Christian Music Videos. Download and free streaming at http://www.MattNortonMusic.com also available on iTunes. One Hour of Christian music mix, Worship Music Mix Christian Rock Mix like Jeremy Camp, TobyMac, Kutless 2015 2016 By Matt Norton One Hour Playlists full of Inspirational Rock Praise songs and uplifting CCM/Christian Rock Music. If you like worship with an edge you will defiantly enjoy this mix.
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The trip hop is a musical genre that encompasses different forms of electronic music slow or downtempo. It began in the mid- 1990s, emerging from the scenes of hip hop and house British and very much on the scene underground Bristol. It has been described as the “alternative choice in Europe in the second half of 1990” and as a “fusion of hip hop and electronica to the point that neither genre is recognizable. ” The absence of vowels in the trip hop led him to find his own idiosyncrasies replacing vowels with more abstract sounds while allowing you to let go of the need to copy the American hip hop.
Trip-hop is because of its slow tempos often as introverted or atmospheric soundscapes and melancholic felt. Often with low-fidelity -Effekten how the crackle of vinyl records worked. Instrumental trip-hop pieces are among many in the clear demarcation not more than trip-hop, but as Downbeat called. Elsewhere the term is downbeat but as a parent category or collective term for various styles, including trip-hop belongs.
Trip-Hop has its roots in hip-hop and dub, but on characteristics such as rap is usually dispensed with trip-hop. Often harmoniously – melodic encountered elements, similar to pop music.
The music journalist Andy Pemberton coined the term “trip hop” in 1994 in the June issue of Mixmag magazine, used for the first time. The name was created by the charge included in the Hip-Hop elements and the similar one trip felt slow sounds. In the multicultural scene of Bristol was founded toward the end of the 1980s, the artist collective “The Wild Bunch”, which also includes Massive Attack and Tricky belonged. Massive Attack has been with her first album, according to many listeners Blue Lines laid the foundation stone of the trip-hop, but it was still very strong for the most part on radio and Soul ajar. Portishead (named after the town in England, near Bristol) was the first band that has the new style presented so that the music journalists saw a need for a new genre name. The alternative term Bristol sound is controversial even today in Bristol, because many local musicians who produce no trip-hop, feel marginalized.
Since the advent of trip-hop, many musicians were inspired by this style, so you can find typical elements of many other genres. This genre is hard to define because its definition varies by country. It is usually described with precursors artists such as Massive Attack, Portishead, Archive, Björk, Morcheeba, or Tricky who returned in any category.
The genre is based rhythmic hip-hop, on which are grafted all sorts of influences, jazz, blues, electronic music, film music, soul, rock, dub, etc. It thus greatly enriched and is now divided into many sub-genres ( acid jazz, downtempo, electro-dub, electro-jazz, electronica-free…). Eclecticism is required. The artistic purpose of the majority of groups claiming trip hop music is to create a “hovering” in generally quiet and melancholy appearance (although faster in tempo influences exist). This type is also part of some aspects in the line of some groups post-punk like Siouxsie and the Banshees and The Cure, both combos have been taken over by Tricky and Massive Attack. Tricky opens his second album Nearly God by a version of Tattoo, a piece pre-trip-hop of Siouxsie and the Banshees.
The Arabic music is a collection of music from the Arab world that is to say, a geographical area from the Middle East to the Atlantic. It constitutes the branches of the same musical family that evolved in cultural centers of the Near East and the Middle East but also in different contexts.
Despite their many appearances, this music, which all come from the oral tradition, have certain common characteristics, under the guise of art music a mixture of the Indian system and the art of interpreting the maqam, although the particular Regional are marked. Traditional forms of music that usually combine vocal and instrumental performances, often in alternation. Unlike Western music in which have developed the art of polyphony and the harmony, Arabic music is anchored on monody where the melody is monophonic and built on a extremely rich system of melodic modes, called maqams.
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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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