Half Past Three - Bubble Gum Singers And Orchestra - A, B, C, Tumble Down D (Vinyl, LP, Album)
His eyes are You genius! You must be so tired after all the work you did for it! Perhaps he's only joking, though, simply Of course, I expected to do well. After all, I'm obviously the brightest student in the class.
I saw you looking at Sarah Nicholls' paper, all the way through the exam. Ah, now his friend's I didn't. I didn't do anything of the sort. Their mother's And get that mess tidied up in your room. Go on, get upstairs. The judge is A strong The clerk is Practice Describe how you used to get on with members of your family when you were younger. Write or relate two conversations you have heard in which people were being particularly kind, unkind or rude to each other.
Compare English and your language. Write or discuss the ways in which people seem to express their feelings towards each other in each language. Write on one of the following topics. Add any other words about how we express ourselves as you meet them.
Some moments from our family scrap-book, when we were all: surprised. We all got the shock of our lives last Christmas. We were sitting round the fire, forcing third helpings of Christmas cake into our mouths, when the doorbell rang.
It made everybody jump. Auntie Jane nearly jumped out of her skin. I was pretty startled myself, I must admit. Anyway, there at the door — believe it or not - was Uncle Mac, with an armful of presents. It was the first time in living memory that he had ever given anything to anybody.
Everyone caught their breath when they saw him. No-one could really believe their eyes. Poor Aunt Flossie actually fainted, and Uncle Bill kept blinking, as if he had seen a ghost. And Granny, who had been talking non-stop since breakfast, was absolutely speechless. I thought her eyes were going to pop out of her head. I reckon you could have knocked all of us over with a feather. I looked across and saw that tears were already trickling down Mum's cheeks.
I must confess a lump had come to my throat, and I was having to swallow hard. When the priest started speaking, Julia burst out crying, and that was the signal for Mum to break down; she was completely overcome. By this time tears were rolling down several faces - including Dad's - and I had a horrible feeling that I was going to burst into tears. The priest's few words were very touching; I think he was almost moved to tears himself. They made such a lovely couple and Maggie looked great in white.
I think it was Dad's side of the family that started it, when Uncle Mac started calling Uncle Bill names. Auntie Jane took offence immediately and then Granny joined in. She made Aunt Flossie lose her temper and soon after that Dad blew his top. That led to Mum going berserk — I've never seen her so livid. It wasn't long before Maggie, for some reason, started insulting Uncle Tom and then it was his turn to see red; he really went mad — 'furious' isn't the word for it.
It was about then that Grandad, who had obviously been seething for some time, hit the roof. Things quietened down a bit after that and Granny dealt the next hand of cards. Well, naturally most of us were scared stiff. Only Maggie kept cool throughout.
Mum went as white as a sheet and even Dad panicked a bit. Auntie Jane's hair stood on end and Uncle Bill ran a mile. I must confess that my heart missed a beat or two. I mean, it's not every day that a tax inspector comes to your front door, is it? All the time he was with us, Uncle Mac was twitching as if he had an army of ants inside his shirt collar. It was obvious that Granny was trembling too when she tried to pick her cup of tea up — three times.
Everyone shuddered visibly when the man said he would be back - everyone except Maggie, that is. She didn't flinch once, didn't turn a hair. She's either a very good actress or extremely honest. I could see that Julia was dying of embarrassment - not surprisingly, in the circumstances.
I bet the incident is still on her conscience. Anyway, I could feel that I was blushing, and the other chap was as red as a beetroot. Julia had a terribly guilty look in her eye, or rather, she had guilt written all over her face. She started stammering something about feeling tired and having come up for a rest. I didn't know where to put myself, I can tell you. I've never felt so small in all my life; about two foot tall, that's how I felt. I stood there for a few seconds hoping a hole would open up in the floor and swallow me.
In the end I just gulped and backed out of the room. Well, everyone burst out laughing, of course. Uncle Bill laughed his head off, and Auntie Jane nearly died laughing. And you should have seen Granny; she was in hysterics. Even Uncle Mac couldn't help laughing when he realized what the cause of their laughter was. The vicar was the only one who didn't see the funny side of things; completely straight-faced, stony-faced he was.
Granny was still hysterical long after Uncle Mac had turned round, chuckling to himself, and put the matter straight. Tell your partner or write the plot of a horror film you have enjoyed and still remember, or a comedy that amused you, or a thriller that kept you on the edge of your seat. Tell them about how you felt while you were watching it. Read the passages and then do the exercises that follow. Read the passage and decide whose thoughts are being described. I'm awake, lying here moaning, and nothing's happening at all.
Oh well, better start crying properly. Still no reaction. Right, they've asked for it. Here we go with a real scream. Ah, now I hear something next door. Must go on sobbing, so they realise it's serious. Here she comes, muttering to herself.
Why is it always her? Never him? Ah, a bottle. Excuse me, but it's difficult to suck a bottle without making sucking noises, you know. Oh no,I've got hiccups again. Sometimes I seem to spend half my day hiccupping.
Over the shoulder I go again. Oh dear, a burp. Back to bed. Ah, I like it when she hums that song to me. Oh dear, we're both yawning. Time to sleep again. I can hear him snoring next door. There's no need to sigh like that, you know. You were a baby once. It's been a hard day's night, as they used to say. My boss made my life hell today. Read the passage and find out what my job is. I've never known a boss like him; you hardly ever hear him talking normally.
He starts as soon as he comes into the office in the morning. If I'm two minutes late, he starts shouting at me. And you should hear him on the phone, yelling at some poor junior. When he asks you to do something, he just barks — like a fierce dog.
And when he finds a mistake in your work, he roars like a lion. When someone asks him a question, he nearly always just grunts, like that. He'll sit for hours grumbling about the weather, the business, his colleagues, the market. And he will mutter! Half the time you can't understand a word he's saying.
The worst thing is his dictation. He just mumbles all the way through the letter; I have to guess every other word. Then he bites my head off when I've written something he didn't want. I just start stammering and stuttering, and get out of the room as soon as possible.
The third group of noises come from a theatre. Read the text and find out what is happening on stage. You can hear the audience whispering excitedly. Some of them are clearing their throats. Could they be nervous? Something's happening. The audience are clapping; polite applause at the moment.
Two of the audience are being invited onto the stage. The rest of them are cheering and calling out things. Now something is happening on stage; you could hear a pin drop.
The two members of the audience are doing exactly what they are told and the chairs they are sitting on are beginning to rise into the air. The audience are gasping. Oh dear, what's happened? They've suddenly fallen to the ground and look most upset. The audience are booing loudly. It hasn't worked.
Now they're whistling. The whistling has changed to hissing, but there's nobody on stage except the two members of the audience. Now they're chanting that they want their money back. The manager's coming out on stage. Listen to them groaning. Sounds people make The fourth group of sounds comes from when I was ill last week. I really wasn't well at all. Find out what was wrong with me.
It started on Monday. I was sniffing all day. On Tuesday I hardly stopped blowing my nose and sneezing. By Wednesday I had a pretty bad cough. I tried gargling with salt water but it didn't seem to do much good.
If I had to go upstairs, I'd reach the top stair panting like a thirsty dog, and I'd still be wheezing five or ten minutes later. By Friday I'd lost my voice almost completely. I was croaking like a frog all day at the office. The fifth group of sound-words, shows how different people reacted to the same joke.
Lady Thackeray-Smythe laughed politely. Her husband was chuckling minutes afterwards. A class of schoolgirls giggled. A class of schoolboys sniggered. An American TV audience shrieked and howled with laughter. Lady Thackeray-Smythe's maid tittered. Billy Bloggs laughed like a drain. Practice To see how many of these words you have remembered, arrange the verbs in each of the columns below according to how loud they normally are: the loudest number 1, the softest number 6.
Then write a sentence of your own for each verb to show what it means, or discuss your lists with a partner. If you think of other noises which have not been mentioned in this unit, try to find the words for them in a dictionary and write them in the space provided for your notes at the end of the unit. For example, I hate the sound of people making the bones in their fingers click and people singing out of tune.
List the sounds you would expect to hear in the situations below. Write the middle paragraph of an article for the Daily Sensation. Describe the scene outside the tower block in which a terrorist bomb has just gone off. Add any other words describing the noises we make. Gesture, mannerism and body language Picture story Look at the picture story below and notice the way we describe the two cats' gestures.
Then cover the words and see if you can recall them. He's licking his lips. She's smiling, grinning. He's staring leering at C. She's frowning, maybe scowling.
He's winking at her. She's pouting. He's raising his eyebrows, She's shrugging her shoulders, pointing at a glass. She's shaking her head. He's blowing her a kiss. She's sneering. He's beckoning to her. She's poking her tongue out at him. He's scratching his head. She's waving goodbye. Practice 1 Check that you know the meaning of each of the verbs below.
They all describe different ways of looking. Then choose the appropriate verb to complete each sentence. Finally, make sure you understand the other words and phrases in bold print in the sentences.
She just sat, absolutely still, and. Feel like a cigarette? Before you do anything, just connect the two halves of these sentences correctly. To do this, decide which verbs go with which objects. Now match the two halves of this group of sentences. Reading Here is a selection of verbs concerned with the physical contact people can have.
Read through the two short texts and then do the exercise that follows. They were terrible like that, our family, always caressing each other. I never understood the need they had to touch people - most embarrassing I found it. He can't punch. He tapped me, that's all he did - he hardly touched me with a proper blow - when he knocked me out?
Let me tell you, he didn't really hit me even then, not properly - he butted me with his head, like the bull he is - next time I'll knock him out in the first round, believe me.
Now use the words in the text to describe what is going on in the playground of a very bad school. We understand that a shade of mistrust has covered the paper writing industry, and we want to convince you of our loyalty. Apart from high-quality writing services, we offer:. Our operations are legally documented, we are easily accessible online and offline, and you can always contact us if you have any questions.
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Want to make sure writer's skills match your needs? Get more details on how to choose the appropriate author. The average quality score at our professional custom essay writing service is 8. The high satisfaction rate is set by our Quality Control Department, which checks all papers before submission. The final check includes:. Not to get confused with Dark Techno. Many affluent mainstream Techno listeners often regard the darker variant of it as being called Hard Techno.
Hard Trance 66, Releases Hard Trance falls into two distinct periods, but both have their birthplace in Germany. This new style brought the tempo down into the bpm range, and focused more on Euphoric Trance in construction. Originated and popular in Germany, Belgium and Holland.
Also favoured and prominent since the early days in UK and US. Developed from the sounds of acid, techno, house and hardcore breakbeat of which more later. In Belgium the style of new beat should be mentioned as precedent to techno.
Later faster variation of techno was being produced in Belgium which eventually led to hardcore and gabber over there. Hardcore can be fairly minimal and refined consisting of synthetic pad sounds, a Roland TB acid line, drum pattern Roland TR or TR, for example and sampled vocal sounds. The beat from the drum machine is similar to any other harder variety of electronica: open and closed hi-hats, snare, clap, ride cymbal and cymbal at the beginning of a pattern and on the fills at the end.
Usually used in a way that gives the style its distinctive frenzy and hardness, and making the hectic beat sound even faster than it actually is. All the drum sounds can be also heavily reverberated, echoed, flangered or being filtered up and down on the breakdowns or throughout the entire song. Distortion is extremely often used especially on the kick drum making it a highly distinguishable feature of the style.
Compared to gabber, hardcore tends to be a bit slower but the tracks are executed in a more complex way sound- and structurewise. The BPM-count may be lower but the overall atmosphere of a song is darker and harder-edge. Hard techno and industrial hardcore are two other styles akin. The kick drum can be hard, sharp and technolike or harsh, distorted and raw. It can be echoed or reverbed to give it a full, pumping character that moves the track forward. The distortion can also be used in the same manner as in jumpstyle, gabber, hard trance or US hard house: making the bass drum low and booming but not turning the waveform jaded or jagged; maintaining certain roundness and softness to it.
The tempo is within — BPM. Emerged in the UK in the early 90s. Lots of pitched-up rap vocal samples and drumloops, hoovers, stabs, pianos and chords used. Heavy on bass; sub-bass sounds used. BPM: — While early hardcore punk was extremely tied to punk rock, the genre developed into a more aggressive and of shorter songs. Canadian Band D.
Hardstyle 32, Releases Hardstyle is an electronic dance genre mixing influences from hard trance and hardcore. Hardstyle typically consists of a deep, hard-sounding kick drum, intense faded or reversed basslines accompanying the beat, a dissonant synth melody, and detuned and distorted sounds.
Many hardcore artists produce hardstyle tracks as well, and many newer Hardstyle tracks are written in compound time for example older Headhunterz and Noisecontrollers work. HNW is distinct in the fact that the music consists of unchanging walls of sound that can go on for extremely long periods of time.
Many artists opt to distort and process white noise for their recordings, but other source material can be used. Despite the name, HNW is not always harsh and can also have a gentler sound or entirely consist of pops and clicks. It evolved from disco, preserving the four-on-the-floor kick drum and emphasizing strong melodies and simple octave bass lines, but also having a harder, more rock-like sound, with pop vocals and snare hits on the 2s and 4s.
This coincided with an increasing influence of house music, like the use of longer, more repetitive bass lines and open hi-hat sounds on the off beat. The peak was followed by a very rapid decline as house music and Eurodance overtook the club scene in Hip Hop 52, Releases Hip hop music, also called hip-hop, rap music, or hip-hop music, is a music genre consisting of a stylized rhythmic music that commonly accompanies rapping, a rhythmic and rhyming speech that is chanted.
Other elements include sampling or synthesisand beatboxing. The term hip hop music is sometimes used synonymously with the term rap music, though rapping is not a required component of hip hop music; the genre may also incorporate other elements of hip hop culture, including DJing and scratching, beatboxing, and instrumental tracks.
Hip-House 13, Releases House music with a hip-hop influence. Vocals are usually rapped over a house beat. The actual hip-house scene was almost exclusively a Chicago phenomenon which started on wax in and had run its course by the end of It was created by house music producers, and featured a fast, syncopated rapping flow.
On Discogs, the Hip-House tag tends to be applied to any combination of rap vocals with house music, thus it includes all of these variations from to the present day. House music, as a genre of electronic dance music, originated in Chicago in the mid s.
In the mid-to-late s, house music became popular in Europe, and then other major cities in North America, South America, and Australia. Since the early to mids, house music has been infused in mainstream pop and dance music worldwide. The term IDM is now used almost exclusively in its acronym form, as the actual meaning came to be interpreted as implying that other styles of dance music are not intelligent. Illbient 4, Releases Illbient is characterized by dub-wise layering of soundscapes, hip hop-influenced use of samples, and a progressive approach to beat programming that encompasses all genres of world groove and electronic music.
It can be thought of as the dark, industrial, and often abstract, experimental side of the Downtempo genre. IndustrialReleases Industrial music is a genre of experimental music that emerged in the mids. Its basic components are semi-acoustic and include the use of electronic instruments as well as unusual objects such as metal rods and pipes, and rigged power tools.
Traditional instruments are sometimes used, but usually in non-traditional ways. Vocals, if present, tend to be either disaffected or angry. Lyrical content tends to embody dark themes, as well as protest, tension, uncertainty, and the like. As with many alternative styles, it generally eschews pop melodies, virtuosic solos, and romantic themes.
In its early years mids to mid sindustrial music was partly rhythmic but rarely danceclub-friendly, and was predominantly a product of the heady British, Australian, and European art-school scenes. After the split of Throbbing Gristle inIndustrial music spawned several subgenres that have been described as Post-industrial music.
Many of these styles have their own entry on Discogs. EBM and Rock music and laid the foundations of Industrial rock. It was mainly popular in Italy, the U.
The main characteristic of this musical genre originally was the use of samples, especially female vocal samples over a House groove that was predominantly ruled on some tracks by electronic piano chords.
Taking influences from the early Chicago House hits of the late 80s. Typically the vocals used in most Italo House tracks where sampled from early U. These powerful vocals would usually be used for the chorus, sometimes even not making much sense, due to the Italian musicians and producers at the LP not understanding English very well. During this time, Italo House musicians, producers also featured acid sounds within their music and ventured as far as producing Techno, some producers also incorporated the exciting piano sound that had now become the basis of Italo House within some of their Techno releases.
Probably the most well known Label and Distributor of the Italo House genre would have to be Discomagic Records in Rome, which had many subsidiary labels that featured Italo House music. This label along with Media Records set the standards for an entire genre of music. DJs such as Sasha championed the Italo House sound and featured the genre heavily within his sets. Italo-Disco 43, Releases Generally, Italo-Disco consists of English pop vocals often sung a little weirdly by non-native English speakers over mid-tempo, heavily synthetic disco or hybrid disco-electro rhythms, with emphasized lead synths.
It was mostly produced by Italians in the mids. Thus, the term is sometimes used more broadly to describe dance music from outside of Italy and from different eras and in more diverse styles. Very formulaic, this style makes heavy use of synthesizers: strong basslines, pounding beats, with a set tempo anywhere between and beats per minute. A typical song will have male rappers sing the verses and female singers perform the chorus, but variations of that formula are frequent.
Songs featuring heavy sampling are not rare. Instrumental releases were also fairly frequent. During this era, production was absolutely massive; many records were being quickly produced, which leaded to inconsistent output quality between releases. For a long time there was no term coined for this kind of music, but when this style gained international fame the term was coined around and from then on this style of music was referred to as J-Core. This second movement was very much about self-made doujin fandom releases, not bothered by copyright since it was a very underground niche culture at the time.
As a result, many albums feature unlicensed remixes and in recent years some labels have had to shut down the production of these albums or face consequences.
S and X-Treme Hard started to emerge which brought a more polished sound to the scene and started to become more mainstream as the years progressed. At this time the scene also gained international fame. Various stores sold the albums internationally and events across the border started to happen too such as Hardcore Synergy at Anime Central.
Despite the amount of releases though, it is still a very fleeting and underground scene. When first added to Discogs, it was envisioned as another name for late s Acid Jazz, or the slower side of Future Jazz.
However, the term is also said to have been used in the s among Northern Soul nightclub DJs, in reference to some of the s—s funk, soul, and jazz music they curated for the dancefloor.
With these examples, there is little to differentiate jazzdance from acid jazz. Gone and Soulstance. Like Northern Soul from which it kind of branched offthey were catch-all terms for highly danceable jazz usually Latin or Brazilian inflected.
It morphed into Acid Jazz as a marketing term when Acid House got huge in late 80s. Loud claps are layered over the kicks, thus creating a stomping beat that encourages dancers to jump to it. Bass and melody are usually arranged in a shuffle beat, which supports the stomping character.
Jumpstyle became one of the most popular Hard Electronic music genres during the period Tumble Down D (Vinyl The genre emerged out of styles such as Hardcore, often using the same breakbeats and the same equipment.
Jungle is characterized by high tempos to BPM being the averagechopped-up and often seemingly random breakbeat sequencing, heavy basslines, Reggae influence, and the iconic sound of Akai cyclic timestretch. Jungle also focuses on a sense of atmospheric intelligence contrasting with the violent sound of high tempo drums and basslines, juxtaposing the sounds of Romplers and samples of New-Age songs with the heavy, relentless chopping of breaks such as the famous Amen break.
It is said to have given birth to such genres as Drum And C and Breakcore. Sometimes it is used as a less-alienating alternative for the term Experimental. Lento Violento Releases Lento Violento is a style of electronic dance music that developed in Italy. It consists of a hard kick, like the ones present in Hardcore or Hardstyle, but played at a very slow tempo, with vocal samples and dark acid sounds on loop.
Makina 9, Releases Spanish blend of hard house, happy hardcore and hard trance. Usually quite fast, bouncy and with over-the-top happy melodies. When it arrived to Britain, the genre became hugely popular especially in the North East of England and Scotland but also attracts ravers from as far as Yorkshire, Greater Manchester, Merseyside, Lancashire, Staffordshire and the West Midlands to name but a few MinimalReleases Minimal is an adjective, and as such must be used to sharpen the style descritpion minimal techno for instance.
The term was first time used on a track from Speedy J. When used by itself, it generally denotes electronic music that uses only one synthesizer and one drum machine, without complex, layered melodies and instruments. Usually no vocals. Can also be used for field recordings and other soundscapes. Neofolk may either be solely acoustic or combine acoustic folk instrumentation with various other sounds. It is coincidental that these were named similarly. At the peak of its popularity it had a significant following in Japan, though it remains largely an unseen, fleeting and mysterious movement outside of Japan.
It tends to be made with synthesizers or digital keyboards, played in traditional styles as a piano ordinarily would bealthough it can lean toward the experimental as well. On the experimental side, it includes a broad range of ambient music, space music, field recordings of nature sounds rainfall, lightning, trees rustling, animals, etc. However, it almost always emphasizes tonal sounds and a lead melody. Strong modal harmonies may be present. It does not resemble dance music and is usually made by people with no connection to underground or even mainstream dance scenes.
New Beat 7, Releases New Beat was a wave of electronic dance music specific to the Belgian club scene from around and intowith its greatest popularity in and New Beat was often characterized by a relatively slow beat incorporating samples, synths and hypnotic bass lines.
Influences from New Beat evolved into the foundation of trance music e. New Beat faded into history as its artists increasingly converted to making higher-tempo music more strongly associated with techno or trance. Most nu-disco has no named sub-style or clearly defining characteristics, other than being rhythmically disco-based and not fitting into any other genre.
Some nu-disco has a very retro, Italo-Disco inspired sound but probably should not be tagged as Italo-Disco. Power Electronics 19, Releases Power electronics was originally coined by William Bennett as part of the sleevenotes to the Whitehouse album Psychopathia Sexualis, and is related to the early Industrial Records scene but later became more identified with noise music. It consists of static, screeching waves of feedback, analogue synthesizers making sub-bass pulses or high frequency squealing sounds, and screamed, distorted, often hateful and offensive lyrics.
Deeply atonal, there are no conventional melodies or rhythms. The label Limbo Records launched from legendary Glasgow record store 23rd Precinct was also a major actor of the style.
In a sense, it is a combination of house and trance, with the soulful, booty-shaking elements toned down and replaced by long chords and dubby ear candy. Progressive Trance 83, Releases Progressive trance often very close to the musically progressive house is a style of Trance appeared well after acid trance, goa, and hard trance. With a beat and a bassline faster to the house BPMthe songs are long and have an interesting construction where different elements are brought gradual and gentle way hence the name of this style.
There are also less multi-layered melodies; making the sound more techno-like. The Scandinavian artists also brought a major influence to the style with a colder and harder sound. Artists like Atmos, Koxbox or Son Kite made it popular till With technology the style has developed immensely, starting to sound like the modern psy-trance at around Rhythmic Noise 11, Releases Rhythmic Noise is a form of Industrial music and a fusion of Noise with various styles of Electronic dance music.
Rhythmic Noise, aka power noise, should not be confused with Power Electronics, which is not influenced by Electronic dance music and is closer to harsh Noise. Its origins are predominantly European. Rhythmic Noise takes inspiration from a number of Industrial artists. The Belgian artist Dive also anticipated the style in the early 90s and went on to also form a purely Rhythmic Noise parallel project, Sonar, in the mids. Some releases on the harder and harsher end of the Techno spectrum have also been influential such as the early EPs by Aphex Twin.
The genre gained larger exposure to the U. Both labels starting focusing more on releasing Rhythmic Noise during the late 90s. There have often been very similar sounds coming from the harder, harsher or more experimental areas of the Techno spectrum which, at times, has been embraced by those into Rhythmic Noise. DJ and Techno producer Adam X started trying to bridge the gap between these scenes around the year Characteristics: Typically, Rhythmic Noise is instrumental, based upon distorted sounds with distorted drums and other distorted percussive sounds often being the primary focus.
Sometimes a melodic component is added, but this is usually secondary to the rhythm. Rhythmic Noise tracks are typically structured and danceable, but are occasionally more abstract and experimental. The genre is showcased at the annual Maschinenfest festival in Oberhausen, Germany, as well a number of other festivals.
Others, such as Tarmvred, meld the style with Breakcore. Others still, merge elements of IDM, such as Endif. An example of an artist that was once known more primarily in the Rhythmic Noise scene and is now well-known within the Techno scene would be Orphx.
Ancient Methods and Orphx have also collaborated together under the name Eschaton with releases on the Techno label, Token. Newer artists such as Ontal and Tomohiko Sagae have been releasing music on both Techno labels and Rhythmic Noise labels. There has also been and continues to be crossovers within other sounds and scenes such as the Breakcore and IDM scenes.
Schranz 1, Releases Schranz is a hard, minimalist and fast mostly between and BPM style of electronic dance music, which is mainly enriched with sounds and machine-like sounds. It is distinguished by repetitive, distorted percussion loops and a mostly monotonous character. Schranz represents a variant of the tool and loop technology and can be described as a pioneer of Hardtechno. Skweee Releases Skweee is a musical style, with origin in Sweden and Finland.
The tracks are predominantly instrumental, though there are exceptions. What differentiates it from other house music is an emphasis on jungle-style basslines, and its simple house rhythms with prominent hi-hats. Speedcore 10, Releases Speedcore is a form of hardcore that is characterized by a high tempo and aggressive themes. The genre was created in the early to mid s and the name originates from the genre hardcore as well as the high speed tempo used.
This music rarely drops below beats per minute bpm. There are some non-New Wave synth-pop bands like Pet Shop Boys, but on the whole, the synth-pop scene of the s was dominated by a faction of New Wave bands that embraced the use of electronic instruments and relatively light, dance-oriented songwriting, yet still retained a fairly typical four-piece rock-band structure percussion, lead instrument, bass instrument, vocal.
Most synth-pop combines electronic and other instruments, plus strong vocals and melodies, and elements of whatever dance music styles are popular at the time. Synth-pop enjoys revivals now and then, with new bands deliberately paying homage to the old sounds, or just stumbling onto a similar aesthetic in their experimentation with styles. Synthwave 19, Releases Synthwave is a term that has been applied to a subgenre of New Wave music that began in the lates with the rise of affordable electronic instruments such as synthesizers and sequencers.
Despite being named as if it were a branch of synthesizer-based New Wave music, there is no direct relationship between the latter revivalist genre and aforementioned New Wave style, nor with New Wave generally.
Features guest vocals by Pauline Murray Penetration. FOOLS Vinyl contains the bonus track "The Leper Affinity Live ".
BLEAK It was also his second album on the Monument record label. The album name comes from the hit song of the same name that in was honored with a Grammy Hall of Fame Award. DANCE LANA Dutch release. MAMA LEAH BUST RESET HEY YA! Most of the tracks were recorded by the Flying Burrito Bros. The other three tracks were recorded during the sessions in '73 for Parsons' second solo effort Grievous Angel.
HOLES Word Of Mouth focused on his ability to compose and arrange for a larger band than was previously featured on his first self titled album from [MOVLP]. GO RATS LEASH BLUE PET This wide-ranging set features Peyroux singing swing standards, originals and tunes that hint at country and folk music.
WAS I? The album was nominated for a Grammy and ranked 69 on Kerrang! GIRLS PARTY The digitally remastered album also includes an insert with rare photos and full recording data. BLUES CITY Etching on the fourth side. MARIA OH JIM KICKS A GIFT Mastered from the original analog tapes. With 8 page booklet. The duo's unique combination of Metal string speed with classic Hispanic flavours make for a highly colourful album.
LOGOS Its superb production, booming beats combined with guitar samples, catchy choruses and smart rhymes made Tougher Than Leather undoubtedly the best Hip Hop record that came out in MARY SALLY FLOW FEAR SKIN The album including the singles "Paradise" and "Love Is Stronger Than Pride" went multi-platinum in various countries.
They were augmented by the producing and songwriting skills of Isaac Hayes and David Porter, turning the singers into a hit making machine. It is his first collaboration in the studio with producer and bass player Marcus Miller in over fifteen years.
Through the years, the two have worked together on a number of records, winning five Grammy Awards and their albums went Gold multiple times. TABOO GUMBO DOM NOMAD SZABO TRY VENUS US VS. THEM NICE Established as THE seminal Hardcore band combining furious Punk Rock with enticing live shows, they conquered stages all over the world, quickly becoming the headlining attraction on many Rock festivals and hardcore shows.
Guitarist Pete Koller's furious riffing and energetic stage antics, Lou Koller's distinctive voice and charisma, drummer Armand Majidi and bassist Craig Setari turned New York Hardcore into the undisputed flag bearer of the worldwide Hardcore movement.
Promoted with videos for "Step Down" and "Scratch The Surface", the album made a quick impact and has since become a staple in every hardcore kid's album collection. To top things off, we've included the bonus track "Straight Ahead". It features songs recorded in the RCA studios with a full orchestra and backing vocals. MY WAY. WAVES First copies on colored vinyl.
RUTTI CELLO SING M'LADY LIFE CASH HYMN LP Punk. TEETH The album includes the hit single "Losing You". Even more so than Springfield's two first albums, Ooooooweeee!!! The album also features tracks from Springfield's September sessions in New York, produced by Shelby Singleton Jr, some of which would remain unreleased in her native Britain until the late Nineties.
SO Remastered from the original tapes. SIN CREEP PLUSH PRUNO GLIDE MC5 Limited numbered orange vinyl edition. COMA DAISY SPAIN SOULS SOMA ALONE LP Alternative Rock. LADY ICTUS SATAN GONE Next, in another corner, Kate Arnold — usually to be found as frontwoman for dark classical-folk fusioneers Fear Of The Forest — will be playing solo and acoustic with hammer dulcimer, violin and voice, providing a set of songs reflecting her folk, medieval and Middle Eastern influences.
Hazel Iris is a storyteller with an overwhelming musical streak; her tales drawn from her travels, her own musings and her borrowings from the great stewpot of mythology and folklore. California-born and London-based but world-honed, her songs blend indie-folk habits, vaudeville brassiness, operatic training, lieder romance and a dash of country. Harpist Tara Minton straddles both jazz and classical worlds. Her usual gig involves using puppetry of all kinds for the entertainment and nourishment of all ages, with an undercurrent of healing, conversation and a restoration of our human nature: work that ranges from carefully-thought-out fairy tales of bereavement and development for children to bawdily sexual puppet-cabaret for adults.
Quite possibly all Tumble Down D (Vinyl will be making a showing in her support work for Hazel. Speaking of smaller, more human scales — if all of the above sounds too grand, then on the same London night another songwriter — Emma Lohan — is launching her own debut album up in the south end of Hackney. Polydisciplinary pop-charmer Belle Ehresman — better known as Bellatrix — pops up at Elektrowerx at the start of October.
I caught her a couple of years ago at Rich Mix, just her on her own. For half an hour the venue was her sketchpad as she flung out work-in-progress — a set of unclenched, openhanded musicality in which she finger-painted in assured fashion on mini-synth, loop station and double bass; unfurling songs, meditations and mouth-driven beatscapes in jazz, experimental pop and the loosest of hip hop tones; floating dreamily a little way above the earth.
Her ethic is to overcome it in time-honoured civil-rights-movement mannervia a celebration of love, bursting through shame and tears with defiance. She can sing like battered, determined grass, giving with the gale; she can speak soft; she can wail with rage. It would be fascinating to see what they came up with together. On the same night, Friends Serene are putting on a show of their own. Clanging, precisely-tooled guitar parts like little iron chandeliers mesh gently with her sleepy Gallic coo, which in turn rises to indie-siren clarions as she rambles across three languages at will.
Still, Garden Party revel in the worn, recovered texture of their soundworld and — on recent track Real Tapes — sometimes reach out for something a little more ambitious; rattling their collection of instruments, oddments and samples to reach out through the radio towards a bigger world. As with Bellatrix, they seem to have vaulted a promotional stage: and since I object to streaming services which rip their clients off, I avoid Spotify like the plague and have stayed pretty ignorant as to what SS sound like.
The first one slipped my attention back in July. Now, as then, you can expect to hear her weaving together songs from the East and the West: delivering slender, sparkling arrangements of old pop hits from hither and yon, plus original songs and layered one-woman folk chorales with Romani, Armenian and Balkan origins.
A few examples are below, along with a couple from by billmate Mary-Grace Dineen. Her lyrics betray restlessness, compassion and a conversational impatience with the unresponsive and the inert. But when the hype is done, and they get down to business, they do bring a new flavour to that ripe old stew. Like the flower, gracefully entwining melodies, rock-solid groove, and ever intriguing harmonies will take root in your mind. Like the flower, they will be impossible to remove.
Through improvisation, the group gives new life to traditional folk songs and stories of women throughout the ages. The band focuses on reviving lost and endangered Nepali instruments, on creating new sounds rooted in collective Nepali heritage and on reintroducing said music and instruments to a world audience.
After living with a melody, a song or a drum rhythm over a period of time, they slowly start sensing its deeper meaning; and, through developing their own compositions, try to express and share this understanding with others. Gasper is a one-man-band, with the Babatoni, cow-skin kick drum and very catchy tunes. He is absolutely unlike anything else. Her combination of classical and modern musical styles — of the serene with the guttural — makes for a captivating solo performance.
With a debut album release under her belt and a second album to follow inEllie Ford is forging her own path as an alternative musician and performer. On 24th August, utility choir London Contemporary Voices deliver the second of their two Campfire concerts this year. A saxophonist with an unusual tone reminiscent of Ethopian free-jazz legend Getatchew MekuryaAlabaster collaborates with members of the folk and jazz scenes of London, Bristol and Manchester.
He uses music and spoken word to portray sentiments, often contradictory, that together evoke a new feeling.
Her music is a mixture of contemporary music and traditional musics of this world the arrangements touching on Eastern European folk, English folk, straight pop and Congolese jazz but above all one feels a love for creativity.
Accompanied by her ukulele or a quartet also including guitar, double bass and percussion she takes us on a journey of our own — an acoustic set with sass. Mostly based around slow, smoky-lunged harmonium stretches and sparse flotsam drags of guitar chording, this is a more foreboding turn of song, haunted by deaths, loss and disintegrations.
Despite being a couple of decades younger than Kavus, Cosmo Sheldrake has been out on his own for a bit longer. Earlier work brought some of the Mystics weird and charming vibe along with it: a homemade-toy, party-in-the-fairy-forest feeling, Cosmo lilting skewed nursery-rhyme verses over softly bouncing weaves of melody. In the videos, he came across as a generous digital troubadour on a set of meandering visitations, playing his lashed-up keyboards-and-tech assemblages for performances in model villages, truck beds, pigsties and fishing boats.
The videos, meanwhile, have become an ingenious riot of increasingly theatrical, fantastical and sometimes macabre fabling in which foil monsters swim in canvas seas and giant fluffy headlice run amok.
It would be nice to think of them looking up midset on that one evening, peering across that city-central loop of the Avon, and nodding to each other. Not necessarily natural comrades but, in their way, parallel leywalkers. Each with a bit of Barrett in the back pocket, each with a peculiar charm of innocence, each with fingertips in the otherworldly and the mythic.
The uncontainables…. In Birmingham, the bill sharer is Scaramanga Six songwriter Paul Morriconeproviding gutsy acoustic songs of fear and brutality with lashing of dark Yorkshire humour. Stephen Evens. In Leeds, Kavus plays the quiet support act in a free gig for tintinnabulating Sheffield post-metallers May The Night Bless You With Heavenly Dreams whose echoing tremstrumental pinings add a little magical shimmy to the usual doleful post-rock astronomy and Bristolian experimental rockers Madilan whose songs recall both the angst-shredded psychedelic night-journeys of Oceansize and also, in their spindly electronics and Autotuned vocal musing, post-Oceansize rocktronicists British Theatre.
Giddier, jazzier, less directly English in its whimsy, with input from her Moroccan heritage and from her taste for Andy Kaufman; a slightly more cosmic playbox; imaginary languages; an undiluted Brightonian fabulosity. On video, Gabriela Eva is a colourful explosion of appropriated and deftly spun images. In support is Yazmyn Hendrixwhom I last saw four-and-a-half years ago providing guest-vocal accompaniment to What?! By herself — armed with a microphone, a loop station, and assorted live percussion and beatboxing — she creates layered a capella choirs and vocal ensembles out of herself: either simple classic sounding pop songs, the cover versions mentioned above, or assorted vocalese experiments.
License To Confuse - Sebadoh - T.B.A. (Cassette, Album), Fuel - Sadus - Elements Of Anger (CD, Album), Baby Phat (Dirty) - De La Soul - Baby Phat (Vinyl), Slip Horn Jive - Glenn Miller - Take Two (Vinyl, LP), Cowboyens Frikveld - Country Snakes, Lillian Askeland, Ottar Johansen*, Vidar Lønn-Arnesen*, Bjøro H, Song In Space - Paul McCartney - Rehearsals For The New World Tour 1993 (CD), Sveriges Sista Cowboy - Olle Ljungström - Synthesizer (CD, Album), Ill Take You Everywhere, 3. Allegro Molto, II.V - Rafael Toral - Space Elements Vol. II (Vinyl, LP), The Story Of The Flood - Various - Virginia Traditions - Native Virginia Ballads And Songs (Vinyl, L