петак, 4. март 2016.

Diary Of Dreams - The Curse



Diary of Dreams is a German Darkwave band. The lead singer and founding member Adrian Hates has produced most of the albums by himself or with minimal help from others. He rarely uses a full band, except when on tour. Adrian Hates  is a classically trained guitarist and pianist who started out as the guitarist for Garden of Delight. He initiated the Diary of Dreams project in the late 1980s, taking the name from one of his early classical guitar compositions, "Tagebuch der Träume." The first album, Cholymelan, appeared in 1994 on the Dion Fortune label.
Encouraged by this success, Hates formed his own label called Accession Records and released a series of albums over the following years, building a loyal fanbase each step of the way. The second album End of Flowers was released in 1996, expanding on the darkwave sound of the debut. Bird Without Wings followed a year later, whilst the more experimental work Psychoma?arrived in 1998.
The first sign of consolidation came in 1999, when a compilation album Moments of Bloomappeared, containing two reworked tracks from each album. The next two albums One of 18 Angels and Freak Perfume (plus its companion EP PaniK Manifesto) made greater use of electronic rhythms, resulting in greater club play and wider recognition for the band.
Their 2004 Nigredo (a concept album inspired by a mythology the band designed themselves) saw a move back towards the more subtle, sparse concepts of old, but still featuring bursts of their more recent, dance-oriented sound. Songs from the Nigredo tour were later released on the live CD Alive and the companion DVD Nine In Numbers. In 2005, the EPMenschfeind was released. The next full album Nekrolog 43 came in 2007, offering a greater variety of moods and concepts than previous works.
The ninth album entitled (if) was released on 13 March 2009. On March 26, 2010, Hates released A Collection Of... which is a best-of compilation album. On November 12, 2010, the single Echo in Me from the upcoming album Ego:X was released.[2] On August 26, 2011, the album arrived in Europe in four different versions. The US release date was September 11, 2011.[3]
On March 14, 2014, the studio album Elegies in Darkness was released.[4]
Hates has claimed to have been influenced, both lyric wise and artwork wise, by the German 1909-1935 expressionism and the "beauty of ugliness" in the course of his work.[5]

Discography

Albums and EPs[

Singles

  • "O' Brother Sleep" (2001)
  • "AmoK" (2002)
  • "Giftraum" (2004)
  • "The Plague" (2007)
  • "King of Nowhere" (2009)
  • "Echo in Me" (2011)

Compilations and live albums[




  • Moments of Bloom (1999) - with re-edited versions of previous album tracks
  • Dream Collector (2003)
  • Alive (2005) – live album from the Nigredo tour
  • A Collection Of... (2010)
  • Dream Collector II (08.06.2012) – compilation of remixes and bonus tracks
  • The Anatomy of Silence (2012)



DVDs

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четвртак, 3. март 2016.

Iggy Pop 2016


IGGY POP.....
...HAVING FORMED A new band of brothers for his forthcoming album, Iggy Pop has also spoken candidly to MOJO about his bond with a different set of rock’n’roll siblings: The Stooges.




269_cover
The cover of MOJO 269 on sale in the UK from Tuesday February 23, 2016.

Though looking ahead to new record Post Punk Depression – created with members of Queens Of The Stone Age and Arctic Monkeys – the punk prophet surveys his entire career in our latest issue (April 2016 / #269), on sale in the UK now.
Speaking about his Stooges bandmates, brothers Ron and Scott Asheton, he discusses the relationships which fuelled their creativity.
“I was very much pursuing a brotherhood with them,” Iggy tells MOJO’s Keith Cameron. “I never did get that close with Ron, but I will always credit him with being my best friend simply because this is showbiz, and he’s the first person that got behind me, and invested in me when I was nobody. So he gets the star.”
He describes the other Asheton, Scott, as somewhat more inscrutable.
“Scotty’s like a cat,” suggests Pop. “He’ll hang out, but he’ll play you. We did become friends very late in his life, and he was always very decent to me. He was fascinated by me in an offhand way.”





IGGY 770

The Stooges in 2013, with Scott Asheton right

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четвртак, 25. фебруар 2016.

BAUHAUS



Bauhaus


Resembling a convention of the undead and playing songs distinguished by spare, atmospheric guitars, sonorous, death-rattle vocals, and deliberate tempos, Bauhaus was the progenitor of gothic rock. Its founding members have gone on to pursue various other projects in the realm of underground rock.
In 1978 brothers David and Kevin Haskins formed the Craze with Daniel Ash, an old school friend. With the addition of vocalist Peter Murphy they became Bauhaus 1919, named after the German architectural group whose credo was "Less is more." The "1919" was dropped for their 1979 debut single, "Bela Lugosi's Dead," an eight-minute epic later heard in the 1983 David Bowie film, The Hunger.
An appearance on BBC radio DJ John Peel's show led to a record contract. Bauhaus became an underground success in Britain, and made the U.K. chart with "Kick in the Eye" (#59, 1981) and Mask (#30, 1981). The Sky's Gone Out (1982) was its American debut. That year the band released its biggest U.K. hit, a cover of David Bowie's "Ziggy Stardust" (#15). Bauhaus' influence was also felt in the Batcave, a popular London club that took its musical and sartorial cues from the band. Burning From the Inside, more a compilation of solo songs than a band project (Murphy was ill and missed most of the sessions), foreshadowed Bauhaus' breakup later that year.Band Photo. Source=http://apollo.lpg.fi/bauhaus/pics.html
Murphy joined Japan's Mick Karn in the experimental Dali's Car; they recorded one album in 1984. In 1985 he launched a solo career. Collaborating with keyboardist/producer Paul Stratham, Murphy toned down the more excessive, arty elements of Bauhaus and emphasized his Bowie-esque vocals. He had a minor hit with 1990's "Cuts You Up" (#55), from the album Deep (#44, 1990).
Ash, along with Bauhaus roadie Glenn Campling, originally began Tones on Tail as a side project in 1981. When Bauhaus split, Kevin Haskins signed on. They released several U.K. EPs and singles plus an album, all of which have been compiled on several U.S. releases. After a 1984 American tour, Ash and Haskins dissolved the band. David J joined the Jazz Butcher, but left after the 1984 album A Scandal in Bohemia. He also released a string of U.K. solo albums in the early to mid-'80s. With their careers stalled, the members of Bauhaus planned to reunite in 1985. When Murphy demurred at the last minute, the other three decided to re-form as Love and Rockets (the name comes from the underground comic book series by Los Angelenos Gilbert and Jaime Hernandez). A more danceable version of Bauhaus' atmospherics, their initial release, 1985's Seventh Dream of Teenage Heaven, went unreleased in the U.S. until 1988, but their U.K. hit cover of the Temptations' "Ball of Confusion" was included in their U.S. debut, Express (#72, 1986); they broke into the mainstream in 1989 with Love and Rockets (#14) and the Top 10 single "So Alive" (#3).
In the early '90s, Ash issued his solo debut and J resumed his solo recording, this time on an American label. Love and Rockets came under the sway of the acid house/techno sound rampant in England and returned to the studio in 1994. This new inspiration is evident on the resultant Hot Trip to Heaven, especially in the 14-minute ambient "Body and Soul" and in "Ugly," featuring Middle Eastern–inflected vocals by Natacha Atlas of Trans-Global Underground. Sweet F.A. and Lift continued to mix contemporary techno with guitar-based gloom. Their careers cooling once more, Murphy, Ash, J, and Haskins resurrected Bauhaus for a successful tour in 1998, by which time goth rock had become the subject of numerous nostalgic theme nights at American dance clubs. Crackle is a best-of that includes several rarities. Gotham is a two-disc live set taped at New York's Hammerstein Ballroom.
This biography originally appeared in The Rolling Stone Encyclopedia of Rock & Roll (Simon & Schuster, 2001).

ASSIGNMENTCompare and contrast the Gothic subculture with other music-related subcultures (i.e. the Hippie Movement, the Punk Movement, rock-and-roll) and discuss its social impact.
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Peter Murphy, David J, Daniel Ash and Kevin Haskins formed "Bauhaus 1919" in 1978 in Northampton, England. 1919 represented the German art movement of that year (They shortened the name to simply Bauhaus in 1979). Their first single, "Bela Lugosi's Dead", became the perennial Gothic song and later became forever their legacy. Later releases were "Mask", "In The Flat Field", "The Sky Has Gone Out" and various singles and EPs.
Being heavily influenced by bands and musicians such as Siouxsie and the Banshees, The Velvet Underground and David Bowie, a band like Bauhaus would have normally settled in to the underground music scene just fine. There was something different, however, in the band's lyrics and their sound which moved beyond art rock, beyond punk, and much like Black Sabbath in its day. These lyrics were what, most sources agree, started the Gothic subculture. (Some critics do consider Siouxsie and the Banshees, formed in 1976, as the starting point.) By 1999, a Gothic subculture existed in just about every country in the world, and is especially strong in the UK, Germany, Australia, Canada and the United States.
The music had a certain dark tone to it: caustic while at the same time melodic. It was fairly minimalist, but created a haunting and somewhat seductive atmosphere for the listener. This, coupled with Peter Murphy's vocals, which sprang from ghostly and wailing to bouncing and lively, formed the foundation for "Gothic" music for a good portion of the next decade. Although the band members themselves deny being responsible for creating the Gothic subculture, and claim to "...owe more to Elvis Presley's 'Heartbreak Hotel'..." than to any other influence, Bauhaus was still the primary force that drove the Gothic subculture and remained a large influence throughout the 1980s and 1990s.
There has always been much disagreement over just what is "Gothic" Many see the culture centering on nineteenth-century Romanticism, while others see influences from medieval/Renaissance culture, and still others are more Post-Modernist than anything else (These "goths" are popularly known in the scene as Rivetheads, Industrialites, or Gravers. Industrial music is as equally a part of the culture as traditional Gothic music, which encompasses Dark Ambient, Guitar Goth, etc.) One constant is that Gothic dress typically has a flair for both the dramatic and the macabre. Contrary to popular opinion, goths do not only wear black, but adopt somber tones of all colors. Fashion, accessories, make-up (for boys and girls) and home décor encompasses everything from the morbid to the languid, morose to demented, but above all: beautiful.
The primary feature that distinguishes Goth from other music-related subcultures is that it is almost entirely non-political. The Gothic community as a whole is more concerned with individual growth: achieving an appreciation of the fine arts, architecture, music, etc. Instead of gathering together to change the ills of society, the Goth scene is more or less solely concerned with cultivating the individual.
Today, if one observes the patterns of behavior in society and, more notably in many schools, in some cases, youth has taken on a different pattern of behavior than previous generations. Kids no longer seek to rebel simply by growing their hair long, or by supporting a fringe political group. These days the youth "rebel" by wearing makeup, dressing in black, and listening to music that reflects their worldview; thus the Gothic culture has made its imprint on history. Instead of pushing against the class ceiling of a society that will not (often) listen, they seek to better themselves and dwell amongst those who are likeminded. As youth today mimics what Goths created almost 20 years ago, they have gone from one extreme to another. In this way the Gothic community has survived where others fell by the wayside: It is not founded in any simple ideal or slogan. It is based upon the principle that the person must beautify and cultivate him/herself if they want to improve their life.
Please read the additional material about the origins of Goth contributed by Timothy Miller.
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CHRONOLOGY- 1976: Siouxsie and the Banshees began their career, later to be considered a major influence on Gothic music. This year also marked the first time the term "Industrial" was used by Industrial Records, and Industrial music was pioneered by bands such as Kraftwerk and Throbbing Gristle.
- 1979: The release of Bauhaus' "Bela Lugosi's Dead", normally recognized as the beginning of the Gothic subculture.
-1980: Andrew Eldritch formed The Sisters of Mercy, which became one of the most long-lasting and influential 2nd Wave Goth bands.
-1981: Christian Death becamesanother of the well-known 2nd Wave Goth bands.
- 1983: Former members of Bauhaus (sans Peter Murphy) re-grouped as Tones on Tail.
-1984: Tones on Tail becames Love and Rockets and continued to record through the 1980s and 1990s.
- 1989-94: the Gothic subculture received another breath of death, or, life, when revived by bands like Nine Inch Nails (Unfortunately, the latter also led to goth becoming a trend)
-April 1, 1998: Rozz Williams (Christian Death, later solo) committed suicide after battling a heroin addiction.
- April 20, 1999: Two students, mistaken by the media and their peers as members of the Gothic community, committed an act of mass violence which resulted in a nationwide awareness of the Gothic lifestyle. It also led to a newfound display of unity within the culture itself.
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LINKSThe All Music Guide is a database for general music information, including Gothic/Industrial
gothic.net remains a good source for general info on the Gothic culture with many links, articles and news
The Darkside is a site that has much information on the goth scene and also hosts Siouxsie's Homepage, with links almost any "Dark" site on the Web
Official Bauhaus Homepage has just about everything you that you would ever want to know about Bauhaus.
Academia Gothic is a sort of Gothic FAQ that discusses multiple aspects of the culture and its history
A Dictionary of Goth is a thorough and somewhat entertaining dictionary of goth slang
Examining the Subculture is a lengthy supply of media links, a large history section, and details on drugs/vampirism/depression etc.
Klubs.com has some Gothic music available for listening (Real Audio files).
Gothie Portal has everything Gothic.
Goth subculture May Protect Vulnerable Children is an article extolling the benefits of Goth culture.https://youtu.be/s7ZrmYojnq4
Darkside of the Netis another lengthy links site that covers most every aspect of Gothic/"dark" culture 

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среда, 10. фебруар 2016.

Wolfsheim (band)

Wolfsheim (German pronunciation: [ˈvɔlfs.haɪm]) was a synthpop band fromHamburg, Germany that consisted of Markus Reinhardt and Peter Heppner. Although never officially disbanded, Wolfsheim has been inactive since 2005 due to a dispute between the two members, which even led to trials in 2007 and 2008 that forbade either member to continue Wolfsheim without the other. The band's musical style takes cues from the 1980s New Romanticism and new wave, usually considered synthpop or darkwave. They are best known for their singles "The Sparrows and the Nightingales" (1991), "Once in a Lifetime" (1998) and "Kein Zurück" (2003). Their lyrics tend to be melancholic, but at the same time modernist.

History[edit]

The band was founded in 1987 by Markus Reinhardt and Pompejo Ricciardi and was named after Meyer Wolfshiem, a fictional character from F. Scott Fitzgerald's novel The Great Gatsby. Reinhardt's brother Oliver Reinhardt joined the band some time afterward. After co-founder Ricciardi left the band and was replaced by Peter Heppner who had known the band members from mutual friends and from growing up in the same neighborhood in Hamburg-Wilhelmsburg, they produced their first demo tape Ken Manage in 1988. Their first performance was at Werkstatt 3, a small club in Hamburg. Oliver Reinhardt left the band, leading to the band's definitive lineup with Markus Reinhardt (music) and Peter Heppner (lyrics and vocals).
After making a second demo tape Any But Pretty (1989), Wolfsheim applied at various labels to no avail, until they caught the attention of the one-man independent record label Strange Ways Records. Wolfsheim's "The Sparrows and the Nightingales" (1991), was the first single to be released on Strange Ways.[1] The song became a fast hit, even though it was not heavily promoted. Their debut album No Happy View (1992) was also released on Strange Ways and did well in the charts. The follow-up Popkiller (1993) reached the German Media Control Charts, albeit at a low position. In February 1995, Wolfsheim released the compilation album 55578, comprising many tracks previously featured on singles, as well as some unreleased material. The first 55,578 copies were special editions that contained a bonus disk with material recorded at the Strange Ways Festival.[2] The album remained in the German charts for five weeks. The 1996 albumDreaming Apes reached number 91. Following its release, Wolfsheim embarked on their first tour in May 1996. A live recording was released in October 1997 named Hamburg Rom Wolfsheim.
Throughout the band's existence, both members were involved with various side projects. Reinhardt started the bandsNefkom and Neustart, both of which released their albums on Strange Ways. Heppner collaborated with Joachim Witt in 1998 on the song "Die Flut", which reached No. 2 in the German Single Charts and garnered them a platinum record. His increased popularity also boosted Wolfsheim's success; their album Spectators, released in February 1999, was the first to reach the top-10 in Germany, at number two. Since 2001, the album was distributed in the United States by Metropolis Records. Spectators reached gold status in Germany in 2004. The singles released off this album, "Once in a Lifetime", "It's Hurting for the First Time" and "Künstliche Welten" were all successful. That summer, Wolfsheim played at many of the major German festivals, including the Bizarre Festival, Rock am Ring, and Rock im Park. They also played their first show outside of Germany, at Belgium's Eurorock Festival.
Since 1999 Reinhardt focused on Care Company, a band whose 2001 album In the Flow was released onMotor/Universal. Heppner featured on tracks by several other artists. He collaborated among others with the dance projectSchiller on the songs, "Dream of You" and "Leben... I Feel You", which were a big success all over Europe. He also collaborated on "Glasgarten" with Goethes Erben and "Wir sind Wir" with trance/techno-DJ Paul van Dyk.
In anticipation of the forthcoming album, Wolfsheim released the live DVD Kompendium on 16 April 2002, containing a recording from the Spectators tour, an interview, and various music videos. In March 2003, the release of Casting Shadows instantly sent it to the top spot in the German album charts and reached platinum status. The single "Kein Zurück", released on 2 February was the band's first single to enter into the Media Control Charts top-10, debuting at number five and moving up to the fourth spot. It remained in the charts for 10 weeks and reached gold status. Greatest highlight in the band's career was receiving an ECHO in 2004 for Best Alternative Domestic Band. A sold-out tour through Germany was followed by Wolfsheim's only tour through the U.S. in March and April 2004.
Wolfsheim
Wolfsheim Cover.jpg
Background information
OriginHamburg, Germany
GenresDarkwave
Synthpop
Years active1987–2004
LabelsStrange Ways Records
Metropolis Records
Past membersPompejo Ricciardi
Oliver Reinhardt
Peter Heppner
Markus Reinhardt

Discography[edit]

Demos[edit]

  • Ken Manage (1988)
  • Any But Pretty (1989)

Albums[edit]

DVDs[edit]

  • Kompendium (2002), Strange Ways Records

Singles[edit]

  • "The Sparrows and The Nightingales" (1991) Strange Ways Records
  • "It's Not Too Late (Don't Sorrow)" (1992) Strange Ways Records
  • "Thunderheart" (1992) Strange Ways Records
  • "Now I Fall" (1993) Strange Ways Records
  • "Elias" (1994) Strange Ways Records
  • "Closer Still" (1995) Strange Ways Records
  • "A New Starsystem Has Been Explored" (1996) Strange Ways Records
  • "Once in a Lifetime" (1998) Strange Ways Records
  • "It's Hurting for the First Time" (1998) Strange Ways Records
  • "Künstliche Welten" (1999) Strange Ways Records
  • "Sleep Somehow" (1999) Strange Ways Records (vinyl only)
  • "Kein Zurück" (2003) Strange Ways Records
  • "Find You're Gone" (2003) Strange Ways Records
  • "Blind 2004" (2004) Strange Ways Records

Awards[edit]


  • ECHO 2004: Best German Alternative Band


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Diorama (band)

Diorama is a German electropop band. The name of the band is a metaphor which repres
ents their notion of music as an artistic form of expression.[1]
Diorama
13-03-23 e-tropolis Diorama 06.jpg
Torben Wendt (Piano) and Sash Fiddler (Gitarre) at E-tropolis Festival 2013, Berlin
Background information
OriginGermany
GenresElectropop
Darkwave (early)
Years active1996–present
LabelsAccession Records
Associated actsFrozen Plasma, Diary of Dreams
MembersTorben Wendt,
Felix Marc,
Sash Fiddler,
Markus "Marquess" Halter
Past membersBernard Le Sigue

iorama was founded in 1996 as a musical project of Torben Wendt.[2]Torben’s music was soon recognized by Adrian Hates of Diary of Dreams, so with his support and the support of Rainer Assmann (Daf/ Fad Gadget), a debut-album “Pale” was released in 1999. It was received very well both by the critics and the audience.[2]
In 2000, Torben’s friend Felix Marc joined Diorama as a keyboard player, co-producer and backing vocalist. The second album “Her Liquid Arms” was released in April 2001. Despite its stronger rhythms and more forceful electronic sounds, the music preserved its distinctive atmosphere, established with the first album. The song “Advance” became one of the leading club hits and the band was becoming increasingly popular. The second album was followed by club-oriented single “Device” (December, 2001).
Bassist Bernard Le Sigue joined the band the following year, and together with Torben and Felix saw the release of the third album, named “The Art of Creating Confusing Spirits”, the album was released in October 2002. During November and December of the same year, Diorama supported Diary of Dreams on tour.

Felix Marc at Keyboards at E-tropolis Festival 2013, Berlin.

Sash Fiddler at E-tropolis Festival 2013, Berlin.
After a long break and another addition to the band’s line-up (guitar player Sash Fiddler joining in 2003), the long-awaited fourth album "Amaroid" was released in April 2005. For the promotion of the new album, the band joined VNV Nation, on their “Formation” tour. In October 2005, Diorama released two more albums: A re-release of their first album “Pale”, with three new songs (“Don’t Be There”, “You and Ice” and “Crop of Illusions”); and “Re-Pale” – a collection of new versions of earlier songs, remixes and some previously unreleased songs. At the same time, the band went on their first headline tour throughout Germany.
At the end of 2006, Bernard Le Sigue left the band. On the 23rd of February 2007, a new single was released: “Synthesize Me”, a prelude for the next album, which was released 4 weeks later. “A Different Life” can be characterized as a criticism of the society ruled by artificial, deviant system of values. With his lyrics, Torben portrayed the revolt of the individual against the imposed principles and general degradation of true values and virtues.
"Cubed" is their seventh studio album (released on 19 March 2010). The figurative picture of a cube is the guiding theme of the album - a confined area serving as a living space be it as a stage, as a prison or as a shelter. This concept consequently features throughout the band's artwork and stage setting. This album climbed in German Alternative Charts (DAC of week 16/2010) to the top position.
The members of Diorama have collaborated with a number of bands, including Diary of Dreams, Angels & Agony, Painbastard, Klangstabil and Frozen Plasma.[3]

Style[edit]

Diorama are often labeled as "EBM", “Electro-Pop”, “Future Pop” or “Darkwave” (on their debut "Pale") etc. The melodies can be fast-paced and backed by rhythms and can be melancholic ballads. The diapason of the lyrics’ motifs takes inspiration from the inner world of the writer himself (Torben Wendt) and also his surroundings. The lyrics are written in a dark, kafkian style and are often ambiguous. Distinctive playing with words and metaphors is one of the prominent virtues of Diorama’s artistic opus.

Band members[edit]

Current Band Members[edit]


Torben Wendt at E-tropolis Festival 2013, Berlin.

Former Band Members[edit]

Discography[edit]

Albums[edit]

  • Pale (1999)
  • Her Liquid Arms (2001)
  • The Art Of Creating Confusing Spirits (2003)
  • Amaroid (2005)
  • Re-Pale (2005)
  • Pale (re-release) (2005)
  • A Different Life (2007)
  • Cubed (2010)
  • Even The Devil Doesn't Care (2013)

Singles[edit]

  • Device (2001)
  • Synthesize me (2007)
  • Child of Entertainment (2010)

References[edit]


  1. Jump up^ [1]
  2. ^ Jump up to:a b http://www.diorama-music.com/press/DIORAMA_band%20history%20full%20E_01-2007.pdf
  3. Jump up^ Diorama releases

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