Pet Shop Boys
Pet Shop Boys are an English synth-pop duo, formed in London in 1981 and consisting of Neil Tennant and Chris Lowe. Pet Shop Boys have sold more than 100 million records worldwide, are listed as the most successful duo in UK music history by The Guinness Book of Records. Three-time Brit Award winners and six-time Grammy nominees, since 1985 they have achieved 42 Top 30 singles, 22 of them Top 10 hits in the UK Singles Chart, including four UK number ones: "West End Girls", "It's a Sin", an acclaimed cover of "Always on My Mind", "Heart". Other hit songs include a cover of "Go West", "Opportunities" and "What Have I Done to Deserve This?" in a duet with Dusty Springfield. At the 2009 Brit Awards in London, Pet Shop Boys received an award for Outstanding Contribution to Music. In 2016, Billboard magazine named Pet Shop Boys the number one dance duo/group over the 40 years since the chart's inception in 1976. In 2017 the duo received NME's Godlike Genius Award. Neil Tennant and Chris Lowe met in a hi-fi shop on King's Road in Chelsea, London, in 1981.
Tennant had purchased a Korg MS-10 synthesizer which sparked a conversation with Lowe, working in the shop at time. Discovering that they had a mutual interest in dance and electronic music, they began to work together on material, first in Tennant's flat in Chelsea from 1982, in a small studio in Camden Town, they claim their band name was taken from friends who worked in a pet shop in Ealing, were known as the "pet shop boys". In August 1983, Tennant, an assistant editor at Smash Hits, went to New York to interview Sting. While there he arranged to meet Hi-NRG producer Bobby Orlando, gave him a demo tape containing "It's a Sin" and "Opportunities". From 1983–84, Orlando recorded 11 tracks with Tennant and Lowe including "West End Girls", "Opportunities", "It's A Sin", "I Want A Lover", "I Get Excited", "Two Divided By Zero", "Rent", "Later Tonight", "Pet Shop Boys", "A Man Could Get Arrested" and "One More Chance". In April 1984, the Orlando-produced "West End Girls" was released, becoming a club hit in Los Angeles and San Francisco.
On 2 November, it was voted "Screamer of the Week" by listeners of Long Island, New York, radio station WLIR. It was a minor dance hit in Belgium and France, but was only available in the United Kingdom as a 12" import. In March 1985, after long negotiations, Pet Shop Boys cut their contractual ties with Bobby O, with a settlement giving Bobby O significant royalties for future sales. Hiring manager Tom Watkins, they signed with the London-based Parlophone label. In April, Tennant left Smash Hits magazine - where he had progressed to the position of deputy editor - and in July, a new single, "Opportunities", was released, reaching number 116 in the UK; the B-side to this single, "In the Night" resurfaced, in a longer remixed version, as the opening track to the duo's first remix album, Disco, in 1986. This version was used as the theme for the UK television series The Clothes Show. Unperturbed by the low chart position, the band returned to the studio in August to re-record "West End Girls" with producer Stephen Hague.
Released in October 1985, this new version entered the charts at a low position, but began a slow rise so that, by January 1986, it achieved the top spot. It was subsequently number one in the United States, Finland, Hong Kong, Israel, New Zealand and Norway and sold an estimated 1.5 million copies worldwide. It remains the most-heard Pet Shop Boys song to date. After the success of "West End Girls", Pet Shop Boys released a follow-up single, "Love Comes Quickly", on 24 February 1986; the single reached number 19 in the UK Singles Chart and was followed by their debut album, Please, on 24 March. In June 1986, the band announced a European tour. Please started Pet Shop Boys' penchant for choosing one-word album titles, which Neil Tennant has since stated is now a Pet Shop Boys "signature thing", akin to e.e. cummings' use of lower case letters. New versions of their second single, "Opportunities", the album track "Suburbia" were released in 1986, followed by a remix album, Disco. In September 1986, Pet Shop Boys performed "Love Comes Quickly" and "West End Girls" at the 1986 MTV Video Music Awards in Los Angeles.
1987 started with Pet Shop Boys receiving both a BRIT Award and Ivor Novello Award for "West End Girls". On 15 June, they released what became their second number one single, "It's a Sin"; the single caused some controversy: Tennant's school, St. Cuthbert's Grammar School, in Newcastle upon Tyne, chastised him in the press, while Jonathan King accused them of plagiarising the Cat Stevens song "Wild World". Pet Shop Boys sued King and won damages, which were donated to charity; the video to "It's a Sin" saw their first collaboration with director Derek Jarman. The continued success of "It's a Sin" was followed by the release of "What Have I Done to Deserve This?" on 10 August. Co-written with Allee Willis and featuring Dusty Springfield on vocals, the single reached number two on the UK Singles Chart and the U. S. Billboard Hot 100 chart. Although the duo had wanted to release this track on their debut album, they had been unable to track down Springfield and were reluctant to record it with any other female singer, despite their record company's suggestions.
Springfield's manager contacted them in 1986, following the release of Please, towards the end of that year, she travelled to London to record "What Have I Done to Deserve This?" with them. It was the fi
Graveworm is an Italian gothic metal band from Brunico formed in 1992. Before Graveworm released a demo, they were signed by Serenades Records after a performance close to their hometown of Brunico, northern Italy. Graveworm was signed to Serenades Records in 1997, releasing their first EP, Eternal Winds, in that same year. During their first tour together with Crematory and Lake of Tears, the band promoted the album When Daylight's Gone. In 1998, the EP Underneath the Crescent Moon was released, featuring Sarah Jezebel Deva in the track "Awake... Thy Angels Of Sorrow". Graveworm performed at the Wacken Open Air festival in Germany with bands such as Children of Bodom, Cradle of Filth and Vader; the second album As the Angels Reach the Beauty was finished in 1999, followed by a European tour with Agathodaimon. Scourge of Malice was released in 2001, which allowed the band their first headlining tour together with Dornenreich and Darkwell. In 2002, they changed to the German Nuclear Blast label.
At this point, Didi Schraffel left Harry Klenk was replaced by Eric Treffel. Treffel soon was replaced by Eric Righi on guitar. Together with Righi, they produced Engraved in Black, finished in 2003, enhanced with a feature of R. E. M.'s "Losing My Religion". Shortly after the release, Stefan Unterpertinger quit and Lukas Flarer joined the band. Harry Klenk, former guitarist and now bassist, re-joined the band. In 2004, Graveworm played on the X-Mass Festival tour together with Destruction and many others. Martin Innerbichler was temporarily replaced by Moritz Neuner; the album utopia was released in 2005. Lukas Flarer left the band for personal reasons, was replaced by Orgler "Stirz" Thomas. In 2006, Graveworm embarked on a North American tour with Kataklysm, The Absence, Vader. On April 10, 2007, the promo of the latest Graveworm album, Collateral Defect, was leaked on the web; the album was launched in Europe on May 25 via Massacre Records and June 5 in North America through Nuclear Blast. It was produced by Andy Classen at Stage One studios in Germany.
Graveworm's album Diabolical Figures was released on June 19, 2009 and features Karsten Jäger as a guest musician. In 2011 Graveworm released album Fragments of Death. In 2012 Thomas Orgler and Sabine Mair quit and Stefan Unterpertinger reunited with Graveworm. On June 19, 2015, Graveworm released their 9th official studio album Ascending Hate; the band Graveworm is mentioned in Tony Vilgotsky's horror novel Shepherd of the Dead. Stefan Unterpertinger - Guitars Stefan Fiori - Vocals Maschtl Innerbichler - Drums Eric Righi - Guitars Florian Reiner - Bass Thomas Orgler - Guitar Sabine Mair - Keyboard Lukas Flarer - Guitar Didi Schraffel - Bass Eric Treffel - Guitar Harry Klenk - Guitar, Bass 1997: When Daylight's Gone 1999: As the Angels Reach the Beauty 2001: Scourge of Malice 2003: Engraved in Black 2005: utopia 2007: Collateral Defect 2009: Diabolical Figures 2011: Fragments of Death 2015: Ascending Hate Official website Graveworm at Nuclear Blast Graveworm discography at MusicBrainz Graveworm at Encyclopaedia Metallum
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
Scourge of Malice
Scourge of Malice is the third studio album by the symphonic black metal band Graveworm, released in 2001 through Last Episode. The seventh track is mislabeled on most P2P networks as being performed by Cradle of Filth, Children of Bodom, or Kalmah. All songs written except where noted. "Dreaded Time" – 1:48 "Unhallowed by the Infernal One" – 5:59 "Abandoned by Heaven" - 6:08 "Descending into Ethereal Mist" – 6:46 "Threnody" – 4:30 "Demonic Dreams" – 7:23 "Fear of the Dark" – 8:47 "In Vengeance of Our Wrath" – 5:55 "Ars Diaboli" – 1:13 "Sanctity Within Darkness" – 5:22 Stefan Fiori – Vocals Steve Unterpertinger – Lead-Guitar Sabine Mair – Keyboards Eric Treffel – Rhythm-Guitar Diddi Schraffel – Bass Martin Innerbichler – Drums Laura Jungwirt – Violin Severin Trogbacher – Viola Theresia Kainzbauern – cello Peter Nietsche – Bass Moritz Polin, Erwig Pfaffenzeller, Jorg Pfaffenzeller – Gregorianic chants on "Ars Diaboli" Jorg Pfaffenzeller – Acoustic Guitar Herman Kühebacher – Scottish WarpipeSpecial Guest on "Threnody" by Boban Milunovic All music written and composed by Graveworm except "Fear of the Dark" by Steve Harris Barbara Sitzmann, Foto Rapid – Photography Markus Pfeifhofer – Design and Layout at Newport Graphics Boban Milunovic – Mastering at Victor, Recording Reinhard Brunner – Editing at ATS Studio Scourge of Malice at Allmusic
The discography for Graveworm, an Italian melodic black metal band, consists of one demo album, two extended plays, nine studio albums, one video album and one compilation album. Graveworm signed with Serenades records in 1997 before recording any material, they released their demo, their first extended play and studio album, Eternal Winds and When Daylight's Gone, in the same year followed by their second extended play and their first video album, Underneath the Crescent Moon and Awaiting the Shining, the year after. Towards the end of 1999 they released their second studio album As the Angels Reach the Beauty and their third studio album Scourge of Malice, alongside the joint re-release of When Daylight's Gone and Underneath The Crescent Moon that year before singing to Nuclear Blast records, their first release under Nuclear Blast was Engraved in their fourth studio album. Two years they released their fifth studio album, their sixth studio album, Collateral Defect, their seventh studio album Diabolical Figures, their eighth studio album Fragments Of Death and their most recent studio album Ascending Hate.
Official discography Graveworm at Discogs Graveworm at Allmusic
It's a Sin
"It's a Sin" is a song recorded by English synthpop duo the Pet Shop Boys which reached number one on the UK Singles Chart for three weeks in 1987, was their third top ten in the US when it reached number nine on the Billboard Hot 100. Written by Chris Lowe and Neil Tennant, "It's a Sin" was the lead single from the duo's second studio album, Actually. Released in June 1987, it became the duo's second UK number one single, it was a massive hit across Europe the best-selling European single of 1987. In the United States it reached number nine on the Billboard Hot 100 chart, becoming the duo's third Top 10 hit there. A demo of the track was first cut in 1984 with Bobby O, the song's form in the demo remained intact to the final version, although the released production is far more dramatic; the song is a description of Tennant's Catholic upbringing and education at St Cuthbert's High School in Newcastle upon Tyne, implying that everything, perceived to be pleasurable in life is regarded as sinful.
The song uses extensive samples from Latin masses and religious imagery throughout to reinforce the feel of the song. Tennant has said that he wrote the lyrics in 15 minutes, purging his emotions in a moment of frustration and anger; the Latin passage near the end translates as, "I confess to almighty God, to you, my brothers, that I have sinned exceedingly in thought, word and omission, through my fault, through my fault, through my most grievous fault". The dramatic, overblown production style of the song, loaded with synthesizers, orchestra hits and bookended by a non sequitur sample of a NASA countdown, has come to exemplify the most theatrical extremes of the Pet Shop Boys' musical style, it remains a concert staple, being one of only two songs, played during every Pet Shop Boys tour. At the time of the single's release, British DJ Jonathan King accused the Pet Shop Boys of plagiarising the melody for "It's a Sin" from Cat Stevens' 1971 hit "Wild World", he made the claims in The Sun newspaper.
King went so far as to release his own cover version of "Wild World" as a single, using a similar musical arrangement to "It's a Sin", in an effort to demonstrate his claims. This single flopped, while the Pet Shop Boys sued King winning out-of-court damages, which they donated to charity. 7": Parlophone / R 6158 "It's a Sin" – 4:59 "You Know Where You Went Wrong" – 5:5112": Parlophone / 12R 6158 "It's a Sin" – 7:39 "You Know Where You Went Wrong" – 5:51 "It's a Sin" – 4:59CD: Parlophone / CDR 6158 "It's a Sin" – 4:59 "You Know Where You Went Wrong" – 5:51 "It's a Sin" – 7:3912": Parlophone / 12RX 6158 "It's a Sin" – 8:15 "You Know Where You Went Wrong" – 6:3812": EMI-Manhattan / V-19256 "It's a Sin" – 9:14 "It's a Sin" – 4:20 "It's a Sin" – 8:15 "It's a Sin" – 7:39 "You Know Where You Went Wrong" – 5:51 In 2004, the band participated in Passport Back to the Bars, a series of benefit concerts to raise funds for Shelter and War Child, set in the various Barfly venues. Their show at the Camden Town Barfly was noted as their first-ever without backing musicians.
Directed by Derek Jarman, the "It's a Sin" video marked the experimental director's first of several collaborations with the band. It extended the lyrical themes of the song by showing Tennant under arrest by an inquisition with Lowe as his jailer and Ron Moody in the role of his judge, interspersed with brief clips of personifications of the seven deadly sins. Heath, Chris. "It's a Sin". In Actually / Further Listening 1987-1988. London: Pet Shop Boys Partnership. Longmire and Steffen Gärtner. "Pet Shop Boys: It's a Sin". Gardner's Pet Shop Boys Discography. Gardner Publishing Ltd. Retrieved 2006-09-10. Lyrics of this song at MetroLyrics
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