1.
Emo
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Emo /ˈiːmoʊ/ is a loosely categorized music genre characterized by expressive, often confessional, lyrics. By the mid-1990s, numerous emo acts formed in the Midwestern and Central United States, meanwhile, a more aggressive style of emo, screamo, had also emerged. Emo broke into mainstream culture in the early 2000s with the success of Jimmy Eat World. In the wake of success, many emo bands were signed to major record labels. By the early 2010s, the popularity of emo began to decrease, some bands moved away from their emo roots and some bands disbanded. An underground emo revival emerged in the 2010s, with drawing on the sounds and aesthetics of emo of the 1990s. The term emo has been applied by critics and journalists to a variety of artists, including acts and groups with disparate styles. In addition to music, emo is often used more generally to signify a particular relationship between fans and artists, and to describe related aspects of fashion, culture, and behavior. Emo has been associated with a stereotype that includes being particularly emotional, sensitive, misanthropic, shy, introverted and it has also been associated with stereotypes like depression, self-harm, and suicide. While emo originated in hardcore punk and has considered a subgenre of post-hardcore, it has also been associated with indie rock. The fusion of emo with pop punk is known as emo pop. The New York Times described as emo as emotional punk or post-hardcore or pop-punk and that is, punk that wears its heart on its sleeve and tries a little tenderness to leaven its sonic attack. If it helps, imagine Ricky Nelson singing in the Sex Pistols, author Matt Diehl described emo as a more sensitive interpolation of punks mission. The 1966 album Pet Sounds by the American rock band the Beach Boys has been characterized as the first emo album by Treblezines Ernest Simpson, in some ways, one could find trace elements of in early emo albums of the 2000s. In the 1980s, the Washington, D. C. hardcore scene swelled in size with the formation of many hardcore punk, post-hardcore itself is a more melodic and experimental offshoot of hardcore inspired by post-punk. Hardcore bands that were influential on many early emo bands include Minor Threat, The Faith, Black Flag, Emo originated as an outgrowth of the hardcore punk scene of early 1980s Washington, D. C. Minor Threat fan Guy Picciotto formed Rites of Spring in 1984, breaking free of hardcores self-imposed boundaries in favor of guitars, varied rhythms. Many of the themes would become familiar tropes in later generations of emo music, including nostalgia, romantic bitterness
2.
Power pop
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Power pop is a pop rock music subgenre that draws its inspiration from 1960s British and American rock music. It typically incorporates a combination of devices such as strong melodies, clear vocals and crisp vocal harmonies, economical arrangements. Instrumental solos are usually kept to a minimum, and blues elements are largely downplayed, in the 1980s and 1990s, power pop continued as a commercially modest genre but by the mid-1990s through the 2000s, power pop was mainly in the underground. While its cultural impact has waxed and waned over the decades, Power pop is a more aggressive form of pop rock that is based on catchy, melodic hooks and energetic moods. The Small Faces are often cited as being among the progenitors of power pop, the Whos role in the creation of power pop has been cited by singer-songwriter Eric Carmen of the Raspberries, who has said, Pete Townshend coined the phrase to define what the Who did. For some reason, it didnt stick to the Who, but it did stick to these groups came out in the 70s that played kind of melodic songs with crunchy guitars. It just kind of stuck to us like glue, and that was okay with us because the Who were among our highest role models, other acts such as the Knickerbockers, the Easybeats and the Outsiders contributed iconic singles. Writer John Borack has noted, Its also quite easy to draw a line from garage rock to power pop. Although the formative influences on the genre were primarily British, the bands that developed and codified power pop in the 1970s were nearly all American. The Raspberries 1972 hit single Go All The Way is an almost perfect embodiment of the elements of power pop, the most influential group of the period may have been Big Star. The Replacements even recorded a song entitled Alex Chilton in honor of Big Stars frontman, spurred on by the emergence of punk rock and new wave, power pop enjoyed a prolific and commercially successful period in the late 1970s and early 1980s. Although coined in the 1960s, and used as early as 1973 in reference to Sweet, as the novelist Michael Chabon has written, Power pop in its essential form. Did not come into existence for a number of years after it was first identified, like so much of the greatest work turned out by popular artists of the 1970s, true power pop is quintessential second-generation stuff. The term was used in reference to critics favorites Elvis Costello and Nick Lowe. Los Angeles-based Bomp. magazine championed power pop in its March 1978 issue, tying the genres roots to 1960s groups like the Who, like their punk brethren, late–1970s power pop groups favored a leaner and punchier sound than their early–1970s predecessors. Some occasionally incorporated synthesizers into their music, though not to the degree as did their new wave counterparts. Representative singles from the period include releases from the Bomp, records label by 20/20, Shoes and the Romantics. Major label groups like Cheap Trick, the Cars and Blondie merged power pop influences with other styles and achieved their first mainstream success with albums released in 1978
3.
Alternative rock
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Alternative rock is a genre of rock music that emerged from the independent music underground of the 1980s and became widely popular in the 1990s and 2000s. In this instance, the word refers to the genres distinction from mainstream rock music. The terms original meaning was broader, referring to a generation of musicians unified by their debt to either the musical style or simply the independent. Ethos of punk rock, which in the late 1970s laid the groundwork for alternative music, Alternative rock is a broad umbrella term consisting of music that differs greatly in terms of its sound, its social context, and its regional roots. Most of these subgenres had achieved minor mainstream notice and a few bands representing them, such as Hüsker Dü, with the breakthrough of Nirvana and the popularity of the grunge and Britpop movements in the 1990s, alternative rock entered the musical mainstream and many alternative bands became successful. By the end of the decade, alternative rocks mainstream prominence declined due to a number of events that caused grunge and Britpop to fade, emo attracted attention in the larger alternative rock world, and the term was applied to a variety of artists, including multi-platinum acts. Post-punk revival artists such as Modest Mouse and The Killers had commercial success in the early, before the term alternative rock came into common usage around 1990, the sort of music to which it refers was known by a variety of terms. In 1979, Terry Tolkin used the term Alternative Music to describe the groups he was writing about, in 1979 Dallas radio station KZEW had a late night new wave show entitled Rock and Roll Alternative. College rock was used in the United States to describe the music during the 1980s due to its links to the radio circuit. In the United Kingdom, dozens of small do it yourself record labels emerged as a result of the punk subculture, according to the founder of one of these labels, Cherry Red, NME and Sounds magazines published charts based on small record stores called Alternative Charts. The first national chart based on distribution called the Indie Chart was published in January 1980, at the time, the term indie was used literally to describe independently distributed records. By 1985, indie had come to mean a particular genre, or group of subgenres, at first the term referred to intentionally non–mainstream rock acts that were not influenced by heavy metal ballads, rarefied new wave and high-energy dance anthems. The use of alternative gained further exposure due to the success of Lollapalooza, for which festival founder, in the late 1990s, the definition again became more specific. Defining music as alternative is often difficult because of two conflicting applications of the word, the name alternative rock essentially serves as an umbrella term for underground music that has emerged in the wake of punk rock since the mid-1980s. Alternative bands during the 1980s generally played in clubs, recorded for indie labels. Sounds range from the gloomy soundscapes of gothic rock to the guitars of indie pop to the dirty guitars of grunge to the 1960s/1970s revivalism of Britpop. This approach to lyrics developed as a reflection of the social and economic strains in the United States and United Kingdom of the 1980s, by 1984, a majority of groups signed to independent record labels mined from a variety of rock and particularly 1960s rock influences. This represented a break from the futuristic, hyper-rational post-punk years
4.
Record producer
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A record producer or music producer oversees and manages the sound recording and production of a band or performers music, which may range from recording one song to recording a lengthy concept album. A producer has many roles during the recording process, the roles of a producer vary. The producer may perform these roles himself, or help select the engineer, the producer may also pay session musicians and engineers and ensure that the entire project is completed within the record companies budget. A record producer or music producer has a broad role in overseeing and managing the recording. Producers also often take on an entrepreneurial role, with responsibility for the budget, schedules, contracts. In the 2010s, the industry has two kinds of producers with different roles, executive producer and music producer. Executive producers oversee project finances while music producers oversee the process of recording songs or albums. In most cases the producer is also a competent arranger, composer. The producer will also liaise with the 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, indeed, in Bollywood music, the designation actually is music director. The music producers job is to create, shape, and mold a piece of music, at the beginning of record industry, producer role was technically limited to record, in one shot, artists performing live. The role of producers changed progressively over the 1950s and 1960s due to technological developments, 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 and the performance had to be recorded. As well, for a song that used 20 instruments, it was no longer necessary to get all the players in the studio at the same time. Examples include the rock sound effects of the 1960s, e. g. playing back the sound of recorded instruments backwards or clanging the tape to produce unique sound effects. These new instruments were electric or electronic, and thus they used instrument amplifiers, new technologies like multitracking changed the goal of recording, A producer could blend together multiple takes and edit together different sections to create the desired sound. For example, in jazz fusion Bandleader-composer Miles Davis album Bitches Brew, producers like Phil Spector and George Martin were soon creating recordings that were, in practical terms, almost impossible to realise in live performance. Producers became creative figures in the studio, other examples of such engineers includes Joe Meek, Teo Macero, Brian Wilson, and Biddu
5.
Indie rock
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Indie rock is a genre of alternative rock that originated in the United States and the United Kingdom in the 1980s. Originally used to independent record labels, the term became associated with the music they produced and was initially used interchangeably with alternative rock. In the mid-1980s, the term began to be used to describe the music produced on punk and post-punk labels. Some prominent indie rock record labels were founded during the 1980s, during the 1990s, Grunge bands broke into the mainstream, and the term alternative lost its original counter-cultural meaning. The term indie rock became associated with the bands and genres that remained dedicated to their independent status, by the end of the 1990s indie rock developed subgenres and related styles including lo-fi, noise pop, emo, slowcore, post-rock and math rock. In the 2000s, changes in the industry and in music technology enabled a new wave of indie rock bands to achieve mainstream success. In the early 2000s, a new group of bands played a stripped-down. The commercial breakthrough from these scenes was led by four bands, The Strokes, The White Stripes, The Hives, emo also broke into mainstream culture in the early 2000s. By the end of the 2000s the proliferation of bands was being referred to as indie landfill. The term indie rock, which comes from independent, describes the small and relatively low-budget labels on which it is released, the influences and styles of the artists have been extremely diverse, including punk, psychedelia, post-punk and country. Allmusic identifies indie rock as including a number of varying musical approaches compatible with mainstream tastes, in fact, there is an everlasting list of genres and subgenres of indie rock. Many countries have developed a local indie scene, flourishing with bands with enough popularity to survive inside the respective country. However, there are still indie bands that start off locally, Indie rock has been identified as a reaction against the macho culture that developed in alternative rock in the aftermath of Nirvanas success. However, Cortney Harding pointed out that this sense of equality is not reflected in the number of women running indie labels. The BBC documentary Music for Misfits, The Story of Indie pinpoints the birth of indie as the 1977 self-publication of the Spiral Scratch EP by Manchester band Buzzcocks, Indie pop and indie were originally synonymous. In the mid-1980s, indie began to be used to describe the music produced on post-punk labels rather than the labels themselves. The indie rock scene in the US was prefigured by the rock that dominated college radio playlists. In the United States, the term was associated with the abrasive, distortion-heavy sounds of the Pixies, Hüsker Dü, Minutemen, Meat Puppets, Dinosaur Jr
6.
Extended play
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An extended play is a musical recording that contains more tracks than a single, but is usually unqualified as an album or LP. EPs generally do not contain as many tracks as albums, and are considered less expensive, an EP originally referred to specific types of vinyl records other than 78 rpm standard play and LP, but it is now applied to mid-length CDs and downloads as well. Ricardo Baca of The Denver Post said, EPs—originally extended-play single releases that are shorter than traditional albums—have long been popular with punk, in the United Kingdom, the Official Chart Company defines a boundary between EP and album classification at 25 minutes of length or four tracks. EPs were released in various sizes in different eras, the earliest multi-track records, issued around 1919 by Grey Gull Records, were vertically cut 78 rpm discs known as 2-in-1 records. These had finer than usual grooves, like Edison Disc Records, by 1949, when the 45 rpm single and 33 1⁄3 rpm LP were competing formats, seven-inch 45 rpm singles had a maximum playing time of only about four minutes per side. Partly as an attempt to compete with the LP introduced in 1948 by rival Columbia, RCA Victor introduced Extended Play 45s during 1952. Their narrower grooves, achieved by lowering the levels and sound compression optionally. These were usually 10-inch LPs split onto two seven-inch EPs or 12-inch LPs split onto three seven-inch EPs, either separately or together in gatefold covers. This practice became less common with the advent of triple-speed-available phonographs. Some classical music albums released at the beginning of the LP era were distributed as EP albums—notably the seven operas that Arturo Toscanini conducted on radio between 1944 and 1954. These opera EPs, originally broadcast on the NBC Radio network and manufactured by RCA, in the 1990s, they began appearing on compact discs. During the 1950s, RCA published several EP albums of Walt Disney movies and these usually featured the original casts of actors and actresses. Each album contained two seven-inch records, plus an illustrated booklet containing the text of the recording, so that children could follow along by reading. Some of the titles included Snow White and the Seven Dwarfs, Pinocchio, and what was then a recent release, because of the popularity of 7 and other formats, SP records became less popular and the production of SPs in Japan was suspended in 1963. In the 1950s and 1960s, EPs were usually compilations of singles or album samplers and were played at 45 rpm on seven-inch discs. Record Retailer printed the first EP chart in 1960, the New Musical Express, Melody Maker, Disc and Music Echo and the Record Mirror continued to list EPs on their respective singles charts. The Beatles Twist and Shout outsold most singles for some weeks in 1963, when the BBC and Record Retailer commissioned the British Market Research Bureau to compile a chart it was restricted to singles and EPs disappeared from the listings. In the Philippines, seven-inch EPs marketed as mini-LPs were introduced in 1970, with tracks selected from an album and this mini-LP format also became popular in America in the early 1970s for promotional releases, and also for use in jukeboxes
7.
The Everglow
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The Everglow is the second full-length studio album released by the American band Mae. The album is designed as a storybook, including illustrations for each song inside the booklet, with its story-like nature, The Everglow is considered a concept album. Prologue and Epilogue have narrations by Charlotte Martin, the album was received positively, with 4 out of 5 stars from Allmusic, and 4½ out of 5 stars from Jesus Freak Hideout. The Everglow was re-released by Tooth & Nail on April 18,2006, as a special edition. The re-release contains three tracks, the new song Where the Falls Begin, a cover of the Beatles A Day in the Life. It was packaged with a DVD that contained music videos, featurettes, live footage, the hand-drawn artwork from the original The Everglow album was recreated with a young actor on sets. All songs written by Mae unless otherwise noted, I think that it’s important that we understand that love is not always black and white like we’d like for it to be, and sometimes it’s very grey. Sometimes you have to make the difficult decisions, and sometimes you do have to try and fail, and fail and fail a few times before you can actually succeed and get the big picture. And I think that’s exactly what this song is all about. And this song is called “Mistakes We Knew We Were Making. ”The artwork was designed by Ryan Clark at Invisible Creature, in 2006, the album was nominated for a Dove Award for Recorded Music Packaging of the Year at the 37th GMA Dove Awards. The Everglow microsite The Everglow special edition E-card
8.
Alternative Press (magazine)
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Alternative Press is an American music magazine based in Cleveland, Ohio. It generally provides readers with band interviews, photos, information on upcoming releases and it was founded in 1985 by Mike Shea, who is the current president. Joe Scarpelli is the current general manager, jason Pettigrew is editor in chief. The first issue of Alternative Press was simply a punk rock fanzine, distributed at concerts in Cleveland, Ohio beginning in June 1985 by APs founder. He disliked the music that was then being broadcast on stations and believed that bands playing underground music should be given more media coverage all in the same spot. He said, It has really always been about covering music for the misfits, Shea began working on his first issue in his mothers house in Aurora, Ohio. Shea and a friend, Jimmy Kosicki, targeted the Cleveland neighborhood of Coventry, I took my high school newspaper from Aurora High that looked nice and clean and offset print. Id walk into these flower shops and Hallmark shops, and Id say Were going to put out an entertainment publication, and theyd look at my high school newspaper and say, Its really professional. Thats how we got enough money to make the first issue, financial problems plagued AP in its early years. However, by the end of 1986, publication had ceased due to its financial problems, with the growth of alternative rock in the early 1990s, circulation began to increase. APs covers included bands such as Red Hot Chili Peppers and Soundgarden, by 1994, the magazine was doing cover stories on Beastie Boys, Henry Rollins and Love and Rockets. Did we sometimes protest too much, maybe, but we were up against a lot, we were underfinanced and still underappreciated in some corners of the music business, so we had to fight scrappily and mean when it was called for. Nobody takes you seriously unless you take yourself seriously, and thats what Norman brings to his position to this day. By the early 2000s, after resisting attempts to purchase the magazine, when asked the magazines audience, Shea said, It went from heartfelt emo, to screamo, to post-hardcore, to metalcore… but, there will always be a suburban kid full of angst. At the time of its 20th anniversary in 2005, AP had grown to a size of 112 pages per issue. AP introduced its own ceremony in 2014. In 2015, the ceremony was moved to Clevelands Quicken Loans Arena. It featured hosts Alex Gaskarth and Jack Barakat of All Time Low and performances by Rob Zombie, New Found Glory with Hayley Williams of Paramore, Panic. at the Disco, due to the Republican National Convention, the 2016 APMAs were moved to Columbus Value City Arena
9.
Mae
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Mae is an American rock band that formed in Norfolk, Virginia in 2001. The bands name is an acronym for Multi-sensory Aesthetic Experience, based on a course taken by drummer Jacob Marshall while a student at Old Dominion University. Jacob Marshall and Dave Elkins began what would become Mae by writing their first song, Embers and Envelopes, the band signed with Tooth and Nail Records and released their first album, Destination, Beautiful, in 2003. They released their second album, The Everglow, in 2005. The band toured extensively to promote it, and also performed on the Vans Warped Tour, Mae re-released The Everglow in 2006, adding three new songs and a two-hour DVD. Later in 2006, the band signed to Capitol Records for their third full-length album, Mae began recording the album in the fall of 2006, working with producer Howard Benson. The album, titled Singularity, was released on August 14,2007, on June 19,2007, the band released the first single from Singularity, Sometimes I Cant Make It Alone. On September 24,2007 Padgett and Sweitzer parted ways with Mae, the following year, Mae announced that they had split ways with Capitol Records. They also stated that they would embark on a new, experimental project, each song would be available to download on their website for a minimum donation of $1, with proceeds going to humanitarian projects of Maes choosing. Additionally, they would be compiling the songs into three separate EPs entitled orning, fternoon and vening, respectively. In July 2009, Mae announced they were starting their own label called Cell Records through which they would release their three-EP set, in order to get in-store distribution Mae returned to their original label Tooth and Nail Records and signed a distribution agreement with the label. The orning EP was released in stores and online on September 22,2009, there was a limited edition scratch-and-sniff disk that was only available on their spring US tour and which was scented like the ocean. Mae released the fternoon EP in stores and online March 30,2010, the final EP, vening, was initially available in a limited edition on the bands Goodbye, Goodnight tour. The EP was then released in stores and online on March 8,2011 bundled with a DVD of their farewell show filmed at The Norva in Norfolk. The farewell show features 20 songs, with songs from each of their full-length records, on May 7,2010 word began spreading of Mark Padgett and Rob Sweitzer rejoining Mae for their upcoming fall tour. On June 19,2010, Mae played a show in Singapore, on June 22,2010, Maes Dave Elkins confirmed on the bands forums that Mark Padgett and Rob Sweitzer have reunited with Mae. On June 28,2010 Mae announced that their upcoming Goodbye, Goodnight Tour would be their last for the foreseeable future, on Saturday November 27,2010, the band played what was billed as its last show at the Norva in Norfolk, VA. The show was filmed to be released on DVD, what were believed at the time to be Maes actual final performances consisted of two shows played on February 23 and 24,2011 at the Shibuya and Shinsaibashi locations of Club Quattro in Japan
10.
Singularity (Mae album)
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Singularity is Maes third full-length release and their major label debut. Mae headed to Los Angeles to record Singularity with producer Howard Benson in October 2006, the band came up with the title Singularity from a book that Marshall and Sweitzer were reading by Australian scientist Paul Davies. Jacob Marshall referred to the term as being the ultimate unknowable in science, the band was inspired by bands like Pearl Jam, U2, The Smashing Pumpkins, Nirvana, and Rage Against the Machine when they were creating Singularity. Jacob stated in a recent interview with Fuss Magazine that Mae collaborated with musical artist Kenna for a track titled Novacaine that would be for the Japanese release, jacob said the band would try to leak the extra track to their listeners. The track would be released on release day as a track via the iTunes Store. At a concert in Charlottesville on April 30, Dave Elkins stated that the date would be August 14,2007 on Capitol Records. This was confirmed by Zach Gehring in a news post to the bands website, on June 18, Mae posted the song Brink of Disaster on their MySpace page. On June 20, the song Sometimes I Cant Make It Alone was made available as a download through the United States iTunes Store. On June 26 the song was available to purchase through Napster, Amazon. It was also available as a ringtone through most major cell phone companies. Mae has offered an autographed booklet with pre-orders via the Interpunk and SmartPunk stores, Singularity was leaked to file-sharing sites on August 3,2007. On August 10,2007 the band made Singularity available to stream on the bands MySpace website, following its release, Singularity debuted at number 40 on the U. S. Billboard 200, selling about 17,000 copies in its first week. The band has been producing weekly webisodes on website devoted to the album, the band releases webisodes weekly named after a song on the album, and features the song in the webisode. Each episode features band members explaining what each song means, each episode contains footage of studio recordings. The intro and outro to a couple of videos can be perceived as subliminal messaging as promoting 081407, the final track listing was announced in a MySpace bulletin by Rob on May 26. There is one track to the physical CD which can be heard if the disc is rewound back to -1,33 of track 1. This track is known as Last Transmission, which made an appearance in a not included in the 081407. com website but is part of Maes Youtube. com profile. Michael Mollohan There was a possibility of a DVD being co-released with the new album, Mae told Chart in June 2007 that they hope to release a DVD in late 2007 or early 2008
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