Artist: Despise
Genre(s):
Metal: Death,Black
Discography:
Every Death Give Rise To A Newborn
Year: 2004
Tracks: 6
Tuesday, 1 July 2008
Despise
Artist: Despise
Genre(s):
Metal: Death,Black
Discography:
Every Death Give Rise To A Newborn
Year: 2004
Tracks: 6
Tuesday, 24 June 2008
Amp Fiddler
Artist: Amp Fiddler
Genre(s):
R&B: Soul
Easy Listening
Electronic
Discography:
Afro Strut
Year: 2006
Tracks: 12
Waltz of a Ghetto Fly
Year: 2004
Tracks: 13
Posibilities Ron Trent Mixes
Year: 2003
Tracks: 3
Love and War Ep
Year: 2003
Tracks: 5
Joseph "Adenylic acid" Fiddler is a musician wHO has an extensive lean of credits that extends crossways a couple decades. Fiddler, wHO produces and sings in increase to doing the majority of his duties on keyboards, organs, and pianos, has played on records by Prince, the Brand New Heavies, Ramsey Lewis, George Clinton, the P-Funk All Stars, the Dramatics, Primal Scream, Was (Non Was), and Too Short. With significant help from bass-playing brother Thomas "Bubz" Fiddler (another member of the extended P-Funk mob), Amp released With Respect on Elektra in 1990 as Mr. Fiddler. Although the record didn't fare intimately commercially, it was a solid update of '70s blue funk with advanced production sensibilities. In 2002, Amp issued a 12" called Basementality on the Genuine tag. Featuring a remix from close associate Kenny Dixon, Jr. (aka Moodymann), the record was an even split between mod psyche and smelly baseball club music with Fiddler's talents boldly displayed. The Love and War individual came out the following year, and the uncut Valse of a Ghetto Fly saw release in January 2004. Another solo record album, Afro hairdo Strut, was released in the U.K. in 2006; Play It Again Sam licensed it for U.S. acquittance a year later.
Saturday, 21 June 2008
Rapper Young Jeezy charged with DUI in Atlanta
ATLANTA —
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Rapper Young Jeezy was charged with driving under the influence and speeding after he was pulled over on an Atlanta highway early Wednesday.
The multi-platinum-selling artist, whose real name is Jay Jenkins, was driving a Corvette when he was stopped about 2:30 a.m. on Interstate 85, police department spokesman Officer James Polite said.
The arresting officer noticed the vehicle did not have a license plate, but Polite could not say how fast Jenkins was driving.
Jenkins was charged with speeding, driving with no proof of insurance or license plate, having an open container, reckless driving and driving impaired by alcohol or drugs.
He was released from the Atlanta City Detention Center a few hours later on a $4,100 bond. He is scheduled to appear in court July 17.
His attorney, Scott E. Leemon, said in a news release that Jenkins was arrested after leaving a recording studio, where he was working on his new album.
"A court date has been scheduled and Jeezy looks forward to getting the matter resolved," Leemon said. Jenkins is due in court on July 17.
Jenkins' collaboration, "Love in This Club," with R&B star Usher is currently sixth on Billboard's Hot 100 list.
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Apatow, Rogen, Goldberg to attend Montreal's Just for Laughs Film Festival
MONTREAL - The latest comedy from the hilarious filmmaking trio of Judd Apatow, Seth Rogen and Evan Goldberg will have a special advance screening at Montreal's Just for Laughs Film Festival next month.
"Pineapple Express," which stars Rogen as a stoner and James Franco as his dealer who get caught up in a murder case, will unspool July 19 at the Imperial Theatre, festival organizers announced Tuesday. It hits theatres everywhere on Aug. 8.
Goldberg and Rogen of Vancouver co-wrote the film while Apatow of New York produced.
The three, who have also worked together on the big-screen gut-busters "Superbad" and "Knocked Up," will be at the screening for a question-and-answer session, along with co-star Danny McBride and director David Gordon Green.
Other films in the lineup for the 12th annual event - part of the city's Just for Laughs comedy festival - include "The Rocker," starring Rainn Wilson of "The Office" as a washed up '80s drummer who joins his nephew's band. The July 20 screening comes ahead of its wide release on Aug. 1.
Halifax director Chaz Thorne will introduce his latest film, "Just Buried," at the festival on July 12 and will host a Q&A after the screening, along with Montreal star Jay Baruchel. The film stars Baruchel as a funeral home owner who starts killing townsfolk to get business.
Spencer Rice of "Kenny vs. Spenny" fame will also be there to present the premiere of his new indie film "Confessions of a Porn Addict" on July 17.
"Space Chimps," an animated comedy starring the voices of Andy Samberg, Jeff Daniels and Cheryl Hines, screens at the festival July 16 - two days ahead of its wide release.
The Just for Laughs Film Festival runs July 10 to 20.
News from �The Canadian Press, 2008
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Jonas Brothers - Jonas Brothers To Stop Traffic With Bus Gig
Pop trio THE JONAS BROTHERS are preparing for an unusual London launch for their new album - they're to play a free gig on the roof of one of the city's famous red buses.
The teen stars will put on the special performance on the upper deck of an open-top bus in central London on 27 June (08).
Their album A Little Bit Longer, which hit U.S. stores last August (07), is their third studio release - but will be their first in the U.K.
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Marduk
Artist: Marduk
Genre(s):
Metal: Death,Black
Rock
Discography:
Rom 5-12
Year: 2007
Tracks: 10
Warschau
Year: 2006
Tracks: 17
Plague Angel
Year: 2004
Tracks: 11
Deathmarch Tour EP
Year: 2004
Tracks: 4
World Funeral
Year: 2003
Tracks: 11
Hearse (Single)
Year: 2003
Tracks: 2
Hearse
Year: 2003
Tracks: 2
La Grande Danse Macabre
Year: 2001
Tracks: 11
Obedience
Year: 2000
Tracks: 3
Infernal Eternal (CD 2)
Year: 2000
Tracks: 6
Infernal Eternal (CD 1)
Year: 2000
Tracks: 12
Infernal Eternal
Year: 2000
Tracks: 18
Panzer Division Marduk
Year: 1999
Tracks: 8
Nightwing
Year: 1998
Tracks: 10
Live In Germania (Live)
Year: 1997
Tracks: 12
Heaven Shall Burn... When We Are Gathered
Year: 1996
Tracks: 8
Fuck Me Jesus
Year: 1995
Tracks: 8
Opus Nocturne
Year: 1994
Tracks: 9
Those Of The Unlight
Year: 1993
Tracks: 8
Darkendless
Year: 1992
Tracks: 8
Dark Endless
Year: 1992
Tracks: 8
Here's No Peace (EP)
Year: 1991
Tracks: 3
Blackcrowned (CD 2)
Year:
Tracks: 13
Blackcrowned (CD 1)
Year:
Tracks: 12
An undeviating allegiance to blasphemy and extremity combined with a relentless touring schedule and a steady current of recordings has helped shew Sweden's Marduk as one of the better-known bands on the Scandinavian contraband metal scene. They began as more of a banner death metal band with a bleak alloy influence, just take fall to be known for their stylus of extreme black alloy, which tends to focus on themes of warfare and anti-Christian opinion and is characterized by relentlessly fast drumming and blurred walls of guitar. The group formed under the leading of guitar player Morgan Steinmeyer Hakansson in 1990, with vocalizer Andreas Axelsson, bassist Richard Kalm, and drummer Joakim Grave rounding out the batting order.
They released their polemically highborn demonstration taping Fuck Me Jesus in 1991. Soon after, a moment guitar player was added in Devo Andersson, spell Bogge Svensson replaced Kalm on bass. Using this lineup, Marduk recorded their first-class honours degree official album, Dark Endless, which came out the following year on No Fashion Records. Unhappy with No Fashion, the band made the jump to the French Osmose Productions embossment, releasing Those of the Unlight in 1993, this time with Grave on drums as advantageously as vocals and a new bassist in B. War. For their next release, 1994's Piece Nocturne, Fredrik Andersson was brought in on drums, Devo Andersson was dropped, and Grave was resigned to vocals. (In the meantime, Osmose mark around releasing the Fuck Me Jesus demo in 1995, at which time it was prohibited in sevener countries.) The lineup shuffling continued with Grave's subsequent difference, at which time he was replaced by Legion (at one time of the band Opthalamia). With this new batting order, they issued their to the highest degree well-received album, Heaven Shall Burn...When We Are Gathered, in 1996. This CD was followed by a concert transcription from that album's circuit entitled Live in Germania, which showed that they could indeed sustain the nonstop blasting chroma of their records without any studio assist. (They did use a moment guitarist, however, in Peter Tagtren of the death metal stripe Hypocrisy.)
Subsequent releases included Nightwing (1998), an record album part elysian by the life Vlad Tepes, aka Dracula, and Panzer Division Marduk (1999), a war-themed construct record album and their utmost CD for the Osmose label. Following their snag with Osmose, Marduk mark up their own label, Blooddawn (distributed in the U.S. by Century Media), releasing the double-live CD Infernal Eternal as advantageously as a new studio album, La Grande Danse Macabre, in 2001.
Mark Swed: Karlheinz Stockhausen memorial concert at Holland Festival
AMSTERDAM -- The Holland Festival -- a complex array of music, opera and theater along with unclassifiable ultra-hip events that began May 31 and runs through Sunday -- has had several interlocking themes this year. One has been the music of the German visionary composer Karlheinz Stockhausen, who had a long association with Dutch music and this 61-year-old event.
As part of celebrations planned for Stockhausen's 80th birthday in August, the festival commissioned a new work. And although the composer died unexpectedly in December, he had finished the score. It had its premiere here Thursday night in a memorial concert that spanned his extraordinary career.
The concert was held in Amsterdam's newest venue, the Muziekgebouw aan ’t IJ -- a striking, 700-seat, flexible hall that juts out over the River IJ and provides fabulous harbor views.
The program began with "Punkte," Stockhausen's first orchestral score, written in 1952 while he was a student in Paris of the late Olivier Messiaen, whose 100th birthday the festival is also celebrating.
In the middle of the concert was "Litanei 97," a 1997 a cappella work from the composer's late weirdo period. Finally, after a second intermission, came the premiere of "Glanz," one in a series of chamber pieces called "Klang" (Sound) that Stockhausen was working on at the end of his life.
There was to have been one piece for every hour of the day. "Glanz" is Hour 10. Collectively, "Klang" was meant as music for "knocking on heaven's door" as the composer prepared for the next stage of his cosmic career.
If this all seems a bit much, to some extent it was. The concert was overseen by Kathinka Pasveer, one of Stockhausen's companions, so it included the hokey ritualism that the composer wanted for his later mystical pieces.
The Netherlands Chamber Choir members were dressed in cultish unisex white robes and moved in concentric circles as they sang, now and then adding silly choreographed hops.
The three main players onstage for "Glanz" were positioned around a cheesy 4-foot pyramid that began to glow as the piece progressed. They too were made to look preposterous. The men wore white suits. The violist had on a chiffon gown, with petticoats and big bow, perfect for a high school prom in 1960. Colored lights created the mood for each piece.
And yet all the music proved amazing. "Punkte" (Points) was Stockhausen's first experiment in creating what he called "point music," for which he found mathematical correlations between pitch, rhythm, dynamics and timbre. He was unhappy with the stiffness of the initial results, and he reworked the score several times over the next 40 years.
The final version is an extravagant orchestral score that maintains a youthful experimental exuberance but with the addition of the sheer sensuality of sound that became one of Stockhausen's hallmarks.
One thing "Punkte" retains from its original concept is its uncompromising difficulty for performers, and it has been little heard. But musicians are finally meeting its demands. There is a very good recent recording from Cologne conducted by Peter Eötvös, and the work will be given at the London Proms this summer. For Thursday's Radio Philharmonic Orchestra performance, the German conductor Wolfgang Lischke, a Stockhausen specialist, revealed a series of intricately made, lavishly colored, unconnected gestures occurring one after another for 27 minutes.
"Litanei 97" uses a text in which Stockhausen compares himself to a radio receiving vibrations from a higher plane. He offers his music as a way for the rest of us to tune in as well. What my built-in receiver got was pretty much static, the sound of choral hissing and crackling, notes swelling and falling, similar to the effect of stations being tuned in and out on old analog sets.
Again the performance -- led by James Wood, who conducted in the center of the circle, opened each section of the piece with a solo intonation and ended each section hitting Japanese bowls -- was riveting.
"Glanz" means, in German, "brilliance" or "shine." That is something that has always characterized Stockhausen's sound. Whether he asked a musician to play a single note or to master an acrobatically virtuosic phrase, whether he worked with acoustic music or electronic, he always managed to get a little more resonance than anyone else, which is, I think, the key to his mysticism.
"Glanz," also given a brilliant performance, this time by members of the Dutch new music group Asko, lacks some of Stockhausen's earlier flamboyance. But he never distilled out the mesmerizing sonority he could achieve from the simplest trills or held notes.
Although he intended the work for a clarinet, bassoon and viola trio, the festival persuaded the composer to make the piece a little bigger.
About midway through on Thursday, an oboe piped in unexpectedly from the top balcony, in dialogue with the trio. Next, a trumpet and trombone, on either side of the middle balcony, had a short interaction with the stage players. Finally, a tuba player walked across the stage, honking.
I can't explain why this all felt as consequential as it did, other than by noting that as a student of sound, Stockhausen had mastered by the end of his life a seemingly supernatural sonic power capable of casting a spell. The Dutch are as sophisticated and skeptical an audience as you will find anywhere. A standing ovation here is rare and special. They stood Thursday. So did I.
mark.swed@latimes.com
As part of celebrations planned for Stockhausen's 80th birthday in August, the festival commissioned a new work. And although the composer died unexpectedly in December, he had finished the score. It had its premiere here Thursday night in a memorial concert that spanned his extraordinary career.
The concert was held in Amsterdam's newest venue, the Muziekgebouw aan ’t IJ -- a striking, 700-seat, flexible hall that juts out over the River IJ and provides fabulous harbor views.
The program began with "Punkte," Stockhausen's first orchestral score, written in 1952 while he was a student in Paris of the late Olivier Messiaen, whose 100th birthday the festival is also celebrating.
In the middle of the concert was "Litanei 97," a 1997 a cappella work from the composer's late weirdo period. Finally, after a second intermission, came the premiere of "Glanz," one in a series of chamber pieces called "Klang" (Sound) that Stockhausen was working on at the end of his life.
There was to have been one piece for every hour of the day. "Glanz" is Hour 10. Collectively, "Klang" was meant as music for "knocking on heaven's door" as the composer prepared for the next stage of his cosmic career.
If this all seems a bit much, to some extent it was. The concert was overseen by Kathinka Pasveer, one of Stockhausen's companions, so it included the hokey ritualism that the composer wanted for his later mystical pieces.
The Netherlands Chamber Choir members were dressed in cultish unisex white robes and moved in concentric circles as they sang, now and then adding silly choreographed hops.
The three main players onstage for "Glanz" were positioned around a cheesy 4-foot pyramid that began to glow as the piece progressed. They too were made to look preposterous. The men wore white suits. The violist had on a chiffon gown, with petticoats and big bow, perfect for a high school prom in 1960. Colored lights created the mood for each piece.
And yet all the music proved amazing. "Punkte" (Points) was Stockhausen's first experiment in creating what he called "point music," for which he found mathematical correlations between pitch, rhythm, dynamics and timbre. He was unhappy with the stiffness of the initial results, and he reworked the score several times over the next 40 years.
The final version is an extravagant orchestral score that maintains a youthful experimental exuberance but with the addition of the sheer sensuality of sound that became one of Stockhausen's hallmarks.
One thing "Punkte" retains from its original concept is its uncompromising difficulty for performers, and it has been little heard. But musicians are finally meeting its demands. There is a very good recent recording from Cologne conducted by Peter Eötvös, and the work will be given at the London Proms this summer. For Thursday's Radio Philharmonic Orchestra performance, the German conductor Wolfgang Lischke, a Stockhausen specialist, revealed a series of intricately made, lavishly colored, unconnected gestures occurring one after another for 27 minutes.
"Litanei 97" uses a text in which Stockhausen compares himself to a radio receiving vibrations from a higher plane. He offers his music as a way for the rest of us to tune in as well. What my built-in receiver got was pretty much static, the sound of choral hissing and crackling, notes swelling and falling, similar to the effect of stations being tuned in and out on old analog sets.
Again the performance -- led by James Wood, who conducted in the center of the circle, opened each section of the piece with a solo intonation and ended each section hitting Japanese bowls -- was riveting.
"Glanz" means, in German, "brilliance" or "shine." That is something that has always characterized Stockhausen's sound. Whether he asked a musician to play a single note or to master an acrobatically virtuosic phrase, whether he worked with acoustic music or electronic, he always managed to get a little more resonance than anyone else, which is, I think, the key to his mysticism.
"Glanz," also given a brilliant performance, this time by members of the Dutch new music group Asko, lacks some of Stockhausen's earlier flamboyance. But he never distilled out the mesmerizing sonority he could achieve from the simplest trills or held notes.
Although he intended the work for a clarinet, bassoon and viola trio, the festival persuaded the composer to make the piece a little bigger.
About midway through on Thursday, an oboe piped in unexpectedly from the top balcony, in dialogue with the trio. Next, a trumpet and trombone, on either side of the middle balcony, had a short interaction with the stage players. Finally, a tuba player walked across the stage, honking.
I can't explain why this all felt as consequential as it did, other than by noting that as a student of sound, Stockhausen had mastered by the end of his life a seemingly supernatural sonic power capable of casting a spell. The Dutch are as sophisticated and skeptical an audience as you will find anywhere. A standing ovation here is rare and special. They stood Thursday. So did I.
mark.swed@latimes.com
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