Noise rock is a noise-oriented style of experimental rock that spun off from punk rock in the 1980s. Drawing on movements such as minimalism, industrial music, New York hardcore, artists indulge in extreme levels of distortion through the use of electric guitars and, less electronic instrumentation, either to provide percussive sounds or to contribute to the overall arrangement; some groups are tied to song structures, such as Sonic Youth. Although they are not representative of the entire genre, they helped popularize noise rock among alternative rock audiences by incorporating melodies into their droning textures of sound, which set a template that numerous other groups followed. Noise rock fuses rock to noise with recognizable "rock" instrumentation, but with greater use of distortion and electronic effects, varying degrees of atonality and white noise. One notable band of this genre is Sonic Youth who took inspiration from the no wave composers Glenn Branca and Rhys Chatham. Sonic Youth's Thurston Moore has stated: "Noise has taken the place of punk rock.
People who play noise have no real aspirations to being part of the mainstream culture. Punk has been co-opted, this subterranean noise music and the avant-garde folk scene have replaced it." While the music had been around for some time, the term "noise rock" was coined in the 1980s to describe an offshoot of punk groups with an abrasive approach. An archetypal album is the Velvet Underground's White Light/White Heat. Treblezine's Joe Gross credits the "cult classic" with being the first noise rock album, accordingly, "perhaps it’s an obvious starting point, but it’s the starting point. Period."While noise rock has never had any mainstream popularity, the raw and feedback-intensive sound of some noise rock bands had an influence on grunge. Among them are Wisconsin's Killdozer, most notably San Francisco's Flipper, a band known for its slowed-down and murky "noise punk"; the Butthole Surfers' mix of punk, heavy metal and noise rock was a major influence on the early work of Soundgarden. Starting in the 1990s, noise punk developed as a form of party music, with the band Lightning Bolt serving as key players in the 2000s noise punk scene in Providence, Rhode Island.
List of noise rock bands List of noise musicians
Livonia is a city in the northwest part of Wayne County in the U. S. state of Michigan. It is a large suburb with an array of traditional neighborhoods connected to the metropolitan area by freeways; the population was 96,942 at the 2010 census. The municipality is a part of Metro Detroit, is located 15 miles northwest of downtown Detroit, less than two miles from the western city limits of Detroit. First settled by pioneers from New England and New York, an act by the Legislature of the Territory of Michigan established the borders of Livonia Township on March 17, 1835; the settlers brought with them the name "Livonia", a name, given to Livonia, New York, Pennsylvania and a region on the eastern shores of the Baltic Sea named Livonia in present-day Estonia and Latvia, from which many early settlers came. Livonia Township was split off from Nankin Township, in which a Livonia post office had been established in June 1834. During the days of the city being a township, many small communities have existed.
One of these was Elmwood known as McKinley's Station. It was a stop on the Detroit and Northern Railroad, it had a post office from 1858 until 1906. There was a post office in the township named Giltedge from 1899 until 1902. Livonia was incorporated into a city on May 1950, by vote of the citizens of the township. A significant motivation was to gain tax revenues from the DRC, Michigan's only thoroughbred horse race track. Six U. S. presidents have visited the city: Richard Nixon, Gerald Ford, Ronald Reagan, George H. W. Bush, Bill Clinton and George W. Bush. According to the United States Census Bureau, the city has a total area of 35.86 square miles, of which 35.70 square miles is land and 0.16 square miles is water. According to a 2010 American Community Survey, the median income for a household in the city was $65,391, the median income for a family was $77,119. Males had a median income of $62,071 versus $42,083 for females; the per capita income for the city was $29,536. About 5.4% of families and 7.8% of the population were below the poverty line, including 15.6% of those under age 18 and 3.8% of those age 65 or over.
By 1985, as of 2005, there is a group of Christian Palestinian Americans, many of whom operated small and medium-sized businesses, who originated from Ramallah. As of the census of 2010, there were 96,942 people, 38,714 households, 26,856 families residing in the city; the population density was 2,715.5 inhabitants per square mile. There were 40,401 housing units at an average density of 1,131.7 per square mile. The racial makeup of the city was 92.0% White, 3.4% African American, 0.2% Native American, 2.5% Asian, 0.4% from other races, 1.4% from two or more races. Hispanic or Latino people of any race were 2.5% of the population. There were 38,714 households of which 29.1% had children under the age of 18 living with them, 55.9% were married couples living together, 9.7% had a female householder with no husband present, 3.8% had a male householder with no wife present, 30.6% were non-families. Of all households 26.7% were made up of individuals and 13.1% had someone living alone, 65 years of age or older.
The average household size was 2.47 and the average family size was 3.01. The median age in the city was 44.5 years. 20.8% of residents were under the age of 18. The gender makeup of the city was 48.3% male and 51.7% female. As of the census of 2000, there were 100,545 people, 38,089 households, 28,071 families residing in the city; the population density was 2,815.0 per square mile. There were 38,658 housing units at an average density of 1,082.3 per square mile. The racial makeup of the city was 95.45% White, 0.95% African American, 0.22% Native American, 1.94% Asian, 0.01% Pacific Islander, 0.32% from other races, 1.11% from two or more races. Hispanic or Latino people of any race were 1.72% of the population. 16.3% were of Polish, 15.9% German, 11.2% Irish, 8.6% Italian and 8.5% English ancestry according to Census 2000. Livonia has a substantial Middle Eastern population Arab and trace their ancestry to the Levant region from Syria, Jordan and Lebanon, are of the Christian faith; the Arab-American community has few churches in the city, Mainly Saint Mary's Antiochian Orthodox Christian Church.
The community has since continued a steady growth. There were 38,089 households out of which 32.5% had children under the age of 18 living with them, 62.8% were married couples living together, 8.0% had a female householder with no husband present, 26.3% were non-families. Of all households 22.9% were made up of individuals and 11.1% had someone living alone, 65 years of age or older. The average household size was 2.59 and the average family size was 3.07. In the city, the population was spread out with 23.8% under the age of 18, 6.3% was from 18 to 24, 28.7% was from 25 to 44, 24.3% was from 45 to 64, 16.9% were 65 years of age or older. The median age was 40 years. For every 100 females, there were 94.0 males. For every 100 females age 18 and over, there were 90.8 males. As of 2000, Livonia was the city in the United States with over 100,000 people that had the highest percentage of non-Hispanic white people. In addition to its schools, churches, recreation center and the St. Mary Mercy Hospital, Livonia has commercial and in
MusicBrainz is a project that aims to create an open data music database, similar to the freedb project. MusicBrainz was founded in response to the restrictions placed on the Compact Disc Database, a database for software applications to look up audio CD information on the Internet. MusicBrainz has expanded its goals to reach beyond a compact disc metadata storehouse to become a structured open online database for music. MusicBrainz captures information about artists, their recorded works, the relationships between them. Recorded works entries capture at a minimum the album title, track titles, the length of each track; these entries are maintained by volunteer editors. Recorded works can store information about the release date and country, the CD ID, cover art, acoustic fingerprint, free-form annotation text and other metadata; as of 21 September 2018, MusicBrainz contained information about 1.4 million artists, 2 million releases, 19 million recordings. End-users can use software that communicates with MusicBrainz to add metadata tags to their digital media files, such as FLAC, MP3, Ogg Vorbis or AAC.
MusicBrainz allows contributors to upload cover art images of releases to the database. Internet Archive provides the bandwidth and legal protection for hosting the images, while MusicBrainz stores metadata and provides public access through the web and via an API for third parties to use; as with other contributions, the MusicBrainz community is in charge of maintaining and reviewing the data. Cover art is provided for items on sale at Amazon.com and some other online resources, but CAA is now preferred because it gives the community more control and flexibility for managing the images. Besides collecting metadata about music, MusicBrainz allows looking up recordings by their acoustic fingerprint. A separate application, such as MusicBrainz Picard, must be used for this. In 2000, MusicBrainz started using Relatable's patented TRM for acoustic fingerprint matching; this feature allowed the database to grow quickly. However, by 2005 TRM was showing scalability issues as the number of tracks in the database had reached into the millions.
This issue was resolved in May 2006 when MusicBrainz partnered with MusicIP, replacing TRM with MusicDNS. TRMs were phased out and replaced by MusicDNS in November 2008. In October 2009 MusicIP was acquired by AmpliFIND; some time after the acquisition, the MusicDNS service began having intermittent problems. Since the future of the free identification service was uncertain, a replacement for it was sought; the Chromaprint acoustic fingerprinting algorithm, the basis for AcoustID identification service, was started in February 2010 by a long-time MusicBrainz contributor Lukáš Lalinský. While AcoustID and Chromaprint are not MusicBrainz projects, they are tied with each other and both are open source. Chromaprint works by analyzing the first two minutes of a track, detecting the strength in each of 12 pitch classes, storing these 8 times per second. Additional post-processing is applied to compress this fingerprint while retaining patterns; the AcoustID search server searches from the database of fingerprints by similarity and returns the AcoustID identifier along with MusicBrainz recording identifiers if known.
Since 2003, MusicBrainz's core data are in the public domain, additional content, including moderation data, is placed under the Creative Commons CC-BY-NC-SA-2.0 license. The relational database management system is PostgreSQL; the server software is covered by the GNU General Public License. The MusicBrainz client software library, libmusicbrainz, is licensed under the GNU Lesser General Public License, which allows use of the code by proprietary software products. In December 2004, the MusicBrainz project was turned over to the MetaBrainz Foundation, a non-profit group, by its creator Robert Kaye. On 20 January 2006, the first commercial venture to use MusicBrainz data was the Barcelona, Spain-based Linkara in their Linkara Música service. On 28 June 2007, BBC announced that it has licensed MusicBrainz's live data feed to augment their music Web pages; the BBC online music editors will join the MusicBrainz community to contribute their knowledge to the database. On 28 July 2008, the beta of the new BBC Music site was launched, which publishes a page for each MusicBrainz artist.
Amarok – KDE audio player Banshee – multi-platform audio player Beets – automatic CLI music tagger/organiser for Unix-like systems Clementine – multi-platform audio player CDex – Microsoft Windows CD ripper Demlo – a dynamic and extensible music manager using a CLI iEatBrainz – Mac OS X deprecated foo_musicbrainz component for foobar2000 – Music Library/Audio Player Jaikoz – Java mass tag editor Max – Mac OS X CD ripper and audio transcoder Mp3tag – Windows metadata editor and music organizer MusicBrainz Picard – cross-platform album-oriented tag editor MusicBrainz Tagger – deprecated Microsoft Windows tag editor puddletag – a tag editor for PyQt under the GPLv3 Rhythmbox music player – an audio player for Unix-like systems Sound Juicer – GNOME CD ripper Zortam Mp3 Media Studio – Windows music organizer and ID3 Tag Editor. Freedb clients can access MusicBrainz data through the freedb protocol by using the MusicBrainz to FreeDB gateway service, mb2freedb. List of online music databases Making Metadata: The Case of Mus
Frenchkiss Records is an independent record label based in New York City. The label was started in 1999 by Syd Butler and founder of Les Savy Fav; the label's first purpose was to release Les Savy Fav's second album The Cat and The Cobra, but has since been the label responsible for discovering a varying array of artists such as The Hold Steady, The Antlers, The Dodos, Local Natives and Passion Pit. The label has added a music publishing side as well, Frenchkiss Publishing; the company was acquired by The Orchard in September 2014. In early 2012 Frenchkiss Records launched the distribution company Frenchkiss Label Group, "focused on growing visibility for indie labels in the spirit of communities such as Dischord, Rough Trade and Touch & Go." In May of that year Cavity Search Records was announced as one of the first nine labels to join the Frenchkiss distribution group, along with JAXART and Pendu Sound. At that point, Frenchkiss had ceased its affiliation with RED, had begun working with The Orchard.
List of record labels Official website Frenchkiss Records discography at Discogs
Les Savy Fav
Les Savy Fav is a New York City indie rock band. Their style is influenced by art post-hardcore; the group is known for the stage presence of lead singer Tim Harrington. The band is signed to Frenchkiss Records, owned by the band's bassist, Syd Butler; the group's original 1995 line-up all met while attending the Rhode Island School of Design in Providence, Rhode Island. Some of its members were classmates of Family Guy creator Seth MacFarlane. Live shows are punctuated by the antics of frontman Harrington, including interacting with audience members and on-stage wardrobe changes; the rest of the band continues to play. Guitar player Gibb Slife left the band after their second LP. Drummer Mahoney was replaced by Harrison Haynes; the band started a planned hiatus in mid-2005, which led to speculation that they might have broken up, but Harrington confirmed that Les Savy Fav would return and indeed they did, playing a live performance at the British All Tomorrow's Parties festival in May 2007. Andrew Reuland joined the band in 2006 as the second guitar player.
The band booked studio time in November of that year to record their fourth full-length album, Let's Stay Friends, released September 18, 2007. They performed "Patty Lee" live on Late Night with Conan O'Brien on January 31, 2008, their song "Hold Onto Your Genre" is featured in the soundtrack to MLB 2K7, as well as commercials for the game. Furthermore, their song "Raging in the Plague Age" is featured on an in-game radio station in GTA IV. Bass player Syd Butler is the owner of Frenchkiss Records. Seth Jabour is known for his work as an illustrator and graphic designer. Former drummer Pat Mahoney played in LCD Soundsystem; the Derry/London based band Jetplane Landing included a song on their 2007 album Backlash Cop entitled "Why Do They Never Play Les Savy Fav On The Radio?" The song "The Sweat Descends" appears in the commercial for the Cartoon Network movie, "Fire Breather". The True Blood episode'Let's Get Out of Here' was named for the band's song, featured in the episode. In December 2011 the band co-curated the All Tomorrow's Parties "Nightmare Before Christmas" festival in Minehead, England alongside Battles and Caribou.
Some of the band's members are now in the house band for Late Night With Seth Meyers. Their music featured an abrasive sound fitting in the noise rock genre and reminiscent of the music of Fugazi and Jawbox. On their music became more idiosyncratic shifting to a more radio-friendly sound close to that of befriended bands Bloc Party and Enon. Kele Okereke of Bloc Party wrote of Les Savy Fav's influence on his band for an article in The Observer in 2005 and members of Enon have contributed to several Les Savy Fav tracks. 3/5 The Cat and the Cobra Go Forth Let's Stay Friends Root for Ruin Emor: Rome Upside Down After the Balls Drop, Repopulation Program, Les Savy Fav contribute Raise Buildings. This Is Next Year: A Brooklyn-Based Compilation, Les Savy Fav contribute No Sleeves. Inches, a compilation of singles from 1995–2004 Warm & Scratchy, Les Savy Fav contribute The Equestrian. "Rodeo" "Our Coastal Hymn" "Reprobates Resume" "Reformat" "Obsessed with the Excess" "Yawn, Yawn" "Hold On To Your Genre" "Knowing How The World Works" "The Sweat Descends" "We'll Make A Lover Of You" "Accidental Deaths/Hit By Car" "Raging in the Plague Age" "What Would Wolves Do?"
"Patty Lee" "Let's Get Out Of Here" bio on VH1 Les Savy Fav @ Epitonic Les Savy Fav official site Les Savy Fav @ French Kiss Subsite at Wichita Recordings
Necks is an EP by Thunderbirds Are Now! The album was released by Conspirators in Sound on May 24, 2005. "Essentially, It's A Viking Funeral Hymn For Those Whom Hath Sired Red-Haired Beerzerkers." – 0:58 "Surrounded By Skanks" – 3:31 "Bodies Adjust" – 3:23 "... & The Chocolate Mustache" – 1:59 "Pink Motorcycle Helmet" – 2:22 "Do The Splitz And Say'Neat!'" – 4:26 Thunderbirds are Now! official site Action Driver Records
Post-punk revival is a genre of indie rock that developed in the late 1990s and early 2000s, inspired by the original sounds and aesthetics of garage rock of the 1960s and new wave and post-punk of the 1980s. Bands that broke through to the mainstream from local scenes across the world in the early 2000s included the Strokes, the Killers, Franz Ferdinand, The Kooks, Bloc Party, Arctic Monkeys and Kaiser Chiefs who were followed to commercial success by many established and new acts. By the end of the decade, most of the bands had broken up, moved on to other projects or were on hiatus, although some bands returned to recording and touring in the 2010s. In the early 2000s, a new group of bands that played a stripped down and back-to-basics version of guitar rock emerged into the mainstream, they were variously characterized as part of new wave or post-punk revival. Influences ranged through new wave to grunge; the music ranged from the atonal tracks of bands like Liars to the melodic pop songs of groups like the Sounds, popularising distorted guitar sounds.
They shared an emphasis on energetic live performance and used aesthetics aligned with their fans drawing on fashion of the 1950s and 1960s, with "skinny ties, white belts shag haircuts". There was an emphasis on "rock authenticity", seen as a reaction to the commercialism of MTV-oriented nu metal, hip hop and "bland" post-Britpop groups; because the bands came from countries around the world, cited diverse influences and adopted differing styles of dress, their unity as a genre has been disputed. For garage rock historian Eric James Abbey, these were diverse bands that appropriated the label "garage" to gain a degree of credibility. There was interest in garage rock and elements of punk in the 1980s and 1990s, by 2000 local music scenes in several countries had bands playing alternative and indie music; the Detroit rock scene included the Von Bondies. The city was a crucial stomping ground for Ohio's the Black Keys. New York's scene included the Strokes, Yeah Yeah Yeahs, TV On the Radio, the Walkmen, the Rapture, the Liars.
In Los Angeles & San Francisco, the scene was centered around Black Rebel Motorcycle Club, Brian Jonestown Massacre, Dandy Warhols and Silversun Pickups. Other countries had their own local bands incorporating post-punk music; the term post-punk was coined to describe groups who took punk and experimented with more challenging musical structures and lyrical themes, a self-consciously art-based image, while retaining punk's initial iconoclastic stance. AllMusic argued that rather than a revival, the history of post-punk was more of a continuum from the mid-1980s, with scattered bands that included Big Flame, World Domination Enterprises, Minimal Compact extending the genre. In the mid-1990s, notable bands in this vein included Six Finger Satellite and Elastica. At the turn of the century, the term "post-punk" began to appear in the music press again, with a number of critics reviving the label to describe a new set of bands that shared some of the aesthetics of the original post-punk era. Music critic Simon Reynolds noted that bands like the Rapture and Franz Ferdinand were influenced by the more angular strain of post-punk bands such as Wire and Gang of Four.
Others identified this movement as another wave of garage rock revivalism, with NME in 2003 designating it a "new garage rock revolution", or a "new rock revolution". According to music critic Jim DeRogatis, the Strokes, the White Stripes and the Hives all had a sound "to some extent rooted in Nuggets-era garage rock"; the commercial breakthrough from these scenes began in the UK, was led by a small group of bands. The Strokes emerged from the New York club scene with their debut album, Is This It, which debuted at No. 2 in the UK and cracked the Top 50 in America. The White Stripes, from Detroit, released their third album, White Blood Cells, which charted decently in both the US and the UK, as well as spawning two transatlantic Top 25 singles; the Hives, from Sweden, became a mainstream success with their compilation album Your New Favourite Band which peaked at No. 7 on the UK charts. In 2001, Black Rebel Motorcycle Club's debut album hit No. 5 in the UK. The Vines, from Australia, released Highly Evolved in 2002, a top 5 success in both England and Australia, peaked at No. 11 in the US.
Along with the Strokes, White Stripes and others, they were christened by parts of the media as the "The" bands, dubbed "the saviours of rock'n' roll", prompting Rolling Stone magazine to declare on its September 2002 cover, "Rock is Back!" This press attention, in turn, led to accusations of hype, some dismissed the scene as unoriginal, image-conscious and tuneless. According to Reynolds, "apart from maybe the White Stripes, none could be described as retro". In the wake of this attention, existing acts like Yeah Yeah Yeahs were able to sign to major record labels. A second wave of bands that managed to gain international recognition as a result of the movement included Interpol, the Killers, Kings of Leon, Modest Mouse, the Shins and the National in the US, Franz Ferdinand, Bloc Party, the Futureheads, the Libertines, Kaiser Chiefs and the Kooks in the UK. Arctic Monkeys were the most prominent act to owe their initial commercial success to the use of Internet social networking, with two No. 1 singles and Whatever People Say I Am, That's What I'm Not, which became the fastest-selling debut album in British chart history.
As a dominant commercial force, the revival was short-lived. By 2007, the