I Won't Let Go (InMe song)
"I Won't Let Go" is the eighth single by Essex alternative metal band InMe. It is the first single to be released from their third album Daydream Anonymous, it was reached number 77 in the UK Singles Chart. The cover artwork is designed by bass player Greg McPherson and the hands used in the artwork are his own. CD"I Won't Let Go" "Little Mortalities" "One for the Road"7" Vinyl"I Won't Let Go" "Full Flight"Download"I Won't Let Go" "I Won't Let Go" "I Won't Let Go"
Kerrang! is a British weekly magazine devoted to rock music and heavy metal music published by Wasted Talent. It was first published on 6 June 1981 as a one-off supplement in the Sounds newspaper. Named after the onomatopoeic word that derives from the sound made when playing a power chord on a distorted electric guitar, Kerrang! was devoted to the new wave of British heavy metal and the rise of hard rock acts. In the early 2000s it became the best-selling British music weekly. Kerrang! was founded in 1981. The magazine commenced publication on 6 June 1981 and was edited by Geoff Barton as a one-time supplement in the Sounds newspaper, which focused on the new wave of British heavy metal phenomenon and on the rise of other hard rock acts. Angus Young of AC/DC appeared on Kerrang!'s first cover. Launched as a monthly magazine, Kerrang! began to appear on a fortnightly basis and in 1987 it went weekly. The original owner was United Newspapers who sold it to EMAP in 1991. During the 1980s and early 1990s the magazine placed many thrash and glam metal acts on the cover but discarded them when grunge acts such as Nirvana rose to fame.
Readers criticise the magazine for repeating this process every time a new musical subgenre becomes trendy. The term "thrash metal" was first coined in the music press by Kerrang! journalist Malcolm Dome while making a reference to the Anthrax song "Metal Thrashing Mad" in issue number 62, page 8, published on 23 February 1984. Prior to this Metallica's James Hetfield referred to their sound as power metal. Kerrang!'s popularity rose again with the hiring of editor Paul Rees circa 2000 when the nu metal genre, featuring bands including Limp Bizkit and Slipknot, was becoming more popular. Rees went on to edit Q magazine and former Kerrang! Reviews editor Ashley Bird was appointed editor from 2003 to 2005. Following his departure, Paul Brannigan took over as editor in May 2005. With the emergence of emo and metalcore during the mid to late-2000s, Kerrang! began to feature this musical trend. The revamp was not welcomed by all readers and many complaints were received about Kerrang!'s sudden emphasis on emo and metalcore music.
However, following this change, Brannigan took the magazine into its most commercially successful period with a record ABC for the title of 80,186 copies. In 2008, EMAP sold its consumer magazines to current owner Bauer Media Group. Brannigan left Kerrang! in 2009 and Nichola Browne was appointed editor. She stepped down in April 2011. Former NME features editor and GamesMaster deputy editor James McMahon was appointed as editor on 6 June 2011. In April 2017, Kerrang! magazine, its website, the K! Awards were purchased by Mixmag Media, publisher of dance monthly Mixmag, along with assets related to defunct style magazine The Face. Mixmag has since formed parent company Wasted Talent, which relaunched Kerrang! as a digital-first title, while continuing to publish a weekly print edition. Former Editor-in-Chief Phil Alexander was appointed Global Creative Director on 3 August 2017. Bauer retained ownership of Kerrang! Radio and the Box Plus Network will continue to operate Kerrang! TV as before; the magazine received a logo change in mid-2017 before receiving a complete redesign during 2018.
This change saw several of the magazine's long-running features dropped, including the Ultimate Rockstar Test, while new features were added in their place. In March 2018, following a magazine redesign, Kerrang! announced it would be expanding to the United States, with an office in New York run by Ethan Fixell. The goal would be to generate US-centric content and brand partnerships. Kerrang!'s website, www.kerrang.com, was launched in summer 2001 by Dan Silver. Kerrang!'s parent company Emap acquired the domain name from a Norwegian cybersquatter by the name of Steingram Stegane for a token sum of £666. Kerrang!'s website features news and features on both contemporary and classic rock bands, as well as previewing upcoming events. The website hosts Kerrang!'s online shop, message board, TV and radio segments ensuring more opportunities to sell associated merchandise and products. In 2001, Kerrang! launched its own online forum with the "rants and raves" section taking up most of the traffic.
Though extremely popular, the number of users began to peter out around 2005 with the number of people online dropping to as low as 10 when it had been closer to the 100 figure. According to Alexa www.kerrang.com is ranked 83,545th globally, 33,532nd in the U. S. Since 1993, the magazine has held an annual awards ceremony to mark the most successful bands in the interests of their readers; the awards became one of Britain's most recognised events by the now defunct Guinness Book of British Hit Singles & Albums listing some of the winners in their annual round-up of the previous year. The event is presented by major music celebrities, with many others outside the industry who attend the event. After a year hiatus, the Awards were relaunched in 2018, with notable guests that included Johnny Depp, Joe Perry, Tony Iommi, Corey Taylor, Dave Grohl, among many others. In 2000, EMAP launched Kerrang! as a digital radio station, across the United Kingdom. This was principally a'jukebox' station, playing a back-to-back sequence of rock and alternative music.
On 10 June 2004, Kerrang! 105.2 was launched as a regional radio station in Birmingham with an advertising campaign by London-based creative agency ODD. The radio had a number of specialist programmes dedicated to the many subgenres of rock music; the radio output included interviews with those affecting popular culture and society as well as those involved with m
An album is a collection of audio recordings issued as a collection on compact disc, audio tape, or another medium. Albums of recorded music were developed in the early 20th century as individual 78-rpm records collected in a bound book resembling a photograph album. Vinyl LPs are still issued, though album sales in the 21st-century have focused on CD and MP3 formats; the audio cassette was a format used alongside vinyl from the 1970s into the first decade of the 2000s. An album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places; the time frame for recording an album varies between a few hours to several years. This process requires several takes with different parts recorded separately, brought or "mixed" together. Recordings that are done in one take without overdubbing are termed "live" when done in a studio. Studios are built to absorb sound, eliminating reverberation, so as to assist in mixing different takes. Recordings, including live, may contain sound effects, voice adjustments, etc..
With modern recording technology, musicians can be recorded in separate rooms or at separate times while listening to the other parts using headphones. Album covers and liner notes are used, sometimes additional information is provided, such as analysis of the recording, lyrics or librettos; the term "album" was applied to a collection of various items housed in a book format. In musical usage the word was used for collections of short pieces of printed music from the early nineteenth century. Collections of related 78rpm records were bundled in book-like albums; when long-playing records were introduced, a collection of pieces on a single record was called an album. An album, in ancient Rome, was a board chalked or painted white, on which decrees and other public notices were inscribed in black, it was from this that in medieval and modern times album came to denote a book of blank pages in which verses, sketches and the like are collected. Which in turn led to the modern meaning of an album as a collection of audio recordings issued as a single item.
In the early nineteenth century "album" was used in the titles of some classical music sets, such as Schumann's Album for the Young Opus 68, a set of 43 short pieces. When 78rpm records came out, the popular 10-inch disc could only hold about three minutes of sound per side, so all popular recordings were limited to around three minutes in length. Classical-music and spoken-word items were released on the longer 12-inch 78s, about 4–5 minutes per side. For example, in 1924, George Gershwin recorded a drastically shortened version of the seventeen-minute Rhapsody in Blue with Paul Whiteman and His Orchestra, it ran for 8m 59s. Deutsche Grammophon had produced an album for its complete recording of the opera Carmen in 1908. German record company Odeon released the Nutcracker Suite by Tchaikovsky in 1909 on 4 double-sided discs in a specially designed package; this practice of issuing albums does not seem to have been taken up by other record companies for many years. By about 1910, bound collections of empty sleeves with a paperboard or leather cover, similar to a photograph album, were sold as record albums that customers could use to store their records.
These albums came in both 12-inch sizes. The covers of these bound books were wider and taller than the records inside, allowing the record album to be placed on a shelf upright, like a book, suspending the fragile records above the shelf and protecting them. In the 1930s, record companies began issuing collections of 78 rpm records by one performer or of one type of music in specially assembled albums with artwork on the front cover and liner notes on the back or inside cover. Most albums included three or four records, with two sides each, making six or eight compositions per album; the 12-inch LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. A single LP record had the same or similar number of tunes as a typical album of 78s, it was adopted by the record industry as a standard format for the "album". Apart from minor refinements and the important addition of stereophonic sound capability, it has remained the standard format for vinyl albums.
The term "album" was extended to other recording media such as Compact audio cassette, compact disc, MiniDisc, digital albums, as they were introduced. As part of a trend of shifting sales in the music industry, some observers feel that the early 21st century experienced the death of the album. While an album may contain as many or as few tracks as required, in the United States, The Recording Academy's rules for Grammy Awards state that an album must comprise a minimum total playing time of 15 minutes with at least five distinct tracks or a minimum total playing time of 30 minutes with no minimum track requirement. In the United Kingdom, the criteria for the UK Albums Chart is that a recording counts as an "album" i
Single of the Weak
"Single of the Weak" is the ninth single by Essex alternative metal band InMe. It was the first single to be released from their fourth album Herald Moth, it was released on 31 August 2009. The cover artwork for the promo CD was designed by bass player Greg McPherson and contains his brand new Inme logo; this was the first Inme single to include the use of profane language and as such, a clean version was released to video and radio stations. The song is a sarcastic attack on the pop saturated British music charts; the song has a mock indie pop sound in its verses but contains a guitar solo backed by complex polyrhythms. It was written in response to a record producer who told InMe that their songs for their 4th album Herald Moth should be shorter and not contain any guitar solos; the single had relative success and received a moderate amount of airplay on British rock radio stations and received vast amount of airplay on Scuzz TV. "Single of the Weak" "Let's Go to War Baby"
Faster the Chase
"Faster the Chase" is the fifth single by Essex alternative metal band InMe. It is the first single to be released from their second album White Butterfly, it was released on 24 May 2004, reached number 31 in the UK Singles Chart. CD1"Faster the Chase" "The End" "Gelosea" "Faster the Chase" CD2"Faster the Chase" "Inside"
All Terrain Vehicle/Nova Armada
"All Terrain Vehicle" / "Nova Armada" is the tenth single by Essex alternative metal band InMe. It was the second single to be released from their fourth album Herald Moth and was released on 6 June 2010. Both cover artworks and a special combined artwork were all created by Greg McPherson; the band promoted the single on the full UK "All Terrain Armada Tour". A CD was released in limited numbers to fans attending InMe's gigs on the band's "All Terrain Armada Tour"; the CD contains the 2 A-side single tracks but none of the b-sides released in the digital download. The artwork on the cover is a combination of the two covers released with the download single. "All Terrain Vehicle" "Nova Armada" The digital download was released on 6 June 2010 via all major download retailers. All versions of the release contain the first 4 tracks listed. However, the iTunes release contains the unreleased track "Ophion Luteus", a song recorded during the Herald Moth sessions. "All Terrain Vehicle" "Nova Armada" "All Terrain Vehicle" "Nova Armada" "Ophion Luteus" The video for "Nova Armada" was released to YouTube and was added to the Scuzz playlist on 16 June 2010.
The video was shot in monochrome and involves the band playing in a dark room to flashing lights in the background. Nova Armada music video
Post-grunge is a rock music subgenre that emerged in the 1990s. The term was used pejoratively to label bands such as Bush and Collective Soul that emulated the original sound of grunge. In the late 1990s, post-grunge morphed into a more defined style that married the sound and aesthetic of grunge with a less intense and abrasive tone, rising to prominence that lasted in the 2000s. Bands such as Foo Fighters, Puddle of Mudd, Nickelback and Matchbox Twenty all achieved mainstream success. During the 1990s, a post-grunge sound emerged which emulated the attitudes and music of grunge its thick, distorted guitars, but with a less intense and less abrasive tone. Unlike a lot of early grunge bands, post-grunge bands worked through major record labels and incorporated influences from a variety of musical genres including: jangle pop, pop punk, ska revival, alternative metal and classic rock. Post-grunge music tends to be in mid-tempo and is noted for having "a polished, radio-ready production". Grierson of About.com wrote that musically, post-grunge bands "split the difference between plaintive ballads and aggressive rockers, resulting in songs that combine the two extremes into a sad-eyed, propulsive middle ground".
Post-grunge tends to feature the "...same kind of melody as...bubblegum pop" and pop song structures. Sometimes post-grunge music features both an electric guitar and an acoustic guitar playing simultaneously. Post-grunge tends to have production quality, much higher and cleaner than grunge. A "major rift" between grunge and post-grunge is in the lyrical substance of the music. While describing lyrics that are common in post-grunge, Sasha Geffen of Consequence of Sound wrote that post-grunge "plunged directly into the "I." " Geffen wrote that most post-grunge songs that achieved mainstream success "call after a prospective or past companion in the first person". Post-grunge lyrics tend to be about topics such as relationships and drug addiction. According to Geffen, "grunge's frontmen posed with their addictions. Geffen states that post-grunge songs "fit the mold of songs made for...teenage and pre-teen girls" who were "longing for a distant someone", the songs "wore signs of femininity" which she posits may be why the "...post-grunge moment pissed off so many angry dudes."
According to Geffen, artists such as Alanis Morissette, No Doubt and Sarah McLachlan all "crystallized the songwriting strategy that would form the emotional core of the post-grunge moment". Post-grunge was a label, meant to be pejorative, suggesting that grunge bands labelled as post-grunge were musically derivative, or a cynical response to an "authentic" rock movement; when grunge became a mainstream genre because of bands such as Nirvana and Pearl Jam, record labels started signing bands that sounded similar to these bands' sonic identities. Bands labeled as post-grunge that emerged when grunge was mainstream such as Bush and Collective Soul are all noted for emulating the sound of bands that launched grunge into the mainstream. According to Tim Grierson of About.com, the pejorative use of the "post-grunge" label to describe these bands was "suggesting that rather than being a musical movement in their own right, they were just a calculated, cynical response to a legitimate stylistic shift in rock music".
During the late 1990s, post-grunge morphed, becoming a derivative of grunge that combined characteristics of grunge with a more commercially accessible tone. During this time, post-grunge bands such as Creed and Nickelback emerged. Grierson wrote: Creed and Nickelback espoused a more conventional conservative worldview built around the comforts of community and romantic relationships; this attitude was diametrically opposed to the antisocial angst of the original grunge bands, who railed against conformity and instead explored troubling issues such as suicide, societal hypocrisy and drug addiction. Grierson wrote, "Post-grunge was a profitable musical style, but bands like Nirvana and Pearl Jam were beloved because of their perceived integrity in avoiding the mainstream. Post-grunge, by comparison, seemed to exist in order to court that audience." At the height of their popularity, after the release of Nevermind brought grunge to international attention, Nirvana experienced increasing problems caused by Kurt Cobain's drug addiction and growing dissatisfaction with commercial success.
In late 1992, Cobain was photographed in a T-shirt with'Grunge is Dead' printed on its front and the genre's decline started to be discussed. The death of Cobain in 1994, as well as Pearl Jam's touring problems, marked a decline for grunge that year. Problems of addiction for Layne Staley of Alice in Chains led to the band cancelling scheduled dates in 1995; when grunge was mainstream, major record labels began signing and promoting bands emulating the genre. In spite of the fact that bands such as Bush and Candlebox have been categorized as grunge, both bands have been categorized as post-grunge. Tim Grierson of About.com wrote about bands like Bush and Candlebox: Perhaps not because these bands seemed to be ripping off a trendy sound, critics dismissed them as bandwagon-jumpers. Tellingly, these bands were labeled pejoratively as'post-grunge', suggesting that rather than being a musical movement in their own right, they were just a calculated, cynical response to a legitimate stylistic shift in rock music.
Collective Soul and Live are two other bands categorized as post-grunge that emerged along wit