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.
Este tema forma parte del concierto que The Toasters ofreció el segundo día del festival Punk Rock Holiday que tuvo lugar el 9 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”
“House of Soul” es el tema 01 del single “House of Soul” (2003)
The Toasters es una banda de ska fundada en la ciudad de Nueva York en 1981. El grupo de auto-editó su primer single, Beat Up, en 1983. Desde entonces ha sacado nueve álbumes de estudio, principalmente a través de Moon Ska Records. Han participado en series de televisión y anuncios con su música, una mezcla de ska con el pop, rap, R&B, y calipso.
The band’s got everything what it takes to fill the musical void emerged after the death of Luciano Pavarotti.
live in the airballoon
Artspace Rondeel Maastricht (ARM)
go to: www.spoondoctoro.com
filmed by Electro Hydrogen Yoga master Roel Aerts for the Unprofessional Broadcasting Network
The term underground music has been applied to several artistic movements, such as the psychedelic music movement of the mid-1960s, but the term has since then come to be defined by any musical artist/band that avoids becoming a trend/mainstream. Other early “underground” bands include the Velvet Underground, MC5, The Grateful Dead, Patti Smith, and the Stooges. Frank Zappa tried to define “underground” by noting that the “mainstream comes to you, but you have to go to the underground.” In the 1960s, the term underground was associated with the hippie counterculture of young people who had dropped out of college and their middle class life to live in an off-the-grid commune of free love and cannabis. In modern popular music, the term “underground” refers to a performers or bands ranging from artists that do DIY guerilla concerts and self-recorded shows to those that are signed to small independent labels. In some musical styles, the term “underground” is used to assert that the content of the music is illegal or controversial, as in the case of early 1990s death metal bands in the US such as Cannibal Corpse for their gory cover art and lyrical themes. Black metal is also an underground form of music and its Norwegian scene are notorious for their association with church burnings, the occult, murders and their Anti-Christian views. All of extreme metal is considered underground music for its extreme nature.
Shlomo Sher’s “philosophy for artists” argues that there are three common misconceptions about the “underground”: that it refers exclusively to the rave/electronica scene; that it can be described with a vague, broad definition of “anything which is not mainstream”; and the myth that underground music is kept secret; he points out that no band or performer “exclud[es] virtually anyone or anything” using “secret passwords and hidden map points”. Instead, Sher claims that “underground music” is linked by shared values, such as a valuing of grassroots “reality” over music with “pre-wrapped marketing glossing it up”; sincerity and intimacy; freedom of creative expression is valued over commercial success; art is appreciated as deeply meaningful fashion; and the Underground “difficult to find”, because the scene hides itself from “less committed visitors” who would trivialize the music and culture.
In a Counterpunch magazine article, Twiin argues that “Underground music is free media”, because by working “independently, you can say anything in your music” and be free of corporate censorship. The genre of post-punk is often considered a “catchall category for underground, indie, or lo-fi guitar rock” bands which “initially avoided major record labels in the pursuit of artistic freedom, and out of an ‘us against them’ stance towards the corporate rock world”, spreading “west over college station airwaves, small clubs, fanzines, and independent record stores”. Underground music of this type is often promoted through word-of-mouth or by community radio DJs. In the early underground scenes, such as the Grateful Dead jam band fan scenes or the 1970s punk scenes, crude home-made tapes were traded (in the case of Deadheads) or sold from the stage or from the trunk of a car (in the punk scene). In the 2000s, underground music became easier to distribute, using streaming audio and podcasts.
Even some musical styles that eventually became mainstream, commercialized pop styles started out as underground music. Late 1970s disco is often considered to be a very commercialized type of pop music. However, before disco’s mainstream adoption in 1977 and 1978, disco records were underground music created by nightclub DJs for the gay dance club scene. Similarly, hip hop began “on the streets”; in the early 1980s, rappers did beatboxing and made up rhymes for tiny underground labels. Genres such as New Wave, no wave, noise, noise rock, alternative rock, grunge, various forms of heavy metal, grindcore, electronica, outsider music, and experimental music, also trace their roots to underground scenes.
A music underground can also refer to the culture of underground music in a city and its accompanying performance venues. The Kitchen is an example of what was an important New York City underground music venue in the 1960s and 1970s. CBGB is another famous New York City underground music venue claiming to be “Home of Underground Rock since 1973”.
Follow me on social media:
Listen to my fantasy-music playlist, with many of my songs:
Download my first Postrock-Album for free:
DAW: Cubase 7 Elements
VSTs: Dsk Free VST, Era Forest Kingdom, Halion One
Audio Interface: Alesis Multimix Firewire 16
Guitar: Fender Squier Telecaster
Bass: Ibanez 5 String
The pictures I use are from wallpapersites, which sadly don’t offer any credits, but promise free use. If you’re the creator of one of the pictures, please message me and I’ll take the video down or give credit to you.
michel kuhn, michel, kuhn, michelkuhn, fantasy music, fantasy, music, musik, muzik, muzic, elven, elven music, dwarven music, gaara, postrock, post, rock, post-rock, celtic music, relaxing, celtic, chilled, calm, dream, dreaming, epic, tribal, jungle, sad, dark, music for writing, writers music, music to write to, MICHEL, KUHN, MICHEL KUHN
Live punk cover of “Hey Hey, My My” by The Menstruators. Rock and roll will never die, indeed. Dig the song? Support the band and grab the album here: https://themenstruators.bandcamp.com/album/dead-glitter