Live (Candlemass album)
Live is the first live album by Swedish doom metal band Candlemass released in 1990. "The Well of Souls" - 5:23 "Dark Are the Veils of Death" - 4:02 "Bewitched" - 4:29 "Solitude" - 5:43 "Dark Reflections" - 4:44 "Under the Oak" - 5:58 "Demons Gate" - 8:52 "Bells of Acheron" - 5:26 "Through the Infinitive Halls of Death" - 5:26 "Samarithan" - 5:11 "Mirror Mirror" - 5:32 "At the Gallows End" - 5:30 "A Sorcerer's Pledge" 10:13 Disc one Live in Stockholm 09-06-1990"The Well of Souls" "Dark Are the Veils of Death" "Bewitched" "Solitude" "Dark Reflections" "Under the Oak" "Demons Gate" "Bells of Acheron" "Through the Infinitive Halls of Death" "Samarithan" "Mirror Mirror" "At the Gallows End" "A Sorcerer's Pledge"Disc two Live at the Dynamo Open Air'88"Solitude" "At the Gallows End" "Crystal Ball" "Dark Are the Veils of Death" "A Sorcerer's Pledge" "Black Sabbath medley" "Crystal Ball" "Bearer of Pain" CandlemassMessiah Marcolin - vocals Mats Björkman - rhythm guitar Lars Johansson - lead guitar Leif Edling - bass guitar Jan Lindh - drumsProductionMats Lindfors - producer, mixing
Karl Pontus Norgren is the current guitarist of the Swedish power metal band HammerFall and played guitar for The Poodles. Norgren replaced former HammerFall guitarist Stefan Elmgren, who decided to focus on his career as a pilot. Norgren was contacted by Joacim Cans, HammerFall's singer, who asked him if he knew a good guitarist. Being a fan of HammerFall's music and desiring to play a heavier style of music than that of The Poodles, Norgren suggested himself. HammerFall asserts that they are happy with Norgren as a band member. Norgren played with bands including Great King Rat, Humanimal, The Ring, Zan Clan, he served as live sound engineer for Thin Lizzy during the band's 2000 tour serving Europe and Yngwie J. Malmsteen, he joined The German Panzer as one of the groups 2nd guitarists. Great King Rat Out of the Can Heavenly Creatures Truth "Crazy" CD single from Truth Live at Sweden Rock Festival Damage Done Find My Way Home EP Humanimal Holding On EP Live at The Gods 2.002 Tales from Midgard Glory Thy Name We Are Zan Clan...
Who the F**K Are You??! Metal Will Stand Tall Sweet Trade"Night of Passion" "Metal Will Stand Tall" feat. Tess Merkel "Song for You" "Seven Seas" feat. Peter Stormare "Line of Fire" feat. E-Type "Raise the Banner" Sweden's official song for the 2008 Beijing Olympic Games As Yet Untitled No Sacrifice, No Victory Infected Evolution Built to Last Various Artists - Musically Correct III: The Eagle Has Landed "Brand New Start" from Damage Done House of Shakira - III guitar solo on "In Your Head" Locomotive Breath - Heavy Machinery guitar solo on "The Adventures of Zaphod Beeblebrox" Various Artists - United: Where Is the Fire DVD Talisman - 7 guest guitarist on "Final Curtain" Tomas Bergsten's Fantasy - Nightwalker guitar solo on "In Eternity" Human Clay - U4Ia Four Sticks - Electric Celebration engineer, mixing House of Shakira - Lint mixing House of Shakira - On the Verge mixing Southpaw - Southpaw Clockwise - Naîve engineer Jekyll-and-Hyde - Heavenly Creatures engineer Great King Rat - Out of the Can producer, mixing Gaeleri - Still Here... co-producer, engineer Pontus Norgren - Damage Done producer House of Shakira - III engineer, mixing House of Shakira - Live + live sound engineer Humanimal - Find My Way Home EP co-producer, engineer Humanimal - Humanimal co-producer, engineer Mercury Fang - Liquid Sunshine producer, mixing The Ring - Tales from Midgard producer, mixing, mastering Candlemass – Candlemass producer, mixing Doogie White - As Yet Untitled producer, mixing Last Autumn's Dream - Hunting Shadows mixing, mastering Impulsia - Expressions co-producer, engineer Rough Diamond - Stories from the Old Days mixing Hammerfall MySpace Hammerfall Official Fanclub Pontus Norgren - Official Website The Poodles - Official Website
King of the Grey Islands
King of the Grey Islands is the ninth studio album by Swedish doom metal band Candlemass released on 22 June 2007. This is the first album recorded following the departure of vocalist Messiah Marcolin, who left the band during the pre-production phase of the album, he was replaced by Robert Lowe, who would stay with the band until his departure in June 2012. A digipak version contains two bonus studio session tracks with Robert Lowe; the album was released as a double vinyl LP with the bonus track "Edgar Grey". A tin box set edition was released, which included a bonus 3" CD with two bonus tracks: "Black Dwarf" and "Demonia 6". "Black Dwarf" is a re-recording with Lowe on vocals. These songs appear on the "Black Dwarf" 7". Upon its release, the album was met with widespread acclaim from both fans. All songs written by Leif Edling "Prologue" - 0:56 "Emperor of the Void" - 4:29 "Devil Seed" - 5:44 "Of Stars and Smoke" - 5:38 "Demonia 6" - 6:23 "Destroyer" - 7:52 "Man of Shadows" - 6:17 "Clearsight" - 6:52 "The Opal City" - 1:13 "Embracing the Styx" - 8:19 "Solitude" - 5:58 "At the Gallows End" - 5:22 CandlemassRobert Lowe - vocals Mats Björkman - rhythm guitar Lars Johansson - lead guitar Leif Edling - bass, producer Jan Lindh - drumsAdditional musiciansCarl Westholm - keyboardsProductionChris Laney - engineer, post-production fixes Andreas Osslund - engineer on track 4 Peter Tägtgren - mixing at The Abyss in March 2007 Sören Von Malmborg - mastering Tomas Arfert - cover design and illustration
Messiah Marcolin known as Eddie Marcolin, is a vocalist best known for his work in the doom metal band Candlemass. Marcolin is well known for his operatic voice and for his signature'Doom Dance'. Messiah Marcolin's first releases were with the heavy metal band Mercy. After recording an EP, Mercy were looking for a singer to record with and Messiah was asked to join just two weeks before recording, he sang on two Mercy albums, the first a self-titled debut in 1984, Witchburner a year later. The albums were influenced by Black Sabbath while the falsetto shrieks were influenced by Mercyful Fate singer King Diamond. Looking for a heavier direction, Messiah decided to leave the band. Marcolin joined Candlemass to replace session vocalist Johan Längqvist, who could not be convinced to remain as singer for the band after Epicus Doomicus Metallicus; the band got Marcolin's name from Tom Hallbäck, a refrigerator salesman from Helsingborg and the drummer for thrash bands God BC and Hysteriah GBC. His debut with Candlemass is Nightfall.
He sang on two subsequent albums, Ancient Dreams and Tales of Creation and performed on a live album. Due to personal differences with some of the other members during the Tales of Creation tour in 1991, Marcolin left Candlemass. Messiah worked on several projects after departing Candlemass. In 1993, he co-founded Memento Mori with Mike Wead and sang on two of their albums in 1993 and 1994 before leaving as he was not being credited for writing melodies. Messiah worked with members of Stillborn on a project named "Colossus" and released a demo and contributed a cover of "Sad But True" to a Metallica tribute album titled Metal Militia: A Tribute to Metallica II in 1996; the band was inactive after this recording and Messiah returned to Memento Mori to record and release Songs for the Apocalypse, Vol. 4 in 1997. He performed guest vocals for the melodic death metal/blackened death metal band Satariel; the "Nightfall era" line did various festivals and gigs. Candlemass released recordings from its live activity during this period as Doomed For Live and released a compilation, Essential Doom, which included a demo version of "Witches", a song that would be included on Candlemass' self-titled 2005 album.
After releasing Candlemass, Messiah appeared on two DVD releases: Documents of Doom and The Curse of Candlemass. Candlemass announced in October 2006. Additionally, in 2003, Messiah co-founded Requiem and released a three-song demo, although the band dissolved due to Candlemass' reunion and musical differences within the band. Messiah was a guest vocalist with Therion for a string of live performances in 2007. In 2011, Messiah appeared live with Swedish heavy metal band Portrait, covering the Mercyful Fate song "Black Funeral". In 2013, he sang on "Hel" on Amon Amarth's Deceiver of the Gods. Encyclopaedia Metallum: the Metal Archives Colossus Myspace Page Requiem Official Page Myspace Page
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
Exclaim! is a monthly Canadian music magazine that features in-depth coverage of new music across all genres with a special focus on Canadian and cutting-edge artists. Content is based on the monthly print publication, which publishes 9 issues per year, distributing over 103,000 copies to over 2,600 locations across Canada; the magazine has an average of 361,200 monthly readers. Their website, exclaim.ca, has an average of 675,000 unique visitors a month. Exclaim! began as a discussion among campus and community radio programmers at Ryerson's CKLN-FM in 1991. It was started by then-CKLN programmers Ian Danzig and Ron Anicich, together with other programmers and Toronto musicians; the goal of the publication was to support great Canadian music, otherwise going unheralded. The group worked through 1991 to produce their first issue in April 1992, with monthly issues being produced since. Ian Danzig has been the publisher of the magazine since its start. Anicich was the magazine's founding editor, was succeeded in 1995 by James Keast.
To an alternative weekly newspaper, the magazine is distributed as a free publication at campus and community radio stations, record stores and coffee shops. With Chart's decision to cease publication of its newsstand edition in January 2009, Exclaim! is now Canada's only nationally distributed general interest music magazine operating as a print publication. The magazine's website features reviews and profiles, some of which are not found in the print publication, it includes a news page, updated with the latest in music and music-related culture. The site reaches over 675,000 unique users every month, it features Exclaim! TV, which includes regular instalments of video interviews with musicians, as well as a streams section featuring new albums, EPs, music videos and full performances. In recent years, exclaim.ca has increased its film coverage, covering festivals, such as the Toronto International Film Festival, the Sundance Film Festival, Hot Docs Documentary Film Festival, the Toronto After Dark Film Festival, publishing interviews with a number of high-profile directors and movie stars.
Its comedy section focuses on profiles and interviews with established and up-and-coming stand-up comedians. As well as music, exclaim.ca reviews films, comedy specials, live comedy. The magazine's website has contests where readers can enter for a chance to win various music and film-related prizes. Many notable writers have worked for Exclaim! over the years, including Canadian radio personality Matt Galloway, Canadian punk chronicler and new media personality Sam Sutherland, hip-hop scribe and CBC Music producer Del Cowie, published author Andrea Warner, Canadian editor at The FADER Anupa Mistry, award-winning DJ and author Denise Benson. Some of the artists who have graced Exclaim!’s cover over the years include: Arcade Fire St. Vincent Chance the Rapper Mac DeMarco Feist Father John Misty The Weeknd Metric Broken Social Scene Converge Wolf Parade Outkast Yeah Yeah Yeahs Tokyo Police Club The White Stripes In February 2009, Exclaim participated with CBC Radio 3 and Aux.tv to launch X3, a new collaborative cross-promotional platform which sees all three outlets air or publish feature content spotlighting a particular "Artist of the Month".
These artists are featured on the cover of Exclaim's monthly issue. X3 artists of the month have included K'naan, Thunderheist, Apostle of Hustle, You Say Party! We Say Die! and The Rural Alberta Advantage. Since 2012, senior editor Stephen Carlick produces a week-in-review segment for!earshot 20, a nationally syndicated campus/community radio program available through the National Campus and Community Radio Association and produced by CFMH-FM in Saint John, New Brunswick. Staff writer Calum Slingerland took over producing the segment in 2017. Official website
An album is a collection of audio recordings issued as a collection on compact disc, audio tape, or another medium. Albums of recorded music were developed in the early 20th century as individual 78-rpm records collected in a bound book resembling a photograph album. Vinyl LPs are still issued, though album sales in the 21st-century have focused on CD and MP3 formats; the audio cassette was a format used alongside vinyl from the 1970s into the first decade of the 2000s. An album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places; the time frame for recording an album varies between a few hours to several years. This process requires several takes with different parts recorded separately, brought or "mixed" together. Recordings that are done in one take without overdubbing are termed "live" when done in a studio. Studios are built to absorb sound, eliminating reverberation, so as to assist in mixing different takes. Recordings, including live, may contain sound effects, voice adjustments, etc..
With modern recording technology, musicians can be recorded in separate rooms or at separate times while listening to the other parts using headphones. Album covers and liner notes are used, sometimes additional information is provided, such as analysis of the recording, lyrics or librettos; the term "album" was applied to a collection of various items housed in a book format. In musical usage the word was used for collections of short pieces of printed music from the early nineteenth century. Collections of related 78rpm records were bundled in book-like albums; when long-playing records were introduced, a collection of pieces on a single record was called an album. An album, in ancient Rome, was a board chalked or painted white, on which decrees and other public notices were inscribed in black, it was from this that in medieval and modern times album came to denote a book of blank pages in which verses, sketches and the like are collected. Which in turn led to the modern meaning of an album as a collection of audio recordings issued as a single item.
In the early nineteenth century "album" was used in the titles of some classical music sets, such as Schumann's Album for the Young Opus 68, a set of 43 short pieces. When 78rpm records came out, the popular 10-inch disc could only hold about three minutes of sound per side, so all popular recordings were limited to around three minutes in length. Classical-music and spoken-word items were released on the longer 12-inch 78s, about 4–5 minutes per side. For example, in 1924, George Gershwin recorded a drastically shortened version of the seventeen-minute Rhapsody in Blue with Paul Whiteman and His Orchestra, it ran for 8m 59s. Deutsche Grammophon had produced an album for its complete recording of the opera Carmen in 1908. German record company Odeon released the Nutcracker Suite by Tchaikovsky in 1909 on 4 double-sided discs in a specially designed package; this practice of issuing albums does not seem to have been taken up by other record companies for many years. By about 1910, bound collections of empty sleeves with a paperboard or leather cover, similar to a photograph album, were sold as record albums that customers could use to store their records.
These albums came in both 12-inch sizes. The covers of these bound books were wider and taller than the records inside, allowing the record album to be placed on a shelf upright, like a book, suspending the fragile records above the shelf and protecting them. In the 1930s, record companies began issuing collections of 78 rpm records by one performer or of one type of music in specially assembled albums with artwork on the front cover and liner notes on the back or inside cover. Most albums included three or four records, with two sides each, making six or eight compositions per album; the 12-inch LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. A single LP record had the same or similar number of tunes as a typical album of 78s, it was adopted by the record industry as a standard format for the "album". Apart from minor refinements and the important addition of stereophonic sound capability, it has remained the standard format for vinyl albums.
The term "album" was extended to other recording media such as Compact audio cassette, compact disc, MiniDisc, digital albums, as they were introduced. As part of a trend of shifting sales in the music industry, some observers feel that the early 21st century experienced the death of the album. While an album may contain as many or as few tracks as required, in the United States, The Recording Academy's rules for Grammy Awards state that an album must comprise a minimum total playing time of 15 minutes with at least five distinct tracks or a minimum total playing time of 30 minutes with no minimum track requirement. In the United Kingdom, the criteria for the UK Albums Chart is that a recording counts as an "album" i