Home from Home (album)
Home from Home is the fifth album by the Swedish punk band Millencolin, released on March 12, 2002 by Epitaph Records. The songs "Kemp", "Man or Mouse", "Battery Check" were each released as singles with accompanying music videos. All songs by Nikola Sarcevic except where noted "Man or Mouse" – 3:04 "Fingers Crossed" – 2:47 "Black Eye" – 3:13 "Montego" – 3:00 "Punk Rock Rebel" – 3:06 "Kemp" – 3:26 "Botanic Mistress" – 2:11 "Happiness for Dogs" – 3:25 "Battery Check" – 3:20 "Fuel to the Flame" – 1:54 "Afghan" – 2:42 "Greener Grass" – 2:50 "Home from Home" – 2:13 "Absolute Zero" – 2:42 "The Downhill Walk" – 2:25 Nikola Sarcevic – lead vocals, bass guitar Erik Ohlsson – guitar Mathias Färm – guitar Fredrik Larzon – drums Marten Cedergran – vocals on "Home from Home" Mats Lindfors – piano on "Battery Check" Michael N. Svensson – drum tech Produced and mixed by Lou Giordano Mats Lindfors, Fredrik Andersson, Ernie – assistant engineers Mastered at Cutting Room by Peter In de Betou Cover artwork by Erik Ohlsson Home from Home at YouTube
Skate punk is both a skater subculture and a subgenre of punk rock music. A genre of hardcore punk associated with skate culture, skate punk changed into a more melodic genre of punk rock in the 1990s. Since the 1990s, skate punk has been a genre that features fast tempos, lead guitar playing, fast drumming, singing. Featuring the fast tempos of hardcore punk and melodic hardcore, skate punk combines these with the catchy hooks of pop punk. Skate videos have traditionally featured this fast style of punk rock; this played a big part in the coining of the term "skate punk". 1970s and early 1980s punk rock bands like Buzzcocks, Adolescents, Black Flag, Circle Jerks paved the way for skate punk. Skate punk was pioneered in the 1980s by bands such as the Big Boys, Suicidal Tendencies, JFA. A lot of early skate punk bands are part of the hardcore punk movement nardcore, which emerged in Oxnard, California. In the 1990s, skate punk changed into a more melodic punk rock genre with bands like NOFX, MxPx, No Use for a Name.
Skate punk broke into the mainstream during the 1990s with bands such as the Offspring. Skate punk's popularity continued in the early 2000s with bands such as Sum 41. During the 2010s, newer skate punk bands such as Trash Boat, Cerebral Ballzy, Trash Talk, achieved underground to moderate success in the using the influence of previous skate punk bands. Skate punk is known as skate rock and skatecore. Noted by AllMusic for having "high-energy", skate punk features fast tempos. Many of the 1980s skate punk bands were hardcore punk bands. In the 1990s, it changed and was played by bands that sound more like pop punk and standard punk rock than hardcore punk. A skater subculture, skate punk's origins go back to skate culture and surf culture. Author Sharon M. Hannon noted skate punk is known for "its fast guitars, driving bass lines, surf music–style drums". According to Mark Lepage of Spin magazine, it has a "double-time hup-two-three-four beat". Skate punk music features singing and vocal harmonies.
Rolling Stone described skate punk as "a sort of pop hardcore". Some skate punk music has lyrics that are about humor - "mostly of the smartass variety". A lot of skate punk music features lead guitar playing, guitar riffs, sometimes guitar solos. Skate punk is described by AllMusic as having "thrashier guitars" than regular punk rock. Blast beats and fast drumming are common in skate punk. Skate punk features the fast tempos of hardcore punk and melodic hardcore combining them with the catchy hooks of pop punk; some skate punk bands play other genres of music. Skate punk paved the way for third-wave ska; some skate punk bands, including NOFX and the Suicide Machines play ska punk. Some skate punk bands, including Suicidal Tendencies, Hogan's Heroes, Excel play thrash metal and / or crossover thrash. California punk bands like Black Flag and Circle Jerks paved the way for skate punk with their "fast and raw" music, "which replicated the feel of skating." 1970s punk bands like the Buzzcocks and 1980s punk bands like The Descendents made fast and catchy punk rock songs about teenage confusion, combined the aggression and speed of hardcore punk with pop-inspired melodies.
Derived from hardcore punk, skate punk began in the early 1980s. The Big Boys and JFA are considered pioneers of skate punk. Bands such as Gang Green, Suicidal Tendencies, The Faction, Rich Kids on LSD, Tales of Terror, Drunk Injuns, NOFX, Hogan's Heroes, were among the first wave of skate punk bands. Johnny Loftus of AllMusic described early skate punk music as "a confluence of punk's anger and simplicity, the furious speed of hardcore, defiantly smart-assed machismo". Many early skate punk bands are part of the hardcore punk movement nardcore, which emerged in Oxnard, California. Popular among skateboarders, 1980s hardcore punk bands with connections to skateboarding culture were labeled as "skate punk" - the origin of the term. Early skate punk bands are noted for creating the connection between punk skateboarding. Mörizen "Mofo" Föche, vocalist of Drunk Injuns and former employee of the magazine Thrasher, is "often credited with first coining the term'skate-punk'." As skate punk became more popular during the 1990s, it changed into a more melodic genre.
During this time, some skate punk bands experienced mainstream success and were featured at events such as the Warped Tour, which started in 1995. Prominent skate punk bands of the 1990s include Consumed, Good Riddance, Strung Out, NOFX, Lagwagon, Guttermouth, No Use for a Name, Blink-182, Face to Face, Slick Shoes, MxPx, Unwritten Law, Ten Foot Pole, Screeching Weasel, Bad Religion, the Offspring, Pennywise. Skate punk broke into the mainstream in the 1990s; the Offspring's album Smash, released in 1994, launched the band into the mainstream. Rancid's album... And Out Come the Wolves, Green Day's album Dookie, the Offspring's album Smash helped launch punk rock as a whole into the mainstream. Smash, certified 6x platinum by the Recording Industry Association of America, sold at least 6.3 million copies in the United States and at least 5 million copies outside the United States. NOFX's 1994 album Punk in Drublic was certified gold by the RIAA on May 5, 2000. Unlike other 1990s punk rock bands, NOFX never signed to a major record label.
NOFX has not given permission for its music videos to be played on channels like MTV and VH1. Explaining this decision NOFX member Fat Mike said: "We made the'Leave It
"Fox" is a song by the Swedish punk rock band Millencolin from the album Pennybridge Pioneers. It was released as a single on June 05, 2000 by Burning Heart Records, including an early version of Kemp with different lyrics and 2 live songs were recorded at the Hi-Fi bar in Melbourne, Australia February 15, 2000. CD single "Fox" "Kemp" early version "Penguins & Polarbears" "No Cigar" 7" vinyl Side A:"Fox" "Kemp" early versionSide B:"Penguins & Polarbears" "No Cigar"
A CD single is a music single in the form of a compact disc. The standard in the Red Book for the term CD single is an 8cm CD, it now refers to any single recorded onto a CD of any size the CD5, or 5-inch CD single. The format was introduced in the mid-1980s but did not gain its place in the market until the early 1990s. With the rise in digital downloads in the early 2010s, sales of CD singles have decreased. Commercially released CD singles can vary in length from two songs up to six songs like an EP; some contain multiple mixes of one or more songs, in the tradition of 12" vinyl singles, in some cases, they may contain a music video for the single itself as well as a collectible poster. Depending on the nation, there may be limits on the number of songs and total length for sales to count in singles charts. Dire Straits' "Brothers in Arms" is reported to have been the world's first CD single, issued in the UK in two separate singles as a promotional item, one distinguished with a logo for the tour, Live in'85, a second to commemorate the Australian leg of the tour marked Live in'86.
Containing four tracks, it had a limited print run. The first commercially released CD Single was Angeline by John Martyn released on 1 February 1986. CD singles were first made eligible for the UK Singles Chart in 1987, the first number 1 available on the format in that country was "I Wanna Dance with Somebody" by Whitney Houston in May 1987; the Mini CD single CD3 format was created for use for singles in the late 1980s, but met with limited success in the US. The smaller CDs were more successful in Japan and had a resurgence in Europe early this century, marketed as "Pock it" CDs, being small enough to fit in a shirt pocket. By 1989, the CD3 was in decline in the US, it was common in the 1990s for US record companies to release both a two-track CD and a multi-track maxi CD. In the UK, record companies would release two CDs but these consisted of three tracks or more each. During the 1990s, CD single releases became less common in certain countries and were released in smaller editions, as the major record labels feared they were cannibalizing the sales of higher-profit-margin CD albums.
Pressure from record labels made singles charts in some countries become song charts, allowing album cuts to chart based only on airplay, without a single being released. In the US, the Billboard Hot 100 made this change in December 1998, after which few songs were released in the CD single format in the US, but they remained popular in the UK and other countries, where charts were still based on single sales and not radio airplay. At the end of the 1990s, the CD was the biggest-selling single format in the UK, but in the US, the dominant single format was airplay. With the advent of digital music sales, the CD single has been replaced as a distribution format in most countries, most charts now include digital download counts as well as physical single sales. In Australia, the Herald Sun reported the CD single is "set to become extinct". In early July 2009, leading music store JB Hi-Fi ceased stocking CD singles because of declining sales, with copies of the week's No. 1 single selling as few as only 350 copies across all their stores nationwide.
While CD singles no longer maintain their own section of the store, copies are still distributed but placed with the artist's albums. That is predominantly the case for popular Australian artists such as Jessica Mauboy, Kylie Minogue and, most Delta Goodrem, whose then-recent singles were released on CD in limited quantities; the ARIA Singles Chart is now "predominantly compiled from legal downloads", ARIA stopped compiling their physical singles sales chart. "On a Mission" by Gabriella Cilmi was the last CD single to be stocked in Kmart and Big W, who concluded stocking newly released singles. Sanity Entertainment, having resisted the decline for longer than the other major outlets, has ceased selling CD singles. In China and South Korea, CD single releases have been rare since the format was introduced, due of the amount of infringement and illegal file sharing over the internet, most of the time singles have been album cuts chart based only on airplay, but with the advent of digital music the charts have occasionally included digital download counts.
In Greece and Cyprus, the term "CD single" is used to describe an extended play in which there may be anywhere from three to six different tracks. These releases charted on the Greek Singles Chart with songs released as singles; the original CD single is a music single released on a mini Compact Disc that measures 8 cm in diameter, rather than the standard 12 cm. They are manufactured using the same methods as standard full-size CDs, can be played in most standard audio CD players and CD-ROM disc drives; the format was first released in the United States, United Kingdom, France, West Germany, Hong Kong in 1987 as the replacement for the 7-inch single. While mini CDs have fallen out of popularity among most major record labels, they remain a popular, low cost way for independent musicians and groups to release music. Capable of holding up to 20 minutes of music, most mini CD singles contain at least two tracks, ofte
A-side and B-side
The terms A-side and B-side refer to the two sides of 78, 45, 331⁄3 rpm phonograph records, or cassettes, whether singles, extended plays, or long-playing records. The A-side featured the recording that the artist, record producer, or the record company intended to receive the initial promotional effort and receive radio airplay to become a "hit" record; the B-side is a secondary recording that has a history of its own: some artists released B-sides that were considered as strong as the A-side and became hits in their own right. Others took the opposite approach: producer Phil Spector was in the habit of filling B-sides with on-the-spot instrumentals that no one would confuse with the A-side. With this practice, Spector was assured that airplay was focused on the side he wanted to be the hit side. Music recordings have moved away from records onto other formats such as CDs and digital downloads, which do not have "sides", but the terms are still used to describe the type of content, with B-side sometimes standing for "bonus" track.
The first sound recordings at the end of the 19th century were made on cylinder records, which had a single round surface capable of holding two minutes of sound. Early shellac disc records records only had recordings on one side of the disc, with a similar capacity. Double-sided recordings, with one selection on each side, were introduced in Europe by Columbia Records in 1908, by 1910 most record labels had adopted the format in both Europe and the United States. There were no record charts until the 1930s, radio stations did not play recorded music until the 1950s. In this time, A-sides and B-sides existed. In June 1948, Columbia Records introduced the modern 331⁄3 rpm long-playing microgroove vinyl record for commercial sales, its rival RCA Victor, responded the next year with the seven-inch 45 rpm vinylite record, which would replace the 78 for single record releases; the term "single" came into popular use with the advent of vinyl records in the early 1950s. At first, most record labels would randomly assign which song would be an A-side and which would be a B-side.
Under this random system, many artists had so-called "double-sided hits", where both songs on a record made one of the national sales charts, or would be featured on jukeboxes in public places. As time wore on, the convention for assigning songs to sides of the record changed. By the early sixties, the song on the A-side was the song that the record company wanted radio stations to play, as 45 rpm single records dominated the market in terms of cash sales, it was not until 1968, for example, that the total production of albums on a unit basis surpassed that of singles in the United Kingdom. In the late 1960s, stereo versions of pop and rock songs began to appear on 45s; the majority of the 45s were played on AM radio stations, which were not equipped for stereo broadcast at the time, so stereo was not a priority. However, the FM rock stations did not like to play monaural content, so the record companies adopted a protocol for DJ versions with the mono version of the song on one side, stereo version of the same song on the other.
By the early 1970s, double-sided hits had become rare. Album sales had increased, B-sides had become the side of the record where non-album, non-radio-friendly, instrumental versions or inferior recordings were placed. In order to further ensure that radio stations played the side that the record companies had chosen, it was common for the promotional copies of a single to have the "plug side" on both sides of the disc. With the decline of 45 rpm vinyl records, after the introduction of cassette and compact disc singles in the late 1980s, the A-side/B-side differentiation became much less meaningful. At first, cassette singles would have one song on each side of the cassette, matching the arrangement of vinyl records, but cassette maxi-singles, containing more than two songs, became more popular. Cassette singles were phased out beginning in the late 1990s, the A-side/B-side dichotomy became extinct, as the remaining dominant medium, the compact disc, lacked an equivalent physical distinction.
However, the term "B-side" is still used to refer to the "bonus" tracks or "coupling" tracks on a CD single. With the advent of downloading music via the Internet, sales of CD singles and other physical media have declined, the term "B-side" is now less used. Songs that were not part of an artist's collection of albums are made available through the same downloadable catalogs as tracks from their albums, are referred to as "unreleased", "bonus", "non-album", "rare", "outtakes" or "exclusive" tracks, the latter in the case of a song being available from a certain provider of music. B-side songs may be released on the same record as a single to provide extra "value for money". There are several types of material released in this way, including a different version, or, in a concept record, a song that does not fit into the story lin
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
"Da Strike" is a song by the Swedish punk rock band Millencolin from the album Tiny Tunes. It was released as a single on December 16, 1994 by Burning Heart Records, including two b-sides from the album's recording sessions, "Softworld" and "Niap", along with a live recording of "Shake Me". "Niap" is a re-recording of the song "Pain" from the band's first EP Use Your Nose. "Softworld" reappeared on the band's next album Life on a Plate, while "Niap" and the live version of "Shake Me" were re-released in 1999 on the compilation album The Melancholy Collection. An accompanying music video for "Da Strike" was filmed and released. "Da Strike" appeared in the game ESPN X Games Pro Boarder for the PS1. CD single "Da Strike" "Softworld" "Shake Me" "Niap"7" vinyl Side A:"Da Strike" "Softworld"Side B:"Shake Me" "Niap" Nikola Sarcevic - lead vocals, bass guitar Erik Ohlsson - guitar Mathias Färm - guitar Fredrik Larzon - drums Fredrik Folcke - sax Lyrics of this song at MetroLyrics