Posts Tagged “Modern Music”

John Bonham, John Paul Jones, Jimmy Page and Robert Plant came together in 1968 as LED ZEPPELIN. Over the next decade, the band would become one of the most influential, innovative and successful groups in modern music, selling more than 300 million albums worldwide. Their songs are some of the most celebrated in rock ‘n’ roll history that, to this day, resonate with fans young and old around the globe. Still, no matter how many times you may have listened to their music, you’ve never heard LED ZEPPELIN like this before.

With the June 3 release of deluxe editions of “Led Zeppelin”, “Led Zeppelin II” and “Led Zeppelin III”, the band will launch an extensive reissue program of all nine of its studio albums in chronological order, each remastered by guitarist and producer Jimmy Page. LED ZEPPELIN will also open its vaults to share dozens of unheard studio and live recordings, with each album featuring a second disc of companion audio comprised entirely of unreleased music related to that album.

“The material on the companion discs presents a portal to the time of the recording of LED ZEPPELIN,” says Page. “It is a selection of work in progress with rough mixes, backing tracks, alternate versions, and new material recorded at the time”

“Led Zeppelin”, “Led Zeppelin II” and “Led Zeppelin III” will each be available June 3 from Atlantic/Swan Song in the following formats:

* Single CD – Remastered album packaged in a gatefold card wallet.

* Deluxe Edition (2CD) – Remastered album, plus a second disc of unreleased companion audio.

* Single LP – Remastered album on 180-gram vinyl, packaged in a sleeve that replicates the LP’s first pressing in exacting detail. (For example, “III” will feature the original wheel and die cut holes.)

* Deluxe Edition Vinyl – Remastered album and unreleased companion audio on 180-gram vinyl.

* Digital Download – Remastered album and companion audio will both be available.

* Super Deluxe Boxed Set – This collection includes:

– Remastered album on CD in vinyl replica sleeve.
– Companion audio on CD in card wallet.
– Remastered album on 180-gram vinyl in a sleeve replicating first pressing.
– Companion audio on 180-gram vinyl.
– High-def audio download card of all content at 96kHz/24 bit. (Live tracks are 48kHz/24 bit).
– Hard bound, 70+ page book filled with rare and previously unseen photos and memorabilia.
– High quality print of the original album cover, the first 30,000 of which will be individually numbered.
“Led Zeppelin” will also include a replica of the band’s original Atlantic press kit.

The LED ZEPPELIN legend began in January of 1969 with the group’s eponymous debut. From the opening salvo of “Good Times Bad Times”, on through to “Babe I’m Gonna Leave You”, “Communication Breakdown” and “Dazed And Confused”, the album introduced the band’s unmistakable sound and left an indelible mark on the music landscape. “Led Zeppelin” has been certified diamond by the RIAA for sales over 10 million and was inducted into the Grammy Hall Of Fame in 2004.

The companion audio for “Led Zeppelin” features a previously unreleased performance recorded on October 10, 1969 at the Olympia Theatre in Paris. The nine-song set features seven tracks from the album, including an epic 15-minute version of “Dazed And Confused”, as well as “Heartbreaker” and “Moby Dick”, which would debut on “Led Zeppelin II” later that month.

The band wrote and recorded nearly all of “Led Zeppelin II” while touring relentlessly to support its debut album. Incredibly, the album was released just seven months after “Led Zeppelin” in October of 1969. “Led Zeppelin II” features some of the band’s most beloved tracks including “Ramble On” and “Heartbreaker” as well as “Whole Lotta Love”, considered by many to be one of the greatest rock ‘n’ roll songs of all time. The album is certified diamond by the RIAA with sales of over 12 million copies.

The “Led Zeppelin II” companion audio gives fans the first peek into the band’s recording sessions, with alternate mixes of five songs from the album, backing tracks to “Thank You” and “Living Loving Maid (She’s Just A Woman)”, and the previously unreleased track “La La”.

Following the whirlwind success of their first two albums and near constant touring, Page and Plant took to the now famous Bron-Yr-Aur cottage in Wales in 1970 to start the early composition of “Led Zeppelin III”. They later convened with Bonham and Jones for rehearsals before entering London’s Olympic Studios to begin recording in May 1970. Fueled by classic tracks such as “Immigrant Song” and “Since I’ve Been Loving You”, the album soared to the top of charts worldwide upon its release in October of 1970 and has since been certified six times platinum.

The nine tracks featured on “Led Zeppelin III”‘s companion audio continue to offer a window into the band’s recording process with seven studio outtakes of songs from the album as well as three previously unheard compositions: “Jennings Farm Blues” (an instrumental forerunner of “Bron-Yr-Aur Stomp”), “Bathroom Sound” (an instrumental version of “Out On The Tiles”), and their take on the blues classics “Keys To The Highway/Trouble In Mind”.

LED ZEPPELIN continues to be honored for its pivotal role in music history. The band was inducted into the Rock And Roll Hall Of Fame in 1995, received a Grammy Lifetime Achievement Award in 2005, and a year later was awarded with the Polar Music Prize in Stockholm. Founding members Jones, Page and Plant — along with Jason Bonham, the son of John Bonham — took the stage at London’s O2 Arena in 2007 to headline a tribute concert for Ahmet Ertegun, a dear friend and Atlantic Records‘ founder. The band was honored for its lifetime contribution to American culture at the Kennedy Center Honors in 2012. In January of 2014, the band won their first ever Grammy Award as “Celebration Day”, which captured their live performance at the Ertegun tribute concert, was named “Best Rock Album.”

“Led Zeppelin” track listing:

01. Good Times Bad Times
02. Babe I’m Gonna Leave You
03. You Shook Me
04. Dazed And Confused
05. Your Time Is Gonna Come
06. Black Mountain Side
07. Communication Breakdown
08. I Can’t Quit You Baby
09. How Many More Times

Companion Audio Disc: Live At The Olympia – Paris, France October 10, 1969

01. Good Times Bad Times/Communication Breakdown
02. I Can’t Quit You Baby
03. Heartbreaker
04. Dazed And Confused
05. White Summer/Black Mountain Side
06. You Shook Me
07. Moby Dick
08. How Many More Times

“Led Zeppelin II” track listing

01. Whole Lotta Love
02. What Is And What Should Never Be
03. The Lemon Song
04. Thank You
05. Heartbreaker
06. Living Loving Maid (She’s Just A Woman)
07. Ramble On
08. Moby Dick

Companion Audio Disc

01. Whole Lotta Love
02. What Is And What Should Never Be
03. Thank You
04. Heartbreaker
05. Living Loving Maid (She’s Just A Woman)
06. Ramble On
07. Moby Dick
08. La La
09. Bring It On Home

“Led Zeppelin III” track listing

01. Immigrant Song
02. Friends
03. Celebration Day
04. Since I’ve Been Loving You
05. Out On The Tiles
06. Gallows Pole
07. Tangerine
08. That’s The Way
09. Bron-Y-Aur Stomp
10. Hats Off To (Roy) Harper

Companion Audio Disc

01. The Immigrant Song
02. Friends
03. Celebration Day
04. Since I’ve Been Loving You
05. Bathroom Sound
06. Gallows Pole
07. That’s The Way
08. Jennings Farm Blues
09. Keys To The Highway/Trouble In Mind

ledzeppelinsuperdeluxe_638

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Scottish death/grind powerhouse MAN MUST DIE will will release its new album, “Peace Was Never An Option”, on October 28 in Europe and one day later in North America via Lifeforce Records. The CD features a guest appearance by Max Cavalera (SOULFLY, ex-SEPULTURA) on one song.

The track “On The Verge Of Collapse” can be streamed in the YouTube clip below.

Comments the band: “This album is by far the angriest yet most diverse one we have done yet. It’s the next level for MAN MUST DIE. We couldn’t be happier with how it’s turned out. It’s brutal beyond the word and yet more melodic and memorable than ever.

“With ‘Peace was Never An Option’, we really focused on the songwriting, which is really important in MAN MUST DIE‘s sound, [and] seems to be bypassed a lot in modern music.

“All the classic metal is all about the songs; this is what influences us, this is what we do.”

MAN MUST DIE are an extreme metal band hailing from Glasgow, Scotland. Formed in 2002 and originally born of the founding members’ desire to push their music to new levels of intensity and brutality, the band’s dedication to their craft has since manifested itself in a rich touring history, sharing stages with such acts as EXODUS, MACHINE HEAD and DECAPITATED.

MAN MUST DIE has released three full-length studio albums thus far: 2004’s “…Start Killing” (Retribute Records), “The Human Condition” (2007, Relapse Records) and “No Tolerance For Imperfection” (2009, Relapse Records). Their music manages to incorporate the heaviest elements of extreme metal whilst retaining an attuned sense of melody, confidently shifting from epic, uplifting passages to pure sickness. Augmented by a keen compositional flair and furious, socially aware vocals, MAN MUST DIE is a highly focused musical force.

MAN MUST DIE is:

Joe McGlynn – Vocals
Alan McFarland – Guitar
Dan Firth – Bass
James Burke – Drums

manmustdiepeacealbum

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What are the best genres in modern rock music? Share your opinion here to find out.

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Scottish death/grind powerhouse MAN MUST DIE will will release its new album, “Peace Was Never An Option”, on October 28 in Europe and one day later in North America via Lifeforce Records. The CD features a guest appearance by Max Cavalera (SOULFLY, ex-SEPULTURA) on one song.

Comments the band: “This album is by far the angriest yet most diverse one we have done yet. It’s the next level for MAN MUST DIE. We couldn’t be happier with how it’s turned out. It’s brutal beyond the word and yet more melodic and memorable than ever.

“With ‘Peace was Never An Option’, we really focused on the songwriting, which is really important in MAN MUST DIE‘s sound, [and] seems to be bypassed a lot in modern music.

“All the classic metal is all about the songs; this is what influences us, this is what we do.”

MAN MUST DIE are an extreme metal band hailing from Glasgow, Scotland. Formed in 2002 and originally born of the founding members’ desire to push their music to new levels of intensity and brutality, the band’s dedication to their craft has since manifested itself in a rich touring history, sharing stages with such acts as EXODUS, MACHINE HEAD and DECAPITATED.

MAN MUST DIE has released three full-length studio albums thus far: 2004’s “…Start Killing” (Retribute Records), “The Human Condition” (2007, Relapse Records) and “No Tolerance For Imperfection” (2009, Relapse Records). Their music manages to incorporate the heaviest elements of extreme metal whilst retaining an attuned sense of melody, confidently shifting from epic, uplifting passages to pure sickness. Augmented by a keen compositional flair and furious, socially aware vocals, MAN MUST DIE is a highly focused musical force.

MAN MUST DIE is:

Joe McGlynn – Vocals
Alan McFarland – Guitar
Dan Firth – Bass
James Burke – Drums

manmustdiepeacealbum

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Gus G (Firewind, Ozzy Osbourne) has announced an Italian guitar clinic tour presented by Modern Music Institute.

The post Gus G Announces Italian Guitar Clinic Tour appeared first on Daily Heavy Metal News.

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Niclas Müller-Hansen of Sweden’s Metalshrine recently conducted an interview with vocalist Sigurd “Satyr” Wongraven of Norwegian black metallers SATYRICON. A couple of excerpts from the chat follow below.

Metalshrine: The [new, self-titled] album [from SATYRICON] was recorded using analog equipment. A lot of bands seem to be doing this now. What’s your thoughts about it? I get the feeling that it’s kinda coming back.

Satyr: Well, I’m actually under the impression that it’s not coming back. I might be wrong, but my impression is that music throughout the last three or four years is disgustingly processed. I have talked to people that have worked with some of the true superstars. There’s this Norwegian production bureau called Stargate and they do a lot of stuff for Rihanna and so on and they are obviously very good at what they do, but I’ve talked to them as a musician and about sound and some of the things that I intensely hate about modern-day music productions and they explained to me that it’s what the artists want, management wants, record company wants, radio wants. They don’t want it to sound real, they want it to sound super processed and as a producer, that’s what you cater to, of course. I guess that’s the shocking part of it. I drove around once in a car with one of the instrument endorsers of SATYRICON and he played me some record from a very famous metal band, that was heavily processed. Everything sounded very powerful and ultra-tight, but to me, it was lifeless and dead. He was very enthusiastic and he was blasting it in the car. It was impressive, but I still hated it. I just said, “OK, fine,” but I thought to myself, “How can you not hear that this sounds so fake, so manufactured?” I was hoping that this SATYRICON record, working they way that we worked, not only would it communicate the emotions within the songs, the atmosphere, but also perhaps somehow contribute to what I’m hoping will become more of a trend, because that would be one of those good trends. For bands to do things more organic. That’s not something new to SATYRICON, but the difference is that it’s been so much hardcore and uncompromising on this record, compared to previous records, and that’s perhaps because we felt these songs needed it more than what we’ve done previously. But it was also because I’ve never felt so strongly about these things as I do now. When I had discussions about the record with A&R legend Monte Conner, and he’s a music nerd like me, and I said to him, “I think a lot of the sounds you’ve been hearing from metal bands in the last few years are gonna be tomorrow’s embarrassments, just like when people look at photos of themselves from the ’80s.” I think a lot of people a few years down the road, when they listen to their records from like 2012, are gonna go. “What were we thinking?” Then Monte said “I think you’re right. I actually think a few years down the road, a lot of the records that are popular today, are gonna be remastered to make them sound more analog,” which is the complete fuckup of some of the classic analog records that are being remastered in a way to make them sound more digital and sterile. I think the purist approach on the record helped create the record that it is. We thought that if we were gonna get this to come across the right way, and to have these songs provide that kinda authentic language, like we feel when we play them, we had to make the record, to a large degree, like it feels that you’re in the room with SATYRICON when you hear the record. That’s what we tried to do and I think we succeded. There’s a reason why it’s self-titled, because we really feel it defines the mentality and the musical philosophy of the band in terms of song writing and it shows what SATYRICON is about and it also points at the future. A part of what defines SATYRICON is a progressive attitude.

Metalshrine: You worked on it in a very isolated place for a long time. What do you draw inspiration from? Do you read a lot?

Satyr: I never stay in such a way that I stay there all the time. What I did was that I talked to an engineer friend of mine, where I know that he was using this old cabin lodge on his private property and it’s actually dated from 1550, because you can see it in the wood and from the building techniques. He had almost like an antique garage in there where he would set up his music and being in there is so cool. I said, “I love the atmosphere in here and to have something like this and do the SATYRICON record in,” and he said, “You can do that!” I was, like, “No, we can’t do a record in here.” But he just answered, “I think you could.” I started going through the process of myself, since having done this for so long and being used to be working in some of the best studios in the world, and then all of a sudden try to move into something that was actually made to either store food in or to keep goats or pigs in. We actually did most of the album in there. We were in the studio for about six months and five months were in there and we did six to eight months of pre-production and rehearsals in there as well, to get used to the place and feed off of the vibein the song writing and get acquainted and just feel at home. I’m very glad that I did that and I think a part of how I convinced myself into taking that chance, was based on experiences like the “Now, Diabolical” record, which I’m very pleased with, but there are things on the record that I would’ve wanted differently and I think part of why certain things didn’t come out they way I wanted them to was that I wasn’t where I needed to be mentally because I hated the place where I was working so much. In hindsight, I realized that it affected me more negatively than I understood at the time.

Metalshrine: So hadn’t you stayed in this cabin, it might have been a different-sounding album?

Satyr: Yes, definitely. Even the fact that everything was so primitive. There’s not much to do outside of recording, and I guess that it is actually quite nice to be at a place where there’s a sense of comfort and a possibility to have a little bit of variation during the day, but again, if you have something which is very rustic and primitive, it becomes very intense. You never have breaks, you just go, go, go, because there’s nothing else to do. That creates a bubble, and you find yourself living in a world within the world. To disconnect from reality when working with music is something I have great experiences with and I think that’s why a lot of people, whether they’re in music or journalism or whatever, find it constructive to do work during the night. I don’t think it’s the fact that it’s dark outside or some dark force connecting with your inner self, I just think it’s because the phone doesn’t ring, there aren’t as many new e-mails, there’s no spouse telling you to do things. It’s more quiet and you enjoy being in that state of mind where you undistracted can move on with your stuff and stay in that mind frame.

Read the entire interview at Metalshrine.

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Megadeth mastermind discusses the impact of digital audio workstations on the modern music scene.

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Vocalist Anders Friden points out the importance of online presence in the modern music business.

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“Modern music somehow seems the same every year,” says the Smashing Pumpkins frontman.

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Soundgarden front man Chris Cornell has lamented the state of modern music, claiming that “Contemporary pop music couldn’t be any worse than it is now.”

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