video of an asfixia-show in germany
Co-released by Randale Records and Rebel Sound Music.
Featuring different cover art for the European and American release. 1000 copies were pressed with 800 on black vinyl, 100 on red vinyl (USA) and 100 on blue vinyl (Europe).
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Source: Wikipedia.org article, adapted under https://creativecommons.org/licenses/by-sa/3.0/ license.
Rock Against Sexism (RAS) was a political and cultural movement dedicated to challenging sexism in the rock music community, pop culture and in the world at large. It was primarily a part of the punk rock music and arts scene.
RAS started in the UK in 1978, and by the mid-1980s also had a presence in North America. It was strongly inspired and influenced by Rock Against Racism and the two movements had many of the same participants.
In the UK, it began amid controversy when a Rock Against Racism event hired some Rastafarian reggae bands that some participants felt were misogynistic. This resulted in a discussion of sexism in music and art. The bands (Aswad and Misty in Roots) either responded by saying it was the will of God, or that they didn’t know what sexism was. The UK Rock Against Sexism often gained press coverage in the music press, such as the NME.
In the US, RAS Boston sponsored monthly dance parties at a local gay bar, the 1270. They put out a zine and promoted art events and gigs by non-sexist bands. RAS sponsored music workshops on writing, playing and promoting events.
Rock Against Sexism’s musical and political legacy was many more women playing in bands, working as promoters, and an increased awareness of women’s and queer perspectives in the punk rock community. Many trace the riot grrrl movement in the 1990s to RAS roots. It challenged heterosexism, homophobia, sexism and elitism, while challenging stereotypes of women, and the way they are represented.
Many later punk bands challenged the machismo of rock’n’roll by diversifying into cuddlecore, as well as the less rockist side of post-punk and New wave. It could be argued that RAS may have been the catalyst, as the advent of twee pop in the mid-1980s lead to rejection of the machismo of hardcore punk at the time.
A short documentary about the 1980’s punk rock band – The Macc Lads.
Cocktail of the american punk-rock 70th flavored with power-pop. It is the way these three guys characterize their music. Fake Lab was founded by Vince Gray & Tony Crash on September 12, 2011. Later they were joined by Andrew Box. On January 17, 2012 they started recording their debut Extended Play album called “Blank Generation” at the Vintage Mixing Studio & the album was completed on May 4, 2012. The official release is expected in the summer of 2012.
Free video about Synthpop song . This free video was created for you by http://epsos.de and can be used for free under the creative commons license with the attribution of epSos.de as the original author of this Synthpop song video.
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The electronic music is a type of music produced and performed predominantly with electronic musical instruments such as the synthesizer, the sampler, the drum, the sequencer, and more recently, computers, thanks to the increasing developments in technology and software, play a vital role in the production of contemporary electronic music. It also typically use electromechanical instruments such as electric guitar or the Hammond organ. There are a lot of electronic music genres, showing a very wide range of sounds; from the background music to the music industry more experimental, to styles such as synthpop, dance, hip hop or chill out, they all have in common is the predominant or exclusive use of electronic instruments.
Synthpop or synth-pop or synthpop denotes a pop style in the 1970s within the electronic dance music, whose main feature is the use of electronic instruments as a style element. This traditional instruments should not simply be replaced by electronic music. Instead, it was started as a trial order, new artistic ways of creating sound design and style to go.
In addition to synth-pop, the terms “are electro “and” Technopop “is used, the precise definition and limitation are discussed differently. What is meant is a produced with synthetic sound generation and / or pop music samplers, depending on the musical emphasis. Nevertheless, not every pop music electronically generated automatically called synth pop.
In the triumph of techno -movement of the synth-pop was pushed back into the ground. There, especially bands like led De / Vision, Second Decay, Elegant Machinery and Pitch Yarn of Matter typical of the 1980s sound on. With the advent of ever more powerful PCs from the mid-1990s keyboard synthesizer and sampling machines disappeared progressively and thus gradually the classic synth-pop.
At the same time, there was a brief synth-pop revival, but the one major success was denied. Setting the tone here were mainly Swedish and German labels such as October, with bands like Children Within, Kiethevez, Vision System, Forbidden Colours and State Machine, and Visage Records, with groups such as the Daily Planet and Point of View.
While the most common in the industrialized world is on popular music with electronic instruments, Synth-pop has its own stylistic tendencies that differentiate it from other music produced by the same means. These include the exploitation of artificiality (synthesizers are used to mimic acoustic instruments), the use of mechanical rhythms, vocal arrangements as a counterpoint to the artificiality of the instruments and the model ostinato effect. Structures Synth-pop songs are generally similar to popular music.
The Synth-pop origins date back to the development of synthesizers and Electronic music, but its real development began when the pioneers of Electronic Kraftwerk recorded their fourth album Autobahn in 1974, changing the development of Electronic music and popular. The use that was given to synthesizers by the then trio of Ralf Hütter, Florian Schneider and Wolfgang Flur catapulted to international success. His revolutionary work, futuristic and original for the time, would be instrumental in the development of music in later years and would influence strongly the artists that would come a few years later, especially in the United Kingdom.
In Germany, Synth-pop movement began from the age of Kraftwerk after launched its first self-titled album in 1970. Kraftwerk, who had come from the movement of progressive rock, decided to go further with sound experimentation creating an innovative multidisciplinary concept future generations of Electronic music. The most important exponents of Synth-pop in Germany are Alphaville, Kraftwerk, Celebrate the Nun, Camouflage and Modern Talking.
In the new millennium, a renewed interest in Electronic music and nostalgia of the 1980s led to the beginnings of a revival of Synth-pop, with acts such as Fischerspooner and Adult. In 2003-2004 they began to move into the mainstream with Ladytron, The Postal Service, Cut Copy, The Bravery and The Killers all producing records that synthesizer incorporated vintage sounds and styles that contrast with the dominant genres Post-grunge and Nu Metal.
The synthpop is defined by the use of synthesizers, drum machines and sequencers, often used to replace other instruments. Synthesizers usually used to mimic the sounds of orchestral instruments clichés. The songs were also included, and the lyrics were generally optimistic inspired themes such as romance.
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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.
Punk Rock Holiday:
*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
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”.