Dick For Brains - M.D.C.* - Millions Of Dead Cops - Millennium Edition (CD, Album)

FAITH EXILE PLAY BIRDS DUMB POLLY OH ME DAYS Now deleted domestically, this is the Dutch gram reissue. GOLD LEAVE ONCE Contains 8 bonus tracks. Vedder plays every instrument on the 9 original and two cover songs on the album.

Comes with 24 page booklet, gatefold sleeve. LYLA Includes a 20 page booklet. IT U BLOW BLEAK DO IT FEEL RISE BOATS NUMB Also includes 16 page booklet. PARTY DON'T BLUES New album cut across two 12" singles. FURY Limited to copies worldwide.

BOOM HERE MAXIM FLASH Live in Rio, January 12, European import. LUCKY JUST Dutch gram audiophile reissue of the classic album! MARIA Highly recommended. LOUSE EVIL OH JIM IN DANNY TRT 1 LOLA HELIX THINK DISC 3: ROUTE 66 FLOW Now only available as a high-priced import. URGE LEECH VENUS DOGUN VON M'LADY CASH TUNIC MOTE M GLUE Strange CD that brought attention again to this cult '83 hardcore band.

AJA PEG First new release since 's "Howdy! SAVE CELLS NAVAL II IV Obnoxious Boston punk by these doped long-haired guys that play a dirty mix of crude punk rock and savage 60's garage.

STAY MOODY DLZ Como dato curioso, el grupo usualmente usa el sufijo -age MyageTonyageBikeagey, por coincidencia, Marriage. Ramones - It's Alive. Etiquetas: 70'sLivePunkRamones. Etiquetas: 80'sD. Etiquetas: 70'sHardcore PunkThe Germs.

Otra banda importante dentro de la escena hardcore estadounidense. Etiquetas: 70's80'sPunkReggaeThe Clash. Improper use and maintenance of phonographic devices - compact cassette recorders as well other tape recorders - and storage media can cause a wide variety of lo-fi effects, and this is likely to be the main cause of them in independent and indie music.

Troubleshooting guides tabulating imperfections, their causes and ways to correct them are provided in manuals such as those by Jorgensen and Bruce and Jenny Bartlett. Sweat and oil from skin can break down the binder holding the oxide to the tape, causing dropouts, and can attract dirt and dust, compromising the recording and playback of signals, especially at high 65 Ford Magnetised heads can erase high-frequency signals and increase harmonic distortion and noise levels.

Copying analog tape signals will always result in 'some degradation in noise, distortion, and time base stability [i. Another form of copying, internal to the production process but also adding these lo-fi 68 Gottlieb The greater vulnerability of high frequencies in tape-recording results in a key characteristic of most recordings considered lo-fi - their 'muffled' sound.

The word 'muddy' is similar and is frequently seen in writing on such recordings, and appears in audio production literature too. Bruce and Jenny Bartlett define muddiness as a lack of clarity, and attribute it to a lack of high frequencies, but also to leakage between tracks and excessive reverberation. As we saw with Wadhams's 'in the mud,' one of the most common metaphors for lo-fi sound involves 'mud' and 'dirt. Non-Phonographic Imperfections Even the literature dedicated to audio technology recognises a range of imperfections and unwanted sounds that we might call non-phonographic, and though 'lo-fi' is named after a phonographic imperfection, non-phonographic imperfections play an important role in characterisations of it.

One category of these is what I will call performance noises. They include coughing, sniffing, page-turning and chair sounds and will be discussed in the relevant chapters. Non-phonographic noises not generated by a performance, or environmental noises, are present but slightly less common.

Within a realist aesthetics, they provide evidence of a recording setting that is not a soundproofed professional studio, and include sounds of passing vehicles, household noises, the sounds of neighbours and animals. Other evidence of recording setting can be inferred from the subtle reverberation surrounding recorded signals due to a room acoustic that differs from the acoustically dry conditions preferred in a professional popular-music recording studio a factor that appears to have played a significant role in Jandek's reception - Chapter 4.

Alten notes that the particular dimensions and shape of a room can cause certain 79 Ford Some lo-fi effects - production imperfections - derive from using tape- recording equipment with a less than professional standard of editing or mixing, and might fall in to the realm of technical rather than technological imperfections. Professionally, retakes and edits are not supposed to be noticeable, but in recordings considered lo-fi, they often are.

Similarly, tape or other media simply running out would not be tolerated on most professional master recordings, but can probably be heard on Bob Dylan's Basement Tapes at the end of the track ' Miles' and on Jandek's Ready for the House at the end of 'European Jewel'.

Often the sounds of an operator pressing the record, pause and stop buttons remain on a master tape, too. On some recordings such as those of Daniel Johnstonmaterial recorded earlier can be briefly heard prior to its erasure or overlay by new material such as new song, and lo-fi artists often chop and change between recording sessions on the same tape.

Such imperfections have fallen within an aesthetics of primitivism and naivety, which also extends to the use of 'primitive' equipment itself. Beat Happening and Willis Earl Beal, for example, sometimes used pots and pans or clapping rather than more conventional 83 Alten The difference lies in the ways in which distortion and noise are understood to be imperfections in lo-fi.

Though lo-fi effects might not ultimately be considered by their adherents to be imperfections, the harmonic distortion of the electric guitar is still less often understood as an imperfection by its adherents. More specifically, a distinction should be made between lo-fi aesthetics' understanding of distortion and noise as a lack of technique - the result of an impaired or impeded music- making context - that is generally more passively accepted, and other understandings of distortion and noise as becoming a technique itself, actively employed.

In other words, whereas lo-fi aesthetics is non- or anti-technocratic, other aesthetics of distortion and noise constitute new kinds of technocracy - something quite different. Furthermore, however close together they get, 'the music' in a limited, more traditional sense and its recording imperfections are always considered to be differentiable in the aesthetics of lo-fi, the latter merely framing the former.

In other aesthetics of distortion or noise, the imperfections cannot be formally separated from 'the music' - distortion or noise becomes the music. Again, however, lo-fi aesthetics and other aesthetics of former imperfections exist on a continuum. Michael Hicks shows how this gave rise to greater distortion and a form known as 'fuzz' in particular. Distortion aesthetics do not develop as that of an imperfect, impaired or impeded sound as the phonographic timbres of lo-fi aesthetics do, however.

Hicks sees it as prefigured in the 'growl and plunger' style of playing jazz and the 'boot' style of playing tenor saxophone in rhythm and blues, and in the tradition of early twentieth-century futurism: 'through its aggressive, futuristic sound,' he writes, 'fuzz was at the core of the machismo aesthetic of a new rock avant- garde. And as we will see in Chapter 3, the aesthetics of punk rock were somewhat different from lo-fi aesthetics in this regard, at least in the s and s.

The literature on noise's meaning and aesthetics, both philosophically and in music, is extensive, and often sees techn olog ical noise as continuous with the wider category of unwanted sound, and as a negationist form of social protest. As Hicks does with distortion, however, an aesthetics of noise is frequently traced back to Luigi Russolo's futurist manifesto The Art of Noises, which, again, expressed an aesthetics of power, intensity and modernity.

In lo- fi aesthetics, noise is typically less a resource than a comparatively incidental effect. Even in the s, when lo-fi effects were often considered on a par with musical instruments in aesthetic significance Chapter 7the lo-fi effects could not have dispensed with the music they acted upon, however obscured it was, or else the aesthetics of ghosts, memory and pathos that arose during that period would have been impossible.

One category of late twentieth-century popular music that might be considered to impinge upon lo-fi aesthetics is 'glitch,' written about by Kim Cascone, Torben Sangild and Eliot Bates.

As with distortion and noise, digital glitches become a musical technique rather than lo-fi's lack of technique or technology: as Cascone writes in his essay 'The Aesthetics of Failure,' 'today's digital technology enables artists to explore new territories for content by capturing and examining the area beyond the boundary of "normal" functions and uses of software. Of course, the distinctions between lo-fi and other instances of distortion, other instances of noise, and other instances of technological malfunction are not absolute so long as some part of a discourse recognises them as imperfections 92 Sangild A thesis taking in a broader area would have incorporated them.

However, this would have entailed moving further away from the category of lo-fi in popular music discourse, because - and this is another reason distortion, noise and glitch are not discussed more extensively in this thesis - there is very little overlap between the discourse of lo-fi and discourses of guitar distortion, noise music or glitch.

Before we continue, then - what is this discourse of lo-fi? The Discourse of Lo-Fi If lo-fi aesthetics is the protagonist of this thesis, then its discourse - no less significant - provides the setting, the plot and many of the supporting characters. Much of what this thesis hopes to offer lies in the uncovering, curation and presentation of this discourse, which to date has been hardly engaged with in research on lo-fi and in much of popular music studies in general.

The 'popular music discourse' of this thesis's title refers to publications in which popular music is reported on, reviewed, and discussed in other ways, and everything within them. This includes books and films chronicling popular music history or criticising recordings, periodicals ranging from the New York Times to small homemade music fanzines such as Vicious Hippies from Panda Hell, and texts including articles, reviews, websites, blogs, letters, advertisements and design elements.

It is limited to English-language publications and in particular those of the USA and UK, which appear to have the most extensive role in defining lo-fi. As writers such as Matthew Bannister have noted, it is produced by and caters to a predominantly white, male and middle-class social group.

In particular, a notable trend among musicians considered lo-fi is that they made their music in the less metropolitan geographies of the US, while the discourse interested in them was mostly based in New York or London.

As we will see, the geographic dimension plays a role in narratives of musicians and the aesthetics of their music, paralleling notions of sonic and temporal distance. My unusually extensive and detailed citation of and engagement with this discourse is quite deliberate.

As well as the fact that the manifestation of lo-fi aesthetics in discourse serves as my necessary and key focus, the amount of evidence I present serves to provide a more comprehensive and nuanced account of popular music aesthetics and history than has been provided by other studies in this area.

Lo-fi is an idea, a space of possibilities and impossibilities, constructed by its discourse for certain enunciative purposes concerning aesthetics and ultimately ideology, which I hope will slowly become clear. Nor do I assume, indeed, that the unity and continuity of a discourse on lo-fi or on popular music is a simple given: it is a raft of smaller continuities between individual statements, supplied by the recurring identification of certain recording imperfections, the recurring focus on certain musicians and recordings, the use of terms like 'lo-fi,' and the continuity and intertextuality with which the particular statements and institutions through which all of these appear 98 As well as the less critical or historicising accounts of lo-fi in non-academic texts e.

SpencerMcConnell's research on the aesthetics of cassettes in the Pacific Northwest of the early s is particularly undermined by a less detailed reading of the surrounding discourse. These problems are discussed in Chapter 3. This raft is subtly balanced and lashed together according to my own critical judgement. This process involves much discontinuity, too, through which some definitions of lo-fi, and ultimately the concept itself, begin to disintegrate.

Following Foucault, lo-fi 'is no more than an initial approximation that must allow relations to appear that may erase the limits of this initial outline. I have also made minor departures from the mapping of this discourse throughout, intervening in order to examine the associated recordings and their imperfections in more detail than it does as I did above, when drawing on the quite differentiable discourse of audio engineeringor to neglect certain artists and genres sometimes associated with lo-fi but only rarely actually brought within its aesthetic by the discourse, whatever the rhetoric.

We thus begin to see what is at stake in the discursive formation of lo-fi: knowledge - the very generation, dissemination and comprehension of ways and objects of listening, and the complex networks of feedback between the discourse's participants in musicians, writers, listeners and ideas.

It involves not only the establishment of certain rules and objects in the field of aesthetics such Foucault From its position of authority in the form of widely trusted periodicals largely assumed to have access to the world of popular music, its truth and its best texts past and present, this discourse decides which musicians are visible and how visible, and what is salient about their lives and music.

It decides, for example, that amateur cassettes are to be generally considered lo-fi while passing over their heterogeneity in favour of certain prominent rock bands, and it decides that Willis Earl Beal is an 'outsider' who should be appreciated as such.

As Bannister has noted, these decisions regularly accumulate - positively or negatively - along lines of race, gender and geography; this thesis can elaborate on these observations, and add disability and mental illness to them. All these discursive decisions about music become assumptions, in turn informing the writing of history inside and outside of the academy, the production of new music see the 'curation' of Willis Earl Beal - Chapter 8the production of ideology at large, and ultimately the production of reality.

Independent and Indie Music Discourse One major subcategory of popular music discourse to concern us here is independent or indie music discourse, the area where the most and earliest evidence for a lo-fi aesthetics emerges.

Independent or indie music is generally understood to be produced away from the music industry's largest record labels. During the s, 'independent' was a quite sharply delineated category: Op magazine, for example, would review anything except records on 'labels distributed or owned by the entertainment giants e. In this thesis, I differentiate between these two phases of a discourse that is, loosely, continuous at a higher level.

The 'independent' music discourse of the s was based in magazines with smaller circulations and often claimed no genre preferences at all, only that the origin of the music was 'independent,' and was frequently explicit about the politics of this position. Thus, independent music magazines wrote on electronic, experimental, non-Western and even classical musics, reviewing cassettes that readers sent in. These things were not generally done in 'indie' discourse, which here refers to the expanded and often more commercially developed discourse regarding both the musicians it covered and in sales of publications that followed, for example, the triple-platinum-selling punk or 'alternative' album Nevermind by Nirvana, released in In the US, indie was in some ways the alternative to 'alternative,' and lo-fi, certainly, was seen as a resistance to any commercial encroachment upon indie music in the wake of Nevermind see Chapter 6.

Anthropologist Wendy Fonarow also notes that the term 'indie' no longer reflects the relation of the music's production to commercial industry. For Fonarow, indie's ontology lies in discourses and practices: 'indie is not a thing at all and is therefore not describable in the same manner as a stable object. Although indie has no exact definition, the discourse and practices around multiple descriptions and definitions of indie detail a set of principles that Op Her observations on the role of the British weekly music press, however, can well be extended to US-based indie discourse.

She continues on the power of discourse: 'for young fans, these papers are highly influential in shaping their opinions. Often, they directly paraphrase the weekly press reviews when giving their opinions about bands They attribute their purchases to recommendations from the Dick For Brains - M.D.C.* - Millions Of Dead Cops - Millennium Edition (CD press and from friends. As such, it 'protest[s] Indie calls nostalgically for a return to and restoration of "original" musical practices and ideals.

Indie is a musical community centrally focused on how an audience can have the purest possible experience of music. In this endeavor, indie fans locate themselves as the anointed disciples of music who, through their own system of authenticity, recognize true value in music.

Formal musical training is seen as a form of mediation between musician and music. One of the most damning insults that can be levelled at a musician is to be called a "muso," implying a technically proficient musician without spirit or emotional attachment to the music he or she plays. He persuasively characterises indie rock as an arena for the accumulation of Pierre Bourdieu's 'cultural capital,' concluding that 'indie rock exists largely as an absence, a nebulous "other," or as a negative value that acquires meaning from what it opposes.

Indie rock is far from a static entity; rather, it is a malleable space filled by discourse and power, whose meaning is always under construction by various agents bands, listeners, labels, critics, etc. David Hesmondhalgh's essay on indie describes it as a 'popular music genre,' that emerged in the s. Sarah Thornton offers a very similar concept, calling it 'subcultural capital' - Independent music and its discourse generally shared a similar, relatively minor cultural location and mode of production.

Periodicals that predominantly covered independent music were either reproduced using a photocopier or reached a minimal industrial standard of magazine or newspaper production. In the main part of the thesis Chapters 2, 3, 4 and 5a significant proportion of the discourse is maintained by three US publications: OpSound Choice and Option Issued bi-monthly from JanuaryOp covered music of all genres, and issues contained articles, interviews, lists of radio stations and other periodicals, advertisements and even guides to music technology, but extensive sections in which new releases - including cassettes - were given reviews of usually words increasingly came to constitute most of the magazine's content.

By the time it finished with Z inOp had approximately a thousand subscribers. Edited by David Ciaffardini, Sound Choice maintained Op's handmade design style and expressed strong political opinions on the place, value and preservation of independent music. In it had more than readers. In the s, Spin faced competition from the website Pitchfork, which was receivingvisits a day by In - the height of interest in a Woodward Below the level of newspapers and magazines, with much smaller circulations and production costs, are what are known as 'fanzines' or 'zines.

Chapters 7 and 8, focussing on the s and s, refer to a number of websites and blogs maintaining a discursive role much like that of fanzines in the s and s. A Category of Lo-fi and its Canons Lo-fi itself - or at least the term 'lo-fi' - garnered most attention in popular music discourse when it was perceived as an emerging or stable category even a 'movement' of music-making according to the narrative I gave above: a form of popular music that had poor sound quality and other rough qualities because it was recorded in a 'do-it-yourself' fashion by amateurs on amateurs' equipment, and its practitioners and fans liked it that way.

There are certain key texts in the Fonarow My research takes in the Factsheet Five Collection at the New York State Library, an archive of fanzines of all kinds dating between and At the time of writing, no such public archive apparently exists for UK fanzines. The most widely-read of these was probably an almost full-page article by Matt Diehl published in the New York Times in August under the headline 'Lo-Fi Rockers Opt for Raw Over Slick:' In using a more stripped-down approach to recording, such artists draw on methods that are rooted in rock-and-roll history.

Alternately called lo-fi, referring to the rough sound quality resulting from such an approach, or D. Professional recording studios are often passed over in favor of four- and eight-track recorders or even Sony Walkmans Instruments and amplifiers also tend to be whatever's cheap and available rather than high tech, their sonic limitations central to the esthetic In a world of sterile, digitally recorded Top 40, lo-fi elucidates the raw seams of the artistic process. Of these, the most significant appeared in Option as part of a special lo-fi themed issue or 'Lo-Fi Diehl Recording at home takes indie rock's do-it- yourself aesthetic to its extreme Bannister observed the formation and use of canons - or 'canonism' - in an article published alongside his White Boys, White Noise and sharing some of its material.

Canon articulated through practices of archivalism and connoisseurship is a key means of stratification within indie scenes, produced by and serving particular social and cultural needs for dominant social groups within indie scenes, for example, journalists, scenemakers, tastemakers, record company owners, some musicians But canon is also a way of historicising indie, not just because it is historic literally but also because it can be read historically as an archaeology of knowledge - it shows how the discourse of independence was shaped.

Canon- related practices such as archivalism are not simply cataloguing of the past - they are political Dick For Brains - M.D.C.* - Millions Of Dead Cops - Millennium Edition (CD selective. As we will see, lo-fi's canon was partly built during a process by which newer artists were repeatedly likened to older ones, especially favourably.

But the process of canonism is also remarkably clear in a number of publications from the s that consolidated categories of indie and indeed lo-fi by assembling discographies and lists of great works and musicians.

In writing each Album) of the list, Kemp noted lo-fi as 'a self-conscious Artistic Statement,' and that 'by the late eighties, the lo-fi aesthetic had been overrun by geeks who wore coke-bottle glasses and spent their non-social lives in the basement experimenting with tape loops on their four tracks.

The entry for 'lo-fi,' by former Option editor Richie Unterberger, is perhaps the most comprehensive and accurate account of what lo-fi was held to be by the s: 'One of the most influential trends of alternative rock in the '90s has deliberately cast itself in opposition to studio sophistication.

Called "lo-fi" artists Thus for Kemp Some of Spencer's claims will be addressed in Chapter 3. Intended as an equivalent of 'outsider art' art by those outside of the artistic establishment, especially those with mental illnesses or intellectual disabilitieshis category of 'outsider music' has a significant overlap with lo-fi, since such artists often lie outside of technocratic norms or record their music away from professional studios.

Chusid's 'outsider music' and many of his observations reflect the s atmosphere of primitivism While the idea that lo-fi artists were being consciously and deliberately lo-fi became important in popular music discourse during the s less so in the s, when naivety was admired and often presumedthe intentionality behind lo-fi is both difficult to establish and of little use to this study, which focuses primarily on perceptions in discourse.

Other Research Relating to Lo-Fi Academic discourse on lo-fi aesthetics will generally be treated separately from popular music discourse, both because it is different from that of journalism and because, often with a delay of years from the emergence of the music, the less historicised, less diachronic nature of such studies sometimes causes a retroactive selection bias for elements that emerged in discourse later on.

This leads to the simplistic impression left by, for example, the studies of Fonarow, Hibbett, Kathleen McConnell and Emily Dolan that indie or independent music has always been or was always considered to have been anti-technocratic or 'lo-fi. The study with the most comprehensive overlap with my own - though it focuses only on the s category of lo-fi - is Tony Grajeda's 'The Sound of Disaffection.

While the cultural politics of popular music are frequently limited to an analysis of the economic struggle between independent and major labels, much less attention has been given to how that struggle is played out both aesthetically and technologically. In general however, my study is in agreement with Grajeda's, and aims to considerably expand his 'genealogy of lo- fi' with extensive discursive evidence. Hibbett and Bannister, aware of indie's discursively constructed nature, see lo-fi as one of its key signifiers.

Hibbett shows that lo-fi effects are integral to the cultivation of indie rock's cultural capital, seeing indie 'in the "bad voice" tradition of Bob Dylan and Neil Young In the strangest of ironies, the most direct evidence of production connotes its absence, and a claim for artistic distinction is forwarded through an aesthetics of working-class deprivation.

Skill is compromising as it implies that one has been 'taken over' by technology or sees technique as an end in itself There is a tendency towards an aesthetic of minimalism - 'less is more. Her conception of lo-fi's authenticity is persuasive - for Dolan, the honesty in lo-fi is not merely a kind of unmediated transparency, but an honesty about mediation itself: The lo-fi sound world Just as scratches on an old record or the hiss of cassette tape break the illusion of an unmediated experience with the music, so too the outdated instruments and amateur playing draw attention to the technologies behind the production.

Here the 'honesty' of this music does not arise from the illusion of unmediated communication Bannister makes a similar observation - b, Wisp Of Tow Ocean Of Water Fleshmaker A Long Defeat Gordian Corridor Handshake In Your Mouth This is likely to be the single most eclectic album of This marks the second year in a row Gollum find themselves on the bill for the prestigious event.

Last year, West Palm Beach, Florida was so surreal and unbelievable! We really look forward to playing on the Jager stage at the Mayhem Festival again this year, this time in front of our home state crowd in Raleigh! Thanks to Jagermeister! We are currently planning a fall tour and are in pre-production for the our next record.

Confirmed dates thus far include:. Mixed with the traditional metal guitar tones and rhythmic soundings, we have Gollum experimenting with bizarre song structures and seemingly random mood swings that create a truly wondrous listening experience. The book is due out July 27 through HarperCollins. The record was mixed by Devin Townsend.

The first pressing is limited to a run of copies and comes in hand-numbered digi-pak packaging. The band is confirmed to appear at the Lollapalooza Festival in Chicago on August 8, and will then return to Japan for shows on August 14 and 15 at the Nissan Stadium in Yokohama. I got to talking with the owner, a friendly older guy, and he asked what kind of music I liked. A couple days later I heard from the guy who conducted that old interview — Mike McCarthy. He recognized what I was talking about and contacted me.

His original interview ran in Ant magazine many moons ago. I can say without any doubt that this is their best CD yet. The second song is my favorite on the album. I love the fact that Max always tries to have guest vocalists and musicians work with him. The song has some beautiful guitar work by Marc Rizzo, and will hopefully have you playing the song over and over; at least it did for me.

It has a nice Rizzo solo about halfway through the song that really makes Soulfly different from some random metal band screaming about scary stuff and chugging the same riffs over and over. With Rizzo incorporating his melodic style and complex playing it really makes Soulfly different in a good way.

With very diverse guitar work, and softer more elegant riffs, and solos that are played in a more legato style, this really ends the album in a nice way. Overall, this album is definitely worth buying, and certainly worth listening to. Best Soulfly album yet. Detritus Mini-Issue But is it an album? I spoke to band leader Steve Blaze to get the scoop on that and a few other things.

D: I was anticipating a full new album, but then I saw the track list and recognized a few familiar titles, which your Web site says are acoustic re-recordings of older songs. We have a whole new staff on the label. There are several partners on this. My manager Charlie [Bagarozza] and I wanted to form our own label to do it right because this is our seventh label.

So we formed the label and decided at first to put out an E. So it becomes an L. I wrote them maybe seven, eight years ago. These songs kind of fit that theme a little bit. The whole record, with the acoustic versions, has songs that are a dark view of life and death and love and good and evil. So what was going to be a small E. SB: laughs I tell you what, if we could get a song on that that would be wonderful.

They seem to always have such intrigue about them. I think that of all the horror characters, vampires are the most beloved by the public. D: Back to the acoustic stuff for just a minute… How did you choose the songs? A couple are older and a couple are from the last record. Was there a method? Did you consider trying to do one from each album? SB: Each one had its own fan. We have a lot of dynamic songs, going from acoustic and softness into, you know, big bombastic heavy parts.

We added strings to it, more guitars, kinda just beefed it up a little bit with Derrick [LeFevre] singing. D: The record ends with an instrumental, the title track.

Was that intended to have vocals or was it planned as an instrumental? SB: No, I knew from the beginning that I was going to write an instrumental. I wanted something that was going to cap off the record, something not really depressing and sad or bombastic — just something beautiful that would encompass, and neatly tie up the end of the record. Once I get started on the idea the rest of just naturally comes to me.

So I just hit the mic and run it. I wrote it and played it in one take all the way through. Then I did the overdubs after that. Why are seasons and colors recurring themes in your writing? SB: You know, that is a very good point. When I look at certain colors — I look at the color blue, I see anything in blue — an entire mood is opened up for me.

They all evoke different emotions in me. Same thing with the seasons, the four seasons. On this record, a lot of this stuff I would see in Dick For Brains - M.D.C.* - Millions Of Dead Cops - Millennium Edition (CD and winter, if I had to basically put a season to this type of material.

Probably every song we do I could put an emotion, a color and a season to it, and it would make sense. I just found it very cool and it sounded like it would encompass the whole feel of this record. In this case the color red permeates the whole record. It all worked out with the artwork and everything pertaining to the record, all the colors and stuff, was really, really well done all the way around. I think it came out well.

I know you could release a ton of old Lillian demos that have floated around among tape traders…. Stuff like that, I want to be able to release it, so it is an outlet for us to release all of our own stuff. But we are going to be looking for passionate, good artists. D: I have a gearhead question for you. SB: I have a line of guitars through Guilford called the Blaze model, and then a brand new one called the Redeemer which is just coming out now. So yeah, they make great guitars.

SB: Oh, no. Maybe a Dio cover, but no Priest yet. SB: Oh it was great. The whole background was superimposed, created as a mystical garden, but the table and the chairs, and all the outfits — we got those at a vintage clothing store online — we built all the chairs, we created everything in that. Then we, you know, Photoshopped it into this enchanted garden with giant mushrooms and whatnot behind it.

I wondered if you felt like you missed the boat by doing that a year or two before that movie came out? SB: laughs Ahh, you never know, huh? Bad timing. My wife collects all the memorabilia — we have a ton.

We were a little early on that, but you never know, maybe it will help out. D: I got another one from another buddy. I was surprised Dick For Brains - M.D.C.* - Millions Of Dead Cops - Millennium Edition (CD actually did it, though, you know? Usually you try to do a cover that nobody else has really done in the last few years or so. Yeah, I had a lot of compliments on that cover.

I think we did a good version. Now how often does that happen? SB: laughs Never did, never even met the guy before. Then as fate would have it, the very day I spoke with Mr. The box also includes bonus tracks, such as songs taken from singles, videos, live or demo tracks plus a page booklet. All recordings are re-mastered using tube technology. Box is limited to 1, numbered copies and is a must-have for all fans of the band as well as for the lovers of the progressive metal genre! The unique musical mixture, followed by a characteristic image all band members wore silver masks marked the beginning of a prog metal legend.

But the band did not wish to be captivated in only one musical style. With their third album, Crimson Glory reached far beyond simple power metal musicianship, replacing it with complex, precise songwriting, controversial both in sound and structure. Unfortunately, after the release of their third L.

Drenning, Lords and Jackson had a tough decision on whom to set as a replacement for the charismatic singer. After adjoining ex-Savatage drummer Steve Wacholz the band was ready for a definite comeback. On May the band announced that a new singer, Todd La Torre, had joined the band.

The band is currently working on their new material. Label: Metal Mind Records Cat. Valhalla 2. Dragon Lady 3. Heart Of Steel 4. Azrael 5. Mayday 6. Queen Of The Masquerade 7. Angels Of War 8. Lost Reflection. Lady Of Winter 2. Red Sharks 3.

Painted Skies 4. Masque Of The Red Death 5. In Dark Places 6. Where Dragons Rule 7. Lonely 8. Burning Bridges 9. Eternal World Strange And Beautiful 2. Promise Land 3. Love And Dreams 4. The Chant 5. Dance On Fire 6. Song For Angels 7. In The Mood 8. Starchamber 9. Deep Inside Your Heart Make You Love Me Far Away.

March To Glory Instrumental 2. War Of The Worlds 3. New World Machine 4. Astronomica 5. Edge Of Forever 6. Touch The Sun 7. The Other Side Of Midnight 9. Cyber-Christ War Of The Worlds — Remake 2. Astronomica — Demo Version 3. Touch The Sun — Demo Version 4. Edge Of Forever — Demo Version bonus track 5. Dragon Lady — Live 6. Eternal World — Live 7. Painted Skies — Live 8. Queen Of The Masquerade — Live 9.

Lost Reflection — Live. They are producing our CDs illegally and thus have ZERO rights to market, promote, advertise, release, distribute or sell any of our material; therefore they have ZERO rights to make any profit from our image, likeness or music. As a group of hard-working dedicated musicians who have now given 25 years of our lives and hearts to this band and this music, it is beyond heart-breaking to watch these companies deliberately break the law and profit from selfish and downright criminal actions.

In the meantime, Crimson Glory is presently negotiating with other labels regarding the remastering, re-releasing and future distribution of all of our material, and anything to do with the band regarding album releases, tour dates, promotional material etc will be shared via official press releases and the Crimson Glory MySpace and Facebook pages ONLY. The members of Lillian Axe wish Derrick LeFevre nothing but the best of luck in his future endeavors. Unfortunately Derrick could not commit to the rigorous touring schedule that Lillian Axe prides itself on to this day.

His unique vocal style sets him apart from other singers because he brings something extraordinary to every song. Ronny is an in-your-face performer, consummate professional, innovative lyricist and songwriter who fuses melody with hard hitting rock in a way that will take your breath away. I always keep in the back of my mind great talents when I see them, and Ronny was one of those guys.

During the three days we spent together in New Orleans rehearsing and getting to know each other, I was amazed how well he fit in as a human being as well as a band mate. The true talent is only half the game; the person is the other. Ronny has it all. Having Ronny as a writing partner and performing partner is something I am very much looking forward to!

I think he will add a whole new element and catapult our music into a brand new fan base as well as satisfy the die-hards. Actor Adam Sandler has always had a knack for including standout classic rock tunes in his movies. These 14 tracks of anthemic metal have never sounded so good, as they were all recently re-mixed by Rich Chycki who has recently worked with Aerosmith and Rush.

Also included in the set is a DVD, mixed in 5. The deluxe two-disc package is housed in a six-panel digi pak — including a page color booklet, complete with liner notes, lyrics, and chockfull of vintage photos. Allied Forces 2. Lay It On The Line 3. Follow Your Heart 4. Magic Power 5. I Live For The Weekend 6. Hold On 7. Just One Night 8. Fight The Good Fight 9.

Spellbound Never Surrender When The Lights Go Down Rock And Roll Machine Love Hurts. Follow Your Heart 2. Lay It On The line 3. Spellbound 4. When The Lights Go Down 6. Allied Forces Never Say Never. Bonus Videos 1. Child Of The City 2. On October musicians from some of the most important bands on the Swedish metal scene will join forces to pay tribute to the legendary Ronnie James Dio, who recently passed away. Guest artists confirmed this far:.

Romeo said that the drums and most of the rhythm guitars are all recorded. At the moment, they are fine-tuning the lyrics and melodies, during which time Russ [Allen] will also be recording his vocals. Symphony X guitarist Michael J. One is shaping up to be 10 minutes plus. I think everyone will like it. It has a little bit of everything. Send questions in to symxfaq gmail.

Send your suggestions to symxfaq gmail. Formed in in New Jersey, Symphony X has seven studio albums and one live album to their credit. Their discography has soldcopies in the U. Before too long we had five songs in the can and were well on our way to making a record.

That is when we started thinking seriously about taking it to the next level. Once there was a few songs underway the concept grew into the band we now have, YOSO. After you order two forms of music at NightmareRecords. Nightmare Records Greenwood Drive St. All performances are incredible.

This is the first time Zak Stevens has done anything in the power metal style since Savatage and he agrees, Savatage fans will definitely see this as a return to form. The album was mixed and mastered at Frontiers Studio in Sydney, Australia. Stu Marshall is a super-talented recording musician who really knows how to get the best performances out of the artists he works with. Working with Stu was a fantastic experience for me.

His vision for the overall spectrum of the album was stunning. Empires Of Eden represents a powerful voice in aggressive contemporary power metal. With a list of collaborators spanning several countries and a wide range of musical disciplines, this studio project is a veritable dream team of uncompromising artists cooperating in a framework which allows them to bring their finest talents to the table.

While Empires Of Eden has been created as a labor of passion by virtuoso Stu Marshall — of Paindivision and Dungeon fame — the central philosophy is to give all the musicians as much freedom as they need to produce the best work they are able to. Drawing on influences as diverse as Helloween, Gamma Ray, Iron Maiden through to Cacophony and Arch Enemy, Empires is a no-compromise shred laden adventure that will excite guitar heads and metal fans alike.

Marshall leads an all-star cast of players, singers and writers who over the years have proven themselves to be some of the most exciting performers in metal today. Vocalist Mike Zoias is a powerful operatic force who can combine the classic, finely crafted tones with a fire rarely experienced in metal vocalists today. Louie Gorgievski, whose fire-breathing style combines a unique power and brings a passionate Dickinson-style vocals to the project.

Louie is current vocalist with the band Crimsonfire and has proven he is a must-hear voice for all fans of high-powered vocals. Completing the vocal talent is Chris Ninni. While the initial framework for the songs has been created by Marshall, all singers have been instrumental in creating their own lyrics and melodies.

This provides a wide range of flavors to Empires Of Eden and again highlights the collaborative spirit that the project is built upon. Marshall has contacted many of his friends and respected musicians to add their magic to the recording. Under other circumstances, such an ambitious allocation of free reign might result in a directionless melee of self-indulgence.

Of Light And Shadows — Feat. Mike Vescera 2. Enter The Storm — Feat. Louie Gorgievski 3. Total Devastation — Feat. Sean Peck Cage 4. Prognatus Ut Obscurum — Feat. Zak Stevens 5.

Reborn In Fire — Feat. Beyond Daybreak — Feat. Steve Grimmett 7. Death Machine — Feat. Louie Gorgievski 8. Searching Within — Feat. Louie Gorgievski 9. Rising — Feat. Carlos Zema. Great writing, powerfull stuff.

Listen deeper to hear even more going on with this album. Top draw guitar that is pitched to perfection, nothing overblown in the solos. In anticipation of the release of their sophomore album Line Of Fire have, in conjunction with Tribunal Records, put together a weekly webisode series helping fans to catch up with the band and highlighting various aspects of their forthcoming new album, MOMENTUM.

Track List: 1.

Shadow Cabinet - The Church - Hindsight 1980-1987 (CD), Skapitalistas - Elektroduendes - Elektroduendes (Cassette), Love Is All Around - Wet Wet Wet - Love Is All Around (CD), Terzetto (Gabriel, Uriel, Raphael) - Joseph Haydn - Neil Mackie (2) - Krisztina Laki - Philippe Hutt, Org-D2 - No Artist - Sound Pool (Deep House / Progressive House) (CD), Heaven Knows Im Miserable Now - The Smiths - Best (CD), Tolga Flim Flam Balkan* - Pump Up The Flim Flam (Vinyl), En La Capsula Espacial (Tema De Amor) - Queen - Flash Gordon (Musica De La Banda Original De Sonido, Obey - The Varukers - Nothings Changed EP (Vinyl), Break My Heart - MCM 13 - How To Run A Train - 2001 (Vinyl)