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Part of the 2016 UMass Amherst Libraries Special Collections and University Archives eleventh Annual Colloquium on Social Change entitled Documenting Punk. Featuring a panel of speakers including Lisa Darms, Ramdasha Bikceem, & Sara Marcus. The panelists discuss their experiences documenting and participating in the riot grrrl/punk scene in the 1990s. Discussion includes: efforts of the Fales Library at New York University to document the 1970s/1980s downtown New York art scene and the riot grrrl scene of the early 1990s. Moderated by Tanya Pearson & Jeremy Smith.
La leyenda del punk rock mundiial Iggy Pop, llegó a Bogotá para ofrecer un inolvidable concierto, en el que alrededor de 2500 personas disfrutaron y bailaron al ritmo que marcó este legendario artista.
1st of many video flyers from punk/metal band Evil Come, Evil Go.
Imagine a musical wrestling match that sounds like The Misfits versus Iron Maiden, Judas Priest and Dream Theater as their managers, and Dio as the referee. The outcome would be THIS band. Beginning in 2008, Evil Come, Evil Go began with a fondness of horror films (movies, life, etc.) and combined it with their musical influences of The Misfits, Bad Religion, Pennywise, Iron Maiden, and Judas Priest. This unapologetic hybrid of punk and metal appeal to many different crowds for its diversity, the speed of punk rock but the harmony melody that’s reminiscent of Heavy Metal acts of the 80’s. This sound brings together crowds of young and seasoned rockers to their shows providing a broad spectrum of fans including Corey Harrison from the TV show Pawn Stars, Dez Cadena, Misfits/former Black Flag guitarist, and Jim Rose CEO of the Jim Rose Circus.
Each member has an influence in Punk, Metal, and straight up Rock ‘N’ Roll. Featuring the vocals of Don Domino whose range goes from a husky tone to that of Elvis Presley, to the banshee like yells much like singers from the “New Wave of British Heavy Metal” Era, the fast pace drumming and timing of ChristoFEAR who keeps the speed/thrash sound of ECEG. Code Blue, the youngest in the band who’s bass playing is influenced by Steve Harris (Iron Maiden) and Cliff Burton (Metallica), and Nathanial Villarreal, guitarist/President of Anthem Records(Independent label ECEG is signed to) who’s many accolades include winning San Antonio’s famed “Guitar Wars” brings the sound of Heavy Metal with face melting solos and diverse style.
Since its formation, ECEG has opened up for acts such as The Misfits, TSOL, Mad Sin, Tesla, Blitzkid and many more acts from around the globe! Motivated by the art of DIY, ECEG makes The band creates their stage props and customized instruments their merchandise having release a slew of independently produced EP’s. The series of EP’s shows the bands evolution and diversity in their song writing and playing style. This band is hungry to be heard, ready for the next level, Evil Come, Evil Go pushes the envelope, raise the bar, they do it all. Evil Come, Evil Go is eager to learn the business and put the time and work in to be heard by the masses. With all these qualities, this band will be a great addition to a record label. Give them a stage to play on and you’ll get nothing less than an energetic live show as if you’re watching them in an arena. Evil Come, Evil Go WILL BE one of if not your FAVORITE band after you see them live and will leave you begging for MORE.
• The Qlimax anthem is available at all download portals: https://qdance.lnk.to/riseofthecelestialsYo
• The double CD of Qlimax is available at http://qdancecomp.lnk.to/Qlimax2016Qy
• Follow the official Qlimax Facebook page: https://www.facebook.com/QlimaxOfficialPage
• Subscribe to our YouTube Channel: http://q-dance.com/YT-sub
• Follow our hardstyle playlist on Spotify: http://q-dance.com/spotify
► Check out the Qlimax 2016 aftermovie: http://bit.ly/Qlimax16_Aftermovie
► Watch the anthem show of Qlimax 2016: http://bit.ly/Qlimax16-AnthemShow
► Check out the other Qlimax 2016 live sets: http://bit.ly/Qlimax16-Livesets
Explore the unknown with the Frequencerz live set at Qlimax.
♫ This video features the following tracks:
01. Frequencerz – The Unknown
02. Frequencerz – Die Hards Only (Q-base 2016 Anthem)
03. Philippe Rochard – The World (Frequencerz RMX qlimax refix)
04. Phuture Noize – Fire
05. B-Freqz – in the club
06. Frequencerz ft. MC Jeff – Shotgun
07. Frequencerz & E-Force – Gods
08. Psyko Punk – Play the drum
09. Frequencerz & Tartaros ft. MC Jeff – Wolfpack
10. B-Freqz – Crew
11. Frequencerz & Warface – Uber Mashup
12. Frequencerz – #MV33
13. Frequencerz & Warface – Elevate
14. Frequencerz – Freqolution
15. EZG – Rellen in de hel (Adaro Remix)
16. E-Force – Kill the Noize
17. Frequencerz & Bass Chazers – Renegade
18. Degos & Redone – Die Slowly
19. Warface & Frequencerz – Menace (D-Sturb Remix)
20. Crypsis & Luna – Torture (Frequencerz Remix)
21. Frequencerz & Titan – Getting off
22. Warface – Silent crimes
► Visit the Q-dance Merchandise Store at http://store.q-dance.com
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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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