Art rock is a subgenre of rock music that reflects a challenging or avant-garde approach to rock, or which makes use of modernist, experimental, or unconventional elements. Art rock aspires to elevate rock from entertainment to an artistic statement, opting for a more experimental and conceptual outlook on music. Influences may be drawn from genres such as experimental rock, avant-garde music, classical music, jazz, its music was created with the intention of listening and contemplation rather than for dancing, is distinguished by the use of electronic effects and easy listening textures far removed from the propulsive rhythms of early rock. The term may sometimes be used interchangeably with "progressive rock", though the latter is instead characterized in particular by its employment of classically trained instrumental technique and symphonic textures; the genre's greatest level of popularity was in the early 1970s through British artists. The music, as well as the theatrical nature of performances associated with the genre, was able to appeal to artistically inclined adolescents and younger adults due to its virtuosity and musical/lyrical complexity.
Art rock is most associated with a certain period of rock music, beginning in 1966–67 and ending with the arrival of punk in the mid 1970s. After, the genre would be infused within popular music genres of the 1970s–90s. Critic John Rockwell says that art rock is one of rock's most wide-ranging and eclectic genres with its overt sense of creative detachment, classical music pretensions, experimental, avant-garde proclivities. In the rock music of the 1970s, the "art" descriptor was understood to mean "aggressively avant-garde" or "pretentiously progressive". "Art rock" is used synonymously with progressive rock. The term has been used to describe at least two related, but distinct, types of rock music; the first is progressive rock, while the second usage refers to groups who rejected psychedelia and the hippie counterculture in favor of a modernist, avant-garde approach defined by the Velvet Underground. Essayist Ellen Willis compared these two types: From the early sixties … there was a counter-tradition in rock and roll that had much more in common with high art—in particular avant-garde art—than the ballyhooed art-rock synthesis.
While art rock was implicitly based on the claim that rock and roll was or could be as worthy as more established art forms, rock-and-roll art came out of an obsessive commitment to the language of rock and roll and an obsessive disdain for those who rejected that language or wanted it watered down, made easier … the new wave has inherited the counter-tradition. Art rock emphasizes Romantic and autonomous traditions, in distinction to the aesthetic of the everyday and the disposable embodied by art pop. Larry Starr and Christopher Waterman's American Popular Music defines art rock as a "form of rock music that blended elements of rock and European classical music", citing the English rock bands King Crimson, Lake & Palmer, Pink Floyd as examples. Common characteristics include album-oriented music divided into compositions rather than songs, with complicated and long instrumental sections, symphonic orchestration, its music was traditionally used within the context of concept records, its lyrical themes tended to be "imaginative" and politically oriented.
Differences have been identified between art rock and progressive rock, with art rock emphasizing avant-garde or experimental influences and "novel sonic structure", while progressive rock has been characterized as putting a greater emphasis on classically trained instrumental technique, literary content, symphonic features. Compared to progressive rock, art rock is "more challenging and unconventional" and "less classically influenced", with more of an emphasis on avant-garde music. Similarities are that they both describe a British attempt to elevate rock music to new levels of artistic credibility, became the instrumental analog to concept albums and rock operas, which were more vocal oriented. Art rock can refer to either classically driven rock, or to a progressive rock-folk fusion. Bruce Eder's essay The Early History of Art-Rock/Prog Rock states that "'progressive rock,' sometimes known as'art rock,' or'classical rock'" is music in which the "bands playing suites, not songs; the boundaries between art and pop music became blurred throughout the second half of the 20th century.
The first usage of the term "art rock", according to Merriam-Webster Online Dictionary, was in 1968. As pop music's dominant format transitioned from singles to albums, many rock bands created works that aspired to make grand artistic statements, where art rock would flourish; as it progressed in the late 1960s – in tandem with the development of progressive rock – art rock acquired notoriety alongside experimental rock. The earliest figure of art rock has been assumed to be record producer and songwriter Phil Spector, who became known as an auteur for his Wall of Sound productions that aspired to a "classical grandiosity". According to biographer Richard Williams: " created a new concept: the producer as overall director of the creative process, from beginning to end, he took control of everything, he picked the artists, wrote or chose the material, supervised the arrangements, t
Álafoss is a waterfall on the river Varmá in Mosfellsbær, Iceland. A wool factory of the same name has adjoined the waterfall since 1896, when a local farmer imported machinery to process wool using the energy from the waterfall. During World War II, barracks were constructed there for British soldiers. Álafoss played a major role in the growth of the town of Mosfellsbær. The band Sigur Rós has a studio named Sundlaugin at Álafoss, the otherwise untitled fifth track on the band's "" album is nicknamed after the area. Álafoss Official website of the Álafoss Wool store and art gallery. The History of Álafoss at the Wayback Machine Sundlaugin Recording Studio
MusicBrainz is a project that aims to create an open data music database, similar to the freedb project. MusicBrainz was founded in response to the restrictions placed on the Compact Disc Database, a database for software applications to look up audio CD information on the Internet. MusicBrainz has expanded its goals to reach beyond a compact disc metadata storehouse to become a structured open online database for music. MusicBrainz captures information about artists, their recorded works, the relationships between them. Recorded works entries capture at a minimum the album title, track titles, the length of each track; these entries are maintained by volunteer editors. Recorded works can store information about the release date and country, the CD ID, cover art, acoustic fingerprint, free-form annotation text and other metadata; as of 21 September 2018, MusicBrainz contained information about 1.4 million artists, 2 million releases, 19 million recordings. End-users can use software that communicates with MusicBrainz to add metadata tags to their digital media files, such as FLAC, MP3, Ogg Vorbis or AAC.
MusicBrainz allows contributors to upload cover art images of releases to the database. Internet Archive provides the bandwidth and legal protection for hosting the images, while MusicBrainz stores metadata and provides public access through the web and via an API for third parties to use; as with other contributions, the MusicBrainz community is in charge of maintaining and reviewing the data. Cover art is provided for items on sale at Amazon.com and some other online resources, but CAA is now preferred because it gives the community more control and flexibility for managing the images. Besides collecting metadata about music, MusicBrainz allows looking up recordings by their acoustic fingerprint. A separate application, such as MusicBrainz Picard, must be used for this. In 2000, MusicBrainz started using Relatable's patented TRM for acoustic fingerprint matching; this feature allowed the database to grow quickly. However, by 2005 TRM was showing scalability issues as the number of tracks in the database had reached into the millions.
This issue was resolved in May 2006 when MusicBrainz partnered with MusicIP, replacing TRM with MusicDNS. TRMs were phased out and replaced by MusicDNS in November 2008. In October 2009 MusicIP was acquired by AmpliFIND; some time after the acquisition, the MusicDNS service began having intermittent problems. Since the future of the free identification service was uncertain, a replacement for it was sought; the Chromaprint acoustic fingerprinting algorithm, the basis for AcoustID identification service, was started in February 2010 by a long-time MusicBrainz contributor Lukáš Lalinský. While AcoustID and Chromaprint are not MusicBrainz projects, they are tied with each other and both are open source. Chromaprint works by analyzing the first two minutes of a track, detecting the strength in each of 12 pitch classes, storing these 8 times per second. Additional post-processing is applied to compress this fingerprint while retaining patterns; the AcoustID search server searches from the database of fingerprints by similarity and returns the AcoustID identifier along with MusicBrainz recording identifiers if known.
Since 2003, MusicBrainz's core data are in the public domain, additional content, including moderation data, is placed under the Creative Commons CC-BY-NC-SA-2.0 license. The relational database management system is PostgreSQL; the server software is covered by the GNU General Public License. The MusicBrainz client software library, libmusicbrainz, is licensed under the GNU Lesser General Public License, which allows use of the code by proprietary software products. In December 2004, the MusicBrainz project was turned over to the MetaBrainz Foundation, a non-profit group, by its creator Robert Kaye. On 20 January 2006, the first commercial venture to use MusicBrainz data was the Barcelona, Spain-based Linkara in their Linkara Música service. On 28 June 2007, BBC announced that it has licensed MusicBrainz's live data feed to augment their music Web pages; the BBC online music editors will join the MusicBrainz community to contribute their knowledge to the database. On 28 July 2008, the beta of the new BBC Music site was launched, which publishes a page for each MusicBrainz artist.
Amarok – KDE audio player Banshee – multi-platform audio player Beets – automatic CLI music tagger/organiser for Unix-like systems Clementine – multi-platform audio player CDex – Microsoft Windows CD ripper Demlo – a dynamic and extensible music manager using a CLI iEatBrainz – Mac OS X deprecated foo_musicbrainz component for foobar2000 – Music Library/Audio Player Jaikoz – Java mass tag editor Max – Mac OS X CD ripper and audio transcoder Mp3tag – Windows metadata editor and music organizer MusicBrainz Picard – cross-platform album-oriented tag editor MusicBrainz Tagger – deprecated Microsoft Windows tag editor puddletag – a tag editor for PyQt under the GPLv3 Rhythmbox music player – an audio player for Unix-like systems Sound Juicer – GNOME CD ripper Zortam Mp3 Media Studio – Windows music organizer and ID3 Tag Editor. Freedb clients can access MusicBrainz data through the freedb protocol by using the MusicBrainz to FreeDB gateway service, mb2freedb. List of online music databases Making Metadata: The Case of Mus
65daysofstatic are an experimental rock band from Sheffield, England. Formed in 2001, the band is composed of instrumentalists Paul Wolinski, Joe Shrewsbury, Rob Jones and Simon Wright; the band’s music has been described as heavy, guitar-driven instrumental post-rock, interspersed with live drums and off-beat sampled drums akin to those of IDM artists, although they have continued to evolve their sound by incorporating electronic music and bass and glitch music. They have been described as, "a soundtrack to a new dimension, where rock and electronica are equals."The band's first album, The Fall of Math, was released in September 2004, to critical acclaim, described as "an album that can retain the dynamics, fraught tension and climactic explosiveness of its peers and influences, whilst still sounding like one of the most urgent and direct long-player releases of the year." The band released a further four studio albums, One Time for All Time, The Destruction of Small Ideas, We Were Exploding Anyway and Wild Light, a soundtrack, Silent Running.
During the Game Awards 2014, it was announced that they would be providing the soundtrack for the video game No Man's Sky, followed by a live performance. An album containing music from the soundtrack, entitled No Man's Sky: Music for an Infinite Universe, was released in August 2016. During September 2017, the band announced new work involving algorithmic techniques, titled Decomposition Theory; the band was formed in 2001 as a three-piece, consisting of Joe Shrewsbury, Paul Wolinski and Iain Armstrong. The line-up of the band has changed somewhat since its initial formation with Feedle, a fellow member of the Tefosav collective, joining in March 2003, playing a part in writing the band's first single from The Fall of Math, "Retreat! Retreat!", drummer Rob Jones making the band a five-piece before the departure of Armstrong in May and Feedle in July 2003. By the time of the release of their first EP, Stumble. Stop. Repeat, in December 2003, Gareth Hughes had jointed on bass guitar, increasing the band to four members.
Hughes left around the time of the release of The Fall of Math. Simon Wright took over on bass guitar. Members of other bands The Mirimar Disaster and Youthmovies join them in their live shows. In their early days the band was known as 65*daysofstatic, though this version was never used on any release; the origin of the name is unclear, with the band once stating that they took their name from an unreleased John Carpenter film called Stealth Bomber, starring Kurt Russell, that they had formed to create the soundtrack to. However, the lack of any further information regarding the film's existence makes this unlikely. Other theories include that the band took their name from the CIA's 1954 Guatemalan coup d'état during which the CIA put a white book instrument to use according to which 65 days of disabling the communication systems of a nation while spreading propaganda is enough to overthrow a country, or, as put forward by New Statesman, that the name was derived from psychological experiments conducted in the 1950s to 1960s, in which it was found that exposure to 65 days of white noise would render the listener insane.
Much of their early work consists of remixes and mash-ups of mainstream pop artists such as Christina Milian, Natasha Bedingfield and Justin Timberlake. One such mash-up, "White Noise Christmas", featured on the first Boomselection compilation CD; some of these were unofficially released on Unreleased/Unreleasable Volume 1 and Volume 2 in 2003 and 2005 respectively. The band wrote their own music, releasing their first EP, Stumble. Stop. Repeat, in December 2003 on their own label, Dustpunk Records. Recorded at 2fly studios in Sheffield in four days their first album was released on 20 September 2004, to considerable critical praise. To promote the album, the band released a single, "Retreat! Retreat!", in November 2004, embarked on two tours, firstly around the time of release and again in January and February 2005. Their second EP, was released in March 2005, with the title-track taken from The Fall of Math and the band toured again in April and June of that year, with new material played in the latter tour.
During summer 2005, the band returned to the studio, intending to write an EP as a follow-up to The Fall of Math. However, the resulting tracks were released as their second album in October 2005. At the same time the band released a DVD, the third release in the Unreleased/Unreleasable series, entitled Volume 3: The Kids Have Eyes; this DVD was their final release on Dustpunk Records. To promote this album, 65 embarked on another UK tour in October, their fourth of the year, with support again from YMSS. Although "Radio Protector" was the only track released as a single, a promotional video was made for "Drove Through Ghosts To Get Here"; this video was made by Medlo, their long-time collaborators, Lord Bunn, an artist responsible for many of their T-shirt designs. "Radio Protector" was the only track from One Time for All Time issued as a single. Released on 7" in February 2006, it was limited to 1500 numbered copies, with the first 1000 having a unique polaroid picture as the artwork; the remaining 500 have a digital copy of the thousandth picture as their artwork.
An error in the numbering meant that each record is denoted as being x of 3000 instead of 1500. The band auctioned off the copy numbered 1/3000 on eBay, with the proceeds going to Friends of the Earth. A further UK tour, entitled the "Radio Protector Tour", coincided with this release; this tour was sandwiched between further dates by the band where they supported Hundre
England is a country, part of the United Kingdom. It shares land borders with Wales to Scotland to the north-northwest; the Irish Sea lies west of England and the Celtic Sea lies to the southwest. England is separated from continental Europe by the North Sea to the east and the English Channel to the south; the country covers five-eighths of the island of Great Britain, which lies in the North Atlantic, includes over 100 smaller islands, such as the Isles of Scilly and the Isle of Wight. The area now called England was first inhabited by modern humans during the Upper Palaeolithic period, but takes its name from the Angles, a Germanic tribe deriving its name from the Anglia peninsula, who settled during the 5th and 6th centuries. England became a unified state in the 10th century, since the Age of Discovery, which began during the 15th century, has had a significant cultural and legal impact on the wider world; the English language, the Anglican Church, English law – the basis for the common law legal systems of many other countries around the world – developed in England, the country's parliamentary system of government has been adopted by other nations.
The Industrial Revolution began in 18th-century England, transforming its society into the world's first industrialised nation. England's terrain is chiefly low hills and plains in central and southern England. However, there is upland and mountainous terrain in the west; the capital is London, which has the largest metropolitan area in both the United Kingdom and the European Union. England's population of over 55 million comprises 84% of the population of the United Kingdom concentrated around London, the South East, conurbations in the Midlands, the North West, the North East, Yorkshire, which each developed as major industrial regions during the 19th century; the Kingdom of England – which after 1535 included Wales – ceased being a separate sovereign state on 1 May 1707, when the Acts of Union put into effect the terms agreed in the Treaty of Union the previous year, resulting in a political union with the Kingdom of Scotland to create the Kingdom of Great Britain. In 1801, Great Britain was united with the Kingdom of Ireland to become the United Kingdom of Great Britain and Ireland.
In 1922 the Irish Free State seceded from the United Kingdom, leading to the latter being renamed the United Kingdom of Great Britain and Northern Ireland. The name "England" is derived from the Old English name Englaland, which means "land of the Angles"; the Angles were one of the Germanic tribes that settled in Great Britain during the Early Middle Ages. The Angles came from the Anglia peninsula in the Bay of Kiel area of the Baltic Sea; the earliest recorded use of the term, as "Engla londe", is in the late-ninth-century translation into Old English of Bede's Ecclesiastical History of the English People. The term was used in a different sense to the modern one, meaning "the land inhabited by the English", it included English people in what is now south-east Scotland but was part of the English kingdom of Northumbria; the Anglo-Saxon Chronicle recorded that the Domesday Book of 1086 covered the whole of England, meaning the English kingdom, but a few years the Chronicle stated that King Malcolm III went "out of Scotlande into Lothian in Englaland", thus using it in the more ancient sense.
According to the Oxford English Dictionary, its modern spelling was first used in 1538. The earliest attested reference to the Angles occurs in the 1st-century work by Tacitus, Germania, in which the Latin word Anglii is used; the etymology of the tribal name itself is disputed by scholars. How and why a term derived from the name of a tribe, less significant than others, such as the Saxons, came to be used for the entire country and its people is not known, but it seems this is related to the custom of calling the Germanic people in Britain Angli Saxones or English Saxons to distinguish them from continental Saxons of Old Saxony between the Weser and Eider rivers in Northern Germany. In Scottish Gaelic, another language which developed on the island of Great Britain, the Saxon tribe gave their name to the word for England. An alternative name for England is Albion; the name Albion referred to the entire island of Great Britain. The nominally earliest record of the name appears in the Aristotelian Corpus the 4th-century BC De Mundo: "Beyond the Pillars of Hercules is the ocean that flows round the earth.
In it are two large islands called Britannia. But modern scholarly consensus ascribes De Mundo not to Aristotle but to Pseudo-Aristotle, i.e. it was written in the Graeco-Roman period or afterwards. The word Albion or insula Albionum has two possible origins, it either derives from a cognate of the Latin albus meaning white, a reference to the white cliffs of Dover or from the phrase the "island of the Albiones" in the now lost Massaliote Periplus, attested through Avienus' Ora Maritima to which the former served as a source. Albion is now applied to England in a more poetic capacity. Another romantic name for England is Loegria, related to the Welsh word for England and made popular by its use in Arthurian legend; the earliest known evidence of human presence in the area now known as England was that of Homo antecessor, dating to approximate
Scarling. is an American noise pop band from Los Angeles, whose core members are Jessicka and Christian Hejnal-Addams. The band formed in 2002, they have released two albums, Sweet Heart Dealer and So Long, Scarecrow. The band's name comes from a fictional word created by singer/fine artist Jessicka in 1999. In 2001 the definition appeared on Scarling's website: "Middle English, from Old English scaerlinc, from scar+ -ling, -linc -ling; the smallest mark on your heart left by the healing of a severe injury. 2. He or she, scarred densely emotionless. 3. A mentally challenged/physically handicapped sibling of a normal star. 4. A band from Los Angeles; the "S" in Scarling. is sometimes lower case and the word itself ends in a full stop or period." Scarling. was formed by singer Jessicka Fodera after the dissolution of her band, Jack Off Jill, guitarist Christian Hejnal. They were introduced by guitarist Lisa Leveridge, they began rehearsing and recording in a San Fernando Valley performance space. In early 2002, Jessicka was introduced to Long Gone John, owner of Sympathy for the Record Industry, by mutual friend Mark Ryden.
On March 19, 2003, Scarling's debut single, "Band Aid Covers the Bullet Hole", was released on the Sympathy for the Record Industry label. Its cover featured. In April 2004, Scarling. Released their debut album, Sweet Heart Dealer, a seven-song release again produced by Vrenna and packaged by Ryden; that year, Jessicka was featured on the cover of ROCKRGRL magazine's vocalist issue. Scarling was invited to join the lineup of the Robert Smith-organized Curiosa Festival, performing on select West Coast dates alongside Interpol, The Rapture, Cursive, The Cooper Temple Clause, longtime inspirations The Cure. Smith described the band's music as "dark, chaotic, gorgeous pop music, the sound of the end of the world" and nominated "Sweet Heart Dealer" for the 2004 Shortlist Music Prize. While Alternative Press Magazine said Scarling. Sounded like, "being French kissed by the most beautiful beings in the world alluring yet massive stuff." Three weeks before joining the Curiosa tour, drummer Garey Snider left and was replaced by Samantha Maloney in order to perform live at a group art showing at the Copro/Nason Gallery.
Weeks they found drummer Beth Gordon, who served as Scarling's permanent replacement. Scarling, with the help of friend and fill-in bassist Radio Sloan, continued to play around Los Angeles and San Francisco at clubs such as The Bottom Of The Hill and The Troubadour. On October 21, 2004, John Peel, English disc jockey and radio presenter, invited Robert Smith to stand in for him while he was in Peru as a guest DJ on what turned out to be the last Peel Session show. Smith played Scarling's Crispin Glover as one of the tracks in his eclectic set. Scarling. Were chosen by Smith to be part of his Celebrity Playlist on iTunes along with Cocteau Twins, My Bloody Valentine, Nirvana, The Psychedelic Furs, several bands that played on the Curiosa tour earlier that year. Smith wrote "Beautiful shadows" next to the Scarling. Track. After a series of 7" singles on Sympathy, Scarling announced in early 2005 that their second album, So Long, would appear that year. So Long, Scarecrow was co-produced by Rob Campanella of The Brian Jonestown Massacre, at his studio, The Committee to Keep Music Evil headquarters.
The critical reception for Scarecrow was strong: Alternative Press gave the album a 5 out of 5 rating. Simon Price from The Independent said, "In contrast to Scarling. Work up a wonderfully hazy guitar swirl, reminiscent of post-My Bloody Valentine noise-pop from the Britain of the early Nineties." Chris Beyond from No-Fi Magazine described Scarecrow as "somewhere between Blonde Redhead and Sonic Youth and said "there are 13 tracks on this album, but they leave you wanting more." Scarling's was touted as resurrecting goth' by Venus magazine: "Goth isn’t dead. It’s just evolved into a sweeter version with Scarling’s variety of distorted but, dare I say, gorgeous version of the once-dreary genre. On the band’s full-length debut, So Long, frontwoman Jessicka’s syrupy yet cautious vocals are quite different than her former angry, self-mutilating persona in the late ’90s Marilyn Manson-esque group Jack off Jill."In December 2005, Scarling. Embarked on its first UK tour, creating a buzz for themselves and selling out most venues.
SLS's first single "City Noise" is featured on the compilation Alright, This Time Just the Girls Vol. 2 and 2006's Staring To The Sun. The song "Bummer" from SLS was featured on Showtime's The L Word season 3 episode "Latecomer", as well as an Urban Outfitters/Filter magazine compilation. An episode of the medical drama Grey's Anatomy is titled "Band Aid Covers the Bullet Hole". In 2006, Scarling continued to tour in the United States and Europe, embarking on their first co-heading with UK shoegaze outfit Amusement Parks on Fire and opening for The Wedding Present and Depeche Mode in the year. Scarling. Resides in the neighborhood of Silver Lake, Los Angeles, California. On February 14, 2006, while on a break from touring and guitarist Christian Hejnal were engaged, their wedding took place on October 13, 2007, at the Oviatt Penthouse i
Portishead are an English band formed in 1991 in Bristol. They are considered one of the pioneers of trip hop music; the band are named after the nearby town of the same name, eight miles west of Bristol, along the coast. Portishead consists of Geoff Barrow, Beth Gibbons and Adrian Utley, while sometimes citing a fourth member, Dave McDonald, an engineer on their first records, their debut album, was met with critical acclaim in 1994. Two other studio albums have been issued: Portishead in 1997 and Third in 2008. Portishead's first album Dummy was released in 1994; the cover features a still from the band's own short film To Kill a Dead Man. The credits indicate that at this juncture, Portishead was a duo of Beth Gibbons. Adrian Utley, who co-produced the album with them, became an official band member shortly after its release. Despite the band's aversion to press coverage, the album was successful in both Europe and the United States. Dummy was positively described by the Melody Maker as "musique noire for a movie not yet made".
Rolling Stone praised its music as "Gothic hip-hop". Dummy spawned three singles: "Numb", "Sour Times" and "Glory Box", won the Mercury Music Prize in 1995; the success of the album saw the band nominated for Best British Newcomer at the 1995 Brit Awards. In 2003, the album was ranked number 419 on Rolling Stone magazine's list of the 500 Greatest Albums of All Time; the album is considered one of the greatest trip hop albums to date and is a milestone in the definition of the genre. After their initial success, Portishead withdrew from the spotlight for three years until their second album, was released in 1997; the album's sound differed from Dummy, characterised as "grainy and harsher." Three singles, "All Mine", "Over" and "Only You" were released, the first one achieving a Top 10 placing in the UK. In 1997, the band performed a one-off show with strings at the Roseland Ballroom in New York City. A live album featuring these new orchestral arrangements of the group's songs was released in 1998.
There was a long-form VHS video of the performance, a DVD followed in 2002, with substantial extra material including many early music videos. In 1999, Portishead recorded the song "Motherless Child" with Tom Jones for his album Reload. For the next few years, the band members concentrated on other pursuits. In February 2005, the band appeared live for the first time in seven years at the Tsunami Benefit Concert in Bristol. Around that time, Barrow revealed. In August 2006, the band posted two new tracks on its MySpace page, described by Barrow as "doodles". Around the same time, Portishead covered Serge Gainsbourg's "Un Jour Comme un Autre" on the tribute album Monsieur Gainsbourg Revisited. On 2 October 2007, Portishead stated that the new album Third had been mixed and was nearly complete, was due for release in early April 2008; the release was pushed to 28 April. On 8 and 9 December 2007, the band curated the All Tomorrow's Parties festival in England; the festival featured their first full live sets in nearly 10 years.
They premiered five tracks from the new album: "Silence", "Hunter", "The Rip", "We Carry On", "Machine Gun". On 21 January 2008, a European tour to support the album was announced, together with a headline spot at the Coachella Valley Music and Arts Festival on 26 April 2008, their only U. S. date on the tour. Third was made available on Last.fm the week before release, attracting 327,000 listeners in just under 24 hours. It was the first time; the album was released on 29 April 2008 to coincide with the band's appearance at Coachella. Portishead's Geoff Barrow realised a "boyhood fantasy" when Chuck D of Public Enemy joined the band onstage at the "ATP I'll Be Your Mirror" festival curated by Portishead in Asbury Park, NJ in October 2011, he contributed his verse from the P. E. song "Black Steel in the Hour of Chaos" over Portishead's single "Machine Gun". On 18 May 2008, Barrow expressed Portishead's enthusiasm for recording new material on their official website's blog, stating that he "can't wait to write some new tunes".
On 28 September 2009, Barrow announced "big plans" for a new project with a new angle, hinting that an album could arrive as soon as late 2010. Whilst the album had yet to materialise, on 9 December 2009, the band released the song "Chase the Tear" for Human Rights Day to raise money for Amnesty International UK. Additionally, on 3 December 2008, Universal Music Japan reissued the albums Dummy and Portishead in limited edition on SHM-CD. During Summer 2011, Portishead performed at a number of festivals in Europe, Pohoda Festival, Exit Festival, Benicàssim Festival in Spain, Rock Werchter, Paleo Festival, Roskilde Festival, the Hurricane/Southside Festivals in Germany, the Super Bock Super Rock music festival; the band headlined and curated the line-up for two All Tomorrow's Parties music festivals entitled I'll Be Your Mirror, in London at Alexandra Palace on 23 and 24 July. The second took place in New Jersey from 30 September -- 2 October. Portishead visited several cities in North America, including New York, Toronto, Mexico City, Los Angeles, Seattle and Denver during October.
The Chicago Tribune hailed the concert and noted: "horror-movie accents—Gothic organ, guitar lines thick with menacing reverb, spooky theremin—ensured a certain darkness". They finished their tour with a jaunt to New Zealand. Barrow stated i