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Oi Polloi – L.I.N.U.X.





‘Duisg’ (LP + CD) and more Oi Polloi releases available from http://www.aggroshop.com/

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Sudden Sway, Solo – Store Detective Man (1988)





Track 2 from the 1988 album “’76 Kids Forever” by the brilliant Sudden Sway.

WIKIPEDIA:
Sudden Sway were a pop group from Peterborough, England, formed in 1980. They recorded two sessions for John Peel and released three albums before splitting up in the early 1990s.

The band was formed in 1980 by Mike McGuire (vocals) and Steve Rolls (Guitar) after disbanding 1st generation punk band The Now. They recruited Pete Jostins (Bass), Shaun Foreman (Guitar & Keyboards) and Colin Meech (Drums), with various others contributing in their early days. They were initially influenced by bands such as A Certain Ratio and Shriekback. Their first releases were two self-financed singles, “Jane’s Third Party” and the To You, With Regard EP, in 1980 and 1981 respectively. The latter was sufficiently successful to attract major-label interest from CBS and Virgin Records, but after a further single on their own ‘Chant’ label, and with guitarist Simon Childs added as a permanent member, they signed a deal with Warners subsidiary Blanco y Negro, debuting on the label in 1986 with eight versions of the single “Sing Song”. After releasing the Spacemate package – a double LP, book, poster, set of cards and instruction manual, packaged together in a soap box container and designed by Jon Wozencroft, the band moved on to indie label Rough Trade Records, where they would stay for the rest of their career. Their fondness for remixes was evident on their first Rough Trade release, a 7-inch EP featuring eight, 1 minute songs and titles “Autumn Cut Back Job Lot Offer”, released in early 1987. The following year, they released their second album, ’76 Kids Forever, which they described as a “soap opera musical”. With Childs departing, the band continued for one final effort, 1990’s Ko-Opera album, before splitting up.

The band recorded two sessions for John Peel’s BBC Radio 1 programme, in 1983 (Let’s Evolve, Relationships) and 1984 (A Walk in the Park, Problem-Solving Broadcasts 1-3, T Minus Tranquility), the first released as an EP in 1986. They also made an appearance on Whistle Test, performing “Packet of Vacuum”.

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Fellini kandinsky song





Fellini was one the most notorious São Paulo underground acts from the mid-80’s. They recorded some of the most notable lo-fi albums of the period. Fellini was made up of journalist Cadão Volpato on vocals and multi-instrumentalist and journalist Thomas Pappon (also from Smack and formerly of Voluntários da Pátria) plus Ricardo Salvagni and Jayr Marcos. They fused European post punk influences with electro bossa, drum machine patterns and synths. Fellini released 5 albums, 3 on Baratos Afins, and 1 on Wop Bop and one on Rio de Janeiro’s independent label Midsummer Madness Records.

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My Baby She Glows In The Dark * The Rousers * w/ Philippé Marcadé HD edit





My Baby She Glows In The Dark * The Rousers * w/ Philippé Marcadé HD edit
Mayday 2 Punk Rock Allstars @ (le) poison rouge
Philippé Marcadé * Bill Dickson * Tom Milmore * Sal Cappi * Brett Wilder * P.f. Flyer

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VELHINHA – POST-HARDCORE





Post-hardcore
Wiki
Artists Albums Tracks Videos Wiki
Although post-hardcore is primarily rooted in post-punk and hardcore punk, the music that created the space for it were groups like Black Flag, The Minutemen, Flipper and Hüsker Dü, who proved there was indeed room for stylistic diversity in hardcore punk, and abrasive art punk units like Sonic Youth and Big Black, who had arrived too late to truly be part of the initial post-punk movement. Unlike post-punk, post-hardcore was almost exclusively an American phenomenon.

Post-hardcore developed due to not only the stylistic limitations of hardcore punk, but also as an effort directly alienate the boorish, violent culture that had grown around hardcore punk much to the ire of the influential figures. The earliest appearances of post-hardcore itself were in Washington, D.C. and the surrounding Maryland area in the mid-1980s, thanks largely to a 1985 campaign by Washington’s Dischord records called revolution summer, which aimed to break the label and its followers free from the creative and social dead-end of hardcore punk. The first post-hardcore, played by bands like Rites of Spring, Embrace, Gray Matter, and Ignition essentially combined a stronger command of songwriting, a better sense of melody and rhythm, and an introspective lyrical focus, with the power of hardcore. Notably, this music was deemed “emocore” by its detractors.

Post-hardcore would not develop its art rock qualities until about 1987, with the arrival of bands including Moss Icon, who would frequently subvert traditional songwriting styles, make use of improvisational techniques and featured an instrumental style influenced as much by groups like Bauhaus and The Cure as it was by Black Flag. Also noteworthy were Happy Go Licky, a reconvening of Rites of Spring who played an updated version of no wave, and Soulside, who emphasized the power of the rhythm section.

Meanwhile, in the northern Midwest a different type of post-hardcore was developing in the wake of the breakup of Big Black, centered around Touch And Go records. Whereas post-hardcore in the DC/Maryland vein was concerned with energy and emotional expression, artists including The Jesus Lizard, Arcwelder, Silverfish and Big Black frontman Steve Albini’s own Rapeman and later project Shellac were focused on confrontation through precision and extreme volume. This type of post-hardcore might be less renown than that emanating from Washington, though it lead to the creation of math rock and noise rock and undoubtedly shaped the face of post-hardcore in general as much as the groups from Washington did.

The most influential post-hardcore group of all, though, was Fugazi. Formed in the late 1980s by Dischord founder and Embrace singer Ian MacKaye, along with members of Rites of Spring, Fugazi combined a persistent work ethic with constant stylistic innovation. Fugazi played throughout the 1990s and toured throughout the industrialized world, and in their wake came exciting new labels like Gravity, Ebullition, and Gern Blandsten, and artists such as Native Nod, Clikatat Ikatowi, Hoover, Drive Like Jehu, Navio Forge, Unwound, Maximillian Colby, Lungfish and 1.6 Band, among myriad others. Some groups, most notably Jawbox and Sunny Day Real Estate, were even accessible enough to find a degree of mainstream success.

By the turn of the new millennium, post-hardcore bands including Les Savy Fav, At the Drive-In, and The Dismemberment Plan were openly flirting with elements of dance music, and progressive rock, sometimes even adding electronic instrumentation. The music these groups produced was increasingly lush, and indeed many of them did develop major label affiliations. However, post-hardcore more or less collapsed in the early 2000s, with the break-up of many key artists.
Edited by IRONICtypo on 22 Aug 2012, 16:53

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sumber :
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Welsh Bands Documentary circa 1986.



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3D News: 3D печатный Daft Punk





Все самые актуальные новости по 3D печати и 3D принтерам в одном месте! Подписывайся на канал и будь в курсе самых интересных событий!
Инструкция по сборке самодельного шлема Daft Punk:
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Ссылка на описание “супер-секретного проекта”:

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VK: https://vk.com/3dplemya
Facebook: https://www.facebook.com/3dplemya

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#006 Useless ID “Deny It” + “Suffer For The Fame” @ Punk Rock Holiday (08/08/2016) Tolmin, Slovenia





Este tema forma parte del concierto que Useless ID ofreció el primer día del festival Punk Rock Holiday que tuvo lugar el 8 de agosto del 2016 en un entorno paradisíaco como son las inmediaciones del Soča River en Tolmin, Eslovenia.

PlayLIST [All-IN] x150: “nrK7 (Punk Rock Holiday): Viaje al paraíso del Punk Rock”

———————-
0:00 “Deny It” es el tema 04 del disco “Redemption” (2004)
2:51 “Suffer For The Fame” es el tema 05 del disco “Redemption” (2004)
———————-

Call up the station.
Intimidation.
No need to go on.
Make some plans for everyone.
Dress up, you don’t fit.
This suits me perfect.
Take a photograph.
Leave a dying image.
Wait for the train that may never arrive.
Place yourself in the middle and push me aside.
You better hold on because this is your last ride.

Deny it.
You never won.
Do you ever wonder why?
Deny it.
You never won.
Do you ever wonder why?

It’s going to hit you when you least expect it.
It’s been happening so long.
I guess we knew it all along.
Reach for your limits.
I don’t think we’ll make it.
If it were up to you then none of us would be around.
Starve for a good day.
At home it would last.
You can save me a window for questions you ask.
After what we’ve been through it doesn’t matter.

Deny it.
You never won.
Do you ever wonder why?
Deny it.
You never won.
Do you ever wonder why?
Deny it.
You never won.
Do you ever wonder why?
Deny it.
You never won.
D’You never won?

Look at yourself.
You never belong.
You never bothered to blend.
This latest fashion has brought us apart.
You did your time, now GO!

Deny it.
You never won.
Do you ever wonder why?
Deny it.
You never won.
Do you ever wonder why?

Deny it.
You never won.
Do you ever wonder why?
Deny it.
You never won.
Do you ever wonder why?

———————-

Don’t surrender to the world
Let me know you won’t
Suffer for the fame

Sweetness is leaving me again
I’ll remember when
When we used to be

Bring back the feeling
Oh, where are we now?
Stuck in a moment till we meet again
Lose star connection to better us all
Then maybe something will change

Face, listen to the one
Voice inside the crowd
Make somebody proud
It’s too late to leave me with a gift
But i’ll leave you with this
A song on how it is

Bring back the feeling
Oh, where are we now?
Stuck in a moment till we meet again
Lose star connection to better us all
Then maybe something will change

I don’t want it in my world

Bring back the feeling
Oh, where are we now?
Stuck in a moment till we meet again
Lose star connection to better us all
Then maybe something will change

———————-
Useless ID es una banda original de Tel Aviv, Israel, donde empezaron una carrera musical que durante más de dos décadas, les ha llevado a escribir, grabar e ir de gira por todo el mundo, haciendo lo que aman y compartiéndolo con el mundo. Tras siete discos de estudio y mucho camino en su espalda vuelven a sus raíces publicando “State Is Burning” (2016), una carta de amor al punk rock que transmite su frustración, ira, amor y esperanza.

Useless ID:

https://uselessid.bandcamp.com/music

https://www.facebook.com/Useless-ID-40123148903
https://www.instagram.com/uselessidpunk
https://www.youtube.com/user/UselessIDofficial

Punk Rock Holiday:
http://www.punkrockholiday.com

https://www.facebook.com/punkrockholiday
https://www.instagram.com/punkrockholiday
*The best Punk Rock party on the most amazing location in the World!

———————-
1) Registrado – Sony MV1 (Audio)
2) Zoom – Sony SR11

1st Day *Recording Memories (RecME 73): http://wp.me/p23YMz-pb
2nd Day *Recording Memories (RecME 73): http://wp.me/p23YMz-pr
3th Day *Recording Memories (RecME 73): http://wp.me/p23YMz-pJ
4th Day *Recording Memories (RecME 73): http://wp.me/p23YMz-pO
5th Day *Recording Memories (RecME 73): http://wp.me/p23YMz-pR

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One Way System @ Birmingham Ballroom 23/12/2011 U.K. Punk





One Way System Live filmed by Andrea Disagio

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