There are generally two types of bands: bands that play covers and bands that play originals. What these types have in common is they both usually start out with covers.
Cover Bands: Varieties of Setlist
There are generally two types of bands: bands that play covers and bands that play originals. What these types have in common is they both usually start out with covers.
Content Warning: This album contains some explicit language.
Have you ever thought about what the snow melting into spring sounds like? To me, “Shadowglow” by Flipturn is exactly what that would sound like.
| Artist | Record | Label | |
| 1 | CANUT DE BON | no esperan por nadie | Sello Cototo |
| 2 | CAVE SERMON | Fragile Wings | Self-Released |
| 3 | DORMANT ORDEAL | Tooth And Nail | Willowtip |
| 4 | UNAUSSPRECHLICHEN KULTEN | Häxan Sabaoth | Iron Bonehead |
| 5 | BLOOD ABSCISSION | I I | Debemur Motri |
| 6 | DEAFHEAVEN | Lonely People With Power | Roadrunner |
| 7 | BLACK CURSE | Burning in Celestial Poison | Sepulchral Voice |
| 8 | HYPERDONTIA | Harvest of Malevolence | Dark Descent |
| 9 | VESPERAL | La mort de l’âme | Self-Released |
| 10 | JULIE CHRISTMAS | Ridiculous and Full of Blood | Red Cree |
| Artist | Record | Label | |
| 1 | ALIA LAIN | is this the pulse of mechanical ruins | Self-Released |
| 2 | IO-NULL (.DRN) | µnerves [EP] | Self-Released |
| 3 | NAMISOUP | Fern [EP] | Pyramid Blood |
| 4 | DANIBREAKS | NXIETY [EP] | Self-Released |
| 5 | DREXGOD | self rehabilitation | Self-Released |
| 6 | MARUMARI | Hidden Tracks And Rarities 2001-2005 | Carpark |
| 7 | ALIGHTED | Willow’s Apothecary [EP] | Wandering Astray |
| 8 | MARC MELIA | Pieces Monophoniques | VLEK |
| 9 | WAVETAPPER | Stardust | SVPACYBERIA |
| 10 | MISO EXTRA | Earcandy | Transgressive/PIAS |
| Artist | Record | Label | |
| 1 | MXNXSTXR AND DESTRUCTO | “What You Need” feat. Thundercat & Channel Tres [Single] | All My Friends |
| 2 | AESOP ROCK | Black Hole Superette | Rhymesayers |
| 3 | AJ TRACEY | Don’t Die Before You’re Dead | Revenge |
| 4 | BAMBII | Infinity Club II [EP] | Because |
| 5 | BUTCHER BROWN | Letters From The Atlantic | Concord Jazz |
| 6 | CHEW | “Horseheads” feat. Day Tripper [Single] | CorpoRAT |
| 7 | DUCKWRTH | All American F*ckboy | Them Hellas |
| 8 | FLY ANAKIN | (The) Forever Dream | Lex |
| 9 | KOKOROKO | Tuff Times Never Last | Brownswood |
| 10 | LORD SKO | PIFF | Stimulated |
| Artist | Record | Label | |
| 1 | MIKE CASEY | Valencia | Self-Released |
| 2 | MAFALDA MINNOZZI | Riofonic | MPI |
| 3 | JEFF RUPERT | It Gets Better | Rupe |
| 4 | VANISHA GOULD | She’s Not Shiny, She’s Not Smooth | Cellar |
| 5 | KANDACE SPRINGS | Lady In Satin | SRP |
| 6 | LEON ANDERSON | Live At Snug Harbor | Outside In |
| 7 | HIROMI | OUT THERE | Telarc/Concord Jazz |
| 8 | SILVANO MONASTERIOS | The River | Self-Released |
| 9 | RODNEY JORDAN | Memphis Blue | Baxter |
| 10 | OJT | Ground Level | Jazz Daddy |
| Artist | Record | Label | |
| 1 | DANA AND ALDEN | Speedo | Concord Jazz/Concord |
| 2 | ROBERT GLASPER | Let Go | Concord |
| 3 | TOM GERSHWIN | “Let Be” [Single] | Self-Released |
| 4 | TYREEK MCDOLE | Open Up Your Senses | Artwork |
| 5 | LAKECIA BENJAMIN | “Noble Rise” [Single] | Ropeadope |
| 6 | TESSA SOUTER | Shadows And Silence: The Erik Satie Project | Noanara |
| Artist | Record | Label | |
| 1 | JADE BIRD | “Dreams” [Single] | Glassnote |
| 2 | GRAHAM HUNT | Timeless World Forever | Run For Cover |
| 3 | MAMALARKY | Hex Key | Epitaph |
| 4 | STEREOLAB | Instant Holograms On Metal Film | Warp/Duophonic |
| 5 | SUBSONIC EYE | Singapore Dreaming | Topshelf |
| 6 | APRIL MARCH | “Surfing Castafiore” [Single] | Bong Load |
| 7 | CASINO HEARTS | A Walk In The Grass [EP] | Self-Released |
| 8 | CLEOPATRICK | Fake Moon | Nowhere Special/Thirty Tigers |
| 9 | DAUGHTER OF SWORDS | Alex | Psychic Hotline |
| 10 | DISCUS | To Relate To | Sun-Rom |
| 11 | FLORRY | Sounds Like | Dear Life |
| 12 | MEI SEMONES | Animaru | Bayonet |
| 13 | PANCHIKO | Ginkgo | Nettwerk |
| 14 | PHOEBE RINGS | Aseurai | Carpark |
| 15 | SASAMI | Blood On The Silver Screen | Domino |
| 16 | SCOWL | Scowl On Audiotree Live [EP] | Self-Released |
| 17 | AMENRA | De Toorn & With Fang And Claw [EP] | Relapse |
| 18 | AMERICAN AQUARIUM | The Fear Of Standing Still | Losing Side |
| 19 | BACCHAE | Next Time | Get Better |
| 20 | BEAU | Girl Cried Wolf | Immortal |
| 21 | BICEP | CHROMA Singles [EP] | Chroma |
| 22 | BKTHERULA | “Adult Swim” [Single] | Warner |
| 23 | BLACK CURSE | Burning in Celestial Poison | Sepulchral Voice |
| 24 | BONE HAUS | In Mourning | Self-Released |
| 25 | BUG CRUSH | Somehow I Go In Circles All The Time [EP] | Self-Released |
| 26 | CAMP COPE | Running with the Hurricane | Poison City |
| 27 | CANUT DE BON | no esperan por nadie | Sello Cototo |
| 28 | CASH LANGDON | Dogs | Seasick/Well Kept Secret |
| 29 | CASSIE RAMONE | Sweetheart | CD-R |
| 30 | CAVE SERMON | Fragile Wings | Self-Released |
| Artist | Record | Label | |
| 1 | ANIMAL COLLECTIVE | “Love On The Big Screen” [Single] | Domino |
| 2 | SPRINTS | “Descartes” [Single] | Sub Pop |
| 3 | GREET DEATH | Die In Love | Deathwish |
| 4 | SMUT | Tomorrow Comes Crashing | Bayonet |
| 5 | HORSEPOWER | Horsepower [EP] | Rose Garden |
Ocracoke Island – the death place of the one and only Captain Blackbeard.
I had the privilege of spending the 4th of July week in Ocracoke Island, NC. There, I got to enjoy the beach, local artisanal shops, tourist trap shops, some of the local restaurants, and even the holiday parade.
A concept album can be loosely defined as an album that follows a central narrative or theme. I say loosely because there is no strict consensus on what qualifies as a concept album, but generally the criteria are based on an album’s ability to uniformly achieve its narrative. In a concept album, the album as a whole often means something different than the individual songs. The album is made to work together and the songs build on one another, adding context or closure to problems brought up in previous songs.
The first concept album is widely cited to be “Dust Bowl Ballads” by Woody Guthrie. The album chronicles the Dust Bowl era of The Great Depression. Some of the songs are Guthrie embodying a character, while others are him reporting on the situation from outside. The central story throughout is of the mass migration of people from the region affected by the Dust Bowl to California.
Since the release of this album in 1940, the concept album has grown and changed a lot.
In 1980s Germany, in dark basements and sweaty clubs, a new genre was being developed. This genre was a patchwork of musical influences. It was the constructed child of industrial and dance music, with many other genres claiming paternity from the funky rhythms of disco to the experimental instrumentation of synthpop. This Frankenstein’s monster was called Electronic Body Music. EBM combines heavy basslines and repetitive drum machines with distorted vocals and experimental synths. Some bands included samples from war movies or science fiction movies with dark themes, using the voice clips to create an oppressive feeling and to give the idea that the music was something that could control you.
EBM found its origin in Germany, where the electronic music scene was constantly evolving. One of the German bands that helped to start the genre was Deutsch Americanische Freundschaft (stylized as DAF). DAF used EBM to explore themes of power, violence and sexuality, which would turn out to be enduring themes of the genre. Despite controversies faced by the band for their heavy use of militaristic aesthetics and the dark lyrical contents of their songs, this danceable industrial music quickly grew to dominate the club scene internationally. Soon after DAF appeared on the scene, bands began to pop up in other European countries. Notable examples include Front 242 in Belgium and Nitzer Ebb in England. In North America there was the hugely influential Canadian band Skinny Puppy.
The aesthetics of the scene surrounding EBM were leather twists on the uniforms of factory workers and the military. The fashion took cues from the punk scene of the 70s and eventually would develop alongside the goth scene, which resulted in a meshing of subcultures. Many later EBM bands fully embraced a much more goth look. The outfits of the bands that pioneered the genre were purposefully provocative. The genre often involved topics of hyperviolence and machismo, with a sardonic twist on both. The twist was the idea that machismo taken to its fullest extent would be realized as violence, while also satirizing this elevated masculinity into an almost homoerotic affair by many of the bands involved.
The scene would continue to grow and influence music, spawning numerous offshoots and subgenres. Examples of the subgenres that grew from EBM include aggrotech and futurepop. Along with creating new genres, EBM strongly influenced the direction of existing ones. Industrial music and EBM had an open exchange of ideas, and as a result EBM massively influenced the industrial bands of the late 80s and early 90s such as Ministry and Nine Inch Nails.