing of what was going on “Yoongi-hyung had this idea of mixing some hidden vocals and-” he raised his sight to watch your confused expression “yeah...I hope you don’t mind?”

You cleared your throat twice, in a failed attempt to calm yourself down “Not at all Kook, your vocals are not that bad- I mean, no, your vocals are amazing- they always are and...yeah, I’ll shut up now” you let out a breathy laugh, mentally hitting yourself in the head and wondered if there was any chance for earth to swallow you whole.

A few seconds went by of you roaming your eyes around the room, not having enough courage to meet his eyes, as the usual awkward silence filled the room until you felt his knee bump your own and felt his hand lift up your chin to meet his gaze, to which you were sure as hell he could now hear your heartbeat; the silence soon turned into a suffocating heat and mutual stolen glances to each other’s lips before he came closer and time seemed to slow down as you closed your eyes and felt his lips warm against your own, only to be met by nothingness and a closing door a few seconds after, when you opened your eyes again.

･ ｡ﾟ☆: .☽ . :☆ﾟ.･ ｡ﾟ☆: .☽ . :☆ﾟ.･ ｡ﾟ☆: .☽ . :☆ﾟ.･ ｡ﾟ☆: .☽ . :☆ﾟ.･ ｡ﾟ☆: .☽ . :☆

Your mind had gone blank after that kiss, you stopped going by the studio since you couldn’t quite wrap your mind around it, and you couldn’t raise enough courage to confront Jungkook about it.

One Sunday afternoon, there was a soft knock on your door, looking through the peephole twice, you couldn’t help a thousand thoughts running through your mind as you saw Jungkook standing on the other end of the door.

“Here” he shoved a small paper bag into your hands, just the way you had done that time with the coffee “Yoongi-hyung said they were your favourites and-” his eyes searched for your face and he sighed heavily “Y/N I’m so sorry for what happened the other day, I don’t know what got over me, I’ve just- I’ve liked you since the first day I saw you and-”  you cut him off by standing on your tiptoes and placing a tender and quick kiss on his lips before both of you broke into a smile.

He wasted no time in placing both of his hands on your waist and deliver a series of pecks on your lips as he walked both of you into your apartment, making sure to shut the door before your body was pressed between the wall and his own, your hands quickly finding their way behind his neck in an attempt to bring him any closer, your mouths finding their way against each other at the increasing tension, the warmth of his lips making you weak on the knees, a small smile playing on both of your faces as he placed his forehead against yours, breathing heavily.

“Next time don’t run away from me,” you said looking into his eyes

“Wasn’t planning on doing that” his thumb started caressing your cheek as he leaned in once again and you laughed at how stupid you both had been.

[thecoleopterawithana]

Paul McCartney on Pet Sounds

Interviewed by David Leaf while touring in Japan (1990).

WHEN DID YOU BECOME AWARE OF THE BEACH BOYS?

PAUL: The early surf records...I was aware of them as a musical act, and I used to like all that, but I didn't get deeply interested in it---it was just a real nice sound...We used to admire the singing, the high falsetto really and the very sort of 'California' lyrics.

It was later...it was Pet Sounds that blew me out of the water. First of all, it was Brian's writing. I love the album so much. I've just bought my kids each a copy of it for their education in life---I figure no one is educated musically 'til they've heard that album. I was into the writing and the songs.

The other thing that really made me sit up and take notice was the bass lines on Pet Sounds. If you were in the key of C, you would normally use---the root note would be, like, a C on the bass (demonstrates vocally). You'd always be on the C. I'd done a little bit of work, like on 'Michelle,' where you don't use the obvious bass line. And you just get a completely different effect if you play a G when the band is playing in C. There's a kind of tension created.

I don't really understand how it happens musically, because I'm not very technical musically. But something special happens. And I noticed that throughout that Brian would be using notes that weren't the obvious notes to use. As I say, 'the G if you're in C---that kind of thing. And also putting melodies in the bass line. That I think was probably the big influence that set me thinking when we recorded Pepper, it set me off on a period I had then for a couple of years of nearly always writing quite melodic bass lines.

ITS BEEN SAID THAT "HERE, THERE AND EVERYWHERE" WAS INFLUENCED BY THE BEACH BOYS. IS THAT ACCURATE?

PAUL: It's actually just the introduction that's influenced...John and I used to be interested in what the old fashioned writers used to call the verse, which we nowadays would call the intro...this whole preamble to a song, and I wanted to have one of those on the front of 'Here, There and Everywhere.' John and I were quite into those from the old-fashioned songs that used to have them, and in putting that [sings "To lead a better life”] on the front of 'Here, There and Everywhere,' we were doing harmonies, and the inspiration for that was the Beach Boys. We had that in our minds during the introduction to 'Here, There and Everywhere.'

I don't think anyone, unless I told them, would even notice, but we'd often do that, get something off an artist or artists that you really liked and have them in your mind while you were recording things, to give you the inspiration and give you the direction...nearly always, it ended up sounding more like us than them anyway.

TRY TAKING THE ALBUM TRACK BY TRACK AND COMMENTING ON EACH SONG.

PAUL: 'Wouldn't It Be Nice' [hums the first verse up to 'know it's gonna make it that much better]. That's the bit of melody I love. [sings 'When we can say goodnight and stay together, wouldn't it be nice]. I’ll tell you what I was telling my kids, is that on most of the tracks on Pet Sounds, and it applies on this one, is that the orchestration, the instrumentation that's used on it, I was very fascinated by. Yeah, I love that one.

"YOU STILL BELIEVE IN ME"

PAUL: I love that melody. That kills me, that melody. [hums the first verse, bursts into song at 'I wanna cry.' ] That's my favorite, I think. The way that's arranged, where it goes away very quietly. I was in the car the other night, and I was telling the kids, saying, 'wait, wait, here it comes.' And then it comes back, and it's so beautiful right at the end, comes surging back in these multi-colored harmonies. Sends shivers up my spine. That's one of my favorite tracks.

"THAT'S NOT ME"

PAUL: [hums a verse, then sings "just one girl] Lovely melody. I took my kids through the album. We were playing it in the car coming back from the airport, and I was just picking out 'Ooh, ooh. This bit. Listen to this bit. Ooh, listen to this.' I must say, they were impressed. They've been in love with the album ever since.

WHAT ABOUT THE LYRICS?

PAUL: Lyrics to me are kind of secondary, but some of them are really spot on. 'God Only Knows' lyrics are great. Those do it to me every time. And [sings 'just one girl' from 'That's Not Me]. There's something very touching about that little bit of lyric there.

YOU WERE ONCE QUOTED AS SAYING SOMETHING LIKE "GOD ONLY KNOWS" IS THE GREATEST SONG EVER WRITTEN.

PAUL: It's a really, really great song---it's a big favorite of mine. I was asked recently to give my top ten favorite songs for a Japanese radio station...I didn't think long and hard on it, but I popped that ["God Only Knows"] on the top of my list. [Thinks for a moment] It's very deep. [Quotes the lyrics to "God Only Knows"] Very emotional, always a bit of a choker for me, that one. There are certain songs that just hit home with me, and they're the strangest collection of songs...but that is high on the list, I must say.

HOW ABOUT THE INSTRUMENTALS?

PAUL: Say, I love the orchestra, the arrangements. I love the instrumentation. I mean, I love the way he uses harmonicas, the way he uses harpsichords. I love the way he uses timps and snare drums, and they're often on odd little patterns. And I mentioned the bass. The writing for the harmonies is brilliant. I love the melodies.

Now, having mentioned that, I don't think there's an awful lot left in music, is there?

If you can pop all of those together in one album, I figure you've got it. It really is...I don't know, it may be going overboard to say it's the classic of this century, but to me, it certainly is a total, classic record that is unbeatable in many ways.

SO IT’S HELD UP OVER THE YEARS?

PAUL: It more than holds up. It's better than ever. When Sgt Pepper came out on CD, it awakened interest in that album for me. I have a two-hour drive normally to London; I played Sgt. Pepper on the way in, and then Pet Sounds on the way out, and both of them have more than held up. To me it’s like, ‘What have people been doing in meantime? Where's the progress?’ I can't see anything as modern as that around at the moment. Obviously, one of them, I'm being slightly immodest on, but I think they’re very exciting, even though they’re really recorded quite primitively compared to now.

YOU'VE TALKED ABOUT HOW PET SOUNDS INFLUENCED YOU. WHAT KIND OF IMPACT DID IT HAVE ON JOHN?

PAUL: I played it to John so much that it would be difficult for him to escape the influence. If records had a director within a band, I sort of directed Pepper. And my influence was basically the Pet Sounds album. John was influenced by it, perhaps not as much as me. It was certainly a record we all played – it was the record of the time, you know?

FROM THAT SAME PERIOD, HOW ABOUT "GOOD VIBRATIONS”?

PAUL: I thought it was a great record. It didn't quite have the emotional thing that Pet Sounds had for me. I’ve often played Pet Sounds and cried. It's that kind of an album for me.

ANY LAST THOUGHTS?

PAUL: I'm still a big fan. I figure with what you're gonna write here, he'll know that. Just let Brian know that I love him, and that I still think he's gonna do great things. Tell him good luck, stay healthy for me, and think good, positive thoughts.

[iambountyfan]

iambountyfan; echoes - Ruzina Frankulin, Darko Škrobonja, Ane Paška our tribute project ECHOES FROM OUR PAST features a variety of musicians, artists and creatives from all over the world; today we proudly present one of the finest works within the tribute, and are joined by Croatian composer, musician and sound designer Ruzina Frankulin (Tonči Bakotin), filmmaker and DOP Darko Škrobonja and finally actress, singer and musician Ane Paška (Ana-Marija Fabijanić) ahead of the debut of their music video "Aroma Ecito", an original track created exclusively for iambountyfan. Q. hello everyone! please, feel free to introduce yourselves and tell us a bit about your work. Darko Škrobonja: 
I'm a multimedia artist and a filmmaker. I also work on various projects as a photographer, director, and DOP/cameraman. In my personal work, I mostly deal with subjects like the passing of time and the absurdity of human existence. Ruzina Frankulin: 
Just a boy who as a 4 yr. old started jumping around a portable radio cassettophone. Since then, nothing really changed regarding the sensation I feel when the right sounds and images hit me. One of the best things in my life was the privilege of being a part of the music collective Zidar Betonsky, with which I enjoyed some fantastic intimate success thanks to my partners, both as artists and as extraordinary mates.
Apart from music, I do bits of audio technology lecturing, sound design, postproduction and video filming. Ane Paška: I am somebody who likes to explore different ways how to translate ideas and inner space of imagination in the language of music, words, performance, video, film. I finished dramaturgy in the Academy of dramatic arts in Zagreb and Master Film and Video in Art Academy in Split. During these years I took part in many workshops of contemporary theatre, physical theatre, performance and many different vocal and voice education. I also play a few musical instruments, and since 2014 I've been performing exclusively author works composed of my texts, poems and music. I have created several short music films that have been screened at various festivals around the world. Q. you are all well versed in different art fields. could you tell us a bit about how the three of you met? is "Aroma Ecito" your first collaboration? D.Š.: In 2013 I was filming a short experimental film for a theatre company with whom Ruzina collaborated. Over the next few years, we got to know each other much better when he helped me with sound editing and sound design on 3 of the films I made at the Arts Academy University of Split. In 2019. he introduced me to Ane and our first collaboration "Aroma Ecito" began. R.F.: I met Darko through some short film projects and we continue to collaborate whenever there's an opportunity out of mutual interests. Darko was a logical choice for this project, because I knew we could fulfill each other in the most fruitful way; the same goes for Ane. I met her about two years ago when a friend suggested that I go see one of her live performances. I don’t go out often as I've lost interest in the local scene, but it turned out it was well worth leaving the studio. I consider her as probably the most exciting upcoming music artist in Croatia at the moment. We are preparing some things together, cooking well behind the scenes. A.P.: When I decided to record my music album, a friend of mine recommended Ruzina and his music studio. 
We met after one of my performances and both of us had a great wish to create something together. Right now, we are in the process of recording music and this collaboration is really fantastic to me. Ruzina also introduced me to Darko when we were planning to make “Aroma Ecito”.

Ane Paška, photo by Kaja Zulin Q. what are the biggest inspirations behind your creative drive? D.Š.:  The process of creating art is my only drive and inspiration to do more. Time stops, life has meaning. R.F.: There are likely tons of sound and visual imprints that I’ve absorbed during the years. It is important for me to try to keep them on an unconscious level, and use musical instruments and technology to sculpt something that has emotion. My destinations are always emotions. A.P.: Life itself! There are so many beauties in the world, evil, sorrow, happiness, misunderstandings, kindness, suffering, poetry, secrets, that art can help us embrace with all the nuances of such a complex and incredible world. Q. how long has it been since you first got in touch with the art of iamamiwhoami? which audiovisual era has been the most influential to you?  D.Š.: Ruzina introduced me to the project in 2018. and I've been a fan ever since. The present [era] is the most interesting. R.F.: I was an immediate fan since early December 2009. I do not remember how I encountered it, but I followed all first six uploads in real time and was amazed by that work. I still think that those first videos are absolutely Jonna and Claes' strongest work; I see it as reminiscent of all greatest pop electronica substruction, wicked and twisted with a fresh dose of originality. I was hoping to see a full length album released out of those. A.P.: Ruzina introduced me to the project as well and I also liked their first videos. Q. please tell us a bit about the creation of "Aroma Ecito" and the creative process behind the track. R.F.: When I was asked to create an original track for this release, I started to mess with some beats I had sitting on my hard drive for years. They didn't have a structure that could make the pop form I had in mind when thinking of a homage to iamamiwhoami, but it had a certain atmosphere that drove me to something. The rest was done by layering beat and synthesizers. And I have no idea how I am doing it. It is a child’s play where I try not to screw the purpose of the track. A.P.: Ruzina made the music and had a concrete idea of the way I should sing. On the other hand, I have seen great potential in the song for it to have lyrics that are sung in a fictional language. In such a way the song could get an even more mystical character. In the end, we made a compromise and only one verse remained fictional, but very well correlated with the rest of the song. Q. what about the video? I can tell that some of the scenes within it are reminiscent of the "bounty" series. D.Š.: Yes, at our meetings we talked a lot about the "bounty" series which became our initial inspiration for the visual style and the mood of the video. Later on, our artistic characters began to take over and we started to play. R.F.: Sure, it came from the influence of iamamiwhoami, but soon enough Ane took over with her performance and ideas which she developed with Darko, who was also responsible for completing the technical side of filming. All I remember is that somebody said the word “oranges” and there it was. Oranges hanging from strings - and we made it seem pretty effortless, although people who saw the video before release commented that it surely was very well planned. And it was indeed planned, but I wouldn't say “very well” because we worked by using instinct mostly. That’s I guess why we chose to work with each other. We just allowed dancing ideas to stick. A.P.: Two weeks before we started shooting the video, I was on a remote island with a beautiful sandy beach. I was playing with kids, and at some point, they buried me in the sand. Then I stayed lying buried in the sand for a few hours; by that moment some scenes for the video came to my head and I decided to share them with Darko and Ruzina, and suggest that this could be the material on which we could continue to build the video. The idea of oranges crooned within me for several years since pregnancy, when the oranges in my imagination grew to the proportions of an entire continent and an incredible landscape. I'm glad that Darko and Ruzina have accepted these ideas and that the filming of the video was conducted in a beautiful and relaxed atmosphere in which we gave ourselves a chance to improvise. Q. we really enjoyed Ane's performance in the music video. can you tell us a bit about the lyrics and the general meaning behind them?  R.F.: Lyrics are basically about the process of creating music or art in general. The ideas that jump and dance around you, completely free, like muses. It’s up to you to allow them to take you on- they are not always happy encounters, they can burn you as well. Important parts were added by Ane, like voice emotion and the line «smoo la te lo mande lai», which we still do not know how to explain to anyone, but we know the feeling behind it or how it looks on one's face. I think it fits perfectly for this. A.P.: Thank you very much! As I said, I had an idea to invent a language for this song, but finally we made a compromise and found a way to balance the English and fictional language into a meaningful whole that sounds good. Q. as you might know, To whom it may concern. is an independent reality that creates and releases film and music without creative boundaries. would you say that the Sensoria collective shares a similar premise?  R.F.: Well, Sensoria is basically an artistic association and as such it is a non-profit organization. We mostly deal with non-commercial content - be it sound or video. Some releases I am particularly proud of are an experimental documentary about the ocean surface (“m.ocean”) and audiovisual 7-channel installation called “Festival”, where we showed what is possible when you take seven so-called notable Croatian singers and take millisecond audio and video sample snippets to transform them to completely new electronic music with accompanying videos. These will both be released next year in physical form. This year, we are releasing music from five theatre plays for the Fractal Falus Theatre, for which Zidar Betonsky have been creating music since 1997. We recently released "Aroma Ecito" and are continuing to make music with Ane. Our website is a mess at the moment, but it will soon be renewed.

Ruzina Frankulin, press photo Q. what do you think about the current state of the music industry? do you think independent musicians carry an important role altogether and how can they work around it?  D.Š.:  Yes, their role is very important. But there's a big problem with music videos in general. They by themselves vary in quality, but the general trend is alarming. People are starting to watch music a lot more than listen to it. This is where filmmakers' responsibility toward the musicians and their work is crucial. A true collaboration between the mediums is rare. R.F.: It seems to me that the music industry is more or less on the same page all the time. The industry wants to be industry – so they see artists as its workers, to put it lightly. It is just that mediums are changing: nowadays we have web and mobile platforms, so music is much more accessible than ever before. And the industry wants to charge every click, every move of finger, be it yours as a consumer or the artists'. Schemes like “pay what you want” or nesting music as payable torrents that were introduced by Radiohead are refreshing ideas, but unfortunately they aren't working for unknown acts or bands without exposure. I am even not sure how iamamiwhoami managed to catch such big attention at first with unknown video uploads, but I am sure glad they did. Also, as I understand they had tours partially financed by their fans around the world, which is a great thing. I think we all need to adopt and try to use all we can while caring not to hurt anyone in one way or another. A.P.: I'm going to be honest, I don't think much about the music industry at all. I am committed to creating, and so far I have witnessed that creation always finds its way to people. There are things that money can never and will not be a threat to. Q. thank you for your hard work and for joining us today! we wish you the best of luck for your future endeavours. all: Thank you very much! follow Sensoria.hr and Ruzina Frankulin on YouTube | Vimeo or check out their official website: Sensoria.hr follow Darko Škrobonja on Vimeo and Ane Paška on YouTube interview by Marco Napolitano

[stevecanmakeanythingnerdy]

The Vinyl Four Battle #2

2 ) (The) Sweet: Desolation Boulevard ( Side 2 )

Vs.

5 ) The Copyrights: Make Sound ( Side A )

2 ) (The) Sweet: Desolation Boulevard ( Side 2 )

#2 ranked Sweet are back to challenge for this seasons biggest calorie burner! They had a strong showing in the regular season t earn such a prestigious position, but can they knock off Carbondale’s Copyrights-the champions of Midwest pop punk?! Let’s find out! Sweet are a British glam rock band that rose to worldwide fame in the 1970s. Beginning in 1968, their best known line-up consisted of lead vocalist Brian Connolly, bass player Steve Priest, guitarist Andy Scott, and drummer Mick Tucker. The group was originally called Sweetshop and by far and large had all of their success in the 1970s though they continued on until 1981. After that there were frequent and subsequent reunions or other incarnations of the band with various original members resurrecting the name throughout the years. Mostly coming after the SNL film “Wayne’s World” drew renewed attention to the song “Ballroom Blitz”-one of the band’s best charting and most notable hits. That tune, in fact, has been very widely covered since it’s initial release in 1973. The band is really credited for fully embracing glam pop and helping define it as a genre. Desolation Boulevard is technically (here in the U.S. version of the release anyway) more of a compilation, as many of the songs on it were charting singles and released at various times in the U.K. before the band really broke out in the U.S. it is a brilliantly perfect album from start to finish and honestly one of my favorite records in my whole collection. I cherish this album so much that a copy of it hangs on my wall in my band room. Plus, it has a Hipgnosis cover. Hipgnosis was an art collective that did all the cool album covers (like Pink Floyd, etc) in the 70s. Side two kicks off with “Sweet F. A.” Let me tell you, sweet f#@$!n’ A!!!! It’s a great way to get going, with it’s nearly metal power riffs. Badass production to boot. There are many allusions to what the “F A.” may stand for but most likely it’s a reference to Sweet Fanny Adams- an album released just prior to this US edition and a definite separation from their previous “bubblegum” sound and transition to their highly proficient and technical hard rock edge. That would remain a prominent feature for the rest of their career. In the early days the band had pop tunes penned for them and they would create the B side (which was inevitably harder). Now, with Desolation Boulevard, the band was free to explore that side. Tunes like “Fox On The Run” and (ironically) “Set Me Free” are some of the greatest tunes ever put to tape in the 70s. The aforementioned hit “Ballroom Blitz” is directly influenced and captures an incident from this very struggle. The band tired of playing their bubblegum hits live and would pad their set with the preferred harder stuff. It is said at one concert, A 1973 performance at the Palace Theatre and Grand Hall in Kilmarnock, ended in the Sweet being bottled off stage; the disorder was attributed by some (including Steve Priest) to the Sweet's lipstick and eye-shadow look, and by others to the audience being unfamiliar with the concert set . The result? "The Ballroom Blitz". Let’s back up a bit though...”Fox On The Run” is nothing to sneeze at, and is considered (by me at least) to be a masterpiece! So well done and catchy!! The harmonies, the hooks, the highlights!!! Badass beats and fills! It’s truly perfection. Almost the greatest song ever written! Next is an equally impressive and great tune with “Set Me Free”. It’s a real rocker, mixed with punky, funky metal. God damn this band for being this tight and ahead of the times!! “Into The Night” slows down a tick and smooths out over time. All I can think is how incredibly hot it must have been performing under stage lighting with all that hair and pleather! “Solid Gold Brass” ends with a walking pace. Nice catchy and Sweet night like. Still a wall of sound and very powerful. Those freaking vocals!! So amazing and full of harmonies! That’s got to be the defining characteristic of this band. Those atmospheric harmonies. (End part one)

[trainthief]

Hey I was wondering if you'd ever consider doing like a top 20 fav classical music albums or composers list or something. Obviously if that just sounds stressful disregard this but I know you are like, into classical music & I grew up with my parents playing it & recently got, like, into the classical station but aside from like 3 artists I like I don't know where to start & I like your blog and would be interested in hearing about like, your taste

Sorry for responding to this so late, I’ve had a real week and I wanted to make sure I had time to put some thought into answering this ask. I’d definitely love to help, I always like recc’ing classical stuff to people! The idea of 20 absolute all time favorites is a difficult one for me because I love so much stuff and it’s really difficult to compare like… Caroline Shaw’s modern experimental chorale stuff to Bach’s Brandenburg Concertos. Anyway, instead I will give you some full length pieces in different styles that I think are great for new listeners, and explain a little about what each one is doing and what I love about it, and some more pieces I recommend if you enjoy what you’re hearing. Hopefully that will help! 

In no particular order: 

Appalachian Spring by Copland: Let’s just get this one out of the way up front. If you’ve been following me for any amount of time at all, you know I’m deeply in love with Copland. He essentially invented the American compositional style by adding jazz elements to the established practices, which caused an absolute uproar at the beginning of his career as people then considered it an unholy mix of high and low culture. He doubled down on this concept when he wrote “Fanfare For The Common Man” which essentially stands as a celebration of the working class and those who couldn’t afford to see the symphony anyway. He was, I should also note, both gay and Jewish. A real icon. Anyhow, although I love so much of his work and could go on forever, I consider listening to Appalachian Spring in its entirety a spiritual experience, no exaggeration. Take it on a hike, listen to it while you look at the trees and think about whatever crosses your mind, and by the time the Coda hits you… well I personally can’t tell you what experience to have, but I feel for a second like I can see and be seen. Anyway, aside from that, just good music, very pretty. If you’d like similar music that incorporated jazz effectively into classical work, I’d of course recommend another favorite of mine: Rhapsody in Blue by Gershwin. 

Russian Easter Festival by Rimsky-Korsakov: As a general rule of thumb, Russian composers are ALWAYS good for some drama. This piece in particular is great because it’s not only fanfare and excitement, there’s a touch of pastoral calmness that I really love (more on that as a concept later) at the beginning, but we still get plenty of wildness. There’s a frantic octave part the violins play around minute 5 that always makes me want to scream. If you like this, I’d also recommend checking out Rimsky-Korsakov’s Capriccio Espagnol. The man knows how to write sexy. 

Romance in D by Berkey: I recommend this partially because it’s a lesser known and very beautiful piece, and also because it’s a good lead-in to a whole subset of classical called Furniture Music. Essentially called that - originally by the composer Satie - because it’s nice to put on in the background. Don’t get me wrong, it’s still fun to listen to, and from a compositional and performance standpoint it can still be very impressive. But it’s just good and calming and you could certainly sip tea to it in the restaurant area of a ritzy 1920’s hotel while you read a novel and ignore your rich husband asking if you’d like any marmalade. A good example of the same effect is the soundtrack to Phantom Thread. It’s also good for studying. If you like that conceptually, I’ve got a whole playlist here. 

Pictures at an Exhibition by Mussorgsky: A really excellent intro to classical and one of my favorite works, AND like the last one, also a lead-in to an informal format. Pictures was written with the idea that each song was a separate painting that the listener could imagine they were looking at in a museum. For that reason, each one has a different style and personality, and feels very descriptive and exciting. A collection of small related pieces is called a suite, but I haven’t yet been able to find a technical name for that specific kind of storytelling structure within a suite. It’s not uncommon though, and in that same vein I’d also recommend The Planets by Holst (about the planets, as you might assume), and Carnival of the Animals by Saint Saens (about… yeah you get it). 

Spem in Alium by Tallis: We’re taking a wild left turn now and veering into the Christian choral tradition dating back to the 1500s. Like anyone else who isn’t even a Christian, there’s a few things about Catholicism that I’m obsessed with. Namely the hymns and the stained glass. Focusing only on the hymns, Tallis is one of the best examples of polyphonic hymnal work. Polyphonic, essentially, means that the different voices in the piece are moving around each other and will frequently change their notes in a way that will compliment - but is not necessarily in line with - the direction of the piece as a whole. It makes more sense if you just listen. The style, however, was developed in an attempt to capture the idea of the stars and planets circling each other in their own independent orbits, because at the time people had just started to turn their gaze to the sky for answers about their own lives. Aside from that very cool background, I just find the really human side of the choir format in particular paired with the elevation of music being this untouchable but powerful thing paired with the holiness of the concept paired with how awesome the acoustics of a chapel can be…. It’s just a lot. If you like this I’d also recommend Miserere Mei by Allegri, Ave Maris Stella by Dufay, and O Magnum Mysterium by Lauridsen 

Peter Grimes by Britten: Classical music is so rooted in every musical tradition, and visa versa, that it’s almost impossible to separate it conceptually from a lot of genres. Technically, “classical” refers to a period of time more than it does a genre anyway, but let’s not get pretentious about it. While we’re pushing the boundaries of what can and can’t be included in this list, let’s talk Opera, and specifically Peter Grimes. When asked to describe it, Britten said it was “a subject very close to my heart—the struggle of the individual against the masses. The more vicious the society, the more vicious the individual.” More specifically the struggle was an allegory for gay oppression, and ironically Britten wrote the lead role with his lifelong partner Peter Pears - an opera singer - in mind. To give a taste without giving too much away, the Prologue establishes that Grimes, a fisherman, is being questioned over the death of his apprentice. The townspeople are all convinced before the questioning even begins that he must have done it, but the coroner decides the death was accidental. Grimes is let free and advised not to get another apprentice, but he of course ignores this…. If the vocal side of opera doesn’t do it for you, there are 4 Sea Interludes from this work that are really great independently. If you want even more opera with even more drama, I’d recommend looking at Tosca or Turandot both by Pucccini. If you think classic opera is too high brow and you want something a little sillier, try Mozart’s Magic Flute. If you want something more new age and weird, try listening to Two Boys by Muhly or selections from Einstein on the Beach by Glass (but probably not all 5 hours, Knee Play 5 and Spaceship would be my top 2). 

Symphony No. 6 “Pastoral” by Beethoven: I mentioned earlier when describing the Russian Easter Festival that I love a piece with pastoral calmness. Getting back to that point, I haven’t ever seen one word that’s commonly used to describe this particular sense in a piece, but I personally call it a Pastoral after Beethoven’s 6th. In general, the symphony is one of my favorites as a composer and listener, especially given that it’s really just about taking a walk in nature which is one of only 3 themes music should have anyway in my opinion. A good amount of my music is written with this feeling in mind. Aside from all that context, the first movement in particular is very nice, passionate but not sensational, and is just about being excited to be outside. Nothing wrong with that. This subset of music is probably the most informal of all the ones I’ve listed so far, but if you’d like more “Pastorals,” or pieces that have a nice calm passion to them, I’d also highly recommend Enigma Variations: Nimrod by Elgar, Fantasia on a Theme of Tallis by Vaughan Williams, Once Upon A Time In America by Morricone, Musica Celestis by Kernis, and of course again Appalachian Spring by Copland. (I would also be legally sent to jail if I didn’t mention that while we’re on the subject of Beethoven, his 9th Symphony is generally considered one of the greatest achievements in classical music). 

Rite of Spring by Stravinsky: A lot of these pieces have been good jumping off points into different musical concepts, but with this one I’m sticking my description to the initial piece itself. I got the chance to email with a composer I admire and he at one point described composition not in the sense of writing something “smart”, but in writing something “detailed”. The Rite of Spring is a really great example of detailed composition. It’s extremely experimental with its time changes - essentially the way that you should be counting your notes as a musician constantly changes and always into a pattern that’s difficult to keep track of - and also with its chord structure. The music itself can be jarring and odd to listen to but the composition wasn’t random and when studied shows an obsessive elbows-deep involvement in the work that I really admire. It might not surprise you to hear, however, that at the initial performance the audience was so furious that the lighting technician had to continually flash the lights to confuse them, out of fear of a riot. If you’d like something a bit more fun to listen to by the same composer, however, Firebird is a good one. And if you’d like another great piece that was completely booed off the stage at its premier, I’d recommend Grand Pianola by Adams. 

Romeo and Juliet by Prokofiev: While we’re in the general vicinity of ballet, I should get into that deeper. Ballets can have some of the most fun music to listen to because the timing is required to be so much more specific. Romeo and Juliet is a lot of fun, particularly the “Montagues and Capulets” and “Masks” sections. Another great ballet is, of course, The Nutcracker by Tchaikovsky. I’d also recommend Don Quixote by Minkus, and Rodeo by Copland…. I know I know 

Violin Concerto in D by Tchaikovsky: I said Russians bring the drama, and it’s doubly so when it’s a gay Russian. This piece is a classic example of the solo concerto format, which is a staple of classical as a whole. The setup is a single player on whatever instrument the piece is written for accompanied by an orchestra, and is usually a showcase of technical skill by the soloist. This one in particular is basically THE turning point in a violinist’s studies and just about every violinist learns it as soon as they’re capable of taking it on. Personally I still vividly remember when my teacher finally gave it to me, it’s a very specific sense of accomplishment. Similar examples of the solo concerto format on different instruments would be Piano Concerto in F by Rachmaninoff, and Oboe Concerto in C by Mozart, both of which I absolutely love. 

The Revd Mustard His Installation Prelude by Muhly: I’ve gone on forever so I’m trying to be quick. Nico Muhly is one of my favorite modern composers and Revd Mustard combines his classic ecstatic and constantly moving style with an organ, which I’m a sucker for. Contemporary classical in his style can be difficult to listen to because it’s gotten very experimental and as a result, very complicated. But if you don’t go into it with the expectation that you’re going to hear a structured and logical Mozart-like piece and you instead surrender your opinion until the whole thing has come together for you, it can be really interesting at the very least. As a side note, Nico has collaborated with Sufjan, Bjork, Jonsi, Teitur…. lots of people. You’ve certainly heard him before even if you didn’t know it. For more classical from the last few decades I’d recommend Partita for 8 Singers by Shaw, Tissue No. 7 by Glass, Different Trains by Reich, the Red Violin Concerto by Corigliano (especially because I just saw it live a few days ago and am still reeling), Perpetuum Mobile by Penguin Cafe Orchestra, and Cantus in Memoriam Benjamin Britten by Part. Each of which is vastly different, stylistically speaking, but all of which I really love. And for more organ listen to one of my favorite pieces of all time, Symphony 3 by Saint Saens. 

Ok, you know what? I’m cutting myself off because I’ve gone on forever. If you haven’t been put off of asking me questions entirely by now, please feel free if you want even more recommendations in a specific style, or want to know more about something you enjoy. Clearly I love talking about this. Hope that helped!

[christinkinslow-blog]

The Finest In New Music Discovery And Curation

The second half of the 1960s ushered within the era of music festivals — culminating with the granddaddy of all of them, Woodstock, in August 1969. Scary Movie was a fairly good film that started a horrible pattern. You realize in your heart what I communicate of, for it haunts the dark corners of every Netflix and Hulu menu. Someday in the early 2000s, filmmakers completely forgot what the purpose of a spoof was. Instead of parodying broad genres, like The Naked Gun did with detectives and Austin Powers did with spy movies, folks simply started putting nouns in entrance of the word "film" and http://www.audio-transcoder.com shitting out ninety minutes of determined actors recreating scenes from pop culture like your worst co-worker. Wildly gifted songwriter who flies beneath the mainstream radar and is beloved by critics and musicians alike? Noticing a pattern here? Ron Sexsmith is another jewel in Canada's singer-songwriter crown. With his distinctive and charming voice and wonderful melodic sense, he's gained many well-known admirers including Elvis Costello and Elton John Sexsmith arrived in Toronto by the use of St. Catherines and was praised for his songwriting since his self-titled, major label debut in 1995. After crafting 14 albums worth of earnest, guitar pop, Sexsmith developed a cult following despite many of songs becoming mainstream hits for others reminiscent of Feist's ‘Secret Coronary heart' and Michael Buble's No matter It Takes'.

Rock - Referred to as one of the vital famous genres, this one is used to describe many various musical types. Initially, rock was fused collectively by two different in style genres, valoriesandridge.hatenadiary.com blues and nation, and even specific elements of jazz. The style was additionally typified and particularly recognized utilizing the snare drum. From this unimaginable genre, which was developed at its peak, in the 1950's, it also developed into many various sub-genres. These included most popularly, heavy steel, garage rock, black or death metallic, jazz rock, Indie pop, pop punk, http://torydigby103805213.wikidot.com folk rock, electronic rock and lots of more. Taking a look at a single issue similar to chord development or tonality doesnвЂt appear to be quite sufficient to outline a genre. A couple of years in the past, researchers in Venezuela discovered a unique solution to analyse MIDI recordsdata. They didnвЂt just isolate information that a musician would possibly perceive (like chord progressions) but they thought-about your complete assortment of digital info stored in the MIDI file and compressed it into the smallest doable set of symbols that also represented all the data of the piece. Then they appeared on the entropy вЂ" the variety of methods the knowledge could be interpreted вЂ" and created a profile of the diversity of the patterns they found. Originated as Rock & Roll" within the United States, Rock music has been rocking the world since the Nineteen Fifties. It is a type of music that began truly round string devices, but now uses different fashionable instruments too making it a bit tough to give it an correct definition. Its loud and powerful beats make it common among the many youths. A few of the rock stars who've popularized the tradition include Little Richard, Invoice Haley and Chuck Berry while rock bands like Pink Floyd, The Doors, Metallica, Nirvana and Megadeth are the modern bands who've taken the tradition by storm.

As a gaggle, Nile showcase a number of the greatest technical enjoying within dying metal at any level within the style's history. They show that much could be performed with a mode of music that's at occasions stubbornly towards any actual change or evolution. They're tight and don't need to change a lot type-clever to continue being superior — kind of like Slayer… only more so than each different band who're like Slayer ultimately (which is plenty of them). Karl Sanders even seems like Jeff Hanneman, that's a plus however not really. Music can be divided into genres (e.g., country music ) and genres may be further divided into subgenres (e.g., country blues and pop country are two of the various nation subgenres), although the dividing traces and relationships between music genres are often refined, sometimes open to non-public interpretation, and sometimes controversial. For instance, it can be arduous to attract the line between some early Eighties arduous rock and heavy metallic Throughout the arts , music may be classified as a performing artwork , a fine artwork or as an auditory art. Music could also be played or sung and heard live at a rock live performance or orchestra efficiency, heard live as a part of a dramatic work (a music theater present or opera), or it could be recorded and listened to on a radio, MP3 participant, CD participant , smartphone or as movie score or TELEVISION present. Michael Jackson , with the possible exception of Elvis Presley, was the epitome of bigger-than-life pop music figures. He hit the pop highlight as a toddler of eleven in 1969 along with his brothers in the group Jackson 5. At the finish of the next decade, he emerged as a young grownup recording artist. Michael Jackson recorded "Thriller," still the second best-selling album of all time in the United States (and the highest one around the globe), and was the world's largest pop star in the late Nineteen Eighties. His profession grew to become mired in tabloid rumors and felony investigations. However, his star nonetheless shone brightly when he died suddenly at age 50 in 2009. How do standard artists type their public identities by mobilizing existing stylistic kinds? Strong evidence suggests that specific imperatives" 1 impose penalties on producers for illegitimate position performance, particularly when performance is evaluated by critics and discriminating audiences, as it is in the music business. Much analysis, furthermore, argues that musical style expectations particularly profoundly arrange the music industry 2 - four , shaping how band members meet 5 - 6 , producers select and venues e-book bands 7 - eight , radio stations select what to play 9 - 10 , document label divisions are organized, music information is reported, in addition to how fans discover music to get pleasure from and people to take pleasure in it with 4 As such, style designations and expectations present crucial reference points that inform the way in which musicians construct their public presentation of self.

Within the words of P!nk (whose first album was R&B) "No one desires to listen to a love song that you do not mean". Not just the genre itself however arguably the love and romance of Modern R&B is dead. Changed by songs dealing with trashy cleaning soap opera, Jerry Springer subjects. With extra vocal gymnastics and a few obscure, treacly excessive-pitched sound within the background. The fusion of recent R&B to hip-hop tends to dilute each these Genres. Interestingly enough, Up to date R&B pushed soul music off the charts.

[rockrageradio]

MEGADETH AND HEAVY METAL ANNOUNCE GRAPHIC NOVEL AND ALBUM RELEASE

EXCLUSIVE COLLABORATION TO COINCIDE

WITH RELEASE OF MEGADETH’S 35thANNIVERSARY COLLECTION, ‘WARHEADS ON FOREHEADS’

LOS ANGELES CA, March 8, 2019 –This year marks the 35th anniversary of Megadeth, to which the band is set to release their ultimate greatest hits compilation, WARHEADS ON FOREHEADS, on March 22. To further celebrate this, MEGADETH has partnered with premiere comics publisher, HEAVY METAL, to create the ultimate fan experience with a 350-page anthology of comic stories inspired by all the songs on the album. The collaboration, titled DEATH BY DESIGN, features stories written and illustrated by top talent from comics, film, television and music and will be available worldwide at retailers everywhere on June 5, 2019.

The project, carefully curated by DAVE MUSTAINE and HEAVY METAL, is a powerful book that gives both insight and understanding into the universe of MEGADETH and its harrowed mascot, VIC RATTLEHEAD.

MEGADETH, working in close collaboration with HEAVY METAL, has collected an unprecedented pool of talent for MEGADETH: DEATH BY DESIGN– making it any comic book or MEGADETH fan’s dream. Brendan Small (creator of Metalocalypse) teams with Belen Ortega (Girl With The Dragon Tattoo) for Hangar 18. Dan Fogler (Fantastic Beasts And Where To find Them) writes an apocalyptic tale insanely drawn by Andy Belanger (Southern Cross) for Rattlehead. An A-list talent pool rounds out the roster featuring Tim Seeley (Hack/Slash), Ben Templesmith (30 Days of Night), Brian Wood (DMZ), Justin Jordan & John Bivens (Spread), Leah Moore & John Reppion (Judge Dredd), Joe Keatingue (Popgun), Christine Larsen (Holy Diver), Frazier Irving (Annihilator) and more than 50 other talented creators.

Says Dave Mustaine: “I have always fantasized about MEGADETH doing something this gloriously electrifying and gruesome. I hope everyone will enjoy the graphic novel as much as I enjoyed working with HEAVY METAL to put it together for you.”

Jeff Krelitz, CEO of HEAVY METAL said “Since I was old enough to buy records, MEGADETH has been one of my favorite bands, not only for the great storytelling in the music, but the world building imagery on the album covers. This opportunity to meld the two world together and tell stories inspired by their songs is a privilege that we are excited to present to the fans.”

The MEGADETH: DEATH BY DESIGN 350-page graphic novel will be presented in a 12.25”x12.25” prestige “album” format and comes in 4 different collector’s editions:

Leather bound slipcase edition with 4-clear vinyl set of WARHEADS ON FOREHEADSand DEATH BY DESIGN graphic novel signed by Dave Mustaine. Pre-order here: https://shop.heavymetal.com​

FYE Exclusive Leather bound slipcase edition with 4-clear vinyl set of WARHEADS ON FOREHEADSand DEATH BY DESIGN graphic novel signed by Dave Mustaine. Will be available at FYE retail outlets

Leather bound slipcase edition with 4-clear vinyl set of WARHEADS ON FOREHEADSand DEATH BY DESIGN graphic novel. Pre-order here: https://megadethshop.com/collections/graphic-novels

Standard hardcover edition of DEATH BY DESIGN graphic novel. Pre-order here: https://megadethshop.com/collections/graphic-novels

MEGADETH began In 1984, when Dave Mustaine was determined to start a new band that would be heavier and faster than his peers. Mustaine’s songwriting was rapidly maturing, and he set about combining the attitude and energy of punk, with the power and intricate riffing of metal, along with direct, sociopolitical lyrical content. With David Ellefson on bass and Gar Samuelson on drums, the band recorded their infamous 3-song demo which quickly circulated through the underground tape-trading circuit and became an underground hit leading to a deal with Combat Records.

MEGADETH was quickly signed by Capitol Records and released their 1986 major label debut Peace Sells…But Who’s Buying?, which became the band’s first certified gold record and would go on to become MEGADETH’s first platinum selling release. Featured on Warheads On Foreheads are “The Conjuring” and the track “Good Mourning/Black Friday” which Pitchfork describes as “everything great about hardcore, plus a dose of the kind of show-off skill that makes lesser musicians' fingers bleed.” Other songs included are “In My Darkest Hour” from their platinum selling So Far, So Good, So What! (1988), “Hanger 18” and “Holy Wars…The Punishment Due” from their GRAMMY® nominated, platinum album Rust In Peace (1990), and “Symphony of Destruction” and “Sweating Bullets” from their 1992 GRAMMY® nominated, double platinum release Countdown To Extinction. Also featured are “A Tout Le Monde” and “Reckoning Day” from their 1994 platinum selling release Youthanasia, “Kingmaker” from their 2013 Top Ten release Super Collider, which hit No. 3 on both the Hard Rock Albums and Top Rock Albums charts, “She-Wolf” from the GRAMMY® nominated, Top Ten release Cryptic Writings (1997) and the title track from the band’s last album Dystopia.

Upon its release in 2016, Dystopiareasserted MEGADETH’s place at the top of the metal world, equaling the chart impact of their early nineties output, earning the band their first GRAMMY®, as well as rave reviews (The Guardian gave it five out of five stars and stated “Dystopia is an absolutely blistering return to the state-of-the-art bombast and refined technicality.”)

Warheads On Foreheads starts at that beginning with the early thrashers “Rattlehead” and “Mechanix” from the band’s 1985 debut Killing Is My Business…And Business Is Good, an album that would lay down the blueprint and establish MEGADETH as forerunners of what would later be called Thrash Metal (and recently hailed by VH1 as the Greatest Thrash Metal Debut of All Time).

MEGADETH burst onto the scene thirty five years ago, virtually inventing a genre and selling more than 38 million albums worldwide, earning numerous accolades including a 2017 GRAMMY® Award for “Best Metal Performance” for the title track “Dystopia,” 12 GRAMMY® nominations, and scoring five consecutive platinum albums. With sheer determination and a relentless recording and touring schedule, MEGADETH worked their way up from headlining clubs to headlining arenas, festival and stadiums, cementing a legacy that continues to grow and spread throughout the world.

Heavy Metal began as an American science fiction and fantasy comics magazine, known for its iconic blend of dark fantasy/science fiction and horror. Now in it’s 42ndyear of publication, Heavy Metal is the fourth oldest American comics publisher, and some of the greatest European and American comic book writers and artists in history have appeared in this legendary publication’s pages, Since the magazine’s inception in 1977, the Heavy Metal banner has been seen in video games, television, and two animated feature films. In 2015, the brand established acclaimed comic book writer Grant Morrison as it's Editor-in-Chief, and launched it’s first-ever line of traditional monthly American comics. Shortly after, Heavy Metal began partnerships with top bands in the space, publishing the highly successful, Iron Maiden: Legacy of the Beast and the graphic novel adaption on Nikki Sixx’s autobiographical journey, The Heroin Diaries. Since then, the band has worked with Ozzy Osborne, Marylin Manson, Rob Zombie, Five Finger Death Punch, Motley Crue and many more. The brand is overseen by Publisher Kevin Eastman, COO Paul Reder and CEO Jeff Krelitz.

#soundcheckwithgentry #megadeth #metal #heavymetal #thrashmetal #hardrock #rock #rockmusic #heavymetalmagazine #turnitup #rockrageradio #rockisNOTdead #listenloud

[amoveablejake]

Album Of The Week: ‘Ballads’ By John Coltrane Quartet

Stand out song: ‘Say It (Over and Over Again)

This is not the first time that ‘Ballads’ has featured as the album of the week and nor will it be the last. This offering from the John Coltrane Quartet may not be the most famous of Coltrane’s work or regarded as his defining album but I think that it is. Through this record, Coltrane shows the other side to his music. He is often remembered for the artist who provided ‘Blue Train’ and ‘Love Supreme’ however, even on those aforementioned records, there are glimpses of a different side of Coltrane, a gentler side. That is what builds up ‘Ballads’. The entire album is one that from the moment the needle hits the record, feels like a warm embrace and yet one that is often tinged with melancholy and the odd sense of heartbreak. It is, more tonally than technically, Coltrane’s most complex work and one of its greatest powers is where Coltrane the other members of the quarter (including the always wonderful McCoy Tyner) show their restraint. There are moments where you can feel that given the space to, they could suddenly burst into their full speed, firing on all cylinders however, they don’t need to here. The power rises from knowing where to place a certain note to play on a certain feeling. None of Coltrane’s records are sporadic and chaotic, they may perhaps seem like it at first but there is instinct and thought behind them all, so I won’t draw an analogy that likens Coltrane’s other records to a scatter gun. Instead, if I’m sticking with the weapons analogy thinking I will borrow a quote from a certain Mr Kenobi and say that ‘Ballads’ is ‘an elegant weapon for a more civilized age.’ The thing is though, that doesn’t quite sit right at all because ‘Ballads’ is far from being a weapon but it still makes quite the impact. 

If you asked me what my top five favourite albums were I would perhaps struggle for a moment. However, if you let me go through my record collection and put on the front runners, the moment I heard the record begin to play I would know that it was one of the albums that I could not live without. ‘Ballads’ is one such album. It came into my life in Copenhagen and with the dreams of hygge that were also born there, it has refused to leave my side ever since and I am oh so thankful for that. Everytime I put my ‘Ballads’ record on, I feel calm. Truly and completely calm. It is an album that I have noted before, that I have played over and over again to feel that sense of calm or at least I did quite a few years ago. Now, whilst it still is a sort of comfort blanket it has evolved to take on a different feeling. It is almost as if it has retired, it no longer needs to work to earn its place in my favourite albums list, it is there and firmly too so everytime I listen to it now it is a relaxing experience. ‘Ballads’ is one of those albums that when I listen to it, I melt into it, forgetting the world around me. For instance, for a brief moment then, it actually could have been several hours there is no way to know, I forgot that I was writing and I just listened to Coltrane’s music and that, that wasn’t too bad at all. 

‘Ballads’ is one of those albums that I would refer to as my daydream albums. An album that I often have played in my head to accompany my seemingly endless daydreams. The daydreams that accompany ‘Ballads’ are often very quiet, gentle and are bathed in the ever alluring hygge lighting that I insist is present the moment the sun sets. My favourite song from the record is ‘I Wish I Knew’. It isn’t the stand out song for today’s piece as I thought I would go for something different, hence ‘Say It (Over and Over Again) making an appearance up top however, really it is always and will always be ‘I Wish I Knew’. This is, more than any of the other songs on this record, my song and the one that plays in my head to an endless degree. What it is about this particular song that has captivated me so much, I couldn’t exactly say. I think, when I first heard it, its title struck me and that feeling has never really left. It is a track made for those truly quiet and reflective moments. A song to breathe in and to let it fill your very body and soul. It is a song for the wee small hours and although I may never get there in actuality, I do sometimes envision that as I look out of my window, wherever that has been over the years and I let this song envelop the world around me. The thing is, despite the title of ‘I Wish I Knew’, I think that the thing that I like about it the most is that there isn’t an answer. It is a song that really, is built for a journey and one that doesn’t meet a definite end. It is a wish afterall and one that keeps going on and on. As ‘Ballads’ will, now and forever. 

-Jake, a man who can’t stop thinking about ‘The House of The Dragon’, 29/08/2022

[independentartistbuzz]

Indie 5-0 with Craig Norris Byrd

Craig Norris Byrd is a rising alternative folk singer/songwriter whose most debut album release is a compilation of personal stories told through music. He uses a variety of folk traditions and doesn’t let the bounds of genre stop him from telling the stories that matter to him. The album, Remissions, is a conceptual one and way to purge all his pain and struggles he’s faced in his life as of recent. 

We got the chance to speak with Craig in this edition of Indie 5-0. So, let’s dive in:

Your single “Gina Rides a Tiger” is deeply personal to you. What did it take to release this song? 

Recurring memories of moments in the last weeks of my sister’s life constantly reminded me that I needed to use her strength to get the song produced.  She loved music as much as a person could, and Eagles is her favorite band, so it is only fitting her song is folk rock. I didn’t want the song to languish in my dusty folders like so many others, and I used her example of overcoming adversity to spur me into seeing the song through production to distribution. That blazed the path for the rest of the album.

You just released your album, Remissions. What is your favorite song on the album and why?

That would probably be Three Dreams. I like the imagery that is depicted in the song. It has quite a simple verse structure with voice leading a surprising chord progression, then it settles into a calm musical interlude that repeats the four-bar introduction. I like the plain feeling of that interlude juxtaposed with the complexity of the lyric, melody and harmonic progression.

How do you approach writing music? What was it like with Remissions? Did it come easily or with more difficulty? 

My tendency is to write the lyric completely then put it to a melody. After that I will build a harmonic structure. I suspect the entire album was composed using that methodology. Often the lyric will sit for a while and go through some minor changes before I am inspired to make it a song. Then it usually happens quickly once that choice is made. One exception would be Merge, where it took several years before I was happy with the way the melody fit over the instrumentation. I have several volumes of poetry that I have written over the years which I have not as of yet been inspired to turn into songs, and I am constantly churning out new concepts for lyrics based on current situations.

What song/album inspires you the most and why?

That is a tough one. I would probably have to go with Shaking the Tree by Peter Gabriel. Don’t Give Up is one of the most poignant songs ever written. Then there is the painful drama of Family Snapshot, the political statements and rock anthems. It’s an incredible collection of highlights from his body of work. Excluding a greatest hits collection I would have to cite Solid Air by John Martyn. I bought the album on a lark having never heard of him because of the cover imagery and his picture on the back.  He is the artist I would credit most with inspiring the development of my personal style.

What made you go into music as a career?

It’s hard to call it a career since I’ve never made any money from music. I have written songs since I was 17, but always ended up doing technical stage work and relying upon engineering skills to make a living. I took a hiatus from music for a number of years to study theatre and dance, but came back to the song as a pure art form that allows me to bare my emotions and communicate with like-minded people.  Now in midlife maybe it can become a career.

Connect with Craig via: Website // Instagram // Facebook // Twitter // YouTube // TikTok // Spotify // Soundcloud 

[download406]

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Cheat mortal kombat shaolin monks. The legendary British heavy-metal band Iron Maiden was formed in 1975 by the bassist Steve Harris. He knew perfectly what kind of music he wanted to play, and, as the result, he started looking for like-minded persons. Pretty soon the very first line-up was established, and the rockers began performing in small clubs. The potential was huge, and the constant shows all around the United Kingdom helped Iron Maiden to gain the popularity. Moreover, the style created by the musicians turned out to be truly revolutionary: Iron Maiden are considered to be the founders of New Wave Of British Heavy Metal.

Due to the number of concerts, the rockers managed to save some money and afford recording the first demos. Among them was the composition Prowler that later peaked at number one of metal-chart. Iron Maiden’s bright shows were attracting everyone’s attention, including attention from representatives of various labels, and by 1979 the band signed the contract with EMI. Thus, in 1980 the band’s debut album Iron Maiden was released and it got excellent reviews from the critics. The rockers did not make their fans wait too long for the following studio work: the second long play Killers, that proved to be as interesting and strong as its predecessor, was issued in 1981. Iron Maiden started the professional career in a very confident way, because the musicians managed to gain a huge fan base and also to establish a reputation of one of the most talented and prominent young bands.

Iron Maiden’s members always had plenty of new ideas, and the musicians realized them very well in the studio. Thus, the records The Number Of The Beast (1982) and Piece Of Mind (1983) were certified Platinum in the UK and on the other side of the Atlantic. In 1983 the famous magazine Kerrang! included Piece Of Mind and The Number Of The Beast into the list of The Greatest Heavy Metal Albums Of All Times to the first and second places accordingly. In general eighties became the Golden period for Iron Maiden: the rockers issued their best albums and managed to achieve the world recognition.

Nineties turned out to be a bit less successful for the band: there were rumors about Iron Maiden’s disbandment, which luckily proved to be fake. Maybe the albums of nineties were received in that way because of the fact that the extremely talented vocalist Bruce Dickinson quitted the group. Nevertheless, the band’s fans were satisfied: they got such strong long plays as No Prayer For The Dying (1990), Fear Of The Dark (1992) and many others. In 1993 the founders of New Wave Of British Heavy Metal released the live album A Real Dead One, recorded during the concerts in Europe. A Real Dead One became the real present for all the live sound lovers, as soon as that album could preserve the energy and drive of Iron Maiden’s performances.

Even if someone considers nineties to be not the best period of the band’s creativity, the millennium showed the real potential of the musicians. Iron Maiden’s line-up is worth mentioning: not every band has three guitarists, and of such high level. That helped to achieve the new sound, which turned out to be even more powerful than it used to be. Moreover, the group’s fans were extremely happy because Bruce Dickinson came back. The album Brave New World, released in 2000, debuted at number two in the UK and soon it was certified Gold. Three years later Iron Maiden issued the record Dance Of Death (2003) that had been crated in the band’s best traditions. The studio attempt titled A Matter Of Life And Death appeared in 2006 and it was enjoyed by the fans and it was critically acclaimed.

In 2010 Iron Maiden’s discography was enlarged by the album The Final Frontier that had been waited by fans for four years. The musicians’ skills allowed them to create not only the strong, but also the incredibly difficult from the technical point of view work. Iron Maiden never looked for the easier ways, they always did their best, and The Final Frontier is the bright example of that. Call center management system project report pdf. That studio work already attracted the attention of millions of fans all around the world, and there is absolutely no doubt that The Final Frontier will be interesting for all the good music lovers.

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Listen full album. Maiden England ’88. Iron Maiden 18 tracks Released in 2013 Rock. Moonchild; The Evil That Men Do; The Prisoner; Listen full album. View all Iron Maiden albums. Fear Of The Dark. Other Iron Maiden albums: Picture Disc Collection 1980-1988. Listen to music from Iron Maiden. Find the latest tracks, albums, and images from Iron Maiden. Iron Maiden Full Album free download - Minos Album, Full Motion Video, Iron Speed Designer, and many more programs.

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Download Iron Maiden discography free FLAC. Descargar AC DC Greatest hits MEGA grandes exitos rar zip full album ac dc hits full album, es un grupo de hard rock. Find Iron Maiden discography, albums and singles on AllMusic. Find Iron Maiden discography, albums and singles on AllMusic. Read Full Biography.

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