Matando Güeros is the debut album from the band Brujeria. "Güero" is a Mexican-Spanish slang term for a light skinned/haired person. The album talks humorously about controversial topics in Mexico like drug trafficking, satanic rituals, migration, illegal border crossing, Anti-Americanism; the front cover depicts a person out of shot holding up a severed head, taken from Mexican Shocking and Sensationalistic/Yellow journalistic newspaper ¡Alarma! The album was banned in many places due to its content; this head, nicknamed "Coco Loco", has been taken by the band as a logo. Track 16 to 19 are taken from the Machetazos single. All Songs Written and Arranged By Brujeria."Pura de Venta" – 0:42 "Leyes Narcos" – 1:10 "Sacrificio" – 1:16 "Santa Lucía" – 0:43 "Matando Güeros" – 2:25 "Seis Seis Seis" – 1:19 "Cruza la Frontera" – 1:44 "Greñudos Locos" – 1:28 "Chingo de Mecos" – 1:16 "Narcos Satánicos" – 1:50 "Desperado" – 2:42 "Culeros" – 0:52 "Misas Negras" – 1:21 "Chinga Tu Madre" – 3:11 "Verga del Brujo / Están Chingados" – 3:43 "Molestando Niños Muertos" – 2:57 "Machetazos" – 1:27 "Castigo del Brujo" – 1:44 "Cristo de la Roca" – 1:13 Juan Brujo: vocals Asesino: guitar Hongo: guitar.
Raza Odiada is the second album by Brujeria. Brujeria's main concepts are Satanism, pro-immigration and drug smuggling, related themes. Raza Odiada is a song critical of Pete Wilson and his opposition to illegal immigration and to racial preferences; the song features ex-Dead Kennedys vocalist Jello Biafra as the voice of Pete Wilson. "La Migra" is a song about illegal corruption. "Revolución" is a pro-Zapatista Army of National Liberation song. A music video was released for the song "La Ley De Plomo", which received rotation on MTV, it features three tracks appearing on the 7" singles El Patrón, ¡Machetazos! on Alternative Tentacles. The cover features a photograph of Subcomandante Insurgente Marcos, the spokesperson and one of the main leaders of the Zapatista Army of National Liberation. NME - 8 - " nugget... Brujeria are a Chicano hardcore band. Short and brutal, the assault begins with a scathing attack on California governor Pete Wilson's Proposition 187 - which stopped Mexican and South American immigrants in the state from receiving welfare, medical care and education."
"Raza Odiada" – 3:30 "Colas de Rata"– 1:33 "Hechando Chingasos" – 3:34 "La Migra" – 1:43 "Revolución" – 3:18 "Consejos Narcos" – 2:39 "Almas de Venta" – 2:12 "La Ley del Plomo" – 2:45 "Los Tengo Colgando" – 1:48 "Sesos Humanos" – 1:15 "Primer Meco" – 1:15 "El Patrón" – 3:42 "Hermanos Menéndez" – 2:05 "Padre Nuestro" – 2:07 "Ritmos Satánicos" – 6:51 Juan Brujo - Garganta Asesino - Guitarra/Bajo Güero Sin Fe - Bajo/Guitarra Fantasma - Bajo/Lengua Hongo - Bajo/Guitarra/Bateria Greñudo - Bateria Pinche Peach - Gritos JR. Hozicon - Director Diabolico
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
A record producer or music producer oversees and manages the sound recording and production of a band or performer's music, which may range from recording one song to recording a lengthy concept album. A producer has varying roles during the recording process, they may gather musical ideas for the project, collaborate with the artists to select cover tunes or original songs by the artist/group, work with artists and help them to improve their songs, lyrics or arrangements. A producer may also: Select session musicians to play rhythm section accompaniment parts or solos Co-write Propose changes to the song arrangements Coach the singers and musicians in the studioThe producer supervises the entire process from preproduction, through to the sound recording and mixing stages, and, in some cases, all the way to the audio mastering stage; the producer may perform these roles themselves, or help select the engineer, provide suggestions to the engineer. The producer may pay session musicians and engineers and ensure that the entire project is completed within the record label's budget.
A record producer or music producer has a broad role in overseeing and managing the recording and production of a band or performer's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, composing the music for the project, selecting songs or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, supervising the entire process through audio mixing and, in some cases, to the audio mastering stage. Producers often take on a wider entrepreneurial role, with responsibility for the budget, schedules and negotiations. Writer Chris Deville explains it, "Sometimes a producer functions like a creative consultant — someone who helps a band achieve a certain aesthetic, or who comes up with the perfect violin part to complement the vocal melody, or who insists that a chorus should be a bridge. Other times a producer will build a complete piece of music from the ground up and present the finished product to a vocalist, like Metro Boomin supplying Future with readymade beats or Jack Antonoff letting Taylor Swift add lyrics and melody to an otherwise-finished “Out Of The Woods.”The artist of an album may not be a record producer or music producer for his/her album.
While both contribute creatively, the official credit of "record producer" may depend on the record contract. Christina Aguilera, for example, did not receive record producer credits until many albums into her career. In the 2010s, the producer role is sometimes divided among up to three different individuals: executive producer, vocal producer and music producer. An executive producer oversees project finances, a vocal producers oversees the vocal production, a music producer oversees the creative process of recording and mixings; the music producer is often a competent arranger, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer selects and/or collaborates with the mixing engineer, who takes the raw recorded tracks and edits and modifies them with hardware and software tools to create a stereo or surround sound "mix" of all the individual voices sounds and instruments, in turn given further adjustment by a mastering engineer for the various distribution media.
The producer oversees the recording engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as "the person who creatively guides or directs the process of making a record", like a director would a movie. Indeed, in Bollywood music, the designation is music director; the music producer's job is to create and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will develop an overall vision for the album and how the various songs may interrelate. At the beginning of record industry, the producer role was technically limited to record, in one shot, artists performing live; the immediate predecessors to record producers were the artists and repertoire executives of the late 1920s and 1930s who oversaw the "pop" product and led session orchestras. That was the case of Ben Selvin at Columbia Records, Nathaniel Shilkret at Victor Records and Bob Haring at Brunswick Records.
By the end of the 1930s, the first professional recording studios not owned by the major companies were established separating the roles of A&R man and producer, although it wouldn't be until the late 1940s when the term "producer" became used in the industry. The role of producers changed progressively over the 1960s due to technology; the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously. All of these singers and musicians had to be assembled in a large studio where the performance was recorded. With multitrack recording, the "bed tracks" (rhythm section accompaniment parts such as the bassline and rhythm guitar could be recorded first, the vocals and solos could be added using as many "takes" as necessary, it was no longer necessary to get all the players in the studio at the same time. A pop band could record their backing tracks one week, a horn section could be brought in a week to add horn shots and punches, a string section could be brought in a week after that.
Multitrack recording had another pro
Nicholas Howard Barker is a British extreme metal drummer best known as the original drummer for British metal band Cradle of Filth. Barker joined Cradle of Filth as their original drummer. After leaving in 1999, he joined Norwegian symphonic black metal band Dimmu Borgir. After being removed from the line-up, Barker went on to play with Brujeria, Old Man's Child, Lock Up, Gaahl and King ov Hell, Atrocity, Leaves' Eyes. In 2007 he recorded with Winter's Thrall, on their EP In:Through:Out. On Dimmu Borgir's 2002 World Misanthropy video, Barker mentioned the following names as influences on his playing style: Neil Peart, Gene Hoglan, Clive Burr, Nicko McBrain, Dave Lombardo, Pete Sandoval. In 2011, Barker joined Los Angeles death metal band Sadistic Intent, replacing longtime drummer Emilio Marquèz; as of 2012 Barker was drumming in United Forces, featuring two former members of Stormtroopers of Death, vocalist Billy Milano and bassist Dan Lilker, guitarist Anton Reisenegger. Barker joined Voices, featuring former members of Akercocke, as live drummer for their recent tour of the United Kingdom with Winterfylleth.
Brujerizmo Pocho Aztlan The Principle of Evil Made Flesh V Empire or Dark Faerytales in Phallustein Dusk... and Her Embrace Cruelty and the Beast From the Cradle to Enslave Puritanical Euphoric Misanthropia Alive in Torment EP World Misanthropy EP World Misanthropy DVD Death Cult Armageddon Pleasures Pave Sewers Hate Breeds Suffering Play Fast Or Die Necropolis Transparent Demonization Sleep with the Dead 7" Tales of the Macabre In Defiance of Existence In:Through:Out EP Glorification of Evil: The Age Of The Golden Dawn LP By Nature So Perverse LP & CD Borknagar – live drums 1999 Nightrage – live drums 2004 Anaal Nathrakh – live drums 2004 God Seed – live drums 2007 and 2008 Testament – live drums 2007 Symbolic Death Tribute Band – recording of the DVD – live drums on 12 December 2007 Divine Heresy – session drums 2008'Bleed the Fifth' Noctis Imperium – session drums 2008'Glorification of Evil: The Age Of The Golden Dawn' Exodus The More I See Anathema – Bloodstock Open Air UK Festival 2009 Ancient Criminal – live drums in Santiago Evile – Live drums in London River Freshney – Live drums in London Leaves' Eyes - Live Drums 2009 Nuclear Assault - Maryland Deathfest XIV Voices - live drums 2016
Dino Cazares, is an American musician, known for being a co-founder and guitarist for industrial metal group Fear Factory. He is the co-founder of the metal bands Divine Heresy and Asesino, he popularized the use of digital amp modelling processors for seven and eight string guitars in metal music. Cazares was a co-founding member of super-group Brujeria. Cazares was born in California. Cazares met singer Burton C. Bell in 1989 and started a group under the name Ulceration, renamed to their current name Fear Factory in the following year with Raymond Herrera on drums; the band's first album, Soul of a New Machine, was dedicated to Cazares' mother and older brother, Joey. Before starting Fear Factory, Cazares was in the grindcore band Excruciating Terror. Co-founded The Mexican death/grind side-project Brujeria formed in 1989 with members of Faith No More, Fear Factory, others; when Fear Factory split up in 2002, Cazares returned to Brujeria, released what was supposed to be the first of 13 Demoniaco Brujeria records.
He formed the band Asesino the same year, it featured himself with Static-X bassist Tony Campos on bass and vocals, Emilio Marquez on drums. Fear Factory reformed that year without Cazares. In 2005, Cazares was chosen as a team captain by Roadrunner A&R Monte Conner for the Roadrunner United album for which he wrote 4 songs and contributed with other Roadrunner Records artists. Cazares formed Divine Heresy in 2005, who released their debut album Bleed The Fifth in August 2007; the band got signed to Roadrunner Records and Century Media, included Tim Yeung on drums, Thomas Cummings on vocals and Joe Payne on bass. Cummings was replaced by Travis Neal, their second album Bringer of Plagues was released on July 28, 2009. In 2009, Cazares has released 3 albums with them since. Divine Heresy has been inactive due to Cazares' commitment to Fear Factory and several departures that took place. Cazares has voiced a minor character in the adult swim TV show Metalocalypse. On April 7, 2009, Cazares and ex-band mate Burton C.
Bell announced the reconciliation of their friendship, the formation of a new project with Byron Stroud on bass and Gene Hoglan on drums. On April 28, this project was revealed to be a new version of Fear Factory, minus founding member Raymond Herrera and longtime member Christian Olde Wolbers. Bell, when asked why Herrera and Wolbers were not included, stated that "Fear Factory's like a business and I'm just reorganizing... We won't talk about." Cazares is identified by his fast alternate picking rhythm guitar technique, timing palm muted triplets and syncopated sixteenth notes with double bass drumming. This has led to a distinctive "machine-gun" style identifiable in the music of Fear Factory. In previous Fear Factory albums, Cazares did not play any guitar solos in Fear Factory for stylistic reasons, but can be heard playing them in his other bands. However, the band's 2010 release, has several lead parts and solos. Dino Cazares endorses Ormsby Guitars, a company based in Perth, Australia.
He announced the partnership in January 2019, as well as a line of signature models, two of these being revealed at the 2019 Winter NAMM Show. Cazares' main guitars in Fear Factory were custom-made 7-string Ibanez models with Seymour Duncan Blackouts pickups installed detuned a whole step to allow for lower registers, his main guitar in Asesino is an Ibanez prototype 8-string guitar (standard tuning with two extra basses: loaded with 2 Seymour Duncan Blackout 8 active pickups. Before using Ibanez guitars, his main instrument was a black custom shop ESP M 6-string guitar with a single EMG 81 in the bridge, detuned to B tuning; this can be seen in the video for the song "Replica". His first known Ibanez 7-string is an Ibanez Universe UV7SBK "Silver Dot", with a modified pick guard to fit a single passive pickup and a volume knob, he was known to have an Ibanez Universe UV777BK with similar modifications, except with an EMG 7-string prototype instead of a passive pickup. In January 2015, Ibanez announced a signature model for Dino Cazares, the DCM100.
It is based on the Ibanez RGD platform, including the 26.5 scale, but features a mahogany body, maple neck with bubinga strip, offset dot inlays, Lo-Pro Edge tremolo, a single Seymour Duncan Retribution pickup. This guitar makes Cazares one of only 4 Ibanez signature artists to have a signature 7-string guitar. After 22 years with the company, Dino Cazares announced his departure from Ibanez in January 2019. In the early days, his guitar tone derived from a modified Marshall JCM800 head with scooped mids and high treble settings to produce the thrashy, chugging tone, so influential to the metal genre. After it was stolen, he switched to the Line 6 POD Pro with a Mesa/Boogie tube power amp; this setup was used to record Digimortal. With Fear Factory, Cazares endorsed the Line 6 Vetta II HD and POD X3 Pro processor with a Mesa/Boogie tube power amp with Mesa/Boogie oversized Rectifier 4x12 cabinets; when playing live, Cazares uses the speaker cabinets for monitoring, or does not use them at all, since his signal is run into the venue's PA.
In 2011, Cazares replaced the POD X3 Pro for the POD HD Pro. He has replaced his Mesa/Boogie tube power amp for a Matrix GT800FX 800W solid state power amp, his Mesa/Boogie Rectifier 4x12 for a custom-built cabin
Control Machete was a Mexican hip hop group from Monterrey, Nuevo León, Mexico. Its members were Fermín IV, Patricio "Pato Machete" Chapa Elizalde, Toy Kenobi; the group moved to the mainstream after their song "Sí Señor" was used as backing in the Levi's Super Bowl television commercial "Crazy Legs". However, their debut album was a bestseller, with 100,000 units sold in Mexico and 400,000 in all of Latin America. In 1998, Control Machete covered the song "Amnesia" included in the album "Volcán: Tributo a José José", a tribute to Mexican legend José José. Fermin IV released a solo album, Boomerang, he collaborated with Cypress Hill on the track "Siempre Peligroso" on their album Los grandes éxitos en español. Control Machete's track. "Sí señor" was featured in the Alejandro González Iñárritu film Amores perros, Control Machete's music was heard in the 2005 film Land of the Dead, as well as the 2006 film Crank starring Jason Statham. "Humanos Mexicanos" played in an episode from the fifth season of the FX series Sons of Anarchy.
The group's music has appeared in several video games, including Total Overdose and Scarface: The World Is Yours. Their 2003 album reached #18 on the Latin Pop charts. Mucho Barato… Artillería Pesada Presenta Spanglish Solo Para Fanáticos Uno, Dos: Bandera Eat and Sleep Avanzada Regia Official MySpace page