SubHuman is the sixth studio album by Recoil. Alan Wilder stated in a September 2006 YouTube greeting that there would be a new album coming in spring or early summer 2007. On 23 April 2007, he released information regarding the album via MySpace and his official website, Shunt. SubHuman was released on 9 July 2007 in Europe, it has been released on various formats including standard CD, gatefold vinyl and a special CD/DVD edition which includes stereo, 5.1 surround and exclusive "ambient" mixes. The DVD included all the music videos made at the time of release. Working with Wilder on this album was New Orleans native bluesman Joe Richardson, who contributed vocals and harmonica. Working on subHuman was his wife and assistant, Hepzibah Sessa, Paul Kendall, who worked on the album Liquid of 2000 and mixes from the 1997 Unsound Methods album. Another contributor was English singer Carla Trevaskis, who has worked with Fred de Faye, Cliff Hewitt and Dave McDonald; the track "99 to Life" refers to the maximum jail sentence handed out, short of the death penalty.
This is based on a real story according to Richardson in an interview with the industrial music magazine Side-Line. Includes CD album as above plus a DVD featuring: High-quality 24-bit and 48 kHz recording of subHuman 5.1 DTS and AC3 surround sound versions of subHuman Exclusive ambient re-working of subHuman in 24-bit/48 kHz quality Music promo videos:"Faith Healer" "Drifting" "Stalker" "Strange Hours" "Jezebel" "Shunt" "Electro Blues For Bukka White" 25 June 2007 "Prey" – single version edit "Prey" – reduction edit "Prey" – single version edit "Prey" "Prey" "Prey" "Prey" 8 December 2008 "Prey" 1 October 2007 "The Killing Ground" 25 February 2008 "Prey" – "Prey" - "Allelujah" "Allelujah" Alan Wilder–All music Joe Richardson–Lead Vocal on tracks 1,3,4,6 & 7. Guitars & Harmonica. Carla Trevaskis–Lead Vocal on tracks 2 & 5. John Wolfe–Bass Guitar Richard Lamm–drums Hepzibah Sessa–Violin and Viola Lee Funnell–Photography Jesse Holborn at Design Holborn–Art Direction & Design Texas Treefort Studios - Recording complex, Austin Texas
The shawm is a conical bore, double-reed woodwind instrument made in Europe from the 12th century to the present day. It achieved its peak of popularity during the medieval and Renaissance periods, after which it was eclipsed by the oboe family of descendant instruments in classical music, it is to have come to Western Europe from the Eastern Mediterranean around the time of the Crusades. Double reed instruments similar to the shawm were long present in Southern Europe and the East, for instance the Ancient Greek, Byzantine, the Persian sorna, the Armenian duduk; the body of the shawm is turned from a single piece of wood, terminates in a flared bell somewhat like that of a trumpet. Beginning in the 16th century, shawms were made in several sizes, from sopranino to great bass, four and five-part music could be played by a consort consisting of shawms. All shawms have at least one key allowing a downward extension of the compass; the bassoon-like double reed, made from the same Arundo donax cane used for oboes and bassoons, is inserted directly into a socket at the top of the instrument, or in the larger types, on the end of a metal tube called the bocal.
The pirouette, a small wooden attachment with a cavity in the center resembling a thimble, surrounds the lower part of the reed—this provides support for the lips and embouchure. Since only a short portion of the reed protrudes past the pirouette, the player has only limited contact with the reed, therefore limited control of dynamics; the shawm’s conical bore and flaring bell, combined with the style of playing dictated by the use of a pirouette, gives the instrument a piercing, trumpet-like sound, well-suited for outdoor performances. In English the name only first appears in the 14th century. There were three main variant forms, schallemele and scalmuse, each derived from a corresponding variant in Old French: chalemel and chalemeaux, each in turn derived from the Latin calamus, or its Vulgar Latin diminutive form, calamellus; the early plural forms were mistaken for a singular, new plurals were formed from them. The reduction in the 15th and 16th centuries to a single syllable in forms such as schalme, shawme, "shawm", was due to this confusion of plural and singular forms.
In German the shawm is called Schalmei This is borne out by the similar names of many folk shawms used as traditional instruments in various European nations: in Spain, many traditional shawms with different names can be found, such as the Castilian and Leonese dulzaina. In Portugal there is an instrument called charamela. However, it is possible that the name comes from the Arabic salamiya, a traditional oboe from Egypt, as the European shawm seems to have been developed from similar instruments brought to Europe from the Near East during the time of the Crusades; this Arabic name is itself linguistically related to many other Eastern names for the instrument: the Arabic zamr, the Turkish zūrnā, the Persian surnāy, the Chinese suona, the Javanese saruni, the Hindu sahanai or sanayi. Instruments resembling the medieval shawm can still be heard in many countries today, played by street musicians or military bands; the latter use would have been familiar to crusaders, who had to face massed bands of Saracen shawms and nakers, used as a psychological weapon.
It must have had a profound effect, as the shawm was adopted by Europeans, for dancing as well as for military purposes. The standard outdoor dance band in the fifteenth century consisted of a slide trumpet playing popular melodies, while two shawms improvised countermelodies over it. In many Asian countries, shawm technique includes circular breathing allowing continuous playing without pauses for air. By the early 16th century, the shawm had undergone considerable development; the harsh tonality of the medieval shawm had been modulated somewhat by a narrowing of the bore and a reduction in the size of the fingerholes. This extended the range, enabling the performer to play the notes in the second octave. Larger sizes of shawm were built, down to the great bass in B♭, two octaves and a major third below the soprano in D. However, the larger sizes were unwieldy, which made them somewhat rare; the smaller sizes of shawm, chiefly the soprano and sometimes the tenor, were more coupled with the Renaissance trombone, or sackbut, the majestic sound of this ensemble was much in demand by civic authorities.
The shawm became standard equipment for town bands, or waits, who were required to herald the start of municipal functions and signal the major times of day. The shawm became so associated with the town waits that it was known as the wait-pipe; the shawm was reserved exclusively for outdoor performance—for softer, indoor music, other instruments such as the crumhorn and cornamuse were preferred. These were double reed instruments fitted with a capsule
Robert Smith (musician)
Robert James Smith is an English singer and songwriter. He is the lead singer, multi-instrumentalist, principal songwriter and only consistent member of the rock band the Cure, which he co-founded in 1976, he was the lead guitarist for the band Siouxsie and the Banshees from 1982 to 1984 and was part of the short-lived group the Glove in 1983. Smith is known for his distinctive voice and guitar style and his unique stage look, the latter two of which were influential on the goth subculture that rose to prominence in the 1980s. Smith was inducted into the Rock and Roll Hall of Fame as a member of The Cure in 2019. Smith was born in the Lancashire town of Blackpool and is the third of four children born to James Alexander and Rita Mary Smith. Smith came from a musical family – his father sang and his mother played the piano. Raised Catholic, he became an atheist; when he was three years old, in December 1962 his family moved to Horley, where he attended St Francis Primary School before the family moved to Crawley, West Sussex, in March 1966, where Smith attended St Francis Junior School.
He attended Notre Dame Middle School and St Wilfrid's Comprehensive School, Crawley. Both Robert and his younger sister Janet had piano lessons, he told Chris Heath of Smash Hits magazine that from about 1966 his brother Richard taught him "a few basic chords" on guitar. Smith began taking classical guitar lessons from the age of nine, "with a student of John Williams, a excellent guitarist... I got to the point where I was losing the sense of fun. I wish I'd stuck with it." Smith has said. Robert gave up formal tuition and began teaching himself to play by ear, listening to his older brother's record collection. Smith was thirteen or fourteen when he became more serious about rock music and "started to play and learn frenetically". Up until December 1972 he did not have a guitar of his own, had been borrowing his brother's for some time, "so he gave me his guitar for Christmas, but I'd commandeered it anyway – so whether he was giving it to me at Christmas or not, I was going to have it!" One rock biographer maintains that the guitar Smith received for Christmas of 1972 was from his parents, equates this item with Smith's notorious Woolworth's'Top 20' guitar used on many of the Cure's earliest recordings.
Smith was quoted in several earlier sources as saying he purchased the Top 20 himself for £20, in 1978. Smith described Notre Dame Middle School as "a free-thinking establishment" with an experimental approach. On one occasion, Smith said that he wore a black velvet dress to Notre Dame and kept it on all day "because the teachers just thought'oh, it's a phase he's going through, he's got some personality crisis, let's help him through it'." According to Smith "four other kids" beat him up after school, although Jeff Apter notes that Smith has given several conflicting versions of the story. Apter reports that Smith put in minimal effort at Notre Dame, sufficient to gain pass marks, quotes Smith as saying: If you were crafty enough … you could convince the teachers you were special: I did nothing for three years. Smith's secondary school, St Wilfrid's, was stricter than Notre Dame. In the summer of 1975, Smith and his school bandmates sat their O Level exams, but only he and Michael Dempsey stayed on to attend sixth form at St Wilfrid's.
Smith has claimed that he was expelled from St Wilfrid's as an "undesirable influence" after their band Malice's second live performance shortly before Christmas 1976, which took place at the school and caused a riot. I got taken back but they never acknowledged that I was there... I did three'A' levels -- scraped through French and got a ` B' in English. I spent 8 or 9 months on social security until they stopped my money, so I thought'now's the time to make a demo and see what people think'. According to Dave Bowler and Bryan Dray, biographers of the Cure, the school expelled ex-Malice co-founder Marc Ceccagno along with Smith, whose new band, called Amulet, played the December school show. Smith has given conflicting accounts of his alleged expulsion: elsewhere saying that he was suspended, that it was because he did not get along with the school headmaster, and, on another occasion, claiming that he was suspended "because my attitude towards religion was considered wrong. I thought, incredible".
Robert Smith has said that his first band when he was fourteen consisted of "my brother Richard, some of his friends and my younger sister Janet. It was called the Crawley Goat Band – brilliant!" However, while the Crawley Goat Band may have been Smith's first regular group, he would have been just thirteen when he and his Notre Dame schoolmates gave their first one-off performance together as the Obelisk. The Obelisk featured Robert Smith, alongside Marc Ceccagno, Michael Dempsey, Alan Hill and Laurence "Lol" Tolhurst and, according to the Cure's official biography Ten Imaginary Years, gave their only performance at a school function in April 1972. Jeff Apter, dates the performance to April 1973, at variance with Smith and his bandmates having left Notre Dame Middle School by this time. During the latter part of 1972, the nucle
Enjoy the Silence
"Enjoy the Silence" is a song by the English electronic band Depeche Mode, taken from their seventh studio album, Violator. The song was released on 16 January 1990 as the album's second single; the single is Gold certificated in the Germany. The song won Best British Single at the 1991 BRIT Awards."Enjoy the Silence" was re-released as a single in 2004 for the Depeche Mode remix project Remixes 81–04, was titled "Enjoy the Silence" or, more "Enjoy the Silence 04". Songwriter Martin Gore created a ballad-like first version of the song, which the band took into the studio in 1989. At band member Alan Wilder's insistence, the song was re-worked into the up-tempo version released on the album; the "Harmonium" mix, released on the 12" single, is not the demo version, but rather a new version created to sound like the original demo. There are two instrumental B-sides to "Enjoy the Silence". "Sibeling" is a soft piano-tune. The title of "Sibeling" refers to Finnish classical composer Jean Sibelius. According to Martin Gore, "Memphisto is the name of an imaginary film about Elvis as a Devil, that I created in my mind", is a portmanteau of "Memphis" and "Mephisto".
The Anton Corbijn-directed music video for "Enjoy the Silence" references the themes and storyline of the philosophical children's book The Little Prince from Antoine de Saint-Exupéry. Footage of Dave Gahan dressed as a stereotypical king wandering the hillsides of the Scottish Highlands, the coast of Algarve in Portugal and the Swiss Alps with a deck chair is intercut with black-and-white footage of the band posing. Brief flashes of a single rose appear throughout the scenes; when Corbijn presented the concept of the video to the band, which at the time was "Dave dressed up as a king, walking around with a deck chair", they rejected it. They changed their minds, when he explained that the idea was that the King represented "a man with everything in the world, just looking for a quiet place to sit". Andy Fletcher jokes that he favoured the video because " only had to do about an hour's worth of work"; the video uses a different mix of the album version of the song that has not been released in any audio format.
The final long shots of the king walking through the snow are not Gahan but rather the video's producer, Richard Bell. Gahan had left the set, tired of the cold in Switzerland. There are two edited versions of the Corbijn-directed video. One version begins with Andy Fletcher looking towards his right. Shots of Dave Gahan dressed as a king singing directly to the camera are intercut with scenes of his walking through the Scottish Highlands, the coast of Portugal and the Swiss Alps; the video ends with Gahan singing the last line, "Enjoy the silence" putting his finger in front of his lips as if to quiet the viewer. This video is blocked in Japan, United States; the second version begins with Martin Gore looking to his right. This version omits the shots of Gahan singing directly to the camera. In this version, the only lines Gahan is shown singing are "Words are unnecessary/They can only do harm." The video ends with Gahan sitting on a deck chair in the snow while the last line, "Enjoy the silence", is sung.
There are differences in the group shots of the band standing together between the two versions. In 1990, a promotional video for "Enjoy the Silence" was shot by French TV featuring Depeche Mode lip-synching the song while standing atop the World Trade Center at the WTC rooftop World observatory, south Tower #2. Pitchfork Media included the song at number 15 on their Top 200 Tracks of the 90s. In a review, Tim Di Gravina wrote that Enjoy the Silence is one of Depeche Mode's "greatest songs" with a "pristine and lush yet punishing musical environment" and "lyrics of violence and darkness". Di Gravina wrote the song is a "love song" as the narrator seems unable to form loving relationships with anyone, demands silence from the world as "words are meaningless and forgettable", clashing into his world; the act of communication where "words are meaningless and forgettable" causes the narrator so much pain, thus leading him to seek silence and to hide himself away as the only form of happiness he can find.
Another reviewer, Stephen Gore, noted the juxtaposition on Violator between "Enjoy the Silence" – where the narrator wants silence from the world as words are "like violence" – and the next song "Policy of Truth", which argues that a successful relationship can only be based on lies. "Enjoy the Silence" is the second single by Lacuna Coil from their album Karmacode. It made the New York Post's Top 100 Cover Songs list. There is a UK version of an international one. Both videos, shot with "Closer" music video on 12 March 2006, came out on June 2006, include the band performing in a dark room, but aside from that the UK version shows live clips of the London Forum show, while the international one shows scenes of a city, the countryside, a bay. There are three "volumes" of the single; the only other version to be a hit single in the UK was by Mike Koglin. Re-titled as "The Silence" it reached number 20 in 1998. Single information from the official Depeche Mode web site Allmusic review Lyrics of this song at MetroLyrics Enjoy the Silence arranged by Eric Whitacre for SATB
Acton is an area of west London, within the London Borough of Ealing. It is 6.1 miles west of Charing Cross. It lies within the Historic County of Middlesex. At the 2011 census, its four wards, East Acton, Acton Central, South Acton and Southfield, had a population of 62,480, a ten-year increase of 8,791 people. North Acton, West Acton, East Acton, South Acton, Acton Green, Acton Town, Acton Vale and Acton Central are all parts of Acton. Acton means "oak farm" or "farm by oak trees", is derived from the Old English āc and tūn. An ancient village, as London expanded, Acton was absorbed into the city. Since 1965, Acton equates to the east of the London Borough of Ealing, though some of East Acton is in the London Borough of Hammersmith and Fulham and a small portion of South Acton is in the London Borough of Hounslow. Acton and Harrow are the two locations with the most stations bearing their name anywhere in the United Kingdom, with seven each. Central Acton is synonymous with the hub of commerce and retail on the former main road between London and Oxford.
Nowadays, the principal route linking London and Oxford bypasses central Acton, but passes through East Acton and North Acton. Acton's name derives from the Old English words āc and tūn, meaning "a garden or a field enclosed by oaks". In the Middle Ages tūn became a synonym for "farm" or "farm by oak trees". For several centuries, its name bore the prefix Church to distinguish it from the separate hamlet of East Acton. Prehistoric settlement is shown by finds of Palaeolithic and Bronze Age burials at Mill Hill Park, Iron Age coins near Bollo Lane. In the Middle Ages the northern half of the parish was wooded. Oaks and elms still stood along roads and hedgerows and in private grounds in the early 20th century, but most of the woodland had been cleared by the 17th century on the extensive Old Oak common. Landholders figuring in county records were resident by 1222 and houses were recorded from the late 13th century; the main settlement, Church Acton or Acton town, lay west of the centre of the parish along the highway to Oxford at the 5-mile post out of London.
By 1380 some of the tenements, such as The Tabard and The Cock, along the south side of the road, were inns. The hamlet of East Acton, mentioned in 1294, consisted of farmhouses and cottages north and south of common land known as East Acton green by 1474. Medieval settlement was around the two hamlets. At Church Acton most of the farmhouses lay along the Oxford road or Horn Lane, with only a few outlying farms. Friars Place Farm at the north end of Horn Lane and the moated site to the west, occupied until the 15th century, were early farms. East of Friars Place farm were commons: Worton or Watton Green and Rush green in the 16th and 17th centuries, Friars Place in the 18th century, where there was some settlement by 1664. To the north-west were Acton or Old Oak wells, known by 1613. In the parish's extreme south, a few farmhouses on the northern side of Acton common or Acton Green were mentioned as in Turnham Green until the 19th century and were linked more with that village than with Acton.
Gregories, mentioned in 1551 as a copyhold tenement with 30 a. near Bollo Lane and the Brentford high road lay in Acton. Londoners were involved in land sales from the early 14th century but did not live in Acton until the late 15th; the manor, part of Fulham, had no resident lord, apart from a brief period before c. 1735, when a branch of the landed Somerset family lived in Acton, there were no large resident landowners. Many of the tenements without land, including most of the inns changed hands. By the 17th century Acton's proximity to London had made it a summer retreat for courtiers and lawyers. Sir Richard Sutton bought the seat at East Acton known as Manor House in 1610 and Sir Henry Garraway rebuilt Acton House in 1638. Sir John Trevor MP bought several Acton properties in the mid 17th century, including Berrymead/Berrymede, improving it with a lake and stream, home of George Savile, 1st Marquess of Halifax and his second son after him, afterwards of the Duke of Kingston-upon-Hull, with a much-praised landscape.
The parish had 158 communicants in 1548. In 1664 it had 59 exempt, with 6 empty houses. Six houses had 10 or more hearths, 16 had from 5 to 9, 33 had 3 or 4, 23 had 2, 53 had 1. Action had about 160 families resident in the mid 18th century. Acton was lauded as "blessed with sweet air" in 1706 by rector urging a friend in verse to move there; the fashion for medicinal waters brought a brief period of fame, with the exploitation of the wells at Old Oak common, when East Acton and Friars Place were said to be thronged with summer visitors, who had brought about improvement in the houses there. Although high society had left Acton by the mid 18th century, many professional and military men bought houses there, sometimes including a small park, until well into the 19th century; the break-up of the 800 acres Fetherstonhaugh estate, which had had no resident owner, produced four or five small estates whose owners, professional men such as Samuel Wegg, John Winter, Richard White, were active in parish affairs.
Grand early homes included: Heathfield Lodge, West Lodge, East Lodge by Winter c. 1800, Mill Hill House by White, Woodlands at Acton Hill soon afterwards. Acton Green became increasingly
Mute Records Ltd. is a British independent record label owned and founded in 1978 by Daniel Miller. It has featured several prominent musical acts on its roster, such as Depeche Mode, Fad Gadget, Grinderman, Inspiral Carpets, New Order, Nitzer Ebb, Yeasayer, Nick Cave and the Bad Seeds, M83. During 1978, Daniel Miller began recording music using synthesisers under the name The Normal, he recorded the tracks "T. V. O. D." and "Warm Leatherette", distributed them through Rough Trade Shops under the label name Mute Records. The label was formed just to release the one single. "T. V. O. D." / "Warm Leatherette" became. "Warm Leatherette" was covered by Grace Jones and Chicks on Speed as well as Rose McDowell. After meeting Robert Rental, Miller began playing live as Robert Rental & The Normal. In 1979 the band went on tour supporting the punk band Stiff Little Fingers, which had just released an album, being distributed by Rough Trade. In 1980, Miller released the single, "Kebab-Träume", by the German band Deutsch Amerikanische Freundschaft, who had moved to London.
The band's 1980 album, Die Kleinen und die Bösen, was the first album released by the new label. The album had the catalogue prefix "STUMM", a play on the record label's name, meaning "mute" in German; this prefix would continue to be used through most of the label's album catalogue. In 1980, Miller recorded and released the cover single, "Memphis Tennessee", under the name Silicon Teens; the band was Miller’s realisation of a dream Mute Records group, whose main instruments were synthesisers. In mid-1980, Mute Records released the Silicon Teens' album, titled Music For Parties. Around this time the artist Fad Gadget had begun recording new demos, including the track "Back To Nature"; this was released as a single in 1980, followed by the next single "Ricky's Hand" and the album Fireside Favourites recorded at Blackwing Studios. September 1980 saw the release of the double-holed, multi-speed 7" single by Non & Smegma, one of the first experimental noise releases from the label. Boyd Rice went on to release several more recordings with Mute Records.
After touring with Daniel Miller as Robert Rental & The Normal, Robert Rental released his only Mute Records single, "Double Heart", a rare, remaining trace of this late electronic music pioneer. Miller approached Depeche Mode in 1980, after seeing them perform in London, wanting them to record a single for his label. Emerging out of the British electronic pop scene, Depeche Mode asserted themselves as a radio-friendly pop group, had hits with their next three singles, including the UK top ten single, "Just Can't Get Enough", their loyalty to Mute was reciprocated by the label’s rapid expansion to cope with their success. In defiance of the major record labels predictions of failure, Depeche Mode became a successful charting band worldwide; the band's consistency was unbroken by the departure of principal songwriter Vince Clarke. Martin Gore took over the main songwriting role, opening the band up to different influences and sustaining their creativity as a band. Mute continued to support other experimental artists, such as NON, releasing an album of Boyd Rice's pre-NON recordings, titled Boyd Rice.
1982 began with the release of the 12-inch single, "Rise", by Boyd Rice, released under the name NON. Fad Gadget released his third album for the label, titled Under the Flag, influenced by the current Falklands War and the feeling of being British in the most unseemly of times; the album spawned the singles "For Whom the Bells Toll" and "Life on the Line". Mute Record's big commercial success of 1982 was the band Yazoo, the duo of Vince Clarke and Alison Moyet. After leaving Depeche Mode, Clarke had set up a studio in the Blackwing Studios complex, where he recorded the singles "Only You" and "Don’t Go"; that year, Mute licensed the single, "Fred Vom Jupiter", from the German record label Atatak. The track was recorded by Andreas Dorau and the schoolgirl Marinas. From Germany was the single, "Los Ninos Del Parque", by Liaisons Dangereuses released by Mute. Liaisons Dangereuses included Chrislo Hass, in the German band DAF. After returning from a world tour in 1983, Depeche Mode released the industrial-influenced hit single "Everything Counts".
Bruce Gilbert and Graham Lewis, of the band Wire, teamed up with Daniel Miller to form a project known as Duet Emmo, an anagram of Mute and Dome. They released an album and 12-inch single, both titled Or So It Seems. Miller secured the rights to the back catalogue of the experimental bands Throbbing Gristle, Cabaret Voltaire and Richard H. KirkDuring 1983, the Australian band The Birthday Party transferred from 4AD to Mute Records; the band broke up after releasing their final 12-inch EP, "Mutiny". Birthday Party's singer, Nick Cave, stayed with Mute and released his debut single as Nick Cave and the Bad Seeds; the single was a cover of the song, "In the Ghetto", by Mac Davis made famous by Elvis Presley. Yazoo disbanded. Vince Clarke began working at Blackwing Studios under the name The Assembly; the project's first single, "Never Never", was a hit. D. A. F. Split up, in 1983, ex-member Robert Görl released the single "Mit Dir" on Mute, he recorded the album, Night Full of Tension, the following year, including the single "Darling Don’t Leave Me", featuring Annie Lennox.
In 1984, Depeche Mode had one of their biggest hits in the UK with the single "People Are People". Their album that year, Some Great