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.
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Versione ska core del tema di Puzzle Bubble eseguita dai Manovalanza, gruppo ska core italiano proveniente dalla Valtiberina (AR-PG), attivo dal 2006.
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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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Roach Motel was a cable access TV series that aired in Boston and Cambridge, MA, USA from 2002-2004. This early- and low fi- episode focused on women in punk. In this clip, James Vertigo interviewed show-goers about women in punk and local band Fallen Short played at the Tufts Art House. Hosted by Erika Ransom and Adam $ (from The Profit$) and produced at Cambridge Community Television (Episode 2, February 2002).
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Blink-182 live at the Greenfield Festival 2017 at the Airfield in Interlaken / Switzerland June 10th 2017 during their California Promotional Tour performing Always
The Rock Show
Anthem Part Two
What’s My Age Again?
Bored to Death
Built This Pool
I Miss You
She’s Out of Her Mind
Happy Holidays, You Bastard
All the Small Things
INK ME UP INSIDE
If any of you have noticed, I’ve been making weekly videos for 3 months now, and I’m putting an end to those now for a few reasons. One of which is I’m out of projects that are almost done, so completing any videos will take a while, especially with summer being over and school starting etc. The other reason is that I’ve noticed all of my video stats have been going down, views, comments, likes, EVERYTHING has gone down severely as I’ve done these weekly videos, and I think it’s because I’m upload too often for people to watch. But at the same time it’s puzzling because everyone says weekly videos is always a really beneficial thing to do for your channel??? idk man it’s confusing
so I actually arranged this cover a few months back, and then basically forgot about it, and finally got it finished up now! I really like how it turned out. As soon as I first heard this song I knew I had to cover it, the whole splatoon OST is super punk and translates VERY well to guitar. I had a lot of fun putting this one together! I tried a couple new things like some weird phaser on my guitar and also using my voice and shouting lol
fun little story about filming this one: half of my coloured LED strips randomly stopped working, but whenever I tugged on the strips hard enough the whole thing would light back up. So right before recording the very first clip of this video, I gave it a tug and RIPPED THEM BY ACCIDENT so I only had HALF the amount of coloured light I usually do coming from those strips. Luckily, my friend David showed me a really cool thing where if you taped one of those coloured dividers over a clamp light, it’ll make the bulb that colour. And it worked extremely well. For the pink shots it was harder though, since I didn’t have a pink divider, I used a red one with a regular daylight bulb, as well as a blue light bulb underneath, along with the pink LED strips. And it worked pretty well somehow. A lot of the colour was brought out in post, but I do really like how this video looks (DESPITE THAT ONE CLIP THAT WAS OUT OF FOCUS UGHHH), and I hope I captured that colourful splatoon vibe nicely!
whooo boy that was a long description. Next video is a pretty big collab that I’ve been really excited about, stay tuned!
Splatoon was composed by:
Toru Minegishi & Shiho Fujii
Arranged, Produced, and Performed By:
Thumbnail art by thatLD
Special thanks to:
Brin and Reece for letting me know my mix wasn’t terrible:
Legendav for lighting help:
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Guitar: Ibanez RG 827Z
Bass: Ibanez SR 305
Audio Interface: Line 6 Pod Studio UX1
Microphone: Shure SM57
Camera: Moto G 3
Software & Audio Plug-Ins:
DAW: Cockos’ Reaper
Tones: Positive Grid’s Bias Amp
Drums: Toontrack Superior Drummer 2
Mixing & Mastering: FabFilter Plugins & Izotope Ozone 5
Video Editing Software: Final Cut Pro
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New demo. “Guitar Idea n69”.
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Alternative,Nu-Metal Band.Welcome!Riverline Band 2013!
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