Machinae Supremacy is a Swedish band that combines modern heavy metal, power metal and alternative rock with chiptunes. Self-defined as "SID metal", many of their songs use a SidStation that features the SID chip of the Commodore 64, they have released 32 original recordings for free download on their site, with 100,000 downloads a month. Deus Ex Machinae, the band's first commercial album was released in 2004 through the independent MbD Records UK; the band is signed to Spinefarm Records, through which they released their second studio album, Redeemer in 2006, a few more studio albums, with their latest album, Into the Night World, released on 16 December 2016, independently. Machinae Supremacy was formed in Luleå, Sweden during the summer of 2000 by Robert Stjärnström, Kahl Hellmer and Jonas Rörling; the name of the band had existed before this, but it was only a few months the band decided on a specific style they wanted to pursue. Andreas Gerdin, a long-time friend of Rörling, joined on Tobias Malm joined on drums.
Together they recorded their first song, "Cryosleep."Defining an original style and being fans of the Commodore 64, they settled on using the SID chip from the machine in their music becoming known by the term "SID metal". They described their music as carrying a vibe of self-confidence and encouragement for people to take control of their own lives; the band saw the Internet as the best way to reach a wider audience, forgoing the traditional method of sending demos to record labels. In 2001 their official website was launched, boasting around nine available songs, they distributed their music through the free Vorbis audio codec as well as MP3. The band attempted to reach out to the Commodore 64 community in an attempt to gain a larger fan base, it was during this time "The Great Gianna Sisters" was released, a cover of the theme to Great Giana Sisters composed by Chris Hülsbeck. Releasing this song onto various Commodore 64 remix sites proved to be instrumental in the band's early success, increased by the follow-up, the Sidology series.
Machinae Supremacy would go on to perform their first show abroad, at a nightclub in Soho during the Back in Time Live event. During 2001, Stjärnström and Hellmer, together with friend Tomi Tauriainen formed the short-lived punk rock side-project, FLAK. Intending to express a political side, only three songs were released. From an interview with Stjärnström "FLAK is... aggression and pain!:] It's a band, but it's nothing serious, just a means of expression."In 2002, Tobias Malm left the band and was replaced by Tomas Nilsén, a long-time friend of Stjärnström's. Over the next few years, they released 25 downloadable songs before they began work on their first studio album. In May 2004, the band announced the release of their first commercial album Deus Ex Machinae through Music By Design Records Ltd.. The album's first print of 1000 copies sold out within a year, leading to a second print being released in 2005. Shortly after the release of reprint of Deus Ex Machinae, MbD ceased trading and the band were without a record label for the then-in-development second album.
This album would not be released until 2006. The band would contribute to other projects that year; the Jets'n'Guns Soundtrack was released for free on December 2004. In that year three of their songs were included in the In the Groove series of dancing games. During 2005, the band's focus was directed towards finishing and finding a way to release their second album. "Ghost" was released, as an outtake from the album.. They collaborated with the German gaming magazine GameStar to produce and release two songs, "Loot Burn Rape Kill Repeat" on 25 June for a World of Warcraft special, "Multiball" on 20 November for a Battlefield 2 special; that year, Hellmer moved away from Luleå and could no longer take part in the band. He was replaced by Johan Palovaara. Early in 2006, on 9 January, the band was able to release "Sidology Episode II – Trinity" completing their "Sidology" series, as well as announce a sister production company Hubnester Industries, which would handle future soundtrack and commissioned work.
On 18 March of that year they were able to independently release their second commercial album, Redeemer through their own merchandise web site and store using Hubnester Industries as their own record label. On 27 September that year it was announced they had signed to Spinefarm Records in a 4 album record deal and would remaster and re-release Redeemer to retail on 8 November. In late 2006 the band, with Hubnester Industries, worked on the soundtrack to the now postponed PC game War Angels, developed by Moonpod, their third studio album. On 27 November 2006, the band's lineup was changed with the hope of improving the quality of live performances, with Stjärnström's guitar role passing on to Gerdin, allowing Stjärnström to focus on vocals, replacing the keyboard with pre-recorded samples. In 2007, it was confirmed that the band would produce their first music video for the song "Through The Looking Glass", it was directed by Tomi Tauriainen, shot by Torbjörn Lindbäck and was released after several delays that year.
It was during this year that the band were asked to perform with the Royal Stockholm Philharmonic Orchestra during the Play! A Video Game Symphony concert in Stockholm, part of the world-tour event featuring music from video games, they played during the song "Dancing
A View from the End of the World
A View From The End of The World is the fourth album by the Swedish metal band Machinae Supremacy, released on 3 November 2010. Official track listing released by the band: "A View From the End of the World" – 3:52 "Force Feedback" – 5:34 "Rocket Dragon" – 4:51 "Persona" – 5:16 "Nova Prospekt" – 5:13 "World of Light" – 1:14 "Shinigami" – 4:08 "Cybergenesis" – 5:43 "Action Girl" – 4:12 "Crouching Camper Hidden Sniper" – 3:59 "Indiscriminate Murder is Counter-Productive" – 4:07 "One Day in the Universe" – 4:16 "The Greatest Show on Earth" – 3:31 "Remnant" – 5:54
A snare drum or side drum is a percussion instrument that produces a sharp staccato sound when the head is struck with a drum stick, due to the use of a series of stiff wires held under tension against the lower skin. Snare drums are used in orchestras, concert bands, marching bands, drumlines, drum corps, more, it is one of the central pieces in a drum set, a collection of percussion instruments designed to be played by a seated drummer and used in many genres of music. Snare drums are played with drum sticks, but other beaters such as the brush or the rute can be used to achieve different tones; the snare drum is a versatile and expressive percussion instrument due to its sensitivity and responsiveness. The sensitivity of the snare drum allows it to respond audibly to the softest strokes with a wire brush, its high dynamic range allows the player to produce powerful accents with vigorous strokes and a thundering crack when rimshot strokes are used. The snare drum originates from the tabor, a drum first used to accompany the flute.
The tabor evolved into more modern versions, such as the kit snare, marching snare, tarol snare, piccolo snare. Each type presents a different style of size; the snare drum that one might see in a popular music concert is used in a backbeat style to create rhythm. In marching bands, it can do the same but is used for a front beat. In comparison with the marching snare, the kit snare is smaller in length, while the piccolo is the smallest of the three; the snare drum is recognizable by its loud cracking sound when struck with a drumstick or mallet. The depth of the sound varies from snare to snare because of the different techniques and construction qualities of the drum; some of these qualities are head material and tension and rim and drum shell materials and construction. The snare drum is constructed of two heads—both made of plastic—along with a rattle of metal wires on the bottom head called the snares; the wires can be placed on the top, as in the tarol snare, or both heads as in the case of the Highland snare drum.
The top head is called the batter head because, where the drummer strikes it, while the bottom head is called the snare head because, where the snares are located. The tension of each head is held constant by tension rods. Tension rod adjustment allows the pitch and tonal character of the drum to be customized by the player; the strainer is a lever that engages or disengages contact between the snares and the head, allows snare tension adjustment. If the strainer is disengaged, the sound of the drum resembles a tom because the snares are inactive; the rim is the metal ring around the batter head, which can be used for a variety of things, although it is notably used to sound a piercing rimshot with the drumstick. The drum can be played by striking it with a drum stick or any other form of beater, including brushes and hands, all of which produce a softer-sounding vibration from the snare wires; when using a stick, the drummer may strike the head of the rim, or the shell. When the top head is struck, the bottom head vibrates in tandem, which in turn stimulates the snares and produces a cracking sound.
The snares can be thrown off with a lever on the strainer so that the drum produces a sound reminiscent of a tom-tom. Rimshots are a technique associated with snare drums in which the head and rim are struck with one stick. In contemporary and/or pop and rock music, where the snare drum is used as a part of a drum kit, many of the backbeats and accented notes on the snare drum are played as rimshots, due to the ever-increasing demand for their typical sharp and high-volume sound. A used alternative way to play the snare drum is known as cross stick or side stick; this is done by holding the tip of the drumstick against the drum head and striking the stick's other end against the rim, using the hand to mute the head. This produces a dry high-pitched click, similar to a set of claves, is common in Latin and jazz music. So-called "ghost notes" are light "filler notes" played in between the backbeats in genres such as funk and rhythm and blues; the iconic drum roll is produced by alternately bouncing the sticks on the drum head, striving for a controlled rebound.
A similar effect can be obtained by playing alternating double strokes on the drum, creating a double stroke roll, or fast single strokes, creating a single stroke roll. The snares are a fundamental ingredient in the pressed drum roll, as they help to blend together distinct strokes that are perceived as a single, sustained sound; the snare drum is the first instrument to learn in preparing to play a full drum kit. Rudiments are sets of basic patterns played on a snare drum. Snare drums may be made from various wood, acrylic, or composite, e.g. fiberglass materials. A typical diameter for snare drums is 14 in. Marching snare drums are deeper in size than snare drums used for orchestral or drum kit purposes measuring 12 in deep. Orchestral and drum kit snare drum shells are about 6 in deep. Piccolo snare drums are shallower at about 3 in deep. Soprano and firecracker snare drums have diameters as small as 8 in and are used for higher-pitched special effects. Most wooden snare drum shells are constructed in plies that are heat- and compression-moulded into a cylinder.
Steam-bent shells consist of one ply of wood tha
Graphic design is the process of visual communication and problem-solving through the use of typography and illustration. The field is considered a subset of visual communication and communication design, but sometimes the term "graphic design" is used synonymously. Graphic designers create and combine symbols and text to form visual representations of ideas and messages, they use typography. Common uses of graphic design include corporate design, editorial design, wayfinding or environmental design, web design, communication design, product packaging and signage; the term graphic design was coined by William Addison Dwiggins in 1922. However, the origins of graphic design can be traced from the origins of human existence, from the caves of Lascaux, to Rome's Trajan's Column to the illuminated manuscripts of the Middle Ages, to the neon lights of Ginza, Tokyo. In "Babylon, artisans pressed cuneiform inscriptions into clay bricks or tablets which were used for construction; the bricks gave information such as the name of the reigning monarch, the builder, or some other dignitary".
This was the first known road sign announcing the name of the governor of a state or mayor of the city. The Egyptians developed communication by hieroglyphics that used picture symbols dating as far back as 136 B. C. found on the Rosetta Stone. "The Rosetta stone, found by one of Napoleon's engineers was an advertisement for the Egyptian ruler, Ptolemy as the "true Son of the Sun, the Father of the Moon, the Keeper of the Happiness of Men"" The Egyptians invented papyrus, paper made from reeds found along the Nile, on which they transcribed advertisements more common among their people at the time. During the "Dark Ages", from 500 AD to 1450 AD, monks created illustrated manuscripts. In both its lengthy history and in the recent explosion of visual communication in the 20th and 21st centuries, the distinction between advertising, graphic design and fine art has disappeared, they share many elements, principles, practices and sometimes the same benefactor or client. In advertising, the ultimate objective is the sale of services.
In graphic design, "the essence is to give order to information, form to ideas and feeling to artifacts that document human experience."Graphic design in the United States began with Benjamin Franklin who used his newspaper The Pennsylvania Gazette, to master the art of publicity to promote his own books and to influence the masses. "Benjamin Franklin's ingenuity gained in strength as did his cunning and in 1737 he had replaced his counterpart in Pennsylvania, Andrew Bradford as postmaster and printer after a competition he instituted and won. He showed his prowess by running an ad in his General Magazine and the Historical Chronicle of British Plantations in America that stressed the benefits offered by a stove he invented, named the Pennsylvania Fireplace, his invention is known as the Franklin stove. "American advertising imitated British newspapers and magazines. Advertisements were printed in scrambled type and uneven lines. Franklin better organized this by adding 14-point type for the first line of the advertisement.
Franklin added something that London printers had not attempted. Franklin was the first to utilize logos, which were early symbols that announced such services as opticians by displaying golden spectacles. Franklin taught advertisers; some advertisements ran for 10-20 lines, including color, names and sizes of the goods that were offered. During the Tang Dynasty wood blocks were cut to print on textiles and to reproduce Buddhist texts. A Buddhist scripture printed in 868 is the earliest known printed book. Beginning in the 11th century, longer scrolls and books were produced using movable type printing, making books available during the Song dynasty. During the 17th-18th century movable type was used for handbills or trade cards which were printed from wood or copper engravings; these documents announced its location. English painter William Hogarth used his skill in engraving was one of the first to design for business trade. In Mainz Germany, in 1448, Johann Gutenberg introduced movable type using a new metal alloy for use in a printing press and opened a new era of commerce.
This made graphics more available since mass printing dropped the price of printing material significantly. Most advertising was word of mouth. In France and England, for example, criers announced products for sale just as ancient Romans had done; the printing press made books more available. Aldus Manutius developed the book structure that became the foundation of western publication design; this era of graphic design is called Old Style. Additionally, William Caxton, England's first printer produced religious books, but had trouble selling them, he discovered the use of leftover pages and used them to announce the books and post them on church doors. This practice was termed "squis" or "pin up" posters, in 1612, becoming the first form of print advertising in Europe; the term Siquis came from the Roman era when public notices were posted stating "if anybody...", which in Latin is "si quis". These printed announcements were followed by public registers of wants called want ads and in some areas such as the first periodical in Paris advertising was termed "advices".
The "Advices" were what we know
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
Industrial metal is the fusion of heavy metal music and industrial music employing repeating metal guitar riffs, synthesizer or sequencer lines, distorted vocals. Prominent industrial metal acts include Godflesh, KMFDM and Nine Inch Nails. Industrial metal developed in the late 1980s, as industrial and metal began to fuse into a common genre. In the early years of the 21st century, groups from the black metal scene began to incorporate elements of industrial music. Industrial metal did well in the early 1990s in North America, with the success of groups such as Nine Inch Nails; the industrial metal movement began to fade in the latter half of the 1990s. Though electric guitars had been used by industrial artists since the early days of the genre, archetypal industrial groups such as Throbbing Gristle displayed a strong anti-rock stance. British post-punk band Killing Joke pioneered the crossing over between styles, was an influence on major acts associated with industrial metal such as Ministry and Nine Inch Nails.
Another pioneer industrial rock group, Big Black impacted some groups. By the late 1980s industrial and heavy metal began to fuse into a common genre, with Godflesh's self-titled EP and Ministry's The Land of Rape and Honey at the forefront. Godflesh was founded by former Napalm Death guitarist Justin Broadrick. Drawing from a wide array of influences—power electronics forefathers Whitehouse, noise rock band Swans, ambient music creator Brian Eno and fellow Birmingham hard rockers Black Sabbath—the Godflesh sound was once described as "Pornography-era Cure on Quaaludes". Though not a top-seller, Godflesh nonetheless became an influential act, their name mentioned by Korn, Danzig, Faith No More, Fear Factory. Ministry emerged from the scene surrounding Wax Trax! Records, a Chicago label dedicated to industrial music. Ministry's initial foray into guitar rock happened during a recording session of The Land of Rape and Honey on Southern Studios, in London; the band's frontman, the Cuban-born Al Jourgensen, explained this transition: Rediscovering the guitar on this record was like the first day I got my Fairlight.
The possibilities just seemed endless on something. That's funny. I started out as a guitarist, but I hadn't touched a guitar in five years. I heard that first feedback come out of the Marshall stack and all of a sudden it was like there was a whole new parameter within guitar playing itself – in combination with sounds that you get out of a keyboard. Jourgensen seemed fond of thrash metal. After the release of Land, he recruited guitarist Mike Scaccia from Texas thrashers Rigor Mortis. On one occasion, Jourgensen told the press, he expressed the desire to produce a Metallica album. Jourgensen's interest in dance-oriented electronic music did not fade, however. German band KMFDM was another seminal industrial metal group. Although not a metal fan, KMFDM leader Sascha Konietzko's "infatuation with ripping off metal licks" stemmed from his experiments with E-mu's Emax sampler in late 1986, he told Guitar World that, It was just interesting to use it as a kind of white noise reinforcement for our music.
All of a sudden heavy metal was free from all those tempo changes and boring attitudes it always had. What I always hated most about heavy metal was that the best riffs came only once and were never repeated. So the fascination was to sample a great riff, loop it, play it over and over again. A Swiss trio, The Young Gods, brushed with the style on L'Eau Rouge. Prior to its release, singer Franz Treichler declared: We just wanted to hear guitars. We missed the attack of'Envoyé'. That's, pure power. A metal sound that isn't revivalist, isn't biker style, speed metal style, any style, just WHAP! Canadian thrash metal band Malhavoc became another early pioneer of the genre when they began to mix thrash metal with industrial music in the late 1980sPigface, formed by Martin Atkins and including Ministry drummer Bill Rieflin, emerged as an industrial metal collective of sorts, participating with many figures from the noise rock and industrial worlds. Nine Inch Nails, the "one-man-band" formed by Trent Reznor, brought the genre to mainstream audiences with albums such as the Grammy-winning Broken and the best-selling The Downward Spiral, accompanied by their groundbreaking performance at Woodstock'94.
The rivethead subculture developed at this time, along with the so-called "coldwave" subgenre, which encompassed Chemlab, 16 Volt, Acumen Nation. Some electro-industrial groups adopted industrial metal techniques in this period, including Skinny Puppy, Front Line Assembly. British band Pitchshifter, formed in 1989 by brothers Jon and Mark Clayden started as an industrial metal band; the band included elements of drum and bass. Frontman JS mentions: In the early days we were inspired by bands like Head of David and Swans and the like... coming out of punk into the weird, total noise, kind of pre-industrial music. It gets called industrial but I don't know if it is. Industrial metal's popularity led a number of successful thrash metal groups, including Megadeth and Anthrax, to request remixes by "industrial" artists; some musicians emerging from the death metal scene, such as Fear Factory, Nailbomb and Meathook Seed began to experiment with industrial. Fear Factory, from Los Angeles, were influenced by the Earache roster (namely Godflesh
Redeemer (Machinae Supremacy album)
Redeemer is the second studio album of SID Metal band Machinae Supremacy, released on 18 March 2006. Planned for release by Music By Design Records Ltd. in 2005, it was delayed when MBD Records ceased to exist. On 6 February 2006, to celebrate the release of the new website, two new tracks from the album were made available for download: Rise and Through The Looking Glass. Rise is Lava Bubble Trouble from the Jets'n'Guns Soundtrack, reworked into a full song; the band would repeat this by converting Flight of the Toyota into the album-track SID Icarus within their next album. There are two versions of Redeemer, the underground edition and the retail edition; the album was recorded in Blind Dog Studios and Hubnester Industries, Luleå. All songs were written and performed by Machinae Supremacy. Released 18 March 2006. "Elite" – 4:24 "Rise" – 5:32 "Fury" – 5:06 "Ronin" – 4:17 "Kaori Stomp" – 4:17 "Hate" – 4:12 "I Know the Reaper" – 4:35 "Seventeen" – 3:45 "The Cavern of Lost Time" – 0:34 "Rogue World Asylum" – 4:13 "Through the Looking Glass" – 5:10 "Oki Kuma's Adventure" – 5:12 "Reanimator" – 5:00 "Prelude to Empire" – 1:37 "Empire" – 6:51 The major label edition of the album is trimmed and remixed.
It was released on November 8, 2006 by Spinefarm Records. This version included an additional track, released as a site release. "Elite" – 4:23 "Through the Looking Glass" – 5:07 "Rogue World Asylum" – 4:10 "Rise" – 5:30 "I Know the Reaper" – 4:34 "Hate" – 4:13 "Ghost" – 5:11 "Seventeen" – 3:42 "Ronin" – 5:13 "Oki Kuma's Adventure" – 5:23 "Reanimator" – 5:02 Redeemer received positive reviews, Matthias Mineur saying "Unaware of the tight rules that govern more'scene' oriented nations, have invented something magnificent: power rock." Some reviews have described the sound as "pop" like, while still remaining heavy, Nick Russel suggesting the album is "Pop music for metalheads?" and John A. Hanson using the term "power-pop" to describe the sound. One criticism is Stjärnström's vocals, with one reviewer describing them as "admittedly one of the whinier vocalists I've heard in quite a while," but he adds that it "manages to be epic all the same." Robert Stjärnström - Vocals, guitar and design Jonas Rörling - Guitar, backing vocals Johan Palovaara - Bass Andreas Gerdin - Keyboards, backing vocals Tomas Nilsén - Drums Fredrik Nordström - Mixing Patrik J - Mixing Thomas Eberger - Mastering Erica Öberg of Inja - Additional vocals Chicka Kowahira - Additional vocals Kahl Hellmer - Bass "Redeemer REVIEWS".
Collection of quotes from reviews. Retrieved 2007-11-09. Official album page Redeemer at MusicBrainz Redeemer at MusicBrainz