1.
Hereford, Herefordshire
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Hereford is a cathedral city, civil parish and county town of Herefordshire, England. It lies on the River Wye, approximately 16 miles east of the border with Wales,24 miles southwest of Worcester, with a population of 58,896, it is the largest settlement in the county. The name Hereford is said to come from the Anglo-Saxon here, an army or formation of soldiers, and the ford, if this is the origin it suggests that Hereford was a place where a body of armed men forded or crossed the Wye. The Welsh name for Hereford is Henffordd, meaning old road, much of the county of Herefordshire was Welsh-speaking, as reflected in the Welsh names of many places in the county. An early town charter from 1189 granted by Richard I of England describes it as Hereford in Wales, Hereford has been recognised as a city since time immemorial, with the status being reconfirmed as recently as October 2000. It is now known chiefly as a centre for a wider agricultural and rural area. Products from Hereford include, cider, beer, leather goods, nickel alloys, poultry, chemicals, hostilities between the Anglo-Saxons and the Welsh came to a head with the Battle of Hereford in 760, in which the Britons freed themselves from the influence of the English. Hereford had the only mint west of the Severn in the reign of Athelstan, and it was to Hereford, then a border town, the present Hereford Cathedral dates from the early 12th century, as does the first bridge across the Wye. Former Bishops of Hereford include Saint Thomas de Cantilupe and Lord High Treasurer of England Thomas Charlton. The city gave its name to two suburbs of Paris, France, Maisons-Alfort and Alfortville, due to a manor built there by Peter of Aigueblanche, Bishop of Hereford, in the middle of the 13th century. Hereford, a base for successive holders of the title Earl of Hereford, was once the site of a castle, Hereford Castle, which rivalled that of Windsor in size and scale. This was a base for repelling Welsh attacks and a stronghold for English kings such as King Henry IV when on campaign in the Welsh Marches against Owain Glyndŵr. The castle was dismantled in the 18th century and landscaped into Castle Green, after the Battle of Mortimers Cross in 1461, during the Wars of the Roses, the defeated Lancastrian leader Owen Tudor was taken to Hereford by Sir Roger Vaughan and executed in High Town. A plaque now marks the spot of the execution, Vaughan was later himself executed, under a flag of truce, by Owens son Jasper. During the civil war the city changed several times. On 30 September 1642 Parliamentarians led by Sir Robert Harley and Henry Grey, in December they withdrew to Gloucester because of the presence in the area of a Royalist army under Lord Herbert. The city was occupied briefly from 23 April to 18 May 1643 by Parliamentarians commanded by Sir William Waller. On 31 July 1645 a Scottish army of 14,000 under Alexander Leslie, 1st Earl of Leven besieged the city but met resistance from its garrison
2.
House music
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House music is a genre of electronic music created by club DJs and music producers in Chicago in the early 1980s. Early house music was characterized by repetitive 4/4 beats, rhythms mainly provided by drum machines, off-beat hi-hat cymbals. While house displayed several characteristics similar to music, it was more electronic and minimalistic. House music became popular in Chicago clubs in 1984 and it was pioneered by figures such as Frankie Knuckles, Phuture, Kym Mazelle, and Mr. Fingers, and was associated with African-American and gay subcultures. House music quickly spread to other American cities such as Detroit, New York City, Baltimore, in the mid-to-late 1980s, house music became popular in Europe as well as major cities in South America, and Australia. Since the early to mid-1990s, house music has been infused in mainstream pop, in the late 1980s, many local Chicago house music artists suddenly found themselves presented with major label deals. House music proved to be a successful genre and a more mainstream pop-based variation grew increasingly popular. House music has also fused with other genres creating fusion subgenres, such as euro house, tech house, electro house. After enjoying significant success in the early to mid-90s, house music grew even larger during the wave of progressive house. The genre has remained popular and fused into other subgenres, for example, ghetto house, deep house. As of 2016, house music popular in both clubs and in the mainstream pop scene while retaining a foothold on underground scenes across the globe. The song structure of music songs typically involves an intro, a chorus, various verse sections, a midsection. Some songs do not have a verse, taking a part from the chorus. The drum beat is one of the important elements within the genre and is almost always provided by an electronic drum machine rather than by a human drummer playing drumkit. The drum beats of house are four on the floor, with bass drums played on every beat, House music is often based on bass-heavy loops or basslines produced by a synthesizer and/or from samples of disco or funk songs. The tempo of most house songs is between 118 and 135 beats per minute, soul music and disco influenced house music. These artists produced longer, more repetitive, and percussive arrangements of existing disco recordings, early house producers such as Frankie Knuckles created similar compositions from scratch, using samplers, synthesizers, sequencers, and drum machines. Rachel Cain, co-founder of an influential Trax Records, was involved in the burgeoning punk scene and cites industrial
3.
Trip hop
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Trip hop is a musical genre that originated in the early 1990s in the United Kingdom, especially Bristol. Trip hop can be highly experimental and it was pioneered by acts like Massive Attack, Tricky, and Portishead. Trip hop achieved commercial success in the 1990s, and has described as Europes alternative choice in the second half of the 90s. DJs, MCs, b-boys and graffiti artists grouped together into informal soundsystems, Bristols soundsystem DJs, drawing heavily on Jamaican dub music, typically used a laid-back, slow and heavy drum beat. Bristols Wild Bunch crew became one of the soundsystems to put a spin on the international phenomenon, helping to birth Bristols signature sound of trip hop. As the hip hop scene matured in Bristol and musical trends evolved further toward acid jazz and house in the late 1980s, another influence came from Gary Clails Tackhead soundsystem. Clail often worked with former The Pop Group singer Mark Stewart, produced by Adrian Sherwood, the music combined hiphop with experimental rock and dub and sounded like a premature version of what later became trip hop. In 1993, Kirsty MacColl released Angel, one of the first examples of the crossing over to pop. In the 1990s, Janet Jackson brought trip hop into the American charts with the song If, several songs on her Janet. and The Velvet Rope used this genre of music, Songs like Got Til Its Gone and You. Massive Attacks first album Blue Lines was released in 1991 to huge success in the UK, Massive Attack released their second album entitled Protection in 1994. The term trip hop was coined that year, but not in reference to anything on the Massive Attack albums, in 1993, Icelandic musician Björk released Debut, produced by Wild Bunch member Nellee Hooper. The album, although rooted in four-on-the-floor house music, contained elements of trip hop and is credited as one of the first albums to introduce electronic music into mainstream pop. She had been in contact with Londons underground electronic music scene and was involved with trip hop musician Tricky. Björk embraced trip hop even more with her 1995 album Post by collaborating with Tricky, homogenic, her 1997 album, has been described as a pinnacle of trip hop music. 1994 and 1995 saw trip hop near the peak of its popularity, with such as Howie B, Naked Funk. The period also marked the debut of two acts who, along with Massive Attack, would define the Bristol scene for years to come, in 1994 Portishead, a trio comprising singer Beth Gibbons, Geoff Barrow, and Adrian Utley, released their debut album Dummy. Their background differed from Massive Attack in many ways, one of Portisheads primary influences was 1960s and 1970s film soundtrack LPs, nevertheless, Portishead shared the scratchy, jazz-sample-based aesthetic of early Massive Attack, and the sullen, fragile vocals of Gibbons also brought them wide acclaim. In 1995, Dummy was awarded the Mercury Music Prize as the best British album of the year, Tricky also released his debut solo album Maxinquaye in 1995, to great critical acclaim
4.
Dubstep
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Dubstep is a genre of electronic dance music that originated in South London, England. It emerged in the late 1990s as a development within a lineage of related styles such as 2-step garage, dub, techno, drum and bass, broken beat, jungle, and reggae. In the United Kingdom the origins of the genre can be traced back to the growth of the Jamaican sound system party scene in the early 1980s, the music generally features sparse, syncopated drum and percussion patterns with bass lines that contain prominent sub bass frequencies. The earliest dubstep releases date back to 1998, and were featured as B-sides of 2-step garage single releases. These tracks were darker, more experimental remixes with less emphasis on vocals, a very early supporter of the sound was BBC Radio 1 DJ John Peel, who started playing it from 2003 onwards. In 2004, the last year of his show, his listeners voted Distance, Digital Mystikz, simultaneously, the genre was receiving extensive coverage in music magazines such as The Wire and online publications such as Pitchfork, with a regular feature entitled The Month In, Grime/Dubstep. Interest in dubstep grew significantly after BBC Radio 1 DJ Mary Anne Hobbs started championing the genre, towards the end of the 2000s and into the early 2010s, the genre started to become more commercially successful in the UK, with more singles and remixes entering the music charts. Music journalists and critics noticed a dubstep influence in several pop artists work. The music website Allmusic has described Dubsteps overall sound as tightly coiled productions with overwhelming bass lines and reverberant drum patterns, clipped samples, and occasional vocals. According to Simon Reynolds, Dubsteps constituents originally came from different points in the 1989—99 UK lineage, bleep n bass, jungle, techstep, Photek-style neurofunk, speed garage,2 step. Reynolds comments that the traces of pre-existing styles worked through their intrinsic sonic effects but also as signifiers, Dubsteps early roots are in the more experimental releases of UK garage producers, seeking to incorporate elements of drum and bass into the South London-based 2-step garage sound. These experiments often ended up on the B-side of a label or commercial garage release. Similar to a vocal garage hybrid – grime – the genres feel is commonly dark, tracks frequently use a minor key, other distinguishing features often found are the use of samples, a propulsive, sparse rhythm, and an almost omnipresent sub-bass. Some dubstep artists have incorporated a variety of outside influences. Dubstep rhythms are usually syncopated, and often shuffled or incorporating tuplets, the tempo is nearly always in the range of 138–142 beats per minute, with a clap or snare usually inserted every third beat in a bar. In its early stages, dubstep was often more percussive, with influences from 2‑step drum patterns. A lot of producers were experimenting with tribal drum samples, such as Loefahs early release Truly Dread. One characteristic of certain strands of dubstep is the bass, often referred to as the wub
5.
Drum and bass
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Drum and bass is a genre and branch of electronic music which emerged from rave and oldschool jungle scenes in England during the early 1990s. The style is characterised by fast breakbeats with heavy bass and sub-bass lines, sampled sources. The popularity of drum and bass at its peak ran parallel to several other homegrown dance styles in the UK including big beat. Drum and bass incorporates a number of scenes and styles, a major influence on jungle and drum and bass was the original Jamaican dub and reggae sound. Another feature of the style is the syncopation of the drum tracks breakbeat. Drum and bass subgenres include breakcore, ragga jungle, hardstep, darkstep, techstep, neurofunk, ambient drum and bass, liquid funk, deep, drumfunk, funkstep, sambass, dnbnoise, from its roots in the UK, the style has established itself around the world. Drum and bass has influenced other genres like hip hop, big beat, dubstep, house, trip hop, ambient music, techno, rock. Drum and bass is dominated by a small group of record labels. The major international labels have shown very little interest in the drum. But rave music tended to feature stronger bass sounds and a faster tempo beats per minute than that of early house music and it is important to note when discussing the history of drum and bass that prior to jungle, rave music was getting faster and more experimental. Professional DJ and producer C. K. states, There was a progression as far as the speed of music is concerned, anyone buying vinyl every week from 1989 to 1992 noticed this. By 1994, jungle had begun to gain popularity and fans of the music became a more recognisable part of youth subculture. However, this developed in tandem with the positive reputation of the music as part of the wider rave scene. As the genre became more polished and sophisticated technically, it began to expand its reach from pirate radio to commercial stations. It also began to split into subgenres such as jump-up. The popularity of drum and bass at its peak ran parallel to several other homegrown dance styles in the UK including big beat. But towards the turn of the millennium its popularity was deemed to have dwindled as the UK garage style known as speed garage yielded several hit singles. London DJ/producer C. K. says, It is often forgotten by my students that a type of music called garage house existed in the late 1980s alongside hip house, acid house and other forms of house music
6.
Techno
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Techno is a form of electronic dance music that emerged in Detroit, Michigan, in the United States during the mid-to-late 1980s. The first recorded use of the word techno in reference to a genre of music was in 1988. Many styles of techno now exist, but Detroit techno is seen as the foundation upon which a number of subgenres have been built. Added to this is the influence of futuristic and fictional themes relevant to life in American late capitalist society, pioneering producer Juan Atkins cites Tofflers phrase techno rebels as inspiring him to use the word techno to describe the musical style he helped to create. This unique blend of influences aligns techno with the referred to as afrofuturism. To producers such as Derrick May, the transference of spirit from the body to the machine is often a central preoccupation, in this manner, techno dance music defeats what Adorno saw as the alienating effect of mechanisation on the modern consciousness. Stylistically, techno is generally repetitive instrumental music, oftentimes produced for use in a continuous DJ set, the tempo tends to vary between approximately 120 to 150 beats per minute, depending on the style of techno. The creative use of production technology, such as drum machines, synthesizers. Many producers use retro electronic musical devices to create what they consider to be an authentic techno sound, drum machines from the 1980s such as Rolands TR-808 and TR-909 are highly prized, and software emulations of such retro technology are popular among techno producers. The Electrifying Mojo was the first radio DJ to play music by the Detroit techno producers Juan Atkins, Derrick May, Mojo refused to follow pre-established radio formats or playlists, and he promoted social and cultural awareness of the African American community. In exploring technos origins writer Kodwo Eshun maintains that Kraftwerk are to Techno what Muddy Waters is to the Rolling Stones, the authentic, the origin, the real. Juan Atkins has acknowledged that he had an enthusiasm for Kraftwerk and Giorgio Moroder, particularly Moroders work with Donna Summer. Atkins also mentions that around 1980 I had a tape of nothing but Kraftwerk, Telex, Devo, Giorgio Moroder and Gary Numan, and Id ride around in my car playing it. Regarding his initial impression of Kraftwerk, Atkins notes that they were clean, Derrick May identified the influence of Kraftwerk and other European synthesizer music in commenting that it was just classy and clean, and to us it was beautiful, like outer space. Living around Detroit, there was so little beauty, everything is an ugly mess in Detroit, and so we were attracted to this music. May has commented that he considered his music a direct continuation of the European synthesizer tradition and he also identified Japanese synthpop act Yellow Magic Orchestra, particularly member Ryuichi Sakamoto, and British band Ultravox, as influences, along with Kraftwerk. In 1980 or 1981 they met with Mojo and proposed that they provide mixes for his show, which they did end up doing the following year. These young promoters developed and nurtured the local music scene by both catering to the tastes of the local audience of young people and by marketing parties with new DJs
7.
Ellie Goulding
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Elena Jane Ellie Goulding is an English singer, songwriter and record producer. Her career began when she met record producers Starsmith and Frankmusik, and she was spotted by Jamie Lillywhite. After signing to Polydor Records in July 2009, Goulding released her extended play, An Introduction to Ellie Goulding. In 2010, she became the second artist to top the BBCs annual Sound of, poll and win the Critics Choice Award at the Brit Awards in the same year. She released her studio album, Lights, in 2010. The albums title track, Lights, was released in the US in March 2011, Gouldings second studio album, Halcyon, was released in October 2012. Anything Could Happen preceded the album as the lead single, Halcyon debuted at number two on the UK Albums Chart and after 65 weeks reached number one. Halcyon debuted at nine on the US Billboard 200. Halcyon Days, an edition of Halcyon, was released on 23 August 2013, it included new singles including Burn. At the 2014 Brit Awards, she received the award for British Female Solo Artist, Goulding released her third studio album, titled Delirium, on 6 November 2015, with On My Mind as the albums lead single. In December 2015, she received her first Grammy Award nomination for Best Pop Solo Performance for her single Love Me like You Do. Elena Jane Goulding was born on 30 December 1986 in Hereford and raised in Lyonshall, a village near Kington, Herefordshire. Her father, Arthur Goulding, came from a family of undertakers, while her mother, Tracy, when she was 5, her parents separated, later she had a stepfather who was a lorry driver, whom she considered horrible. At 9, she playing the clarinet and at 14 began learning guitar. Goulding attended Lady Hawkins High School in Kington where she won the role of the Scarecrow in a production of The Wizard of Oz. At 15, she started songwriting and while at Hereford Sixth Form College entered a competition and won. After she successfully showcased for Turn First head Sarah Stennett, she was told to leave university and was set up in a house in West London, Lillywhite became her manager and introduced her to the producer Starsmith who would become her chief collaborator and the primary producer of Lights. The single peaked at number fifty-three on the UK Singles Chart following an appearance on Later
8.
Little Simz
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Simbi Ajikawo, better known by her stage name Little Simz, is a British rapper, singer and actress. Following the release of four mixtapes and five EPs, she released her debut album A Curious Tale of Trials + Persons on 18 September 2015 through her independent label, the album entered the UK R&B Albums Chart at number 20 and the UK Indie Albums Chart at number 43. Ajikawo was born in Islington, London to Nigerian parents and she studied at Highbury Fields School in London. She went on to attend St Mary’s Youth Club in Upper Street, Islington, Ajikawo later studied at Westminster Kingsway College and pursued her music career from there. After several months of auditioning by the BBC for the show Spirit Warriors, in 2012, Simz joined the cast of E4s TV series Youngers as Meleka. Simz is often nicknamed Bars Simzson and she describes her music as rap and experimental. Simz has performed alongside Estelle, Tinie Tempah, Ms. Dynamite, Simz has performed at Rising Tide, ILUVLIVE, Industry Takeover Hackney Empire, Somerset House and the House of Lords. She also performed at the BBC 1Xtra Prom 2015 at the Royal Albert Hall, Simz can be heard on the Leave to Remain film soundtrack, performing the song Leave It As That. In early 2013, she appeared on BBC Radio 1 Xtra to discuss her performance at the Hackney Weekend. Simz then went on to do a Maida Vale session for Huw Stephens and she also has had praise from Kendrick Lamar. On 16 December 2016 she released the album Stillness in Wonderland and it was inspired by Alices Adventures in Wonderland and supported by a comic book, art exhibition and festival. A Curious Tale of Trials + Persons Stillness in Wonderland STRATOSPHERE STRATOSPHERE2 XY. ZED BLANK CANVAS E. D. G. E AGE101, DROP1 AGE101, DROP2 AGE101, DROP 3|000 AGE101, DROP4 THE THEORY OF. AGE101, DROP X AGE101 DROP THE WORLD Welcome To Wonderland Little Simz at the Internet Movie Database Little Simz discography at MusicBrainz
