1.
Single (music)
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In music, a single or record single is a type of release, typically a song recording of fewer tracks than an LP record, an album or an EP record. This can be released for sale to the public in a variety of different formats, in most cases, a single is a song that is released separately from an album, although it usually also appears on an album. Typically, these are the songs from albums that are released separately for promotional uses such as digital download or commercial radio airplay and are expected to be the most popular, in other cases a recording released as a single may not appear on an album. As digital downloading and audio streaming have become prevalent, it is often possible for every track on an album to also be available separately. Nevertheless, the concept of a single for an album has been retained as an identification of a heavily promoted or more popular song within an album collection. Despite being referred to as a single, singles can include up to as many as three tracks on them. The biggest digital music distributor, iTunes, accepts as many as three tracks less than ten minutes each as a single, as well as popular music player Spotify also following in this trend. Any more than three tracks on a release or longer than thirty minutes in total running time is either an Extended Play or if over six tracks long. The basic specifications of the single were made in the late 19th century. Gramophone discs were manufactured with a range of speeds and in several sizes. By about 1910, however, the 10-inch,78 rpm shellac disc had become the most commonly used format, the inherent technical limitations of the gramophone disc defined the standard format for commercial recordings in the early 20th century.26 rpm. With these factors applied to the 10-inch format, songwriters and performers increasingly tailored their output to fit the new medium, the breakthrough came with Bob Dylans Like a Rolling Stone. Singles have been issued in various formats, including 7-inch, 10-inch, other, less common, formats include singles on digital compact cassette, DVD, and LD, as well as many non-standard sizes of vinyl disc. Some artist release singles on records, a more common in musical subcultures. The most common form of the single is the 45 or 7-inch. The names are derived from its speed,45 rpm. The 7-inch 45 rpm record was released 31 March 1949 by RCA Victor as a smaller, more durable, the first 45 rpm records were monaural, with recordings on both sides of the disc. As stereo recordings became popular in the 1960s, almost all 45 rpm records were produced in stereo by the early 1970s
2.
Ministry (band)
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Ministry is an American industrial metal band founded by lead singer and only original member Al Jourgensen in 1981. Originally a new wave outfit, Ministry changed its style to become one of the pioneers of industrial metal in the mid-1980s. Ministry found mainstream success in the early 1990s with their studio album Psalm 69, The Way to Succeed. After 27 years of performing, Jourgensen decided to end the band in 2008, however, in August 2011, a reunion was announced, when Ministry confirmed they would play one of their first shows in four years at the Wacken Open Air festival in August 2012. Ministry released a new album, Relapse, on March 23,2012, Al Jourgensen began Ministry in Chicago, Illinois in 1981. His first band prior to Ministry was Special Affect with Groovie Mann, drummer Harry Rushakoff, after that was the short-lived Silly Charmichaels, with Ben Krug, Tom Krug and Tom Wall. Ministrys original sound was new wave synthpop that was more melodic. Ministry released four 12 singles on Wax Trax and their first LP With Sympathy, was issued on Arista Records in 1983 and hit the upper 90s in the Billboard 200. The LP was well received by college radio fans initially and became common in new wave album collections at the time. The music in With Sympathy and the singles Arista issued in association with it were a type of synthpop. Songs from the LP were played live as an act for The Police during the Synchronicity Tours North American leg. Jourgensen has subsequently expressed extreme dislike for Ministrys With Sympathy-era output and he has provided different explanations for this, saying in one interview that after signing the record contract, all artistic control of Ministry was handed over to other writers and producers. He was not trying to come off as British, the Stones used a southern accent and no one crawled up their ass for it. Some of Jourgensens preferred recordings from the With Sympathy era were collected into the CD Early Trax, by the mid-1980s, Jourgensen parted ways with George and signed to Sire Records. Jourgensen performed mostly solo for Ministrys next LP, Twitch, which sold well, the music was danceable electronic music, but was not pop music, and the sound was harsher and more aggressive than what Ministry had recorded before. According to Jourgensen, Twitch was stuff that I was doing before With Sympathy came out, some of that stuff was already four or five years old, but the record company didnt want to use it, so. Much of the new sound was created with the use of digital sampling, after Twitch, Jourgensen made the most significant change in Ministrys history when he resumed playing electric guitar. With the addition of The Blackouts drummer William Rieflin, Ministry recorded The Land of Rape, the album continued their success in the underground music scene
3.
A-side and B-side
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The terms A-side and B-side refer to the two sides of 78,45, and 33 1/3 rpm phonograph records, whether singles, extended plays, or long-playing records. Creedence Clearwater Revival had hits with both A-side and B-side releases, others took the opposite approach, producer Phil Spector was in the habit of filling B-sides with on-the-spot instrumentals that no one would confuse with the A-side. With this practice, Spector was assured that airplay was focused on the side he wanted to be the hit side, the earliest 10-inch,78 rpm, shellac records were single sided. Double-sided recordings, with one song on side, were introduced in Europe by Columbia Records. There were no record charts until the 1930s, and radio stations did not play recorded music until the 1950s, in this time, A-sides and B-sides existed, but neither side was considered more important, the side did not convey anything about the content of the record. The term single came into use with the advent of vinyl records in the early 1950s. At first, most record labels would randomly assign which song would be an A-side, under this random system, many artists had so-called double-sided hits, where both songs on a record made one of the national sales charts, or would be featured on jukeboxes in public places. As time wore on, however, the convention for assigning songs to sides of the record changed. By the early sixties, the song on the A-side was the song that the company wanted radio stations to play. It was not until 1968, for instance, that the production of albums on a unit basis finally surpassed that of singles in the United Kingdom. In the late 1960s stereo versions of pop and rock songs began to appear on 45s. The majority of the 45s were played on AM radio stations, by the early 1970s, double-sided hits had become rare. Album sales had increased, and B-sides had become the side of the record where non-album, non-radio-friendly, with the advent of cassette and compact disc singles in the late 1980s, the A-side/B-side differentiation became much less meaningful. With the decline of cassette singles in the 1990s, the A-side/B-side dichotomy became virtually extinct, as the dominant medium. However, the term B-side is still used to refer to the tracks or coupling tracks on a CD single. With the advent of downloading music via the Internet, sales of CD singles and other media have declined. B-side songs may be released on the record as a single to provide extra value for money. There are several types of material released in this way, including a different version, or, in a concept record
4.
Synthpop
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Synth-pop is a subgenre of new wave music that first became prominent in the late 1970s and features the synthesizer as the dominant musical instrument. It was prefigured in the 1960s and early 1970s by the use of synthesizers in progressive rock, electronic, art rock, disco, and particularly the Krautrock of bands like Kraftwerk. It arose as a genre in Japan and the United Kingdom in the post-punk era as part of the new wave movement of the late-1970s to the mid-1980s. In Japan, Yellow Magic Orchestras success opened the way for bands such as P-Model, Plastics. The development of polyphonic synthesizers, the definition of MIDI. This, its adoption by the acts from the New Romantic movement, together with the rise of MTV. Synth-pop is sometimes deployed interchangeably with electropop, but electropop may also denote a variant of synth-pop that places emphasis on a harder. In the late 1980s duos such as Erasure and Pet Shop Boys adopted a style that was successful on the US dance-charts. Some artists and bands were criticised for gender bending, Synth-pop was defined by its primary use of synthesizers, drum machines and sequencers, sometimes using them to replace all other instruments. Borthwick and Moy have described the genre as diverse but, many synth-pop musicians had limited musical skills, relying on the technology to produce or reproduce the music. The result was often minimalist, with grooves that were woven together from simple repeated riffs often with no harmonic progression to speak of. Early synth-pop has been described as eerie, sterile, and vaguely menacing, using droning electronics with little change in inflection, common lyrical themes of synth-pop songs were isolation, urban anomie, and feelings of being emotionally cold and hollow. Synthesizers were increasingly used to imitate the conventional and clichéd sound of orchestras, thin, treble-dominant, synthesized melodies and simple drum programmes gave way to thick, and compressed production, and a more conventional drum sound. Lyrics were generally optimistic, dealing with more traditional subject matter for pop music such as romance, escapism. According to music writer Simon Reynolds, the hallmark of 1980s synth-pop was its emotional, at times operatic singers such as Marc Almond, Alison Moyet and Annie Lennox. Because synthesizers removed the need for groups of musicians, these singers were often part of a duo where their partner played all the instrumentation. Later synth-pop saw a shift to a style influenced by other genres. Electronic musical synthesizers that could be used practically in a recording studio became available in the mid-1960s, the portable Minimoog, which allowed much easier use, particularly in live performance was widely adopted by progressive rock musicians such as Richard Wright of Pink Floyd and Rick Wakeman of Yes
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Wax Trax! Records
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Records is an American independent record label. It began as a shop in Denver, Colorado opened by Jim Nash. They sold the store in 1978 and, in November of that year, opened a new one under the name at 2449 North Lincoln Avenue in Chicago. This store would become the center of the new wave, punk rock, as important as Chess Records was to blues and soul music, Chicago’s Wax Trax imprint was just as significant to the punk rock, new wave and industrial genres. The original label was purchased in 1992 by TVT Records, in 2014, it was re-established by Julia Nash. The record store became a record label slowly at first, initially releasing limited edition records such as Brian Enos Wimoweh/Deadly Seven Finns seven inch, release was Strike Unders Immediate Action twelve inch EP in 1980, followed by Divines Born To Be Cheap seven inch. Among the most noteworthy artists released by Wax Trax, the label also released a bevy of side projects by Al Jourgensen and Paul Barker of Ministry, including Revolting Cocks, Acid Horse, Pailhead, PTP, Lead into Gold, and 1000 Homo DJs. Nash and Flesher licensed a number of recordings from Play It Again Sam of Belgium, Play It Again Sam, in turn, oversaw the operation of Wax Trax. Europe, although it closed abruptly when the relationship between the labels ended acrimoniously in the early 1990s, Play It Again Sam U. S. A. was subsequently absorbed by Caroline Records. Following a bankruptcy filing, Wax Trax. was bought by New York-based TVT Records in 1992, with Nash, TVT continued to use the Wax Trax. imprint for years, even after Nashs death from AIDS-related complications on October 10,1995. In 1994 TVT released Black Box - Wax Trax, Records, The First 13 Years under the Wax Trax. label. It was a 3-CD box set compilation of the labels biggest hits, mr. Nash is survived by his two children, Julia and Aaron Nash. Julia Nash owns and maintains the website titled WaxTraxChicago. com, The Official Family Site dedicated to the memory of Jim Nash / Dannie Flesher, on January 10,2011 WaxTraxChicago. com announced “Wax Trax. The Retrospectacle was the 33 & 1/3 year Wax Trax, however, while we are both in no way associated with this event, we want to make it clear that we do support the good works of the charity involved and honor the memory of Wax Trax. Founders Jim Nash and Dannie Flesher, in mid-June 2014, Jim Nashs daughter Julia Nash reopened Wax Trax. Records with the release of a 12-inch single from Cocksure and this was followed shortly afterward with the release of a 7-inch single for Front 242. This was accompanied by a store in Chicagos Cabaret Metro music venue on June 15. Historical site by Julia Nash Wax Trax, Records, the original Denver record store Wax Trax
6.
Songwriter
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A songwriter is an individual who writes the lyrics, melodies and chord progressions for songs, typically for a popular music genre such as rock or country music. A songwriter can also be called a composer, although the term tends to be used mainly for individuals from the classical music genre. The pressure from the industry to produce popular hits means that songwriting is often an activity for which the tasks are distributed between a number of people. For example, a songwriter who excels at writing lyrics might be paired with a songwriter with a gift for creating original melodies, pop songs may be written by group members from the band or by staff writers – songwriters directly employed by music publishers. Some songwriters serve as their own publishers, while others have outside publishers. The old-style apprenticeship approach to learning how to write songs is being supplemented by university degrees and college diplomas, a knowledge of modern music technology, songwriting elements and business skills are necessary requirements to make a songwriting career in the 2010s. Several music colleges offer songwriting diplomas and degrees with music business modules, the legal power to grant these permissions may be bought, sold or transferred. This is governed by international copyright law, song pitching can be done on a songwriters behalf by their publisher or independently using tip sheets like RowFax, the MusicRow publication and SongQuarters. Skills associated with song-writing include entrepreneurism and creativity, songwriters who sign an exclusive songwriting agreement with a publisher are called staff writers. In the Nashville country music scene, there is a staff writer culture where contracted writers work normal 9-to-5 hours at the publishing office and are paid a regular salary. This salary is in effect the writers draw, an advance on future earnings, the publisher owns the copyright of songs written during the term of the agreement for a designated period, after which the songwriter can reclaim the copyright. In an interview with HitQuarters, songwriter Dave Berg extolled the benefits of the set-up, unlike contracted writers, some staff writers operate as employees for their respective publishers. Under the terms of work for hire agreements, the compositions created are fully owned by the publisher. In Nashville, young writers are often encouraged to avoid these types of contracts. Staff writers are common across the industry, but without the more office-like working arrangements favored in Nashville. All the major publishers employ writers under contract, songwriter Allan Eshuijs described his staff writer contract at Universal Music Publishing as a starter deal. His success under the arrangement eventually allowed him to found his own publishing company, so that he could. keep as much as possible, songwriters are also often skilled musicians. In addition to selling their songs and musical concepts for other artists to sing, songwriters need to create a number of elements for a song
7.
Al Jourgensen
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Alain David Jourgensen, is a Cuban-American musician and music producer, best known as the founder and frontman of the industrial metal band Ministry. He is sometimes credited as Alain Jourgensen, Alien Jourgensen, Uncle Al, Hypo Luxa, Dog, Alien Dog Star and he is a member and/or founder of several industrial rock bands, performing as a singer, guitarist or keyboard player. Alejandro Ramírez Casas was born in Havana to Cuban parents on October 9,1958, soon after, he relocated to the United States to live with his mother and his Norwegian stepfather, who changed the familys name to Jourgensen. Jourgensens stepfather Ed was a car driver, and mechanic for Formula One driver Dan Gurney. Jourgensen eventually attended the University of Illinois - Chicago, after enrolling at both the University of Northern Colorado and the University of Colorado. He worked as a radio DJ after college until he decided to pursue a career as a professional musician, Jourgensen formed Ministry in 1981 after leaving Special Affect, a new wave/synthpop band. Early singles by Ministry and Jourgensens other projects were released on Wax Trax and he also produced Skinny Puppys Rabies album. During that time, Jourgensen befriended Nivek Ogre, who toured with Ministry. The band broke into the mainstream with 1992s Psalm 69, The Way to Succeed, One of its tracks, N. W. O. was nominated for a 1993 Grammy Award for Best Metal Performance, losing to Nine Inch Nails Wish. However, its album, Filth Pig, divided their fan base. At the specific request of director Stanley Kubrick, Jourgensen appeared with Ministry in the film A. I and he related his conversation with Kubrick in an interview, Well, first of all, I hung up on him. I thought it was a crank call and his secretary was calling and I was like, Yeah, right. And then he called back personally and then talked to me, I mean, who wouldnt be freaked out. In a November 2008 issue of Hustler Magazine, Jourgensen announced that Ministry was officially finished, as the band up so much time and releasing new albums was difficult. He also explained that he was responsible for six other bands, however, despite Jourgensens insistence that Ministry would never return, a reunion was announced on August 7,2011. A new album, entitled Relapse, was released on March 26,2012, revolting Cocks, also known as RevCo, is an American industrial rock band that began as a musical side-project for Richard 23 of Front 242, Luc Van Acker, and Jourgensen. As he ejected the trio, the owner — a man who Jourgensen recalls was named Dess — shouted and you guys are a bunch of revolting cocks. The trio decided to use the name for their band, the band have changed lineups several times
8.
Record producer
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A record producer or music producer oversees and manages the sound recording and production of a band or performers music, which may range from recording one song to recording a lengthy concept album. A producer has many roles during the recording process, the roles of a producer vary. The producer may perform these roles himself, or help select the engineer, the producer may also pay session musicians and engineers and ensure that the entire project is completed within the record companies budget. A record producer or music producer has a broad role in overseeing and managing the recording. Producers also often take on an entrepreneurial role, with responsibility for the budget, schedules, contracts. In the 2010s, the industry has two kinds of producers with different roles, executive producer and music producer. Executive producers oversee project finances while music producers oversee the process of recording songs or albums. In most cases the producer is also a competent arranger, composer. The producer will also liaise with the engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as the person who creatively guides or directs the process of making a record, indeed, in Bollywood music, the designation actually is music director. The music producers job is to create, shape, and mold a piece of music, at the beginning of record industry, producer role was technically limited to record, in one shot, artists performing live. The role of producers changed progressively over the 1950s and 1960s due to technological developments, the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously, all of these singers and musicians had to be assembled in a large studio and the performance had to be recorded. As well, for a song that used 20 instruments, it was no longer necessary to get all the players in the studio at the same time. Examples include the rock sound effects of the 1960s, e. g. playing back the sound of recorded instruments backwards or clanging the tape to produce unique sound effects. These new instruments were electric or electronic, and thus they used instrument amplifiers, new technologies like multitracking changed the goal of recording, A producer could blend together multiple takes and edit together different sections to create the desired sound. For example, in jazz fusion Bandleader-composer Miles Davis album Bitches Brew, producers like Phil Spector and George Martin were soon creating recordings that were, in practical terms, almost impossible to realise in live performance. Producers became creative figures in the studio, other examples of such engineers includes Joe Meek, Teo Macero, Brian Wilson, and Biddu
9.
AllMusic
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AllMusic is an online music guide service website. It was launched in 1991 by All Media Guide which later became All Media Network, AllMusic was launched in 1991 by Michael Erlewine of All Media Guide. The aim was to discographic information on every artist whos made a record since Enrico Caruso gave the industry its first big boost and its first reference book was published the following year. When first released onto the Internet, AMG predated the World Wide Web and was first available as a Gopher site, the AMG consumer web properties AllMusic. com, AllMovie. com and AllGame. com were sold by Rovi in July 2013 to All Media Network, LLC. All Media Network, LLC. was formed by the founders of SideReel. com. The following are contributors to AllMusic, as of this date, All Media Network also produced the AllMusic guide series that includes the AllMusic Guide to Rock, the All Music Guide to Jazz and the All Music Guide to the Blues. Vladimir Bogdanov is the president of the series, in August 2007, PC Magazine included AllMusic in its Top 100 Classic Websites list. All Media Network AllGame AllMovie SideReel All Music Guide to the Blues All Music Guide to Jazz Stephen Thomas Erlewine Official website
10.
Arista Records
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/ˈɛ. rɪ. stə/ was a major American record label. It was a wholly owned unit of Sony Music Entertainment and was handled by Bertelsmann Music Group. The company operated under the RCA Music Group until 2011, the label was founded in 1974 by Clive Davis, who formerly worked for CBS Records. Until its demise in 2011, it was a distributor and promoter of albums throughout the United States. Today, the labels reissues and catalogue releases are handled by RCA Records, after being fired from CBS Records, Clive Davis was hired by Columbia Pictures in June 1974 to be a consultant for the companys record and music operations. The label was named Arista after New York Citys secondary school honor society, in early 1975, most of the artists who had been signed to Bell were let go, except David Cassidy, Tony Orlando and Dawn, and the 5th Dimension. Others, such as Suzi Quatro and Hot Chocolate, were farmed out to the Bell/Arista-distributed label, several Bell acts, such as Barry Manilow, the Bay City Rollers, and Melissa Manchester moved to Arista. The British Bell label kept that name for a couple of years before changing its name to Arista, the label was immortalized in the 1978 Rockpile song They Called It Rock, in the lyric, Arista says they love you/But the kids cant dance to this. In addition to Manilow, the Kinks, and Dionne Warwick, Arista signed Aretha Franklin in 1980, the labels most significant acquisition came in 1983 when Davis signed Warwicks cousin, Whitney Houston. Houston would eventually become Aristas biggest-selling recording artist, with sales of 200 million records worldwide, Arista had an imprint label in the 1970s called Arista Novus, which focused on contemporary jazz artists. A country music division, Career Records, was merged into the Arista Nashville division in 1997, Arista Austin was used in the late 1990s as a country label. Additionally, Arista was the North American distributor of Jive Records from 1981 until 1987, during the 1990s, Arista also distributed Logic, Rowdy and Heavenly Recordings. Looking to stave off bankruptcy, Columbia Pictures sold Arista to German-based Ariola Records in 1979, after Ariola purchased General Electrics RCA Records in 1986, the combined company was renamed Bertelsmann Music Group, though Aristas U. S. releases would not note BMG until 1987. Into the 1980s, Arista continued its success, including major UK act Secret Affair, over the years it acquired Northwestside Records, deConstruction Records, First Avenue Records, and Dedicated Records in the UK. In 1989, Arista entered into a joint venture with Antonio L. A. Reid and Babyface in the creation of LaFace Records record company of TLC, in 1993, Arista also entered into a joint-venture with Sean P. Diddy Combs to form Bad Boy Records. In 1997 Arista acquired Profile Records, the home of Run-D. M. C. in 1989, Arista signed Milli Vanilli, a duo consisting of Rob Pilatus and Fab Morvan that was based in Germany. The label released its album, Girl You Know Its True, which was a remixed and re-edited version of All or Nothing. The album was certified platinum in the U. S. and charted five top-ten singles
11.
Twitch (Ministry album)
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Twitch is the second studio album by industrial metal band Ministry, released in 1986. The album stepped away from the form of their previous album With Sympathy and moved toward a darker. Released by Sire Records, Jourgensen was granted more artistic control over the production than under Arista/BMG, Twitch was re-released in 1990 with two additional tracks. The album was named after a drug called Wiz, which was prevalent in England and it includes previously unreleased alternative versions of tracks from the album. Over the Shoulder was the single from the album. All tracks written by Alain Jourgensen, features samples from Twitch Tracks 9-12 are bonuses added to the CD version, b-sides and remixes, they do not comprise the original album
12.
Rhino Entertainment
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Rhino Entertainment Company is an American specialty record label and production company founded in 1978. It is currently the division for the Warner Music Group. Founded in 1978, Rhino was originally a novelty and reissue label during the 1970s and 1980s, one of Rhinos early artists was The Twisters, whose Los Angeles popularity far exceeded their album sales. The labels on early Rhino records featured the mascot character. Some of the labels earliest successes with reissues were achieved by acquiring the rights to the White Whale Records catalog that included the Turtles, by the mid-1980s, most of Rhinos releases were reissues of previously released recordings licensed from other companies. Rhino was quick to get into the disc market, releasing dozens of oldies CDs at the dawn of the CD age in 1984. Their retrospective compact disc releases, such as those in the Billboard Top Hits series, are often remastered to restore or improve upon the original analog audio quality. Through the 1980s and 1990s, the company continued to sign artists and release new music, on the main Rhino label and on subsidiary labels such as RNA. In 1985, Rhino signed a distribution agreement with Capitol Records. During 1989 Rhino and Capitol’s parent EMI made a deal to jointly acquire Roulette Records, Rhino received the US rights to Roulettes catalog, excluding jazz. When the distribution deal with Capitol ended in 1992, Rhino signed a new deal with Atlantic Records. In 1998, Time Warner bought the other half of Rhino, the Rhino Records retail store, which was not part of the sale, closed in 2005. Periods, in addition to WBs own post-1949 period, Rhinos soundtrack releases include Gone with the Wind, The Wizard of Oz, Easter Parade, North by Northwest, Casablanca, King Kong, Doctor Zhivago, Superman, and Finians Rainbow. The Turner Entertainment and Warner Bros. film soundtrack libraries are managed by Warner Bros. in-house label subsidiary. In 1999, Rhino started the Rhino Handmade division of limited-edition releases available primarily from their website, all Handmade deluxe editions were limited to about 3,000 copies or less, and once sold out were not re-pressed. In 2003, co-founders and longtime executives Richard Foos and Harold Bronson left Rhino, soon after, Foos inaugurated a new label, Shout. Factory, which began releasing dozens of CDs and videos mirroring the original early-1990s Rhino philosophy, in 2004, Time Warner spun off its music divisions and today Rhino is part of the newly organized Warner Music Group. In June 2006, Warner Strategic Marketing in the U. K. was dissolved, the division has two main factions, TV-advertised compilations and catalog material from the Warner vaults
13.
Goth subculture
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The goth subculture, which is found in many countries in the 2010s, began in England during the early 1980s in the gothic rock scene, an offshoot of the post-punk genre. Notable post-punk groups that presaged that genre are Siouxsie and the Banshees, Joy Division, the goth subculture has survived much longer than others of the same era, and has continued to diversify. Its imagery and cultural proclivities indicate influences from the 19th century Gothic literature along with horror films, the goth subculture has associated tastes in music, aesthetics, and fashion. The music of the goth subculture encompasses a number of different styles, including rock, industrial, deathrock, post-punk, darkwave, ethereal wave. Styles of dress within the range from deathrock, punk and Victorian styles, or combinations of the above, most often with dark attire, pale face makeup. The scene continues to draw interest from a large audience decades after its emergence, in Western Europe, there are large annual festivals, mainly in Germany. That same year, Velvet Underground with a track like All Tomorrows Parties, in the late 1970s, the gothic adjective was used to describe the atmosphere of post-punk bands like Siouxsie and the Banshees, Magazine and Joy Division. In March 1979, in his review of Magazines second album Secondhand Daylight, Kent noted that there was a new sense of authority in the music. The term was applied to newer bands such as Bauhaus who had arrived in the wake of Joy Division and Siouxsie. Bauhauss first single issued in 1979, Bela Lugosis Dead, is credited as the starting point of the gothic rock genre. In 1979, Sounds described Joy Division as Gothic and theatrical, in February 1980, Melody Maker qualified the same band as masters of this Gothic gloom. Critic Jon Savage would later say that their singer Ian Curtis wrote the definitive Northern Gothic statement and they may have taken the goth mantle from a 1981 article published in UK rock weekly Sounds, The face of Punk Gothique, written by Steve Keaton. In a text about the audience of UK Decay, Keaton asked, with Bauhaus flying in on similar wings could it be the next big thing. The term Batcaver was then used to describe old-school goths, independent from the British scene, in the late 1970s and early 1980s in California, deathrock developed as a distinct branch of American punk rock, with acts such as Christian Death and 45 Grave. Near the peak of this first generation of the scene in 1983. The popularity of 4AD bands resulted in the creation of a similar U. S. label, Projekt, which produces what was colloquially termed ethereal wave, a subgenre of dark wave music. The 1990s saw further growth for some 1980s bands and the emergence of new acts, as well as new goth-centric U. S. record labels such as Cleopatra Records. According to Dave Simpson of The Guardian, in the 90s, goths all, as a result, the goth movement went underground and mistaken for cyber goth, Shock rock, Industrial metal, Gothic metal, Medieval folk metal and the latest subgenre, horror punk
14.
Bass guitar
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The bass guitar is a stringed instrument played primarily with the fingers or thumb, by plucking, slapping, popping, strumming, tapping, thumping, or picking with a plectrum, often known as a pick. The bass guitar is similar in appearance and construction to a guitar, but with a longer neck and scale length. The four-string bass, by far the most common, is tuned the same as the double bass. The bass guitar is an instrument, as it is notated in bass clef an octave higher than it sounds to avoid excessive ledger lines. Like the electric guitar, the guitar has pickups and it is plugged into an amplifier and speaker on stage, or into a larger PA system using a DI unit. Since the 1960s, the guitar has largely replaced the double bass in popular music as the bass instrument in the rhythm section. While types of basslines vary widely from one style of music to another, many styles of music utilise the bass guitar, including rock, heavy metal, pop, punk rock, country, reggae, gospel, blues, symphonic rock, and jazz. It is often a solo instrument in jazz, jazz fusion, Latin, funk, progressive rock and other rock, the adoption of a guitar form made the instrument easier to hold and transport than any of the existing stringed bass instruments. The addition of frets enabled bassists to play in more easily than on acoustic or electric upright basses. Around 100 of these instruments were made during this period, around 1947, Tutmarcs son, Bud, began marketing a similar bass under the Serenader brand name, prominently advertised in the nationally distributed L. D. Heater Music Company wholesale jobber catalogue of 1948, however, the Tutmarc family inventions did not achieve market success. In the 1950s, Leo Fender, with the help of his employee George Fullerton and his Fender Precision Bass, which began production in October 1951, became a widely copied industry standard. This split pickup, introduced in 1957, appears to have been two mandolin pickups, the pole pieces and leads of the coils were reversed with respect to each other, producing a humbucking effect. Humbucking is a design that electrically cancels the effect of any AC hum, the Fender Bass was a revolutionary new instrument, which could be easily transported, and which was less prone to feedback when amplified than acoustic bass instruments. Monk Montgomery was the first bass player to tour with the Fender bass guitar, roy Johnson, and Shifty Henry with Louis Jordan & His Tympany Five, were other early Fender bass pioneers. Bill Black, playing with Elvis Presley, switched from bass to the Fender Precision Bass around 1957. The bass guitar was intended to appeal to guitarists as well as upright bass players, following Fenders lead, in 1953, Gibson released the first short scale violin-shaped electric bass with extendable end pin, allowing it to be played upright or horizontally. In 1959 these were followed by the more conventional-looking EB-0 Bass, the EB-0 was very similar to a Gibson SG in appearance
15.
Drum kit
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A drum kit consists of a mix of drums and idiophones most significantly cymbals but also including the woodblock and cowbell. In the 2000s, some also include electronic instruments and both hybrid and entirely electronic kits are used. If some or all of them are replaced by electronic drums, the drum kit is usually played while seated on a drum stool or throne. The drum kit differs from instruments that can be used to produce pitched melodies or chords, even though drums are often placed musically alongside others that do, such as the piano or guitar. The drum kit is part of the rhythm section used in many types of popular and traditional music styles ranging from rock and pop to blues. Other standard instruments used in the section include the electric bass, electric guitar. Many drummers extend their kits from this pattern, adding more drums, more cymbals. Some performers, such as some rockabilly drummers, use small kits that omit elements from the basic setup, some drum kit players may have other roles in the band, such as providing backup vocals, or less commonly, lead vocals. Thus, in an early 1800s orchestra piece, if the called for bass drum, triangle and cymbals. In the 1840s, percussionists began to experiment with foot pedals as a way to them to play more than one instrument. In the 1860s, percussionists started combining multiple drums into a set, the bass drum, snare drum, cymbals, and other percussion instruments were all played using hand-held drum sticks. Double-drumming was developed to one person to play the bass and snare with sticks. With this approach, the drum was usually played on beats one. This resulted in a swing and dance feel. The drum set was referred to as a trap set. By the 1870s, drummers were using an overhang pedal, most drummers in the 1870s preferred to do double drumming without any pedal to play multiple drums, rather than use an overhang pedal. Companies patented their pedal systems such as Dee Dee Chandler of New Orleans 1904–05, liberating the hands for the first time, this evolution saw the bass drum played with the foot of a standing percussionist. The bass drum became the central piece around which every other percussion instrument would later revolve and it was the golden age of drum building for many famous drum companies, with Ludwig introducing
16.
All Media Network
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AllGame was a commercial database of information about arcade games, video games and console manufacturers. The AMG consumer web properties AllMusic. com, AllMovie. com, All Media Network includes of the original founders of SideReel and Ackrell Capital investor Mike Ackrell. The AllGame section of the site was shut down on December 12,2014, AllMusic AllMovie SideReel All Media Network MobyGames, another online database of video games and developers
17.
Spin (magazine)
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Spin is an American music magazine founded in 1985 by publisher Bob Guccione, Jr. The magazine stopped running in print in 2012 and currently runs as a webzine, in its early years, the magazine was known for its broad music coverage with an emphasis on college rock, grunge, indie rock, and the ongoing emergence of hip-hop. The magazine was eclectic and bold, if sometimes haphazard and it pointedly provided a national alternative to Rolling Stones more establishment-oriented style. Spin prominently placed newer artists such as R. E. M, Spins extensive coverage of hip-hop music and culture, especially that of contributing editor John Leland, was notable at the time. Editorial contributions by musical and cultural figures included Lydia Lunch, Henry Rollins, David Lee Roth, the magazine also reported on cities such as Austin, Texas, or Glasgow, Scotland, as cultural incubators in the independent music scene. A1990 article on the country blues scene brought R. L. Burnside to national attention for the first time. During this time, it was published by Camouflage Associates, in 1997, Guccione sold Spin to Miller Publishing. In February 2006, Miller Publishing sold the magazine to a San Francisco-based company called the McEvoy Group LLC and that company formed Spin Media LLC as a holding company. The new owners replaced editor-in-chief Sia Michel with Andy Pemberton, an editor at Blender. The first issue to be published under his command was the July 2006 issue—sent to the printer in May 2006—which featured Beyoncé on the cover. Pemberton and Spin parted ways the next month, in June 2006, the following editor, Doug Brod, was executive editor during Michels tenure. For Spins 20th anniversary, it published a book chronicling the prior two decades in music. The book has essays on grunge, Britpop, and emo, among other genres of music, as well as pieces on musical acts including Marilyn Manson, Tupac Shakur, nirvana, Weezer, Nine Inch Nails, Limp Bizkit, and the Smashing Pumpkins. In July 2012, Spin was sold to Buzzmedia, which renamed itself SpinMedia. The September/October 2012 issue of Spin was the magazines last print edition, in December 2016, Eldridge Industries acquired SpinMedia via the Hollywood Reporter-Billboard Media Group for an undisclosed amount. In 1995, Spin produced its first book, entitled Spin Alternative Record Guide, although the book was not a sales success, it inspired a disproportionate number of young readers to pursue music criticism. Notable contributors to Spin have included, SPIN began compiling year-end lists in 1990, note, The 2000 album of the year was awarded to your hard drive, acknowledging the impact that filesharing had on the music listening experience in 2000. Kid A was listed as number 2, the highest ranking given to an actual album,1994 roadside attack on Spin magazine journalists Anon
18.
International Standard Serial Number
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An International Standard Serial Number is an eight-digit serial number used to uniquely identify a serial publication. The ISSN is especially helpful in distinguishing between serials with the same title, ISSN are used in ordering, cataloging, interlibrary loans, and other practices in connection with serial literature. The ISSN system was first drafted as an International Organization for Standardization international standard in 1971, ISO subcommittee TC 46/SC9 is responsible for maintaining the standard. When a serial with the content is published in more than one media type. For example, many serials are published both in print and electronic media, the ISSN system refers to these types as print ISSN and electronic ISSN, respectively. The format of the ISSN is an eight digit code, divided by a hyphen into two four-digit numbers, as an integer number, it can be represented by the first seven digits. The last code digit, which may be 0-9 or an X, is a check digit. Formally, the form of the ISSN code can be expressed as follows, NNNN-NNNC where N is in the set, a digit character. The ISSN of the journal Hearing Research, for example, is 0378-5955, where the final 5 is the check digit, for calculations, an upper case X in the check digit position indicates a check digit of 10. To confirm the check digit, calculate the sum of all eight digits of the ISSN multiplied by its position in the number, the modulus 11 of the sum must be 0. There is an online ISSN checker that can validate an ISSN, ISSN codes are assigned by a network of ISSN National Centres, usually located at national libraries and coordinated by the ISSN International Centre based in Paris. The International Centre is an organization created in 1974 through an agreement between UNESCO and the French government. The International Centre maintains a database of all ISSNs assigned worldwide, at the end of 2016, the ISSN Register contained records for 1,943,572 items. ISSN and ISBN codes are similar in concept, where ISBNs are assigned to individual books, an ISBN might be assigned for particular issues of a serial, in addition to the ISSN code for the serial as a whole. An ISSN, unlike the ISBN code, is an identifier associated with a serial title. For this reason a new ISSN is assigned to a serial each time it undergoes a major title change, separate ISSNs are needed for serials in different media. Thus, the print and electronic versions of a serial need separate ISSNs. Also, a CD-ROM version and a web version of a serial require different ISSNs since two different media are involved, however, the same ISSN can be used for different file formats of the same online serial
19.
MTV
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MTV is an American cable and satellite television channel owned by Viacom Media Networks and headquartered in New York City. Launched on August 1,1981, the originally aired music videos as guided by television personalities known as video jockeys. In its early years, MTVs main target demographic was young adults and it has received criticism towards this change of focus, both by certain segments of its audience and musicians. MTVs influence on its audience, including issues involving censorship and social activism, has also been a subject of debate for several years, in recent years, MTV had struggled with the secular decline of music-related cable media. In April 2016, MTV announced it would start to return to its original music roots with the reintroduction of the classic MTV series MTV Unplugged. It was also reported that the series MTV Cribs would be making a return on Snapchat, MTV has spawned numerous sister channels in the US and affiliated channels internationally, some of which have gone independent. As of July 2015, approximately 92,188,000 US households have received MTV, several earlier concepts for music video-based television programming had been around since the early 1960s. The Beatles had used music videos to promote their records starting in the mid-1960s, CBS rejected the idea, but Williams premiered his own musical composition Classical Gas on the Smothers Brothers Comedy Hour, where he was head writer. The series featured clips from various popular artists, but was canceled by its distributor in 1971. The channel, which featured video disc jockeys, signed a deal with US Cable in 1978 to expand its audience from retail to cable television, the service was no longer active by the time MTV launched in 1981. The QUBE system offered many specialized channels, One of these specialized channels was Sight on Sound, a music channel that featured concert footage and music-oriented television programs. With the interactive QUBE service, viewers could vote for their favorite songs, the original programming format of MTV was created by media executive Robert W. Pittman, who later became president and chief executive officer of MTV Networks. Pittman had test-driven the music format by producing and hosting a 15-minute show, Album Tracks, the inspiration for PopClips came from a similar program on New Zealands TVNZ network named Radio with Pictures, which premiered in 1976. The concept itself had been in the works since 1966, when record companies began supplying the New Zealand Broadcasting Corporation with promotional music clips to play on the air at no charge. Few artists made the trip to New Zealand to appear live. A shortened version of the shuttle launch ID ran at the top of hour in various forms. The first music video shown on MTV was The Buggles Video Killed the Radio Star and this was followed by the video for Pat Benatars You Better Run. Sporadically, the screen would go black when an employee at MTV inserted a tape into a VCR, MTVs lower third graphics that appeared near the beginning and end of music videos would eventually use the recognizable Kabel typeface for about 25 years
20.
San Francisco
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San Francisco, officially the City and County of San Francisco, is the cultural, commercial, and financial center of Northern California. It is the birthplace of the United Nations, the California Gold Rush of 1849 brought rapid growth, making it the largest city on the West Coast at the time. San Francisco became a consolidated city-county in 1856, after three-quarters of the city was destroyed by the 1906 earthquake and fire, San Francisco was quickly rebuilt, hosting the Panama-Pacific International Exposition nine years later. In World War II, San Francisco was a port of embarkation for service members shipping out to the Pacific Theater. Politically, the city votes strongly along liberal Democratic Party lines, San Francisco is also the headquarters of five major banking institutions and various other companies such as Levi Strauss & Co. Dolby, Airbnb, Weebly, Pacific Gas and Electric Company, Yelp, Pinterest, Twitter, Uber, Lyft, Mozilla, Wikimedia Foundation, as of 2016, San Francisco is ranked high on world liveability rankings. The earliest archaeological evidence of habitation of the territory of the city of San Francisco dates to 3000 BC. Upon independence from Spain in 1821, the became part of Mexico. Under Mexican rule, the system gradually ended, and its lands became privatized. In 1835, Englishman William Richardson erected the first independent homestead, together with Alcalde Francisco de Haro, he laid out a street plan for the expanded settlement, and the town, named Yerba Buena, began to attract American settlers. Commodore John D. Sloat claimed California for the United States on July 7,1846, during the Mexican–American War, montgomery arrived to claim Yerba Buena two days later. Yerba Buena was renamed San Francisco on January 30 of the next year, despite its attractive location as a port and naval base, San Francisco was still a small settlement with inhospitable geography. The California Gold Rush brought a flood of treasure seekers, with their sourdough bread in tow, prospectors accumulated in San Francisco over rival Benicia, raising the population from 1,000 in 1848 to 25,000 by December 1849. The promise of fabulous riches was so strong that crews on arriving vessels deserted and rushed off to the gold fields, leaving behind a forest of masts in San Francisco harbor. Some of these approximately 500 abandoned ships were used at times as storeships, saloons and hotels, many were left to rot, by 1851 the harbor was extended out into the bay by wharves while buildings were erected on piles among the ships. By 1870 Yerba Buena Cove had been filled to create new land, buried ships are occasionally exposed when foundations are dug for new buildings. California was quickly granted statehood in 1850 and the U. S. military built Fort Point at the Golden Gate, silver discoveries, including the Comstock Lode in Nevada in 1859, further drove rapid population growth. With hordes of fortune seekers streaming through the city, lawlessness was common, and the Barbary Coast section of town gained notoriety as a haven for criminals, prostitution, entrepreneurs sought to capitalize on the wealth generated by the Gold Rush
21.
International Standard Book Number
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The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
22.
Google Books
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Books are provided either by publishers and authors, through the Google Books Partner Program, or by Googles library partners, through the Library Project. Additionally, Google has partnered with a number of publishers to digitize their archives. The Publisher Program was first known as Google Print when it was introduced at the Frankfurt Book Fair in October 2004, the Google Books Library Project, which scans works in the collections of library partners and adds them to the digital inventory, was announced in December 2004. But it has also criticized for potential copyright violations. As of October 2015, the number of scanned book titles was over 25 million, Google estimated in 2010 that there were about 130 million distinct titles in the world, and stated that it intended to scan all of them. Results from Google Books show up in both the universal Google Search as well as in the dedicated Google Books search website, if Google believes the book is still under copyright, a user sees snippets of text around the queried search terms. All instances of the terms in the book text appear with a yellow highlight. The four access levels used on Google Books are, Full view, Books in the domain are available for full view. In-print books acquired through the Partner Program are also available for full view if the publisher has given permission, usually, the publisher can set the percentage of the book available for preview. Users are restricted from copying, downloading or printing book previews, a watermark reading Copyrighted material appears at the bottom of pages. All books acquired through the Partner Program are available for preview and this could be because Google cannot identify the owner or the owner declined permission. If a search term appears many times in a book, Google displays no more than three snippets, thus preventing the user from viewing too much of the book. Also, Google does not display any snippets for certain reference books, such as dictionaries, Google maintains that no permission is required under copyright law to display the snippet view. No preview, Google also displays search results for books that have not been digitized, in effect, this is similar to an online library card catalog. Google also stated that it would not scan any in-copyright books between August and 1 November 2005, to provide the owners with the opportunity to decide which books to exclude from the Project. It can let Google scan the book under the Library Project and it can opt out of the Library Project, in which case Google will not scan the book. If the book has already been scanned, Google will reset its access level as No preview and this information is collated through automated methods, and sometimes data from third-party sources is used. This information provides an insight into the book, particularly useful when only a view is available
23.
Discogs
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Discogs, short for discographies, is a website and crowdsourced database of information about audio recordings, including commercial releases, promotional releases, and bootleg or off-label releases. The Discogs servers, currently hosted under the domain name discogs. com, are owned by Zink Media, Inc. and are located in Portland, Oregon, US. While the site lists releases in all genres and on all formats, it is known as the largest online database of electronic music releases. Discogs currently contains over 8 million releases, by nearly 4 and he was inspired by the success of community-built sites such as Slashdot, eBay, and Open Directory Project, and decided to use this model for a music discography database. The sites original goal was to build the most comprehensive database of music, organized around the artists, labels. In 2003 the Discogs system was rewritten, and in January 2004 it began to support other genres. Since then, it has expanded to include rock and jazz in January 2005 and funk/soul, Latin, in January 2006 blues and non-music were added. On 30 June 2004, Discogs published a report, which included information about the number of its contributors and this report claimed that Discogs had 15,788 contributors and 260,789 releases. On 20 July 2007 a new system for sellers was introduced on the site called Market Price History. However, at the beginning of 2008, the Market Price History was also free of charge for all users. In late 2014, the company released two new beta websites, gearogs lets users add and track music equipment like synths, drum machines, and other electronic music making equipment. At the start of 2015, the company began another beta project — Bibliogs, users can submit information about their books, physical or electronic, different versions and editions, and also connect different credits to these books. 21,000 books were submitted by the end of 2016, the project remains in its beta phase. The license has since changed to a public domain one. Prior to the advent of this license and API, Discogs data was only accessible via the Discogs web sites HTML interface and was intended to be viewed only using web browsers, the HTML interface remains the only authorized way to modify Discogs data. On 7 June 2011 version 2 of the API was released, notable in this release was that a license key was no longer required, the default response was changed from XML to JSON, and the 5000 queries per day limit was removed. On 1 November 2011 a major update to version 2 of the API was released and this new release dropped support for XML, data is always returned in JSON format, however the monthly data dumps of new data are only provided in XML format. Additionally the Premium API service was dropped, on 24 June 2014 Discogs deprecated their XML API in lieu of a JSON-formatted API
24.
Sin Quirin
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Sin Quirin is a two-time Grammy nominated guitar player from LA. Sin is a member of Ministry and a songwriter on the 2007 Ministry album The Last Sucker. In addition to his role in Ministry and primary writing credits for RevCo’s Sex-O Olympic-O, Quirin toured the U. S. and worked with DJ Hardware on the 2009 ReVamp tour. He has been Grammy nominated twice, both times with Ministry, the first for Under my Thumb from Cover Up –2008, in 2010, Quirin joined Lords of Acid for Sextreme Ball 2010. In 2011, it was announced that he would be joining American Head Charge and he is currently working on a new project, Supermanic - a Los Angeles-based rock band co-founded by Quirin and vocalist & music producer Kallaghan. In addition to his work with Supermanic, in January 2014, –2010 Ministry - Relapse -2012 Ministry - From Beer to Eternity -2013 Capt. Bigshot – From Cock to Bigshot Interview Grammy nominations Sextacy Ball SoundCloud
25.
Tony Campos
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Antonio Tony Campos is a Mexican American musician. He is the current bass guitarist for the metal band Fear Factory. He is a bass guitarist for metal bands Static-X, Ministry, Prong, Soulfly. Campos was part of the original Static-X lineup, playing bass guitar, along with Wayne Static he was one of the legal owners of the Static-X name. In 2001 Campos broke his collarbone in an accident leaving him unable to play in the ongoing Extreme Steel Tour. Campos continued to sing backing vocals on the tour, and Marty OBrien took over guitar duties. In 2002 Campos became part of Mexican-American metal group Asesino and his stage name, Maldito X, is Spanish for Damned X. In the same year he played the guitar with the Colombian band Agony during the Rock al Parque. Campos has played guitar for Ministry in three stints following the death of Paul Raven. From 2011-2012 he was a member of metal band Possessed. He also played with Possessed in 2013 at The Oakland Metro and he also joined Soulfly in 2011 as their bass player. In May 2015, Campos announced his departure from Soulfly, Campos has cited Blasko, Cliff Burton, Dan Lilker, Jeff Hanneman, and Kerry King as influences. Zon Legacy 5-string with EMG MM5CS pickups Neal Moser Custom Shop Scimitar 4-string with EMG-P pickup, tuned BbFBbEb Fernandes Tremor 5-strings with EMG-40DC pickups, SWR SM-900 head, SWR Goliath Senior 6x10 cab. Tech 21 SansAmp PSA-1 preamp, Dunlop 105Q Bass Wah, Line 6 Bass POD Fernandes five-string signature Tremor bass guitars with EMG-40HZ, Campos tunes to ADGCF when playing in Asesino. In Static-X, he played with several tunings, CFBbEbG and BbFBbEbAb during Shadow Zone and forward
26.
DJ Swamp
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Ronald K. Keys Jr. aka DJ Swamp is an American hip hop DJ/turntablist, producer and vocalist. He was born in Cleveland, Ohio, USA and he currently resides in Los Angeles, USA. In 1996, he won the title of US DMC Champion, Swamp toured with Beck for four years and later broke away into a solo career with his release Never is Now in 2001. Alternative Press gave Never is Now an 8/10 rating and his follow-up, a drum n bass EP called Instruments of Torture, was recorded with Jack Dangers of Meat Beat Manifesto. His current album Vinyl Disciple produced several videos, including four 3D music videos. The music video for his song The Leaders will Follow is the first music video in history to incorporate 3D video scratching and his music video for Rock Rollin features Dave England of Jackass fame. DJ Swamps scratch at the beginning of The Crystal Method track Name of the Game is one of his most recognizable scratches, the song is featured in several motion pictures, including Tropic Thunder. In 1996, as a first time entry, he won the DMC US DJ Championship and he ended his set using pitch manipulation to play Deep Purples Smoke on the Water, followed by him smashing his records. After winning the 1996 US DMC Championships, Swamp found himself still driving a street sweeper for a living in Ohio and he was making calls looking for gigs and a chance to break into the music scene full-time when he heard Beck was going to be in town. He formulated a plan to pose as a reporter and slip in a demo of him mixing and scratching Becks tracks and he waited for Beck all day but never got to meet him. He did, however, give his tape to Becks publicist. A few weeks later Beck called Swamp and he joined the tour as Becks DJ, the two toured together for four years. After years of touring with Beck, DJ Swamp released his first album, Never is Now, the song featured Simple Text voice Fred as the rapper. The text application vocals were chopped up and manipulated to make it more like rap than just spoken text, also on the album was Disintegrator which was featured in the movie Orgazmo and appeared on the Original Motion Picture Soundtrack. Swamp has built a following around the world appearing in festivals, rock shows, hip-hop shows. His stage performance consists of him Mixing, Scratching, Magic Tricks, crowds are often overwhelmed by his stage presence, heavy bass sound, crowd interaction and give-a-ways. DJ Swamps scratching can be throughout the movie Thirteen which won an Academy Award and was the first movie for director Catherine Hardwicke of Twilight fame. He was featured in the DJ documentary Scratch and the motion picture Clockstoppers, in 1996 DJ Swamp formed Decadent Records, which allowed him to distribute his scratch tools vinyl and digital releases
27.
Martin Atkins
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Atkins is also an honorary board member of the Chicago-based nonprofit organisation Rock For Kids. Atkins first major exposure as a drummer was with John Lydons post-Sex Pistols band and he joined in 1979, just in time to contribute to the song Bad Babies, on the album Metal Box. In 1980, Atkins left Public Image Ltd to concentrate on his band Brian Brain with Pete Jones on bass, Brian Brain released six singles and one LP on Secret Records, and continued to release singles and LPs on Atkins own Plaid Records throughout the 1980s. Atkins eventually left PiL for the last time in 1985, throughout the late 1980s, the 1990s and early 2000s, Atkins performed with many bands, including Nine Inch Nails, as well as Ministry. The dual-drumming of Atkins and Bill Rieflin is captured on the live Ministry album/video In Case You Didnt Feel Like Showing Up, Atkins later joined Killing Joke, performing on 1990s Extremities, Dirt, and Other Repressed Emotions. He also managed the band for that time, and designed their live show scenery, Atkins formed his industrial supergroup, Pigface, during a Ministry tour in 1989–1990. Atkins also went on to form Murder, Inc. a new band featuring Geordie Walker, Paul Raven and Chris Connelly, in 1992. During this time, he played with the Revolting Cocks and is credited alongside Chris Vrenna in Nine Inch Nails for performing extra drums on Wish and Gave Up, Geordie Walker from Killing Joke and Chris Connelly were also part of the project. Atkins later produced and released an album with Skinny Puppys Nivek Ogre. The resulting album was entitled Bedside Toxicology, between 2000 and 2002 he released four albums as Opium Jukebox featuring instrumental cover tunes done in a Bhangra style. In October 2006, Atkins visited Beijing to discover the emerging Chinese music scene, during his stay, Atkins recorded and signed a handful of Chinese bands to Invisible Records and recorded material for a new Pigface album. Atkins has taught at Columbia College in Chicago where he instructed the course The Business of Touring and he is also an active guest lecturer, speaking at such institutions as the University of Southern California, the Midi School in Beijing and Lebanon Valley College in Annville, Pennsylvania. Atkins has since become an instructor at the Madison Media Institute in Madison, Atkins has announced plans to take his lecturing further by eventually opening a school of his own. He is also a department chairman for a business program he designed at SAE Chicago. Atkins has held a number of seminars at Tech Music Schools in London, Atkins has written what he calls, the first real book on touring. Atkins was on the tenth annual Independent Music Awards judging panel, starting in 2015, Atkins has written and performed several podcast stories for The Martin Atkins Minute, included with the NPR All Songs Considered podcast. Martin Atkins on Myspace Official Tour, Smart page Official Gallery Page Martin Atkins Blog
28.
Chris Connelly (musician)
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Chris Connelly is a Scottish author and musician who became famous for his industrial music work of the late 1980s and early 1990s, particularly his involvement with the Revolting Cocks and Ministry. He has since established himself as an alternative singer-songwriter, Connelly was born in Bruntsfield, Scotland to Michael and Sadie Connelly near the city center of Edinburgh. Connellys father died in an accident early in his life. Connellys Scottish ancestry includes Irish descent through the Connellys and Murphys and his mother’s side, the Kings and the McCullochs were from the Highlands and migrated to Glasgow in search of work. Connelly began his career in 1980 with the formation of Finitribe. Through subsequent years he fronted or was involved with numerous notable industrial, dance. In 2008, Connelly published a memoir of his years in the music industry, Concrete, Bulletproof, Invisible. In contrast to his roots, Connelly explored various genres in his solo works. In 2013, he has started two more in the vein of industrial, Cocksure, with Jason C. Novak, and Bells into Machines, with Paul Barker, Connelly manages Reckless Records, a record store in Wicker Park, Chicago. C
29.
Nivek Ogre
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Nivek Ogre is a Canadian musician, performance artist and actor best known as a founding member of the industrial music group Skinny Puppy. Since that band featured another Kevin and was produced by another Ogilvie, since 1982, he has served as Skinny Puppys primary lyricist and vocalist, occasionally providing instrumentation and samples. Ogres guttural singing style and use of costumes, props, and he is also a member of the electronic music group ohGr, which he founded along with longtime collaborator Mark Walk. OhGr has released four albums since 2001, three of which have placed on Billboards Dance/Electronic Albums chart. Ogre has also involved with several other musicians and acts including the Al Jourgensen bands Ministry and Revolting Cocks, Pigface and Rx with Martin Atkins. He has also done remixes for such as John Carpenter. Ogre has on several occasions worked as an actor in low-budget horror films and he appeared as Pavi Largo in the rock opera film Repo. The Genetic Opera, as well as Harper Alexander in the film entitled 2001 Maniacs. Ogre was reunited with Repo. director Darren Lynn Bousman for the 2012 musical short film The Devils Carnival, in 2014, he starred in the Canadian film Queen of Blood. Ogilvie was born on 5 December 1962 in Calgary, Alberta, from a young age, he had imagined working in a studio as a singer, describing it as his own manifest destiny. He was also interested in magic and had attempted to become a magician and he would entertain his parents with magic shows, noting that his tricks would often fail humorously. Ogilvie has described his childhood as introverted, and that he would take refuge in watching movies, he also enjoyed the horror fantasy writings of H. P. Lovecraft. As a child, Ogilvie was fascinated with words, often retreating to his basement to write pages at a time. From that, I developed a sense of how words sound, how they can phonetically sound. How words obviously have different meanings and with a slight displacement can take on almost a surreal meaning and this passion for vocabulary stemmed from Ogilvies love of music and lyrics. His subsequent musical stylings were informed by the likes of Brian Eno, Pink Floyd, Kraftwerk and he has also described the Cure album Pornography as a transformative record for himself. Ogilvie left Calgary for Vancouver, British Columbia at the age of twenty, Vancouver has an edge to it, an attitude, an arrogance when it comes to music. I came there as a young 20-year-old from Calgary and entered into a world I’d never seen before, in 1982, Ogilvie attempted to start a record distribution company using borrowed money, a venture that ultimately failed
30.
Beefcake the Mighty
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Beefcake the Mighty is the bassist in the metal band Gwar. He appears as a stout humanoid girded in Roman-style armor and he is usually portrayed wielding either an oversized Gladius sword or a large battle-axe. According to Gwar mythos, Beefcake originates from the planet Cholesterol and he weighs approximately 299 tons and invented music by stretching dinosaur guts across the Grand Canyon. In the early days of Gwar, Balsac the Jaws of Death played bass, however by the time Gwars first album Hell-O had been released, the roles had switched, and Beefcake became the permanent bass player. Before their first album, the character of Beefcake was known as Cornelius Carnage and was played by Greg Ottiger, soon, however, Cornelius Carnages character was developed into Beefcake the Mighty. When Hell-O was released in 1988, Beefcake was played by Michael Bishop, Bishop played the role until after the 1993 Halloween mini-tour. Casey Orr was enlisted to play the bass in February 1994, Bishop, however, temporarily replaced Orr for a stint around the recording of We Kill Everything. After the release of Violence Has Arrived in 2001, Orr and he left the band shortly thereafter, and was replaced by Todd Evans. Evans suited the role well, as he is credited as being larger than any of the previous Beefcakes. Evans continued to portray Beefcake for several years, however, Orr briefly returned to fill in for the 2007 European tour when Evans could not participate, in Spring 2008, Evans left Gwar to focus on his band, Mobile Deathcamp. On April 15,2008, Casey Orr officially announced his return to the band, Beefcakes personality has changed considerably since Hell-O. Oderus Urungus and Beefcake originally had an almost brotherly relationship, when Michael Bishop was replaced by Casey Orr, that relationship changed as well - instead, Beefcake became extremely arrogant and vile, and was crude even to Oderus. While Bishop returned for We Kill Everything, his personality remained the same, little is known about Todd Evans take on Beefcake, though his entries in the Gwar. net blog again reflect extreme arrogance. On August 2,2011, Casey Orr, once again, officially announced his departure from Gwar. He has since joined the reformed Ministry, jamison Land, a guitarist from The Burial, has taken on the role of Beefcake the Mighty. In 2013, he joined the 11th Annual Independent Music Awards judging panel to assist independent musicians careers, however, as Gwar became more successful, they had more resources to upgrade their costumes. Most of the changes have been subtle, and were/are largely based on available materials, Beefcake has always had a relatively high voice, in sharp contrast to his large size. Gwar Official Website Japanese Official Website Gwar Picture Gallery with Beefcake the Mighty Beefcake the Mighty at AllMusic
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Bill Rieflin
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William Frederick Bill Rieflin is an American musician. He worked regularly with R. E. M. following the retirement of Bill Berry in 1997 and he is currently a member of King Crimson. Rieflin began his career in his hometown of Seattle. In 1975, he was in The Telepaths, a band which played backup for a couple of gigs by the pre-The Screamers band The Tupperwares. He played drums for The Blackouts starting in 1979 and his bandmates included his brother Raymond, Paul Barker, Roland Barker and Erich Werner. Eventually that band dissolved and Paul Barker joined the nascent Ministry, Rieflins earliest collaboration with Al Jourgensen was on the second single by the Revolting Cocks, You Often Forget. Later, he participated in the creation of Ministrys ground-breaking album The Land of Rape and he was noted for his performance in the live video In Case You Didnt Feel Like Showing Up. His work with Ministry and its side projects lasted through to the mid-Nineties, though he notes that he was never credited as a member of Ministry proper, always as an other musician. Therefore, when he parted ways with the band during the Filth Pig sessions, Rieflin helped Atkins kick off Pigface, the industrial collective that would grow to incorporate hundreds of artists, formed a friendship with labelmate Chris Connelly and founded First World Music. Like Connelly, Rieflins work has grown beyond his industrial roots and they have collaborated on several recordings, two in particular, The Ultimate Seaside Companion and Largo, showcase Rieflins frequently overlooked keyboard skills. E. M. Fripp contributed to Rieflins solo debut, Birth of a Giant, improvisations from these sessions turned up later on the CD The Repercussions of Angelic Behavior. Rieflin appeared on all KMFDM records released from 1995–2003 as a drummer, programmer and he toured with the band as a bassist in 2002 in support of its comeback album, Attak and performed on the 2011 KMFDM album, WTF. He also drummed for McCaugheys band, The Minus 5, which included guitarist Peter Buck. Eventually Buck offered Rieflin the opportunity to sit in with R. E. M. who were missing a permanent drummer since the 1997 departure of Bill Berry, the band gave him the live drummer slot in its 2003 tour. They later announced that Rieflin would fill the role indefinitely, though once again as a musician rather than as an official member. In recordings, Rieflin also contributed bouzouki, keyboards and guitars to the group, Rieflin formed an experimental ensemble under the name Slow Music in 2005 in which he plays synthesizers rather than drums. As the name suggests, its approach is geared toward the musicians leaving space for each other, the group played a small handful of live dates in 2005 and 2006 and went inactive for several years. Rieflin is involved in a collaboration project entitled The Humans
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