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
In music, an arrangement is a musical reconceptualization of a composed work. It may differ from the original work by means of reharmonization, melodic paraphrasing, orchestration, or development of the formal structure. Arranging differs from orchestration in that the latter process is limited to the assignment of notes to instruments for performance by an orchestra, concert band, or other musical ensemble. Arranging "involves adding compositional techniques, such as new thematic material for introductions, transitions, or modulations, endings.... Arranging is the art of giving an existing melody musical variety". Arrangement and transcriptions of classical and serious music go back to the early history of this genre. In particular, music written for the piano has undergone this treatment. Pictures at an Exhibition, a suite of ten piano pieces by Modest Mussorgsky, has been arranged over twenty times, notably by Maurice Ravel. Due to his lack of expertise in orchestration, the American composer George Gershwin had his Rhapsody in Blue orchestrated and arranged by Ferde Grofé.
Popular music recordings include parts for brass and other instruments that were added by arrangers and not composed by the original songwriters. Popular music arrangements may be considered to include new releases of existing songs with a new musical treatment; these changes can include alterations to tempo, key and other musical elements. Well-known examples include Joe Cocker's version of the Beatles' "With a Little Help from My Friends," Cream's "Crossroads", Ike and Tina Turner's version of Creedence Clearwater Revival's "Proud Mary"; the American group Vanilla Fudge and British group Yes based their early careers on radical re-arrangements of contemporary hits. Bonnie Pointer performed disco and Motown-themed versions of "Heaven Must Have Sent You." Remixes, such as in dance music, can be considered arrangements. Though arrangers may contribute to finished musical products, they hold no legal claim to their work for the purpose of copyright and royalty payments. Arrangements for small jazz combos are informal and uncredited.
Larger ensembles have had greater requirements for notated arrangements, though the early Count Basie big band is known for its many head arrangements, so called because they were worked out by the players themselves and never written down. Most arrangements for big bands, were written down and credited to a specific arranger, as with arrangements by Sammy Nestico and Neal Hefti for Count Basie's big bands. Don Redman made innovations in jazz arranging as a part of Fletcher Henderson's orchestra in the 1920s. Redman's arrangements introduced a more intricate melodic presentation and soli performances for various sections of the big band. Benny Carter became Henderson's primary arranger in the early 1930s, becoming known for his arranging abilities in addition to his previous recognition as a performer. Beginning in 1938, Billy Strayhorn became an arranger of great renown for the Duke Ellington orchestra. Jelly Roll Morton is sometimes considered the earliest jazz arranger. While he toured around the years 1912 to 1915, he wrote down parts to enable "pickup bands" to perform his compositions.
Big-band arrangements are informally called charts. In the swing era they were either arrangements of popular songs or they were new compositions. Duke Ellington's and Billy Strayhorn's arrangements for the Duke Ellington big band were new compositions, some of Eddie Sauter's arrangements for the Benny Goodman band and Artie Shaw's arrangements for his own band were new compositions as well, it became more common to arrange sketchy jazz combo compositions for big band after the bop era. After 1950, the big bands declined in number. However, several bands continued and arrangers provided renowned arrangements. Gil Evans wrote a number of large-ensemble arrangements in the late 1950s and early 1960s intended for recording sessions only. Other arrangers of note include Vic Schoen, Pete Rugolo, Oliver Nelson, Johnny Richards, Billy May, Thad Jones, Maria Schneider, Bob Brookmeyer, Lou Marini, Nelson Riddle, Ralph Burns, Billy Byers, Gordon Jenkins, Ray Conniff, Henry Mancini, Ray Reach, Vince Mendoza, Claus Ogerman.
In the 21st century, the big-band arrangement has made a modest comeback. Gordon Goodwin, Roy Hargrove, Christian McBride have all rolled out new big bands with both original compositions and new arrangements of standard tunes; the string section is a body of instruments composed of various stringed instruments. By the 19th century orchestral music in Europe had standardized the string section into the following homogeneous instrumental groups: first violins, second violins, violas and double basses; the string section in a multi-sectioned orchestra is referred sometimes to as the "string choir."The harp is a stringed instrument, but is not a member of nor homogeneous with the violin family and is not considered part of the string choir. Samuel Adler classifies the harp as a plucked string instrument in the same category as the guitar, banjo, or zither. Like the harp these instruments do not belong to the violin family and are not homogeneous with the string choir. In modern arranging these instruments are considered part of the rhythm section.
The electric bass and upright string bass—depending on the circumstance—can be treated by the arranger as either string section or rhythm section instruments. A group of instruments in which each member plays a unique part—rather than playing in u
Machine and Soul
Machine + Soul is the eleventh solo studio album by English musician Gary Numan, released in 1992. It was a low point, released to help pay off debt, was the last of his efforts to make his music more radio-friendly, his subsequent work went in the much darker and more industrial direction that would revive his career. Numan's two previous studio albums, 1988's Metal Rhythm and 1991's Outland, had been released through IRS Records. However, Numan's relationship with that label had become strained, leading to his quitting IRS and reactivating his own label, Numa Records, on which he had released his work from 1984 until 1986, he continued to release albums on that label, before closing it down permanently after Sacrifice. Musically, Machine + Soul continued the synth-rock/funk style of Metal Outland. Like Outland, Machine + Soul features movie vocal samples. However, Numan strove for a much more commercial sound with Machine + Soul, influenced by the work of Jimmy Jam and Terry Lewis as well as by Prince.
A decade after Machine + Soul's release, Numan had little difficulty describing his feelings for the album: Numan stated that reflecting on the album and its reception convinced him to retire from the music industry altogether. Numan said that in 1993, "Nothing was right... That music, those clothes, that haircut. Imagine falling off a ship in the ocean, knowing if you stop swimming you're finished. That's. I was trying not to die."Machine + Soul reached #42 on the UK album charts. Three singles were released from the album: "Emotion". Over a year after the album's release, Numan embarked on the 14-date "Dream Corrosion Tour" of October–November 1993, from which the live album Dream Corrosion was released. Recorded at the Hammersmith Apollo, London on 6 November 1993, released in August 1994, Dream Corrosion reached only #86 on the UK Album charts, however, it has been cited as the template with which Numan relaunched his career, preparing him for his return-to-form album Sacrifice in 1994. With Sacrifice, Numan dispensed with the dance rhythms and female backing vocals, in favour of a back-to-basics approach, more introspective lyrics, a darker musical sound.
Three songs from Machine + Soul were included on the 1996 remix album, Techno Army featuring Gary Numan. Machine + Soul was reissued in 1998 in the US and 1999 in the UK; the album's original sleeve was discarded for both releases. Both editions featured new covers, utilizing photographs from Numan's Metal Rhythm era. All tracks are written by Gary Numan except. All timings are approximate and will vary with different equipment. "Machine + Soul" – 5:57 "Generator" – 6:08 "The Skin Game" – 6:23 "Poison" – 5:02 "I Wonder" – 4:28 "Emotion" – 5:31 "Cry" – 4:45 "U Got the Look" – 3:57 "Love Isolation" – 4:38 "Machine + Soul" - 7:33 "Generator" - 9:51 "The Skin Game" - 7:41 "Poison" - 6:39 "I Wonder" - 6:33 "Emotion" - 8:00 "Cry" - 7:31 "U Got The Look" - 3:57 "Love Isolation" - 6:30 "Dark Mountain" - 3:09 "The Hauntings" - 4:06 "In a Glasshouse" - 4:12 "Hanoi" - 2:03 "Machine + Soul" – 5:57 "Generator" – 6:08 "The Skin Game" – 6:23 "Poison" – 5:02 "I Wonder" – 4:28 "Emotion" – 5:31 "Cry" – 4:45 "U Got the Look" – 3:57 "Love Isolation" – 4:38 "Hanoi" - 2:03 "In A Glasshouse" - 4:12 "Wonder Eye" - 4:04 "Cry Baby" - 4:21 "The Hauntings" - 4:06 "1999" - 4:56 "Dark Mountain" - 3:09 "Machine + Soul" – 5:57 "Generator" – 6:08 "The Skin Game" – 6:23 "Poison" – 5:02 "I Wonder" – 4:28 "Emotion" – 5:31 "Cry" – 4:45 "U Got the Look" – 3:57 "Love Isolation" – 4:38 "Hanoi" - 2:03 "Dark Mountain" - 3:09 "The Hauntings" - 4:06 "1999" - 4:56 "Cry Baby" - 4:21 "Wonder Eye" - 4:04 "Wonder Eye" and "Cry Baby" are demo versions of "I Wonder" and "Cry" respectively.
Some pressings of both the Numa CD releases suffered from CD rot. Gary Numan: Vocals, Guitar Kipper: Guitars, Keyboards on Tracks 1,2,4,5,6,9 Mike Smith: Keyboards on Tracks 1,3,6,7,8 Keith Beauvais: Guitars on Tracks 3,7,8 Ade Orange: Keyboards on Track 3 Susie Webb: Backing Vocals on Tracks 1,2,4,5,6,9 Zoe Nicholas: Backing Vocals on Tracks 1,2,4,5,6,9 Jackie Rawe: Backing Vocals on Tracks 3,7 Cathy Odgen: Backing Vocals on Track 8 Allmusic
Murder of James Bulger
James Patrick Bulger was a boy from Kirkby, England, abducted and killed by two 10-year-old boys, Robert Thompson and Jon Venables. Bulger was led away from the New Strand Shopping Centre in Bootle as his mother had taken her eyes off him momentarily, his mutilated body was found on a railway line 2.5 miles away in Walton, two days after his murder. Thompson and Venables were charged on 20 February 1993 with Bulger's murder, they were found guilty on 24 November 1993, making them the youngest convicted murderers in modern British history. They were sentenced to detention during Her Majesty's pleasure until a Parole Board decision in June 2001 recommended their release on a lifelong licence aged 18. In 2010, Venables was sent to prison for breaching the terms of his licence, was released on parole again in 2013. In November 2017, Venables was again sent to prison for possessing child abuse images on his computer; the Bulger case has prompted widespread debate on the issue of how to handle young offenders when they are sentenced or released from custody.
Closed-circuit television surveillance from the New Strand Shopping Centre in Bootle taken on Friday 12 February 1993 showed Thompson and Venables casually observing children selecting a target. The boys were playing truant from school. Throughout the day and Venables were seen stealing various items including sweets, a troll doll, some batteries and a can of blue paint, some of which were found at the murder scene. One of the boys revealed that they were planning to find a child to abduct, lead him to the busy road alongside the shopping centre, push him into the path of oncoming traffic; that same afternoon, from nearby Kirkby, went with his mother, Denise, to the New Strand Shopping Centre. Whilst inside the A. R. Tym's butcher's shop on the lower floor of the centre at around 15:40, temporarily distracted, realised that her son had disappeared. Thompson and Venables approached him and took him by the hand, leading him out of the shopping centre; the moment was caught on CCTV at 15:42. Bulger was taken to the Leeds and Liverpool Canal, around a quarter of a mile from the New Strand Shopping Centre, where he was dropped on his head and suffered injuries to his face.
The boys joked about pushing Bulger into the canal. An eyewitness during the trial said that when he saw Bulger at the canal, he was "crying his eyes out". During a 2.5-mile walk across Liverpool, the boys were seen by 38 people, but most bystanders did nothing to intervene. Two people challenged Thompson and Venables, but they claimed Bulger was their younger brother or that he was lost and they were taking him to the local police station. At one point, the boys took Bulger into a pet shop; the boys arrived in the village of Walton, with Walton Lane police station across the road facing them, they hesitated and led Bulger up a steep bank to a railway line near the disused Walton & Anfield railway station, close to Anfield Cemetery, where they began torturing him. One of the boys threw blue Humbrol modelling paint, which they had stolen earlier, into Bulger's left eye, they stamped on him and threw bricks and stones at him. Batteries were placed in Bulger's mouth and, according to police, some batteries may have been inserted into his anus, although none were found.
The boys dropped a 10-kilogram iron bar, described in court as a railway fishplate, on Bulger. He sustained 10 skull fractures as a result of the bar striking his head. Alan Williams, the case's pathologist, stated that Bulger suffered so many injuries—42 in total—that none could be isolated as the fatal blow. Thompson and Venables laid Bulger across the railway tracks and weighted his head down with rubble, in the hope that a train would hit him and make his death appear to be an accident. After they left the scene, his body was cut in half by a train. Bulger's severed body was discovered two days on 14 February. A forensic pathologist testified. Police suspected that there was a sexual element to the crime, since Bulger's shoes, socks and underpants had been removed; the pathologist's report, read out in court, found that Bulger's foreskin had been forcibly retracted. When Thompson and Venables were questioned about this aspect of the attack by detectives and a child psychiatrist, Eileen Vizard, the pair were reluctant to give details and denied inserting some of the batteries into Bulger's anus.
At his eventual parole, Venables's psychiatrist, Susan Bailey, reported that "visiting and revisiting the issue with Jon as a child, now as an adolescent, he gives no account of any sexual element to the offence."The police found low-resolution video images of Bulger's abduction from the New Strand Shopping Centre by two unidentified boys. The railway embankment upon which his body had been discovered was adorned with hundreds of bunches of flowers; the family of one boy, detained for questioning but subsequently released, had to flee the city due to threats by vigilantes. The breakthrough came when a woman, on seeing enhanced images of the two boys on national television, recognised Venables, who she knew had played truant with Thompson that day, she contacted the boys were arrested. The fact that the suspects were so young came as a shock to investigating officers, headed by Detective Superintendent Albert Kirby, of Merseyside Police. Early press reports and police statements had referred to Bulger being seen with "two youths", the ages of the boys being difficult to ascertain fr
Pure (Gary Numan album)
Pure is the fourteenth solo studio album by English musician Gary Numan, released in November 2000 by Eagle Records. Lyrically, Pure was seen as continuing the composer’s attacks on Christian dogma but in a somewhat more personal fashion than on Exile; the recording featured an expanded group of collaborators after the one-man efforts of Sacrifice and Exile. The Sulpher team of Rob Holliday and Monti contributed guitar and drums as well as keyboards and additional production; the opening/title song was typical of most tracks on the album, beginning with ethereal strings and piano effects that gave way to an industrial metal guitar riff before breaking into a thunderous chorus. It was described by Numan as an attempt to explore the mind of a murderer. "Walking With Shadows" started with a scenario similar to the early Tubeway Army song "The Life Machine", that of a man in a coma, but one who, rather than wishing to return to his loved ones, wanted his loved ones to join him. "My Jesus", "Listen to My Voice" and "Rip" expanded upon the atheistic/heretical themes that were introduced on Sacrifice and which dominated Exile.
"I Can’t Breathe" inhabited a world similar to Sacrifice’s "Deadliner", that of a waking nightmare. "Fallen" was the composer's first instrumental in a number of full of distorted effects. "A Prayer for the Unborn" and "Little Invitro" were gentler numbers inspired by personal tragedy the recent miscarriages suffered by Numan's wife Gemma and the couple's many unsuccessful IVF attempts up until that time. Pure's style was compared to that of other industrial rock acts, such as Nine Inch Nails and Marilyn Manson, who had themselves acknowledged Numan's earlier influence on their own music. Whilst some critics and fans professed themselves weary of a third record obsessed with religious themes, others such as The Sunday Times described Pure as Numan’s best album since his classic 1979/80 period. Numan toured extensively in support of the new album, captured in the Scarred live recording issued in 2003. A number of the tracks were remixed for the Hybrid collection, released the same year. Unlike the three previous albums, no'Extended' version of Pure was officially made available, though a bootleg of dubious authenticity exists.
However, a 2CD numbered limited edition'Tour Edition' was released in 2001, containing a poster and a bonus CD with screensaver, live tracks and two remixes. The album artwork was extensively re-worked; the only single, "Rip", was released 18 months after the album. In the United States, "Listen to my Voice" was a radio hit, reaching No.13 on the R&R Alternative Charts. Pure received mixed to positive reviews. Writing in NME in October 2000, music journalist Noel Gardner described the album as "Pure... ends up a mere testament to Numan's bloated vanity. Darryl Sterdan, when reviewing the album for Canoe.ca, described Numan's vocal and lyrical approach as "whispering like Manson and yelping like Reznor about pain and sacrifice". Sterdan went on to say, "Numan admits these brooding electro-goth pouts were influenced by U. S. electro-metal. He gets one point for honesty, but none for originality or timeliness -- Rip and Fallen sound like the cliche dreck Trentoids were churning out en masse in'96.
It didn't work and it doesn't work now. For a guy like Numan who can do so much better." The album was more positively assessed in Kerrang:"This veteran artist has released a superbly dark and dysfunctional industrial album that will electrocute you. My Jesus and Rip are just two of many tracks that spiral with synth-based dementia before immersing you in elegant waves of distortion. If you like your melancholia dense and dynamic, you won't want Pure to end, and no way will you believe it's a Gary Numan album. Venturing into darker pastures than Depeche Mode dared, Pure lives out a post-modern nightmare of Blade Runner fashioned alienation, it would be selling Numan short to call Pure pregnant with menace". Writing in The Guardian, Maddy Costa described Numan as sounding like Manson and Reznor, but noted that "nobody quite emulates him". Liana Jonas, reviewing the album for Allmusic, says, "Pure is good, dark mood music, seasoned with menacing basslines, electronic crashes and spikes, slow-grinding guitars.
It's an effective pairing -- ghostly voice coupled with industrialized music. PopMatters review of the album written by Wilson Neate said, "Pure is Gary Numan's richest, most powerful and most aggressive work in years."Pure made a limited impression on the UK Albums Chart where it reached number 58, staying on the charts for one week. In 2013, Pure was reappraised by Jamie Halliday of Audio Antihero Records in a "Paint It Back" retrospective article for the GoldFlakePaint music site, praising the album and calling it Numan's "21st century masterpiece." All songs written except where noted. All timings are approximate and will vary with different equipment. "Pure" – 5:08 "Walking With Shadows" – 5:52 "Rip" – 5:06 "One Perfect Lie" – 4:35 "My Jesus" – 5:45 "Fallen" – 2:31 "Listen to My Voice" – 5:12 "A Prayer for the Unborn" – 5:43 "Torn" – 5:10 "Little Invitro" – 4:28 "I Can't Breathe" – 5:45 CD One Same track listing as original release. CD Two "Pure" - 6:43 "My Jesus" - 5:52 "Rip" - 5:09 "Cars" - 3:22 "Replicas" - 5:13 "A Prayer For The Unborn" - 8:35 "Listen To My Voice" - 8:01 The live tracks appeared on the'Sca
The Magnetic Fields
The Magnetic Fields is an American band founded and led by Stephin Merritt. Merritt is the group's primary songwriter and vocalist, as well as frequent multi-instrumentalist; the Magnetic Fields is a vehicle for Merritt's songwriting, as are various side-projects including The 6ths, Future Bible Heroes, The Gothic Archies. Merritt's recognizable lyrics are about love and with atypical or neutral gender roles, are by turns ironic, tongue-in-cheek and humorous; the band released their debut single "100,000 Fireflies" in 1991. The single was typical of the band's earlier career, characterized by synthesized instrumentation by Merritt, with lead vocals provided by Susan Anway. A more traditional band materialized; the band's best-known work is the 1999 three-volume concept album 69 Love Songs. It was followed in the succeeding years by a "no-synth" trilogy: i, Realism; the band's most recent album, 50 Song Memoir, was released in March 2017. The band began as Merritt's studio project under the name Buffalo Rome.
With the help of friend Claudia Gonson, who had played in Merritt's band The Zinnias during high school, a live band was assembled in Boston, where Merritt and Gonson lived, to play Merritt's compositions. The band's first live performance was at T. T. the Bear's Place in Cambridge, Massachusetts in 1991 where they played to a sparse audience, expecting to see the Galaxie 500 spin-off, Magnetophone. The 1999 triple album 69 Love Songs showcased Merritt's songwriting abilities and the group's musicianship, demonstrated by the use of such varied instruments as the ukulele, accordion, mandolin, flute and the Marxophone, in addition to their usual setting of synthesizers and effects; the album features vocalists Shirley Simms, Dudley Klute, L. D. Beghtol, Gonson, each of whom sings lead on six songs as well as various backing vocals, plus Daniel Handler on accordion, longtime collaborator Christopher Ewen as guest arranger/synthesist. Violinist Ida Pearle makes a brief cameo on "Luckiest Guy on the Lower East Side".
The band's recent albums, i and Distortion, both followed the album theme structure of 69 Love Songs: The song titles on i begin with the letter "I", whilst Distortion was an experiment in combining noise music with their unconventional musical approach. The liner notes claim. According to an article: "To celebrate the release of Distortion and The Magnetic Fields played mini-residencies in cities around the country, culminating with six shows at Chicago's Old Town School of Folk Music." Realism was released in January 2010. The next album produced would feature synthesisers "almost exclusively". In 2010, the documentary film Strange Powers: Stephen Merritt and the Magnetic Fields made its debut in film festivals around the world, it was directed by Gail O'Hara. Shot over a period of 10 years, it discusses the formation of the band, Stephin's friendship with Claudia Gonson, the production of various albums, Stephin's move to California from New York, it won the Outfest 2010 Grand Jury Prize for Feature Documentary.
The band was chosen by Jeff Mangum of Neutral Milk Hotel to perform a rare festival performance at the All Tomorrow's Parties event that he curated in March 2012 in Minehead, England. The band released its tenth full-length album, Love at the Bottom of the Sea, on March 6, 2012 to critical acclaim; this album, sometimes compared to 69 Love Songs, brought back the use of a synthesizer. Merritt told fans on his website, "I was happy to be using synthesizers in ways that I had not done before. Most of the synthesizers on the record didn't exist when we were last using synthesizers." The song "Andrew in Drag" has garnered much attention, receiving play from entities such as CBS News and NPR's All Songs Considered. In 2012, the Magnetic Fields celebrated its new album by launching a North American and European tour, it began on March 6, the release date of Love at the Bottom of the Sea, continued for two months. In 2016 it was announced that the band's eleventh studio album, 50 Song Memoir would contain fifty songs, akin to the 69 Love Songs concept, one to commemorate each year since Stephin Merritt was born.
It was released in March 2017. Official membersStephin Merritt – guitar, keyboards, melodica, lead vocals Claudia Gonson – piano, percussion, group manager Sam Davol – cello, flute John Woo – banjo, guitar Shirley Simms – autoharp, vocalsOther contributorsCurrent and former contributors include singers Susan Anway, Dudley Klute, Nell Beram, LD Beghtol, as well as instrumentalists Johny Blood, Quince Marcum, Daniel Handler, Chris Ewen and engineer/producer Charles Newman and instrumentalist and singer Pinky Weitzman. Studio albumsDistant Plastic Trees The Wayward Bus The Charm of the Highway Strip Holiday Get Lost 69 Love Songs i Distortion Realism Love at the Bottom of the Sea 50 Song Memoir The House of Tomorrow, official site of TMF & side projects Aging Spinsters, a Stephin Merritt fan blog Stephin Songs, an informative fan site Strange Powers, official site of the TMF documentary
London is the capital and largest city of both England and the United Kingdom. Standing on the River Thames in the south-east of England, at the head of its 50-mile estuary leading to the North Sea, London has been a major settlement for two millennia. Londinium was founded by the Romans; the City of London, London's ancient core − an area of just 1.12 square miles and colloquially known as the Square Mile − retains boundaries that follow its medieval limits. The City of Westminster is an Inner London borough holding city status. Greater London is governed by the Mayor of the London Assembly. London is considered to be one of the world's most important global cities and has been termed the world's most powerful, most desirable, most influential, most visited, most expensive, sustainable, most investment friendly, most popular for work, the most vegetarian friendly city in the world. London exerts a considerable impact upon the arts, education, fashion, healthcare, professional services and development, tourism and transportation.
London ranks 26 out of 300 major cities for economic performance. It is one of the largest financial centres and has either the fifth or sixth largest metropolitan area GDP, it is the most-visited city as measured by international arrivals and has the busiest city airport system as measured by passenger traffic. It is the leading investment destination, hosting more international retailers and ultra high-net-worth individuals than any other city. London's universities form the largest concentration of higher education institutes in Europe. In 2012, London became the first city to have hosted three modern Summer Olympic Games. London has a diverse range of people and cultures, more than 300 languages are spoken in the region, its estimated mid-2016 municipal population was 8,787,892, the most populous of any city in the European Union and accounting for 13.4% of the UK population. London's urban area is the second most populous in the EU, after Paris, with 9,787,426 inhabitants at the 2011 census.
The population within the London commuter belt is the most populous in the EU with 14,040,163 inhabitants in 2016. London was the world's most populous city from c. 1831 to 1925. London contains four World Heritage Sites: the Tower of London. Other landmarks include Buckingham Palace, the London Eye, Piccadilly Circus, St Paul's Cathedral, Tower Bridge, Trafalgar Square and The Shard. London has numerous museums, galleries and sporting events; these include the British Museum, National Gallery, Natural History Museum, Tate Modern, British Library and West End theatres. The London Underground is the oldest underground railway network in the world. "London" is an ancient name, attested in the first century AD in the Latinised form Londinium. Over the years, the name has attracted many mythicising explanations; the earliest attested appears in Geoffrey of Monmouth's Historia Regum Britanniae, written around 1136. This had it that the name originated from a supposed King Lud, who had taken over the city and named it Kaerlud.
Modern scientific analyses of the name must account for the origins of the different forms found in early sources Latin, Old English, Welsh, with reference to the known developments over time of sounds in those different languages. It is agreed; this was adapted into Latin as Londinium and borrowed into Old English, the ancestor-language of English. The toponymy of the Common Brythonic form is much debated. A prominent explanation was Richard Coates's 1998 argument that the name derived from pre-Celtic Old European *lowonida, meaning "river too wide to ford". Coates suggested that this was a name given to the part of the River Thames which flows through London. However, most work has accepted a Celtic origin for the name, recent studies have favoured an explanation along the lines of a Celtic derivative of a proto-Indo-European root *lendh-, combined with the Celtic suffix *-injo- or *-onjo-. Peter Schrijver has suggested, on these grounds, that the name meant'place that floods'; until 1889, the name "London" applied to the City of London, but since it has referred to the County of London and Greater London.
"London" is sometimes written informally as "LDN". In 1993, the remains of a Bronze Age bridge were found on the south foreshore, upstream of Vauxhall Bridge; this bridge either reached a now lost island in it. Two of those timbers were radiocarbon dated to between 1750 BC and 1285 BC. In 2010 the foundations of a large timber structure, dated to between 4800 BC and 4500 BC, were found on the Thames's south foreshore, downstream of Vauxhall Bridge; the function of the mesolithic structure is not known. Both structures are on the south bank. Although there is evidence of scattered Brythonic settlements in the area, the first major settlement was founded by the Romans about four years after the invasion