Cloaca Maxima II
Cloaca Maxima II is the second compilation album by the Finnish rock group CMX, released seven years after their first compilation Cloaca Maxima. The name Cloaca Maxima means "Great Sewer" in Latin, was the name of the band before it was shortened to CMX; the compilation consists of three CDs named Lyijy and Uraani respectively. The names of the CDs are all names of chemical elements in Finnish: Lead and Uranium; the compilation is divided between CDs in a similar way to the earlier Cloaca Maxima. Lyijy contains rock songs that CMX would play on stage, while Helium focuses on softer material. Uraani is reserved for B-sides of some other CMX rarities. Three new songs were recorded for the compilation. All songs written by CMX with lyrics by A. W. Yrjänä. "Olet tässä" – 4:36 "Surunmurhaaja" – 3:48 "Jatkuu niinkuin sade" – 4:35 "Pohjoista leveyttä" – 3:18 "Taivaan lapset" – 3:50 "Lepattajat" – 4:12 "Ei yksikään" – 3:27 "Luuhamara" – 4:20 "Puuvertaus" – 4:36 "Pirunnyrkki" – 3:19 "Minne paha haudattiin" – 5:32 "Palvelemaan konetta" – 3:55 "Meidän syntimme" – 4:33 "Pyörivät sähkökoneet'04" – 4:06 "Kauneus pettää" – 3:54 "Kuoleman risteyksestä kolme virstaa pohjoiseen" – 5:44 "Vainajala'04" – 6:05 "Minun sydämeni on särkynyt" – 3:59 "Tuonen lintu" – 5:33 "Sillanrakentaja" – 4:17 "Sielunvihollinen" – 4:03 "Baikonur" – 7:29 "Tähdet sylissään" – 7:49 "Tuulilukko" – 4:28 "Myrskyn ratsut" – 6:29 "Melankolia" – 4:11 "Revontulten repijä" – 6:13 "Vanha talvitie" – 6:01 "Päämäärä" – 4:13 "Ei tästä maailmasta" – 4:29 "Väkivallan moottorit" – 3:30 "π" – 4:26 "Kvartetto rock-yhtyeelle ja solistille, op. 1" – 4:22 "Ehdotus ensimmäisen mainoskatkon paikaksi" – 2:48 "Ruisperkele" – 2:27 "Kolme kimaltavaa neitoa" – 4:24 "Kiusaajien kiusaaja" – 2:45 "Epäluoma" – 3:04 "Negatiivinen asenne" – 2:34 "Ehdota jotain parempaa" – 3:31 "Punainen nro. 6" – 6:00 "Helevetinkone" – 3:30 "10118" – 4:44 "Huntu" – 3:40 A. W. Yrjänä – vocals, bass guitar Janne Halmkrona – guitars Timo Rasio – guitars Tuomas Peippo – drums Gabi Hakanen – producer, mixing Illusion Rake – producer, mixing Billy Gould – producer Teropekka Virtanen – engineer, mixing Pauli Saastamoinen – mastering Jouni Leskinen – sleeve art/design Ari Talusén – photography
Heavy metal music
Heavy metal is a genre of rock music that developed in the late 1960s and early 1970s in the United Kingdom. With roots in blues rock, psychedelic rock, acid rock, the bands that created heavy metal developed a thick, massive sound, characterized by amplified distortion, extended guitar solos, emphatic beats, overall loudness; the genre's lyrics and performance styles are sometimes associated with machismo. In 1968, three of the genre's most famous pioneers, Led Zeppelin, Black Sabbath and Deep Purple were founded. Though they came to attract wide audiences, they were derided by critics. During the mid-1970s, Judas Priest helped spur the genre's evolution by discarding much of its blues influence. Beginning in the late 1970s, bands in the new wave of British heavy metal such as Iron Maiden and Def Leppard followed in a similar vein. Before the end of the decade, heavy metal fans became known as "metalheads" or "headbangers". During the 1980s, glam metal became popular with groups such as Mötley Crüe.
Underground scenes produced an array of more aggressive styles: thrash metal broke into the mainstream with bands such as Metallica, Slayer and Anthrax, while other extreme subgenres of heavy metal such as death metal and black metal remain subcultural phenomena. Since the mid-1990s popular styles have further expanded the definition of the genre; these include groove metal and nu metal, the latter of which incorporates elements of grunge and hip hop. Heavy metal is traditionally characterized by loud distorted guitars, emphatic rhythms, dense bass-and-drum sound, vigorous vocals. Heavy metal subgenres variously alter, or omit one or more of these attributes; the New York Times critic Jon Pareles writes, "In the taxonomy of popular music, heavy metal is a major subspecies of hard-rock—the breed with less syncopation, less blues, more showmanship and more brute force." The typical band lineup includes a drummer, a bassist, a rhythm guitarist, a lead guitarist, a singer, who may or may not be an instrumentalist.
Keyboard instruments are sometimes used to enhance the fullness of the sound. Deep Purple's Jon Lord played an overdriven Hammond organ. In 1970, John Paul Jones used a Moog synthesizer on Led Zeppelin III; the electric guitar and the sonic power that it projects through amplification has been the key element in heavy metal. The heavy metal guitar sound comes from a combined use of heavy distortion. For classic heavy metal guitar tone, guitarists maintain moderate levels gain at moderate levels, without excessive preamp or pedal distortion, to retain open spaces and air in the music. Thrash metal guitar tone has scooped mid-frequencies and compressed sound with lots of bass frequencies. Guitar solos are "an essential element of the heavy metal code... that underscores the significance of the guitar" to the genre. Most heavy metal songs "feature at least one guitar solo", "a primary means through which the heavy metal performer expresses virtuosity"; some exceptions are nu grindcore bands, which tend to omit guitar solos.
With rhythm guitar parts, the "heavy crunch sound in heavy metal... palm muting" the strings with the picking hand and using distortion. Palm muting creates a tighter, more precise sound and it emphasizes the low end; the lead role of the guitar in heavy metal collides with the traditional "frontman" or bandleader role of the vocalist, creating a musical tension as the two "contend for dominance" in a spirit of "affectionate rivalry". Heavy metal "demands the subordination of the voice" to the overall sound of the band. Reflecting metal's roots in the 1960s counterculture, an "explicit display of emotion" is required from the vocals as a sign of authenticity. Critic Simon Frith claims; the prominent role of the bass is key to the metal sound, the interplay of bass and guitar is a central element. The bass guitar provides the low-end sound crucial to making the music "heavy"; the bass plays a "more important role in heavy metal than in any other genre of rock". Metal basslines vary in complexity, from holding down a low pedal point as a foundation to doubling complex riffs and licks along with the lead or rhythm guitars.
Some bands feature the bass as a lead instrument, an approach popularized by Metallica's Cliff Burton with his heavy emphasis on bass guitar solos and use of chords while playing bass in the early 1980s. Lemmy of Motörhead played overdriven power chords in his bass lines; the essence of heavy metal drumming is creating a loud, constant beat for the band using the "trifecta of speed and precision". Heavy metal drumming "requires an exceptional amount of endurance", drummers have to develop "considerable speed and dexterity... to play the intricate patterns" used in heavy metal. A characteristic metal drumming technique is the cymbal choke, which consists of striking a cymbal and immediately silencing it by grabbing it with the other hand, producing a burst of sound; the metal drum setup is much larger than those employed in other forms of rock music. Black metal, death metal and some "mainstream metal" bands "all depend upon double-kicks and blast beats". In live performance, loudness—an "onslaught of sound", in sociologist Deena Weinstein's description—is considered vital.
In his book Metalheads, psychologist Jeffrey Arnett refers to heavy me
A bass drum, or kick drum, is a large drum that produces a note of low definite or indefinite pitch. A bass drum is cylindrical with the drum's diameter much greater than the drum's depth. There is a struck head at both ends of the cylinder; the heads may be made of calf plastic. There is a means of adjusting the tension either by threaded taps or by strings. Bass drums are built in a variety of sizes, but size has little to do with the volume produced by the drum; the size chosen being based on convenience and aesthetics. Bass drums are used in several musical genres. Three major types of bass drums can be distinguished; the type seen or heard in orchestral, ensemble or concert band music is the orchestral, or concert bass drum. It is the largest drum of the orchestra; the kick drum. It is struck with a beater attached to a pedal seen on drum kits; the pitched bass drum used in marching bands and drum corps, is tuned to a specific pitch and is played in a set of three to six drums. In many forms of music, the bass drum is used to keep time.
The bass drum makes a low, boom sound. In marches it is used to project tempo. A basic beat for rock and roll has the bass drum played on the first and third beats of a bars of common time, with the snare drum on the second and fourth beats, called back beats. In jazz, the bass drum can vary from entirely being a timekeeping medium to being a melodic voice in conjunction with the other parts of the set. Bass drums have many synonyms and translations, such as gran cassa, grosse caisse, Grosse Trommel, bombo; the earliest known predecessor to the bass drum was the Turkish davul, a cylindrical drum that featured two thin heads. The heads were stretched over hoops and attached to a narrow shell. To play this instrument, a person would strike the right side of the davul with a large wooden stick, while the left side would be struck with a rod; when struck, the davul produced a sound much deeper than that of the other drums in existence. Because of this unique tone, davuls were used extensively in war and combat, where a deep and percussive sound was needed to ensure that the forces were marching in proper step with one another.
The military bands of the Ottoman Janissaries in the 18th century were one of the first groups to utilize davuls in their music. Davuls were ideal for use as military instruments because of the unique way in which they could be carried; the Ottoman janissaries, for example, hung their davuls at their breasts with thick straps. This made it easier for the soldiers to carry their instruments from battle to battle; this practice does not seem to be limited to just the Ottoman Empire, however. The davul, was used extensively in non-military music. For example, davuls were a major aspect of Turkish folk dances. In Ottoman society and shawm players would perform together in groups called davul-zurnas, or drum and shawm circles. Long drumsAt its peak, the Ottoman Empire stretched from the Caucuses down to northern Africa and parts of the middle east; this long reach meant that many aspects of Ottoman culture, including the davul and other janissary instruments, were introduced to other parts of the world.
In Africa, the indigenous population took the basic idea of the davul – that is, a two-headed cylindrical drum that produces a deep sound when struck – and both increased the size of the drum and changed the material from which it was made, leading to the development of the long drum. The long drum can be made a variety of different ways but is most constructed from a hollowed out tree trunk; this is vastly different from the davul, made from a thick shell. Long drums were 2 meters in length and 50 centimetres in diameter, much larger than the Turkish drums on which they were based; the indigenous population believed that the tree from which the long drum was made had to be in perfect shape. Once an appropriate tree was selected and the basic frame for the long drum was constructed, the Africans took cow hides and soaked them in boiling hot water, in order to stretch them out. Although the long drum was an improvement on the davul, both drums were played in a similar fashion. Two distinct sticks were used on the two distinct sides of the drum itself.
A notable difference between the two is that long drums, unlike davuls, were used for religious purposes. Gong drumsAs the use of the long drum began to spread across Europe, many composers and musicians started looking for deeper tones that could be used in compositions; as a result of this demand, a narrow-shelled, single-headed drum called the gong drum was introduced in Britain during the 19th century. This drum, 70-100 centimetres in diameter and deep-shelled, was similar to the long drum in both size and construction; when struck, the gong drum produced a deep sound with a rich resonance. However, the immense size of the drum, coupled with the fact that there was not a second head to help balance the sound, meant that gong drums tended to produce a sound with a definite pitch; as a result, they fell out of favour with many composers, as it became nearly impossible to incorporate them in an orchestra in any meaningful way. Orchestral bass drums and drum kitsB
Aurinko is an album by the Finnish rock group CMX. The word "Aurinko" means "The Sun" in Finnish; the album cover depicts a cross section of a pineapple. The album was the first to mark a considerable move towards more mainstream rock from the band's hardcore roots, with more streamlined approach to songwriting and distinctibly more vocal singing style in most tracks. Aurinko featured one of their biggest future live hits, "Ainomieli". In a City magazine interview in 2005, when asked about which CMX song should never have been made, A. W. Yrjänä has said: "On Aurinko there's'Timanttirumpu', that makes no sense at all. It's just growling and drum playing". All songs written by A. W. Yrjänä and Janne Halmkrona with lyrics by A. W. Yrjänä. "Pyhiinvaeltaja" – 3:12 "Härjät" – 3:45 "Aivosähköä" – 3:29 "Katariinanpyörä" – 2:30 "Todellisuuksien yleiset luokat I-IV" – 3:19 "Tähteinvälinen" – 5:10 "Manalainen" – 3:21 "Ainomieli" – 3:28 "Kaksi jokea" – 3:49 "Timanttirumpu" – 3:13 "Marian ilmestys" – 5:53 "Yö ei ole pimeä päivä" – 3:01 Janne Halmkrona - Guitars Timo Rasio - Guitars Pekka Kanniainen - Drums Gabi Hakanen - Producer, Mixing Anna Kuoppamäki Costi Suhonen Kikke Heikkinen Wagner Keppi Mika Paloniemi Tapani Rinne Kosonen Njuga Mol'ubata Martti Salminen Kain Ärjyvä - Sleeve Design, Photography Jolle Penttilä - Photography
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
Iäti is thirteenth album by the Finnish rock group CMX. It was released in three years after the previous Talvikuningas. Compared to the previous album Iäti is more of a traditional rock album, it ranked first. Iäti is last CMX album with drummer Tuomas Peippo. Songs by CMX. All lyrics by A. W. Yrjänä. "Sateenkaaren pää" – 3:40 "Kappaleina" – 3:24 "Taistele" – 4:01 "Auringon kultainen kaupunki" – 4:26 "Kuoleman kulkumies" – 3:52 "Iäti" – 4:04 "Totenmann" – 4:52 "Manisola" – 3:38 "Kättenpäällepanijat" – 4:07 "Linnunrata" – 4:52 "Laulu todellisuuden luonteesta" – 4.52 A. W. Yrjänä – vocals, acoustic guitar Janne Halmkrona – electric- and acoustic guitars, backing vocals Timo Rasio – electric- and acoustic guitars, backing vocals Tuomas Peippo – drums, percussion CMX discography http://www.cmx.fi/levyt/index.php?album=iati&type=album
Isohaara is the ninth studio album by the Finnish rock group CMX. The album is named after Isohaara power plant in Keminmaa; the band spent six months in the studio because of the chosen songwriting method: the songs were written and rehearsed at the studio under constant perfecting and re-arranging. Musically the album is lighter and more accessible than its predecessor, the over 100-minute Prog-epoch Dinosaurus Stereophonicus. All songs written and arranged by CMX with lyrics by A. W. Yrjänä. "Päänsärkijä" – 4:31 "Headbreaker" "Pohjoista leveyttä" – 3:20 "Northern Latitude" "Veitsenterä" – 4:33 "Knife's Blade" "Minne paha haudattiin" – 5:31 "Where Evil Was Buried" "Isohaara" – 3:39 "Revontulten repijä" – 6:13 "Ripper of Aurora Borealis" "Minun sydämeni on särkynyt" – 3:58 "My Heart is Broken" "Post mortem" – 2:55 "Lihan syvyyksiin" – 3:51 "Into the Depths of Flesh" "Silmien takana" – 4:05 "Behind the Eyes" "Tuulilukko" – 4:24 "Windlock" A. W. Yrjänä - Vocals, bass guitar, harmonium Janne Halmkrona - Guitar, keyboards Timo Rasio - Guitar Tuomas Peippo - Drums Music class 4C of the Suutarila elementary school - Choir on #5 Ismo Rajaniemi - Choir conductor on #5 Gabi Hakanen - Producing and mixing Illusion Rake - Piano and mixing of vocals and co-production on #4 Mika Jussila - Mastering "Pohjoista leveyttä" Exclusive B-sides: "Kolme kimaltavaa neitoa" and "Väkivallan moottorit" "Minun sydämeni on särkynyt" Exclusive B-sides: "Epäluoma" and "Helevetinkone" "Minne paha haudattiin" Exclusive B-sides: "Ehdota jotain parempaa" and "Kvartetto rock-yhtyeelle ja solistille, op. 1" "Silmien takana"