David Justin Vincent known as Evil D, is an American musician, best known as the former lead vocalist and bassist for the death metal band Morbid Angel as well as the bassist for Genitorturers. His early influences are Alice Cooper. Vincent plays bass with a pick, though he uses his fingers, he left Morbid Angel in 1996 to join Genitorturers. Vincent's first contribution to the band was backing vocals on the song, "House of Shame", from their major label debut 120 Days of Genitorture. Vincent rejoined Morbid Angel in 2004, resigned in 2015, he performs in I Am Morbid, featuring former drummer Tim Yeung and guitarist Bill Hudson, The Head Cat. Vincent played bass on the album World Downfall by the influential grindcore band Terrorizer, with Pete Sandoval and Jesse Pintado. Vincent contributed lead vocals on the opening song, "Blood Fire War Hate", on Soulfly's 2008 album Conquer. In 2015, he collaborated with Mexican metal band Nuclear Chaos, providing lead vocals and appearing in the music video of their single "Suffocate".
As of 2016, Vincent has been performing outlaw country music and released a single, "Drinkin' With The Devil" which he performed live at SXSW in March 2017 in Austin, Texas. Vincent relocated from Tampa, Florida in June 2014 to Austin, Texas where he resides with his wife, Suzanne Penley. Altars of Madness Blessed are the Sick Covenant Domination Entangled in Chaos Illud Divinum Insanus Sin City Flesh is the Law Blackheart Revolution World Downfall Hordes of Zombies Soulfly - Conquer - Vocals on "Blood Fire War Hate" Nuclear Chaos - Ruins of the Future - Vocals on "Suffocate" David Vincent discography at Discogs
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
Blessed Are the Sick
Blessed Are the Sick is the second studio album from death metal band Morbid Angel. It features an overall slower musical sound, although containing fast riffs, reveals another side of the band, with classical music undertones. Tracks 9, 10 and 12 are re-recorded songs from the 1986 demo Abominations of Desolation; the album was recorded January–February 1991 at Morrisound Recording, Florida. The cover painting is "Les Trésors de Satan" by Jean Delville; the album was reissued in 2009 as a Digipak in DualDisc format. The CD side contains the DVD side contains a one-hour documentary. David Vincent – bass guitar, vocals Trey Azagthoth – lead guitar, rhythm guitar Richard Brunelle – lead guitar, acoustic guitar, keyboards Pete Sandoval – drums, percussion
Tampa is a major city in, the county seat of, Hillsborough County, United States. It is on the west coast of Florida on Tampa Bay, near the Gulf of Mexico, is the largest city in the Tampa Bay Area; the bay's port is the largest in near downtown's Channel District. Bayshore Boulevard runs along the bay, is east of the historic Hyde Park neighborhood. Today, Tampa is part of the metropolitan area most referred to as the "Tampa Bay Area". For U. S. Census purposes, Tampa is part of the Tampa-St. Petersburg-Clearwater, Florida Metropolitan Statistical Area; the four-county area is composed of 3.1 million residents, making it the second largest metropolitan statistical area in the state, the fourth largest in the Southeastern United States, behind Washington, D. C. Miami, Atlanta; the Greater Tampa Bay area has over 4 million residents and includes the Tampa and Sarasota metro areas. The city had a population of 335,709 at the 2010 census, an estimated population of 385,430 in 2017; the Tampa Bay Partnership and U.
S. Census data showed an average annual growth of 2.47 percent, or a gain of 97,000 residents per year. Between 2000 and 2006, the Greater Tampa Bay Market experienced a combined growth rate of 14.8 percent, growing from 3.4 million to 3.9 million and hitting the 4 million population mark on April 1, 2007. A 2012 estimate shows the Tampa Bay area population to have 4,310,524 people and a 2017 projection of 4,536,854 people. Public Transportation in the area includes. There is the TECO Line Streetcar System; when the pioneer community living near the US Army outpost of Fort Brooke was incorporated in 1849, it was called "Tampa Town", the name was shortened to "Tampa" in 1855. The earliest instance of the name "Tampa", in the form "Tanpa", appears in the memoirs of Hernando de Escalante Fontaneda, who spent 17 years as a captive of the Calusa and traveled through much of peninsular Florida, he described Tanpa as an important Calusa town to the north of the Calusa domain under another chief. Archaeologist Jerald Milanich places the town of Tanpa at the mouth of Charlotte Harbor.
The entrances to Tampa Bay and Charlotte Harbor are obscured by barrier islands, their locations, the names applied to them, were a source of confusion to explorers and map-makers from the 16th century though the 18th century. Bahía Tampa and Bahía de Espíritu Santo were each used, at one time or another, for the modern Tampa Bay and Charlotte Harbor. Tampa Bay was labeled Bahía de Espíritu Santo in the earliest Spanish maps of Florida, but became known as Bahía Tampa as early as 1695. "B. Tampa", corresponding to Tampa Bay, appeared on a British map of 1705, with "Carlos Bay" for Charlotte Harbor to the south, while a 1748 British map had "B. del Spirito Santo" for Tampa Bay, again, "Carlos Bay" to the south. A Spanish map of 1757 renamed Tampa Bay as "San Fernando"; as late as 1774, Bernard Romans called Tampa Bay "Bay of Espiritu Santo", with "Tampa Bay" restricted to the Northwest arm, the northeast arm named "Hillsborough Bay". The name may have come from the Calusa language, or the Timucua language.
Some scholars have compared "Tampa" to "itimpi", which means "close to or nearby" in the Creek language, but its meaning is not known. People from Tampa are known as "Tampans" or "Tampanians". Local authorities consulted by Michael Kruse of the Tampa Bay Times suggest that "Tampan" was more common, while "Tampanian" became popular when the former term came to be seen as a potential insult. A mix of Cuban and Spanish immigrants began arriving in the late 1800s to found and work in the new communities of Ybor City and West Tampa. By about 1900, these newcomers came to be known as "Tampeños", a term, still sometimes used to refer to their descendants living in the area, to all residents of Tampa inconsiderate of their ethnic background; the shores of Tampa Bay have been inhabited for thousands of years. A variant of the Weeden Island culture developed in the area by about 2000 years ago, with archeological evidence suggesting that these residents relied on the sea for most of their resources, as a vast majority of inhabited sites have been found on or near the shoreline and there is little evidence of farming.
At the time of European contact in the early 16th century, the Safety Harbor culture dominated the area, with indigenous peoples organized into three or four chiefdoms around the shores of the bay. Early Spanish explorers to visit the area interacted extensively with the Tocobaga, whose principal town was located at the northern end of Old Tampa Bay near today's Safety Harbor in Pinellas County. While there is a substantial historical record of the Tocobaga, there is less surviving documentation describing the Pohoy chiefdom, which controlled the area near the mouth of the Hillsborough River near today's downtown Tampa. However, brief mentions by explorers along with surviving artifacts suggest that the Pohoy and other groups that once lived on Tampa Bay had similar cultures and lifestyles as the better-documented Tocobaga. Expeditions led by Pánfilo de Narváez and Hernando de Soto landed near Tampa, but neither conquistador stayed long. There is no natural gold or silver in Florida, the native inhabitants repulsed Spanish attempts to establish a permanent settlement or convert them to Catholicism.
The fighting resulted in a few deaths, but the many more deaths were caused by infectious diseases brought from Europe, which devastated the population of Native Americans across Florida and the entir
An audio engineer helps to produce a recording or a live performance and adjusting sound sources using equalization and audio effects, mixing and reinforcement of sound. Audio engineers work on the "...technical aspect of recording—the placing of microphones, pre-amp knobs, the setting of levels. The physical recording of any project is done by an engineer... the nuts and bolts." It's a creative hobby and profession where musical instruments and technology are used to produce sound for film, television and video games. Audio engineers set up, sound check and do live sound mixing using a mixing console and a sound reinforcement system for music concerts, sports games and corporate events. Alternatively, audio engineer can refer to a scientist or professional engineer who holds an engineering degree and who designs and builds audio or musical technology working under terms such as acoustical engineering, electronic/electrical engineering or signal processing. Research and development audio engineers invent new technologies and techniques, to enhance the process and art of audio engineering.
They might design acoustical simulations of rooms, shape algorithms for audio signal processing, specify the requirements for public address systems, carry out research on audible sound for video game console manufacturers, other advanced fields of audio engineering. They might be referred to as acoustic engineers. Audio engineers working in research and development may come from backgrounds such as acoustics, computer science, broadcast engineering, acoustical engineering, electrical engineering and electronics. Audio engineering courses at university or college fall into two rough categories: training in the creative use of audio as a sound engineer, training in science or engineering topics, which allows students to apply these concepts while pursuing a career developing audio technologies. Audio training courses give you a good knowledge of technologies and their application to recording studio and sound reinforcement systems, but do not have sufficient mathematical and scientific content to allow you to get a job in research and development in the audio and acoustic industry.
Audio engineers in research and development possess a bachelor's degree, master's degree or higher qualification in acoustics, computer science or another engineering discipline. They might work in acoustic consultancy. Alternatively they might work in audio companies, or other industries that need audio expertise, or carry out research in a university; some positions, such as faculty require a Doctor of Philosophy. In Germany a Toningenieur is an audio engineer who designs and repairs audio systems; the listed subdisciplines are based on PACS coding used by the Acoustical Society of America with some revision. Audio engineers develop audio signal processing algorithms to allow the electronic manipulation of audio signals; these can be processed at the heart of much audio production such as reverberation, Auto-Tune or perceptual coding. Alternatively, the algorithms might carry out echo cancellation on Skype, or identify and categorize audio tracks through Music Information Retrieval. Architectural acoustics is the engineering of achieving a good sound within a room.
For audio engineers, architectural acoustics can be about achieving good speech intelligibility in a stadium or enhancing the quality of music in a theatre. Architectural Acoustic design is done by acoustic consultants. Electroacoustics is concerned with the design of headphones, loudspeakers, sound reproduction systems and recording technologies. Examples of electroacoustic design include portable electronic devices, sound systems in architectural acoustics, surround sound and wave field synthesis in movie theater and vehicle audio. Musical acoustics is concerned with describing the science of music. In audio engineering, this includes the design of electronic instruments such as synthesizers. Psychoacoustics is the scientific study of. At the heart of audio engineering are listeners who are the final arbitrator as to whether an audio design is successful, such as whether a binaural recording sounds immersive; the production, computer processing and perception of speech is an important part of audio engineering.
Ensuring speech is transmitted intelligibly and with high quality. A variety of terms are used to describe audio engineers who install or operate sound recording, sound reinforcement, or sound broadcasting equipment, including large and small format consoles. Terms such as "audio technician," "sound technician," "audio engineer," "audio technologist," "recording engineer," "sound mixer" and "sound engineer" can be ambiguous; such terms can refer to a person working in music production.
Terrorizer is an extreme music magazine published by Dark Arts Ltd. in the United Kingdom. It is released every four weeks with thirteen issues a year and features a "Fear Candy" covermount CD, a twice yearly "Fear Candy Unsigned" CD, a double-sided poster. Terrorizer published its first issue in October 1993 with Sepultura on the cover and a price of £1.95. "Sure, the layout was a bit ropey, with several'cut out'-style pictures in the live section and some horribly lo-fi video stills in the Pestilence feature, but what a line-up of bands! Sepultura, Entombed, Morbid Angel, At the Gates, Dismember, Death...it was a veritable smorgasbord of brutality."The magazine's name derives from seminal grindcore band Terrorizer and as such the magazine was an early champion of the emerging death metal scene, a tradition that it carried on and expanded to include all sub-generes of heavy metal adopting the slogan "extreme music - no boundaries" in 2003 with issue 108 the first part of the Thrash Special.
After a second issue with cover stars Carcass, the editor, Rob Clymo, took a risk by putting Metallica on the cover which, although it caused controversy with elitists, symbolised a move towards broader musical coverage. Despite this, Terrorizer's pulse remained on the extreme metal underground with Cradle of Filth winning best demo and Fear Factory best newcomer in the 1993 Readers' Poll. Issue 11 saw Terrorizer celebrate its first birthday, covering hardcore punk in force with features on Suicidal Tendencies, Chaos UK and Pro-Pain. "There was a sense that the team were properly honouring the magazine's original pledge to cover all forms of extreme music."In 1994, death metal began to get wider acceptance in the mainstream metal press, but black metal continued to be vilified or ridiculed, or both, creating a gap that Terrorizer filled by giving pages to bands like Enslaved and Dissection, whilst the demo reviews continued to beat the trend, getting first listens of Behemoth and Amon Amarth.
The first covermount CD, entitled Noize Pollution 3, appeared on issue 23 in 1995 and featured At the Gates, Six Feet Under, In Flames and Dissection. That year, Terrorizer launched two phone services, "Deathline" and "Metal Mates", that were swiftly discontinued. "The former was a number you could call to listen to the whole of the interviews you'd read snippets of in the magazine, the latter where you could register your personal details with a metal matchmaking agency." With issue 28 in 1996, Nick Terry replaced Rob Clymo as editor and the issue saw a Burzum artwork poster. With issue 29, the new editor overhauled and expanded the album reviews, live reviews and introduced a black metal news column; the next two years were dominated by black metal vs hardcore punk debates, as the two forces dominant in extreme music came head-to-head in the magazine. Issue 33 featured a demo review of Public Disturbance, a Cardiff-based hardcore band whose members would go on to form Lostprophets. In 1997, the first incarnation of the Terrorizer website was launched.
In 1998, coverage embraced both nu metal, which the magazine tried to christen'woolly hat' music, as well as more traditional fare. Terrorizer featured the last interview with Death frontman Chuck Schuldiner in issue 59. Although the next year saw the emergence of noisecore with Neurosis, Today Is the Day and The Dillinger Escape Plan, who would receive a cover by issue 73, got their first interview. Joey Jordison would reveal how he had been reading the magazine since its first issue. Terrorizer released its first cover mounted CD on its December 1998 issue and did so every four months until 2001, which it was released every two months. From 2002, every issue came with a CD. Terrorizer ended 1999 with a Christmas show that saw Hecate Enthroned and Akercocke support Morbid Angel at The Astoria 2 in London. In late 2000, Jonathan Selzer replaced Nick Terry as editor and 2001 saw a doom metal revival with coverage of Cathedral and Spirit Caravan so intensive that British doom metallers Warning split up following an argument inspired by quotes in their Terrorizer interview that year.
Issue 91 saw cover placement for London-based Satanic metallers Akercocke and coverage of emerging British black metallers Anaal Nathrakh which would culminate in the studio-only band headlining Terrorizer's 2005 Christmas event, "A Cold Night in Hell", as their first live appearance. With news of Chuck Schuldiner's death, issue 97 saw him appear on the cover in tribute along with six pages inside. For issue 116, the covermount CD changed its name from "Terrorized" to "Fear Candy" and is on its 70th volume, with some volumes given over to the yearly "Fear Candy Unsigned" CD in which unsigned bands compete for an interview in the magazine. For 2006, the "Fear Candy Unsigned" was mounted on the CD along with a regular "Fear Candy". Previous entrants for the "Fear Candy Unsigned" who have since had a level of success include Season's End, a symphonic metal band now on 1 Records, zombie-themed thrash band Send More Paramedics on In at the Deep End Records, post-hardcore band Million Dead and avant-garde grindcore band Tangaroa on Anticulture Records.
In September 2007, Jonathan Selzer left Terro
Black metal is an extreme subgenre of heavy metal music. Common traits include fast tempos, a shrieking vocal style distorted guitars played with tremolo picking, raw recording, unconventional song structures, an emphasis on atmosphere. Artists appear in corpse paint and adopt pseudonyms. During the 1980s, several thrash metal and death metal bands formed a prototype for black metal; this so-called first wave included bands such as Venom, Mercyful Fate and Celtic Frost. A second wave arose in the early 1990s, spearheaded by Norwegian bands such as Mayhem, Burzum, Emperor and Gorgoroth; the early Norwegian black metal scene developed the style of their forebears into a distinct genre. Norwegian-inspired black metal scenes emerged throughout Europe and North America, although some other scenes developed their own styles independently; some prominent Swedish bands spawned during this second wave, such as Marduk and Dark Funeral. A synonym for "Satanic metal", black metal has sparked controversy, due to the actions and ideologies associated with the genre.
Many artists express extreme anti-Christian and misanthropic views, advocating various forms of Satanism or ethnic paganism. In the 1990s, members of the scene were responsible for a spate of church murders. There is a small neo-Nazi movement within black metal, although it has been shunned by many prominent artists. Black metal strives to remain underground, inaccessible to the mainstream and those who are not committed. Although contemporary black metal refers to the Norwegian style with shrieking vocals and raw production, the term has been applied to bands with differing sounds. Norwegian-inspired black metal guitarists favor high-pitched or trebly guitar tones and heavy distortion; the guitar is played with fast, un-muted tremolo picking. Guitarists use dissonance—along with specific scales and chord progressions—to create a sense of dread; the tritone, or flat-fifth, is used. Guitar solos and low guitar tunings are rare in black metal; the bass guitar is used to play stand-alone melodies. It is not uncommon for the bass to be muted against the guitar, or for it to homophonically follow the low-pitched riffs of the guitar.
While electronic keyboards were "not heard in type of music", Dimmu Borgir say they started using keyboards "in the background" and started using them as a "proper instrument" for creating "atmosphere". Some newer black metal bands began raising their production quality and introducing additional instruments such as synthesizers and orchestras; the drumming is fast and relies on double-bass and blast beats to maintain tempos that can sometimes approach 300 beats per minute. These fast tempos require great skill and physical stamina, typified by black metal drummers Frost and Hellhammer. Still, authenticity is still prioritized over technique. "This professionalism has to go," insists well-respected drummer and metal historian Fenriz of Darkthrone. "I want to de-learn playing drums, I want to play primitive and simple, I don't want to play like a drum solo all the time and make these complicated riffs". Black metal songs stray from conventional song structure and lack clear verse-chorus sections.
Instead, many black metal songs contain repetitive instrumental sections. The Greek style—established by Rotting Christ and Varathron—has more traditional heavy metal and death metal traits than Norwegian black metal. Traditional black metal bands tend to favor raspy, high-pitched vocals which include techniques such as shrieking and snarling, a vocal style influenced by Quorthon of Bathory. Death growls, common in the death metal genre, are sometimes used, but less than the characteristic black metal shriek. Black metal lyrics attack Christianity and the other institutional religions using apocalyptic language. Satanic lyrics are common, many see them as essential to black metal. For Satanist black metal artists, "Black metal songs are meant to be like Calvinist sermons. Misanthropy, global catastrophe, death and rebirth are common themes. Another topic found in black metal lyrics is that of the wild and extreme aspects and phenomena of the natural world the wilderness, mountains, winter and blizzards.
Black metal has a fascination with the distant past. Many bands write about the mythology and folklore of their homelands and promote a revival of pre-Christian, pagan traditions. A significant number of bands write lyrics only in their native language and a few have lyrics in archaic languages; some doom metal-influenced artists' lyrics focus on depression, introspection, self-harm and suicide. Many bands choose not to play live. Many of those who do play live maintain that their performances "are not for entertainment or spectacle. Sincerity and extremity are valued above all else"; some bands consider their concerts to be rituals and make use of stage props and theatrics. Bands such as Mayhem and Gorgoroth are noted for their controversial shows, which have featured impaled animal heads, mock crucifixions, medieval weaponry and band members doused in animal blood. A few vocalists, such as Dead and Kvarforth, are known for cutting themselves while singing onstage. Black metal artists appear dressed in black with combat boots, bullet belts, spiked wristbands and inverted crosses and inverted pentagrams to reinforce their anti-Christian or anti-religious stance.