What Did You Think When You Made Me This Way?
What Did You Think When You Made Me This Way? is the fifth EP released by British rock band Nothing But Thieves. It was released on 19 October 2018 through RCA Records; the EP's first single "Forever & Ever More" was released on 27 August 2018 through streaming services and as made available as a download. The second single "Take This Lonely Heart" was released on 19 October 2018 to coincide with the record's release. "Forever & Ever More" had its live debut at Reading Festival on 24 August 2018. The song had its radio debut on 27 August 2018 on BBC Radio 1 and was released to streaming and download services the same day. "Take This Lonely Heart" followed on 19 October 2018 as the second single. The EP was released worldwide on 19 October 2018 through RCA Records as a digital download and physically on 12" vinyl; the music video for "Forever & Ever More" was released on 19 September 2018 and was directed by Ivana Bobic. The video features BBC Radio 1 DJ Cel Spellman staying at a holiday hotel; the video deals with themes such as isolation, lust and mental health with Spellman's character appearing to be a loose cannon throughout the narrative before revealing himself to be a vampire in the final seconds.
Clash magazine called the first single "Crunching heavyweight rock" and comparing the band with "pomp" of Queens of the Stone Age and "matching blistering energy" of early Foo Fighters. Billboard called the opening song a "pounding track" and praised Conor Mason's "operatic vocals"
Broken Machine (album)
Broken Machine is second studio album of British rock band Nothing But Thieves. It was produced by Mike Crossey. Sarah Taylor said on Varsity ``; the band carved a name for themselves with their debut, but here it feels like they’re trying to define themselves to a further extent. Joe Langridge-Brown and lyricist alongside Mason, said that “all the songs on the album are things that we’ve gone through or spoken about: Trump, bigotry...” and ‘Live Like Animals’ is an anthem for the disillusioned youth. It features lyrics such as “We put our lives all up for sale / We get our truth in the daily mail” and “We’re gonna make ’em build a wall / We’re gonna live like animals”. Other tracks, such as ‘Broken Machine’ itself, the deluxe version’s ‘Number 13’ are more experimental rhythmically: they’re the type of songs you have to listen to a few times before you decide whether you like them or not. I did, I do." Kintsugi
Asphalt Xtreme is a racing video game and developed by Gameloft. It was the second spinoff, the first off-road racing iteration, in the Asphalt series, it was released on 27 October 2016. The game is rumored to have the same physics engine as Asphalt 8: Asphalt Nitro. Asphalt Xtreme is an off-road racing game in the Asphalt series. In the Asphalt 8 update, in Rio, appears a billboard with a poster of Asphalt Xtreme. Development lasted from August of 2015 to September of 2017. Development has been terminated after following Madrid studio shutdown; the video game features a lineup of rally cars, monster trucks and a vast amount of snowy tracks and dirt. The visual interface, angular camera view and vehicular design of the game have a strong visual resemblance to the MotorStorm video game series. While the controls are the same as the previous Asphalt games, the nitro mechanics are different. There are three nitro "Segments", using Extra nitro booster, the number of segments are increased to four. Perfect nitro was renamed to long nitro.
Triple nitro activates all four bars at the same time for added speed. When the race starts, the vehicles are given 2 nitro segments. Different types of vehicles acquire boost at different rates based on certain play styles, e.g. Buggies gain large amounts of nitro from performing airborne stunts, while SUVs perform drifts to maintain their boost; the vehicle gameplay mechanics have an effect on the game. Lighter vehicles like buggies and rally cars are in general aerodynamic and will pull off aerial stunts while heavier vehicles like trucks and SUVs struggle to perform the same task and will gain less boost as a result. Infected mode has been carried over from Asphalt 8, albeit with several changes. Compared to Asphalt 8, there are more ways to get infected in Asphalt Xtreme, but infected players start out with less infected time. Players are now able to extend their infected time by drifting; when the infected timer runs out, players do not wreck as with Asphalt 8, but rather lose their Infected state and gain a full tank of Nitro.
There were thirty-five licensed cars available in Asphalt Xtreme, as well as thirty-one more cars added through updates. The cars were divided into five classes and seven categories, their performance was determined by the Rank rating feature, carried over from Asphalt 8; these cars included: Asphalt Xtreme featured five different locations at release, as well as three more locations added through updates. Each location featured multiple layouts; the locations available were the Gobi Desert, the Nile and Detroit. The locations that were added through updates were the Alps, Coachella Valley, Nepal. Just like Asphalt 8, Asphalt Xtreme features a collection of licensed soundtracks. One of, "Glitter & Gold" by British singer Barns Courtney; this article incorporates material derived from the "Asphalt Xtreme" article on the Asphalt wiki at Wikia and is licensed under the Creative Commons Attribution-Share Alike License. Official website
Pegboard Nerds is a Danish-Norwegian electronic music group, consisting of Norwegian DJ Alexander Odden and Danish DJ Michael Parsberg. The name Pegboard Nerds is an anagram of the duo's surnames and Parsberg. Odden and Parsberg first met in 2005 and formed the group in 2011, their records were released under separate projects and both have been producing since the 1990s. On 21 October 2015, the duo released Pink Cloud to fund breast cancer research which went to #2 on iTunes Dance Albums, into the Top 10 on Billboard Dance albums. In 2015, their collaboration with Jauz, a single titled "Get On Up", was one of the top bass house songs of the year. "Superstar" with Nghtmre and Krewella was the #1 dubstep song on the Beatport Dubstep Charts of May 2016. Their collaboration "Deep In The Night" with Montreal-based artist Snails was released in August 2016. In 2017, the duo released Nerds by Nature with a remix EP being released that year; the EP reached #12 on the Top Dance/Electronic Albums Billboard charts and received positive reviews.
Belfast Vital is an annual music festival in Northern Ireland. It was first held near Botanic Gardens in 2002 later moved to Ormeau Park in 2007, both of these venues were in Belfast; the festival had taken a noticeable undesired hiatus between 2008–2010 and returned in August 2011 at Ward Park in Bangor due to success of Ward Park as a venue for Snow Patrol's homecoming gig in 2010 which drew in an estimate crowd of 40,000. Sponsored by C&C Group plc and MCD Productions it was confirmed that the festival was set to return both in 2012 and 2013. In March 2017, it was announced via Facebook that the festival would return, with a new lineup, under a new name as Belfast Vital or Vital, it is not yet clear if this is due to a withdrawal in sponsorship from Tennents or not, although there is nothing to suggest this and it is just a minor rebrand. Notable headliners throughout the years have included Kasabian, The Killers, Snow Patrol, Kaiser Chiefs, Kings of Leon, Franz Ferdinand, The White Stripes, The Streets, Primal Scream and Eminem.
Continuing under the name of Belfast Vital, Foo Fighters were announced to return to Belfast after a successful show at Vital 2012. They will play at Boucher Road Playing Fields on Monday, 19 August along with support acts which are to be confirmed. At current, there is only one date announced for Belfast Vital this year. Continuing under the new name of Belfast Vital, Martin Garrix was announced to return to Belfast after a successful show in Belsonic 2017, he will play at Boucher Road Playing Fields on Saturday, 25 August along with supporting acts Steve Angello, Zara Larson and others. Under a different name of Belfast Vital, MCD Productions announced in March that Muse and Biffy Clyro would be headlining Day One of the festival on Wednesday 23 August. Shortly after in April, it was announced Tiësto and Clean Bandit would be headlining Day Two of the festival on Saturday 26 August; this would be the second time Tiësto would headline a show in Belfast after Belsonic 2016 the year before at Titanic Belfast.
In March 2016, MCD productions announced Tennent's Vital will return to Boucher Road Playing Fields with the headlining acts of Red Hot Chilli Peppers and Avicii on Thursday 25 August and Friday 26 August. This would be the second time Avicii has headlined Tennent's Vital and was his last weekend of shows before retiring from touring. In early 2015, it was announced that Tennent's Vital would be back for another year at the Boucher Road playing fields with Calvin Harris headlining Day 1 and The Script returning to headline Day 2; this is the second time The Script have headlined the event following a headlining set on Day 2 in 2011. On 21 March 2014, Tennents Vital released an official statement confirming the festival would return in summer 2014. On 25 March, organisers confirmed via their official website, Facebook and Snapchat that The Killers would headline the first day of the festival supported by Bastille; this will be The Killer's second time headlining the event following a headlining set in 2007, while Bastille are making their Tennents Vital debut this year.
On 9 April, Vital announced its return, playing at the Boucher Road Playing fields again. The first act announced were Kings Of Leon, on 11 June The Vaccines were announced as the main support act for the first day. On 13 May, Snow Patrol were announced along with singer/songwriter Foy Vance and Irish upstarts Kodaline, the following the Jason Mraz was added to the bill. On 11 June, Vital announced its first 3 day festival, with Avicii, Tinie Tempah and Tommy Trash playing on the 3rd day. On 8 February, Vital announced that they would be running "Tennent's Untapped", a platform to give rising bands an opportunity to make themselves known, with the winners securing a set on the Main Stage of the 2012 Vital concert. On 5 March, Tennents Vital confirmed via Facebook that the lineup for its 2012 concert would be revealed live on Tuesday 20 March at its live launch party at a secret location, via its official website. On 16 March via their official Facebook page, Tennents Vital announced that the venue for the 2012 concert had been moved from Ward Park Bangor, to Boucher Playing Fields, Belfast.
On 20 March, The Stone Roses and Florence and the Machine were confirmed to be playing Wednesday 22 August, as confirmed via the official Tennents Vital Facebook page. The Foo Fighters and the Black Keys were announced through MCD's official site; the Stone Roses leaked their announcement early via their Twitter page. BBC News reported that MCD Productions paid previous debt in April while requesting for permission for future events at Ormeau Park suggesting a strong possibility that Tennent's Vital would be back; this previous debt was due to gaining permissions to hold the concerts in 2010. It was announced on 12 May 2011 that Tennent's Vital will be held on 23 and 24 August in Ward Park, Bangor despite rumours of it being held in Ormeau Park; the official line up is due to be announced on Wednesday 25 May. An advertising campaign began immediately. Power hosed advertisements appeared outside University of Ulster Belfast and Queen's University Belfast while Translink Metro services were used for regular advertisements with online banners on selected music related websites.
On 25 May Eminem was formally announced to headline on 24 August. The remainder of the line up. Script and Two Door Cinema Club were confirmed as headliners for Day 1 of Tennents Vital. On 16 June, Vital confirmed on Facebook that Ellie Goulding and The Wombats will be on the bill of Day 1. Moving Tennent's Vital to Ormeau Park allowed for the event to grow. Razorlight headlined the main stage on Tuesday 21 August while The Killers headline
Compact disc is a digital optical disc data storage format, co-developed by Philips and Sony and released in 1982. The format was developed to store and play only sound recordings but was adapted for storage of data. Several other formats were further derived from these, including write-once audio and data storage, rewritable media, Video Compact Disc, Super Video Compact Disc, Photo CD, PictureCD, CD-i, Enhanced Music CD; the first commercially available audio CD player, the Sony CDP-101, was released October 1982 in Japan. Standard CDs have a diameter of 120 millimetres and can hold up to about 80 minutes of uncompressed audio or about 700 MiB of data; the Mini CD has various diameters ranging from 60 to 80 millimetres. At the time of the technology's introduction in 1982, a CD could store much more data than a personal computer hard drive, which would hold 10 MB. By 2010, hard drives offered as much storage space as a thousand CDs, while their prices had plummeted to commodity level. In 2004, worldwide sales of audio CDs, CD-ROMs and CD-Rs reached about 30 billion discs.
By 2007, 200 billion CDs had been sold worldwide. From the early 2000s CDs were being replaced by other forms of digital storage and distribution, with the result that by 2010 the number of audio CDs being sold in the U. S. had dropped about 50% from their peak. In 2014, revenues from digital music services matched those from physical format sales for the first time. American inventor James T. Russell has been credited with inventing the first system to record digital information on an optical transparent foil, lit from behind by a high-power halogen lamp. Russell's patent application was filed in 1966, he was granted a patent in 1970. Following litigation and Philips licensed Russell's patents in the 1980s; the compact disc is an evolution of LaserDisc technology, where a focused laser beam is used that enables the high information density required for high-quality digital audio signals. Prototypes were developed by Sony independently in the late 1970s. Although dismissed by Philips Research management as a trivial pursuit, the CD became the primary focus for Philips as the LaserDisc format struggled.
In 1979, Sony and Philips set up a joint task force of engineers to design a new digital audio disc. After a year of experimentation and discussion, the Red Book CD-DA standard was published in 1980. After their commercial release in 1982, compact discs and their players were popular. Despite costing up to $1,000, over 400,000 CD players were sold in the United States between 1983 and 1984. By 1988, CD sales in the United States surpassed those of vinyl LPs, by 1992 CD sales surpassed those of prerecorded music cassette tapes; the success of the compact disc has been credited to the cooperation between Philips and Sony, which together agreed upon and developed compatible hardware. The unified design of the compact disc allowed consumers to purchase any disc or player from any company, allowed the CD to dominate the at-home music market unchallenged. In 1974, Lou Ottens, director of the audio division of Philips, started a small group with the aim to develop an analog optical audio disc with a diameter of 20 cm and a sound quality superior to that of the vinyl record.
However, due to the unsatisfactory performance of the analog format, two Philips research engineers recommended a digital format in March 1974. In 1977, Philips established a laboratory with the mission of creating a digital audio disc; the diameter of Philips's prototype compact disc was set at 11.5 cm, the diagonal of an audio cassette. Heitaro Nakajima, who developed an early digital audio recorder within Japan's national public broadcasting organization NHK in 1970, became general manager of Sony's audio department in 1971, his team developed a digital PCM adaptor audio tape recorder using a Betamax video recorder in 1973. After this, in 1974 the leap to storing digital audio on an optical disc was made. Sony first publicly demonstrated an optical digital audio disc in September 1976. A year in September 1977, Sony showed the press a 30 cm disc that could play 60 minutes of digital audio using MFM modulation. In September 1978, the company demonstrated an optical digital audio disc with a 150-minute playing time, 44,056 Hz sampling rate, 16-bit linear resolution, cross-interleaved error correction code—specifications similar to those settled upon for the standard compact disc format in 1980.
Technical details of Sony's digital audio disc were presented during the 62nd AES Convention, held on 13–16 March 1979, in Brussels. Sony's AES technical paper was published on 1 March 1979. A week on 8 March, Philips publicly demonstrated a prototype of an optical digital audio disc at a press conference called "Philips Introduce Compact Disc" in Eindhoven, Netherlands. Sony executive Norio Ohga CEO and chairman of Sony, Heitaro Nakajima were convinced of the format's commercial potential and pushed further development despite widespread skepticism; as a result, in 1979, Sony and Philips set up a joint task force of engineers to design a new digital audio disc. Led by engineers Kees Schouhamer Immink and Toshitada Doi, the research pushed forward laser and optical disc technology. After a year of experimentation and discussion, the task force produced the Red Book CD-DA standard. First published in 1980, the stand
Alternative rock is a style of rock music that emerged from the independent music underground of the 1980s and became popular in the 1990s. In this instance, the word "alternative" refers to the genre's distinction from mainstream rock music; the term's original meaning was broader, referring to a generation of musicians unified by their collective debt to either the musical style or the independent, DIY ethos of punk rock, which in the late 1970s laid the groundwork for alternative music. At times, "alternative" has been used as a catch-all description for music from underground rock artists that receives mainstream recognition, or for any music, whether rock or not, seen to be descended from punk rock. Alternative rock broadly consists of music that differs in terms of its sound, social context and regional roots. By the end of the 1980s, magazines and zines, college radio airplay, word of mouth had increased the prominence and highlighted the diversity of alternative rock, helping to define a number of distinct styles such as noise pop, indie rock and shoegaze.
Most of these subgenres had achieved minor mainstream notice and a few bands representing them, such as Hüsker Dü and R. E. M. had signed to major labels. But most alternative bands' commercial success was limited in comparison to other genres of rock and pop music at the time, most acts remained signed to independent labels and received little attention from mainstream radio, television, or newspapers. 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. In the past, popular music tastes were dictated by music executives within large entertainment corporations. Record companies signed contracts with those entertainers who were thought to become the most popular, therefore who could generate the most sales; these bands were able to record their songs in expensive studios, their works sold through record store chains that were owned by the entertainment corporations.
The record companies worked with radio and television companies to get the most exposure for their artists. The people making the decisions were business people dealing with music as a product, those bands who were not making the expected sales figures were excluded from this system. 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. 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 college radio circuit and the tastes of college students. 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 to describe independently distributed records. By 1985, indie' had come to mean a particular genre, or group of subgenres, rather than distribution status; the use of the term alternative to describe rock music originated around the mid-1980s. Individuals who worked as DJs and promoters during the 1980s claim the term originates from American FM radio of the 1970s, which served as a progressive alternative to top 40 radio formats by featuring longer songs and giving DJs more freedom in song selection. According to one former DJ and promoter, "Somehow this term'alternative' got rediscovered and heisted by college radio people during the 80s who applied it to new post-punk, indie, or underground-whatever music". 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".
Usage of the term would broaden to include new wave, punk rock, post-punk, "college"/"indie" rock, all found on the American "commercial alternative" radio stations of the time such as Los Angeles' KROQ-FM. Journalist Jim Gerr wrote that Alternative encompassed variants such as "rap, trash and industrial". In December 1991, Spin magazine noted: "this year, for the first time, it became resoundingly clear that what has been considered alternative rock – a college-centered marketing group with lucrative, if limited, potential- has in fact moved into the mainstream"; the bill of the first Lollapalooza, an itinerant festival in North America conceived by Jane's Addiction frontman Perry Farrell, reunited "disparate elements of the alternative rock community" including Henry Rollins, Butthole Surfers, Ice-T, Nine Inch Nails and the Banshees and Jane's Addiction. That same year, Farrell coined the term Alternative Nation. In the late 1990s, the definition again became more specific. In 1997, Neil Strauss of The New York Times defined alternative rock as "hard-edged rock distinguished by brittle,'70s-inspired guitar riffing and singers agonizing over their problems until they take on epic proportions".
Defining music as alt