Friday, February 27, 2009
Prepare yourself for a gripping, exhilarating ride on January 9th, 2006. On that date, DragonForce release their hotly awaited third album, ‘Inhuman Rampage’. The title is an apt summation of a devastating musical journey, an unstoppable force that the six-man group’s forthcoming tour of duty will leave devastated cities in its wake. Combing the primal force of power metal with hard-earned musical proficiency, old-school thrash and generous quantities of muscular melody in a unique style that they call ‘extreme power metal’, DragonForce have established themselves as THE heavy metal band of the past year.
The summer of 2005 saw them sharing festival stages with Iron Maiden, a sell-out headlining tour of the UK generating scenes of pandemonium. Intensive bouts of touring to accompany the band’s two albums to date – ‘Valley Of The Damned’ in January 2003 and the following year’s ‘Sonic Firestorm’ – has seen their fan-base escalate in quite dramatic terms. Meanwhile, the European metal press have swamped the band with almost universal reams of adulation. “DragonForce are getting bigger. Prepare for the onslaught,” Kerrang! warned. "DragonForce are as metal as f**k,” roared the UK’s Metal Hammer, “They’ll be enormous.” Writers and magazines from France, Greece, Finland, Sweden, Holland, Japan and many more wasted little time in falling under the band’s spell. Perhaps the best summation of all these accolades was Rock Hard (Germany)’s prediction that: “DragonForce could become the first British metal band in ages to reap respect from all over the world.”
Against all the odds, DragonForce have single-handedly revitalised power metal in their homeland of the UK, awarding credibility to a genre that till their arrival was regarded was little more than a joke.
Clearly, plenty rides on ‘Inhuman Rampage’. However, instead of resorting to panic and watering down the style of music that secured such a position of prominence, DragonForce have gone further over the top than ever before. The new album is faster, bolder and heavier – yet still as boldly stirring and distinctly hummable – as anything they’ve attempted so far.
“We’ve come up with the ultimate formula,” proudly declares Herman Li, one half of the band’s unstoppable guitar army. “Combining intensity, chaos and melody, with all the DragonForce trademarks, it’s something that’s never been done before. “For us, this is the next evolution in the DragonForce sound,” he continues. “I’ve never heard an album that sounds like ‘Inhuman Rampage’ – the title says it all! It's seriously gonna blow some heads off around the world during the next year.”
The eight-song album was recorded at Thin Ice Studios in Surrey and guitarist Herman Li's own studio in West London, some of its guitar sections recorded in hotel rooms while the band wound up the tour for ‘Sonic Firestorm’.
Track titles like ‘Through The Fire And Flames’, ‘Operation Ground And Pound’, ‘Revolution Deathsquad’ and ‘Storming The Burning Fields’ leave the listener in no doubt of DragonForce’s malicious intent, and more importantly their aversion to climbing the ladder of popularity by selling out. Winner of the Dimebag Darrell Best Young Guitarist award at Metal Hammer UK’s Golden Gods, Li and his six-string partner in crime Sam Totman have never sounded hungrier nor eager to prove their worth. From the start of each song to its exhausted finish, notes fly from all angles.
The album ends with its sole ballad, ‘The Trail Of Broken Hearts’, though as Totman quite rightly points out: “We still managed to squeeze three separate guitar solos in.”However, shredding for shredding’s sake has never been among the band’s intentions.Although keen to squeeze as many notes as possible into certain songs, this time the pair has experimented with various new textures and sounds.
“We wanted to keep things interesting, and there are sections of certain songs that will remind you of video games,” grins Hong Kong-born Li. “Many people will hear them and assume they were made by keyboards. That’s completely wrong. All those parts are done on the guitar.”
Which isn’t intended to under-value the superlative contribution of Vadim Pruzhanov, who co-wrote several of the album’s songs (including ‘Body Breakdown’), is credited along with Li and Totman as a co-producer and whose dazzling keyboard runs are as daring and provocative as anything performed on guitar frets. A Ukrainian by birth, Pruzhanov is fast becoming known for lengthy and insane solo excursions during the band’s live shows and has really come into his own on ‘Inhuman Rampage’. On the other hand, vocalist ZP Theart is already regarded as the glimmering pearl in DragonForce’s crown. Far too many European power metal acts are faced up by singers with the merest grasp of English diction. South African-born, Theart is the real deal – a stomping, roaring, beer-swilling frontman who fronts the band with passion and wit.
Alongside Li and Totman, Theart was a co-founder of DragonForce. The trio met in London in September 1999, using the name DragonHeart for their initial two years of existence. Quick to realise the possibilities of the internet, the band posted a set of demos at their website (www.dragonforce.com) and were rewarded not only by half a million downloads, but the interest of Sanctuary/Noise Records.
Early support UK spots with Halford and Stratovarius, plus the timely recruitment of a superior rhythm section moulded a professionalism to match their commitment, and before too long the group were placed on the launching pad of international success. The sextet toured Europe, South East Asia and the Far East to promote the debut album, and before too long, critics were queuing up to praise DragonForce’s fusion of modern melodic power metal, the energy of speed metal and the confident, in-your-face delivery of bands twice their age.
From day one, the band’s goal was to establish an identifiable style all of their own. To an outsider, the lyrics may seem to tell otherworldly tales of sword-wielding warriors occupying distant battlefield plains, but strip away the fantasy imagery and a message of modern-day positivity is right there beneath your nose. But most of all, DragonForce’s success is attributable to playing ability and perhaps their most under-played asset of all – a skill for composing ultra-memorable, rabble-rousing heavy metal anthems. ‘Inhuman Rampage’ offers indisputable proof.
ZP Theart – Lead and backing vocals
Herman Li – Lead and rhythm guitars, backing vocals
Sam Totman – Lead and rhythm electric guitars, backing vocals
Vadim Pruzhanov – Keyboards, Piano, backing vocals
Dave Mackintosh – Drums, backing vocals
The Bon Jovi story began in Sayreville, New Jersey. Where Jon and his brothers Matt and Tony were raised by they parents Carol and John Bongiovi (Jon later changed his name). By his early teens, Jon was hanging out at local clubs, convinced that one day he would be a rock star.
The area's local music scene was rocking then and there, with the music of rising stars Bruce Springsteen and Southside Johnny and the Asbury Jukes leading the pack. "Just like Seattle is hot right now, 20 years ago it was Asbury Park, New Jersey", Jon told writer Rick Petreycik. "That was so close to my backyard, and when you're 13 or 14, or 15 years old, you can't help but hear about it and have it affect you. When you went down to Asbury Park, what was the crummy boardwalk became Americana. What was splintered wood became sacred ground, and you went, 'Ooh, aah'. And those things romanticized the idea, The myth became the legend, and one thing led to another, and I think blind faith is what got me here." That, and a little help from his friends.
By the time he was 16, Jon was playing clubs. It was not long before he hooked up with keyboardist David Bryan (real name: David Brian Rashbaum), who played with him in a ten-piece rhythm and blues band called Atlantic City Expressway. Jon also performed with bands called The Rest, The Lechers and John Bongiovi and the Wild Ones.
Meanwhile, Richie Sambora was also performing locally with a funk and fusion outfit called Extremes, before hooking up with Alec John Such in the band The Message. After The Message broke up, Alec played with Tico Torres in Phantom's Opera.
The members of Bon Jovi hade crossed paths in these early days, but the current lineup didn't come together until March of 1983 after th first Bon Jovi single, "Runaway," had become a minor hit.
In one of those right place/right time/right person scenarios, Jon managed to get a job sweeping floors at a recording studio through a relative. His second cousin, Tony Bongiovi, was a co-owner of the power station in New York City. Jon had written "Runaway," and in 1980, he recorded a demo of the song at his cousin's studio, with back-up by studio musicians whom Tony had hired, including Frankie La Roca, Tim Pierce, Hugh McDonald and Roy Bittan.
A local radio station included "Runaway" on a compilation tape, and the song started getting some serious airplay. The success of "Runaway" got Jon noticed, and he realized that he'd need more than session players if he wanted to capitalize on his success by touring the New York clubs to support the single.
Jon gave Dave a call, who in turn tapped Alec and Tico. A succession of guitarists (including Dave "The Snake" Sabo, who went on to form Skid Row) followed, until finally Richie signed on, and the band came together as a whole. They began gigging around New York in earnest.
At one show, where they opened for Scandal, the band caught the attention of record exec Derek Shulman, who signed them to PolyGram. "With Jon, I felt he had an unbelievable desire to be a star", recalls Shulman. "he had a burning desire to be huge".
PolyGram toyed with the name, throwing out monikers like "Victor" then "Johnny Lightening", before Shulman anglicized John Bongiovi's name to Bon Jovi.
Their self-titled debut came out January 21, 1984. Filled with the group's now-signature power ballads and hooked-filled tunes underscored by soaring guitar riffs and well-crafted melodies, the album went gold (sales of over 500,000).
The album was a rugged soulful collection of songs about how tough it is being a teenager. Buoeyed by the renewed sucess of "Runaway", and backed by the follow-up single "She Don't Know Me".
Bon Jovi releasead their follow-up album, 7800 Farenheit, in April 1985 wich included the hit singles "Only Lonely" and "Silent Night", it sold equally to its predecesor.
Tours opening for the Scorpions, Kiss and Judas Priest had helped Bon jovi build up a considerable fan base which appreciated the band's anthemic songs and powerful stage presence. Clearly, Bon Jovi was poised on the edge of greatness.
Slippery When Wet, the band's third album, provided the break-trough. Powered by songs like "Livin' on a Prayer" and "Wanted Dead or Alive", the LP went gold and platinum simultaneously within six weeks of its six weeks of its release. By April of 1987, Slippery When Wet had sold seven million copies.
The world ate and slept Bon Jovi, they won the American Music Award and People's Choice Awards as Band Of The Year, MTV gave Bon Jovi a Best Performance Award for the video "Livin' on a Prayer".
Jon was asked what all this astronomical success meant, to which he answered, "Everything is bigger, and it moves twice as fast. You're recognized twice as often. This is bigger, the whole world gets bigger. You have to sell more records, be huger. You get smarter and you understand the business a little more, so it's more responsability. You understand it now, and you want to make sure everything goes right".
Instead of traveling by bus, Bon Jovi went from gig to gig in a luxuriously converted Grumman G-I jet. By the time the Slippery Tour finished in Hawaii on October 17, 1987, the album had sold in excess of 14 million copies, putting it in the same league af astronomical successes as Thriller by Michael Jackson.
Thursday, February 26, 2009
Born Vanessa-Mae Vanakorn on October 27, 1978, in Singapore; daughter of Pamela Soei Luang (Tan) Nicholson; adopted daughter of Graham Nicholson. Education: studied with Lin Yao Ji of Beijing, in the Yankelevich violin method.
Prodigious violinist Vanessa-Mae Nicholson performed with the London Philharmonic at age ten before attending the Royal College of Music in London. By age 14, she had released three CDs and signed a contract with a major recording company. Even as an adolescent she was uniquely adept in her ability to alternate between performing classical selections on an eighteenth-century acoustical violin and playing modern music on a high-tech electric jazz model violin. Vanessa-Mae has called her musical style "techno-acoustic fusion."
Vanessa-Mae was born Vanessa-Mae Vanakorn in Singapore on October 27, 1978, and growing up took inspiration from the fact that she shared the same birth date as Italian violinist Niccolo Paganini, though born 196 years after the famed musician. Although her parentsdivorced when she was very young, her mother remarried soon after, to Graham Nicholson, anattorney and a member of England's distinguished Freshfields law firm. Graham Nicholson adopted the budding violinist as his own daughter, and moved the family to England whenVanessa-Mae was four years old. She grew up in London, and it was Great Britain that provided her a national identity.
Vanessa-Mae played the piano as a toddler and began to study the violin at age five. She was only eight years old when she traveled to Beijing to study with Lin Yao Ji in the Yankelevich violin method. Vanessa-Mae finished the Yankelevich course, a two-year curriculum, in a brief six months. By the time she returned home she had made a decision to play the violin professionally. As Vanessa-Mae embarked on her quest, she was encouraged and assisted by he rmother, Pamela Soei Luang (Tan) Nicholson, the owner of a private recording label and music agency. A musician in her own right, Pamela Nicholson was a semi-professional concert pianist,who on occasion accompanied her daughter's violin playing.
Young Vanessa-Mae made a formal concert debut as a soloist with the London Philharmonic at age ten, but it was not until one year after her concert debut that she enrolled at the Royal College of Music in London, where she studied with Felix Andrievsky. Vanessa-Mae attended Francis Holland girls' school for a liberal education, but soon dropped out of the school in order to devote more time to her musical studies and her career. Vanessa-Mae by that time was already a veteran of the recording studio, having released three albums on her mother's personal record label. Vanessa-Mae distinguished herself with her very first recordings, renditions of violin concertos by Tchaikovsky and Beethoven. She was the youngest artist to ever record those compositions. By age 14, she was an accomplished professional, having completed her first international tour as a featured soloist with the London Mozart Players. She then signed a recording contract with EMI Records. During those years, despite the demands of her career, she continued her traditional school curriculum under the guidance of private tutors.
Vanessa-Mae, who loved classical music as a child, was nevertheless enthralled by Michael Jackson and other popular artists of her generation. When she signed with EMI she retained the right to control her performance content, in order to accommodate her diverse musical interests. She refused to limit her selections to classical compositions exclusively. Instead she embarked on a career of crossover techno-fusion musical styles. At that time, under the artistic direction of producer Mel Bush, she emerged with a new visual image as an ingenue more mature, and in abject contrast from the little girl persona of her earlier public performances. She then set out on her first tour of the United Kingdom, performing in her own style: Shostakovich in tandem with popular music, including selections by The Artist Formerly Known as Prince. She also appeared as a solo artist at the Royal Festival Hall that year. Vanessa-Mae released her first EMI album, The Violin Player, at age 16. The album it hit number eleven on the British charts and sold over two million copies. One selection from the album, "Toccata and Fugue in D Minor," became a hit single for Vanessa-Mae and remained on the top 40 charts for several weeks.
As a teen-ager performing in a grown-up arena, Vanessa-Mae's talent was frequently overshadowed by her youthful, seemingly suggestive wardrobe, as well as by certain choreography that she performed while playing her violin during her performances and in rock-video style recordings. The visual images of Vanessa-Mae's performances, in fact, generated considerable controversy and raised eyebrows. Many critics labeled her style assexually aggressive. Cries of exploitation accompanied the release of her now-famous wet T-shirt video that was made when the violinist was 15 years old. In the controversial video,Vanessa-Mae emerged from the Mediterranean Sea in a soaking wet white sheath gown, so lightweight that it was barely visible. Some observers suggested that the performance approached being pornographic. Vanessa-Mae responded to the critics and assured the public that she had complete artistic control over her own image. She defended her video to the press with cool articulation. She reiterated that she maintained a presence in the cutting room when the tape was finalized, and that she had total control over the images that were released in the finished product. She further asserted that she enjoyed creating the video and noted that classical divas traditionally perform in provocative gowns. Vanessa-Mae was quoted by Scot Duncan of the Orange Country Register as saying, "Let's face it, I go into the classical department of record stores and I see a lot of grown women in low-cut gowns and flaunty dresses."
Vanessa-Mae celebrated the release of her first album on the EMI label with a promotionaldebut tour of the United States. Among her many tour stops was an appearance on the Tonight Show, as well as stops at Chicago's Wrigley Field and Comiskey Park during the 1995 World Series play offs to perform the national anthem. Vanessa-Mae's style is unusual and unpredictable, and for many of her fans, the highlight of her 1995 tour was a memorable concert at New York City's Times Square. During the finale of the concert, Vanessa-Mae leaped onto the roof of a taxicab without missing a note on her violin. On another occasion early in 1997,Vanessa-Mae performed at St. Moritz, where she arrived in a hang-glider.
Musically Vanessa-Mae is equally unpredictable, often juxtaposing incongruous styles. When she performed a unique arrangement of the Scottish air, "I'm a Doun for Lack of Johnny,"she featured African drums in the background. Her recording of that particular composition, under the title "Scottish Fantasy," came to typify the eclectic quality that characterized many of her selections. Vanessa-Mae's versatile style made it necessary for her to learn to perform on more than one instrument. For purely classical selections, she bows on a Guadagnini violin thatdates back to 1761, a gift that she received when she was ten years old. For her unique techno-fusion adaptations of classic and popular compositions, she employs a MIDI configuration on an angular white electric violin. Her repertoire varies from Brahms, Paganini, Kreisler and Ravel, to syncopated upbeat rhythms.
Vanessa-Mae made her first formal concert tour of the United States in 1996 at age 18. Her mother provided piano accompaniment for some of the performances. Later that summer, Vanessa-Mae performed at a reunification concert in Hong Kong, where she offered a rendition of "Happy Valley the Reunification Overture," a composition of her own creation. She performed at a conference of economic ministers in France that same year, and in 1998 she performed at Buckingham Palace, to an assembly of heads of state who were in attendance at an Asia-Europe Meeting. Her performance at the Royal Albert Hall was well received.
Vanessa-Mae enjoys entertaining, and she embellished her 1998 album Storm with her own singing. She contemplates the possibility of a second career as a supermodel. Indeed she is easy to recognize and possesses striking, exotic features inherited from her Chinese mother and Thai father. She loves to read and plans to attend a university; she has a number of interests that she hopes to pursue academically. Until she finalizes her future plans, Vanessa-Mae hopes to maintain a busy schedule, perform continually, and tour often. She tenaciously guards her privacy when dealing with the press.
Released three CDs on her mother's private recording label; performed with the London Philharmonic at age ten; international tour as a featured soloist with the London Mozart Players at age eleven; signed with EMI Records at age 14; released first album with EMI in 1995; promotional tour of U.S. in 1996; concert tour 1998.
Wednesday, February 25, 2009
Ada kalanya kita ribet sama SEO n traffic tapi skarang ada solusinya
------------copy dari sini--------------
Mohon baca baik-baik lalu terapkan dengan benar....
Sebuah filosofi mengatakan "Honesty is The Best Policy (Kejujuran adalah politik/strategi terbaik)" , inilah yang akan kita buktikan....apakah konsep kejujuran bisa kita olah menghasilkan traffic dan popularity yang lebih hebat dari konsep rumit para expert webmaster atau pakar SEO..?...
Saya yakin bisa asal konsep ini di jalankan dengan benar...,bila ini di terapkan pada web anda sesuai ketentuan maka:
-Web anda akan kebanjiran traffic pengunjung secara luar biasa hari demi hari, tanpa perlu repot-repot memikirkan SEO atau capek-capek promosi keberbagai tempat di dunia internet.
-Web anda akan kebanjiran backlink secara luarbiasa hari demi hari, tanpa perlu repot-repot berburu link keberbagai tempat di dunia internet.
Jika Albert Einstein memakai persamaan e=mc2 untuk menggabungkan potensi masa dan kecepatan cahaya untuk menghasilkan energi nuklir yang luar biasa itu ,maka kita akan memakai persamaan t=v1+v2 untuk mnggabungkan potensi web saya dan web anda untuk menghasilkan traffic dan popularity yang luar biasa pula.
Jika Einstein menggunakan atom plutonium dan uranium untuk membuat bom nuklir, maka kita menggunakan Kejujuran dan ketepatan untuk membuat bom traffic dan popularity ini.
Yang perlu anda lakukan adalah ikuti langkah-langkah berikut :
1.Buat posting artikel seperti posting saya ini, atau copy-paste posting ini dan juga diberi berjudul : t=v1+v2 ,Cara meningkatkan traffic dan popularity dengan cepat dan alami
2-Selanjutnya Copy atau buat KALIMAT SAKTI yang ada di bawah nomor 4 ini lalu pasang di web anda pada bagian yang paling mudah dilihat pengunjung, misalnya di bagian atas sidebar:
3-Pindahkan atau ganti link atau alamat url posting saya (disini-1) menggantikan alamat url rekan saya (disini-2).
-untuk mengetahui alamat url posting saya dan posting yang anda buat adalah bisa dengan meng-klik judul/title posting yang kita buat ini.
4-Lalu isi alamat url posting anda pada pada disini-1 tadi. Jadi anda melakukan publish (terbitkan) 2 kali, setelah posting ini selesai anda buat lalu di terbitkan, dan lalu anda klik pada title (judul) posting untuk mengambbil/meng-copy alamat url posting anda dari address bar browser anda, lalu anda edit lagi posting tadi dan masukan pada link disini-1 itu.
Berikut tulisan "KALIMAT SAKTI" yang perlu anda pasang di bagian web anda (setelah di ganti link url-nya sesuai ketentuan di atas)
"Ingin meningkatkan traffic pengunjung dan popularity web anda secara cepat dan tak terbatas...?...
Serahkan pada saya..., Saya akan melakukannya untuk anda GRATIS...!..Klik disini-1 dan disini-2"
-Jadi setelah KALIMAT SAKTI ini di letakan di web anda maka: jika pengunjung meng-klik link disini-1 akan menuju link posting anda, dan jika meng-klik disini-2 akan menuju link posting saya...dan seterusnya kan terus terjadi mata rantai yang tak terputus seperti itu...
5-Di bawah ini ada 2 link :link anda (link web saya sekarang) dan link saya (link web rekan saya sekarang) . Maka ganti (alamatnya) "link anda" dengan "link url web anda" dan "link saya dengan link url web saya" (link rekan saya di hapus).
5-Selesai, siapkan counter tracker dan pengecek link misalnya sitemeter dan technorati untuk melihat hasil banjir traffic dan linkback web anda.
Apa itu t=v1+t2...?
t : Jumlah traffic yang akan di peroleh web anda dalam suatu hari
v1 : Jumlah pengunjung web anda dalam suatu hari
v2: Jumlah pengunjung yang dimiliki v1 (pengunjung dari pengunjung web anda) dalam suatu hari.
Misalnya, web saya ini atau web anda dalam sehari memiliki rata-rata pengunjung 50 orang.., dan semuanya menerapkan konsep kita ini (KALIMAT SAKTI) dengan benar, dan dari 50 orang itu masing-masing memiliki 50 orang pula pengunjung dari blog-nya , maka web kita akan berpeluang di kunjungi 50 ditambah 50 x 50 orang pada hari itu = 2550 orang , dan akan berpeluang terus meningkat pula hari demi hari ,karena setiap hari selalu ada pengunjung baru di dunia internet, setiap hari juga ada blogger atau web baru di dunia internet...BUKTIKAN
Misalnya, web kita memiliki pengunjung 50 orang dalam suatu hari, dan semuannya menerapkan konsep ini , maka dalam hari itu web anda akan mendapatkan 100 linkback ke web anda, yaitu sebuah link pada KALIMAT SAKTI dan sebuah link pada link saya di kalikan 50. dan akan berpeluang meningkat terus hari demi hari....
Kenapa perlu di buat link link anda dan link saya pada posting...?
...hal ini untuk menjaga keabadian link kita, karena seperti kita tau link pada posting lebih kecil kemungkinannya terhapus....
Bisakah kita berbuat tidak fair atau tidak jujur menyabotase konsep ini, misalnya "menghilangkan semua link asal" lalu di isi dengan web/blog kita sendiri...? ....Bisa, dan konsep ini tidak akan menjadi maksimal untuk membuktikan Kejujuran adalah strategi/politik terbaik.....Tapi saya yakin bahwa kita semua tak ingin menjatuhkan kredibilitas diri sendiri dengan melakukan tindakan murahan seperti itu...
silahkan dicoba sebagai pembuktian
Kitaro was born in 1953 as Masanori Takahashi in Toyohashi, Japan. In Highschool he loved Soul and Rhythm & Blues. He learned playing E-Guitar and performed with his band "Albatross" on parties and in clubs. His biggest influence in this time was Otis Redding. "Rhythm and blues has a kind of depth, emotions how can I say it? The audience feels something like same kind of emotions from my music. My music is not rhythm and blues, but it feels like soul.".
His nickname Kitaro was given to him by friends after the main character from the japanese cartoon television series "Ge Ge Ge no Kitaro".
In the early '70s he changed completely to keyboards. He joined the band "Far East Family Band" and toured with them around the world. In Europe he met the german synthesizer musician and Tangerine Dream-cofounder Klaus Schulze. Schulze produced two albums for the band and expanded Kitaro's knowledge of synthesizers.
A quotation from Kitaro gives us his view on synthesizers: "With a synthesizer I could create an ocean, a winter coastline, a summer beach, a whole scene."
In 1976 Kitaro left the "Far East Family Band" and made a long trip throught asia, visiting countries like Laos, China and Thailand. In India he lived for about 6 months in Poona at the (at that time) famous ashram of Bhagwan Shree Rajneesh.
Back in Japan Kitaro started his solo career in 1977. The first two albums Ten Kai and From the Full Moon Story became cult favorites of fans of the nascent New Age movement. But it was his famous Soundtrack for the NHK series "Silk Road" which brought him the international attention.
He struck a worldwide distribution arrangement with Geffen Records in 1986; in 1987 he collaborated with different musicians, e.g. with Micky Hart (Grateful Dead) and Jon Andersen (Yes) and his record sales soared to 10 million worldwide.
In 1994 he won the Golden Globe Award for his soundtrack for Oliver Stones movie "Heaven & Earth". He was also nominated several times for a Grammy in the category New Age (which he won in 2001 for his album Thinking of You).
Kitaro is a star, but he is very modest. "Nature inspires me. I am only a messenger", he said. "To me, some songs are like clouds, some are like water". Since 1983 his reverence for nature leads Kitaro to annually give thanks to Mother Nature in a special "concert" on Mount Fuji or near his house in Colorado: on the day of August full moon he beats on the Taiko drum from dusk to dawn. Frequently his hands become bloodied, but he continues to pound.
From 1983 till 1990 he was married with his first wife Yuki (they have a son, Ryunosuke, who lives in Japan). They separated because Kitaro worked most time in the United States while she lived and worked in Japan. In the middle of the 90ths Kitaro married Keiko Matsubara, a musician who already played on several of his albums. With her and her son Kitaro lived in Ward, a little town outside Boulder/Colorado (USA) on a 180-acre spread in a big house with his own studio, called "Mochi House". Latest information say that Kitaro and Keiko recently moved to Occidental, a small town north of San Francisco (North California).
Tuesday, February 24, 2009
Mojokerto, dikota inilah aku dilahirkan dan dibesarkan, namun kini aku tinggalkan namun aku berharap akan kembali kekota tercinta ini, dimana kedamaian dan ketentraman aku dapatkan, Mojokerto adalah kota penuh dengan sejarah, dahulu Mojokerto adalah pusat Ibu kota kerajaan Majapahit dimana kerajaan ini pernah berkuasa dari tanah Jawa sampai Madagaskar Afrika, sampai saat ini peninggalan kerajaan Majapahit masih bisa dinikmati dan keagungannya masih terasa.
Ada satu taman ditengah kota yang selalu aku kunjungi tiap aku pulang, yang dikenal dengan nama aloon-aloon kota Mojokerto yang berdekatan dengan Masjid Agung Al Fatah, taman ini setiap pagi dimanfaatkan oleh para siswa-siswi untuk mengikuti pelajaran olah raga maupun Pramuka, adapun jika sore hari dipakai oleh penduduk setempat untuk bermain sepak bola dan jika sudah malam selepas maghrib digunakan untuk para pedagang, dari makanan, pakaian, jajanan, dan masih banyak lagi.
Satu lagi tempat tongkrongan asyik di kota Mojokerto yaitu Kawasan Sungai Brantas Indah dan Jogging Track disini jika malam adalah pusat jajanan kota Mojokerto, oke sampai sini cerita dari kota kelahiranku Mojokerto.
In the 20th century, only the automobile rivaled the guitar as an American icon of personal freedom, expression, and rebellion. The explosion is more owed to the electric models, though acoustic guitars traveled the pre-war countryside and established blues and country music traditions.
Monday, February 23, 2009
Ya kurang lebih begitulah dimana musik kadang bikin kita terbuai, bahkan ikut larut dalam mendendangkannya, saya sendiri terkadang tanpa sadar ikut menyanyi walau sedang jaga warnet, gak peduli da user, yang penting asyik. Apalagi kalo gak da boz wah puter Mp3 kenceng2, saya paling demen denger musik yg sekelas Nirvana, Mr. Big sampe Santana juga Metallica tapi muternya kalo siang aja, kalo malem ganti aliran kaya' Scorpion, ya yg agak slow2 gitu.
Meski saya sendiri gak ngerti bahasanya, tapi kayaknya asyik aja dengernya terkadang juga puter instrumen, kelasnya Joe Satriani, Kitaro, ato violinnya Vanessa Mae. Dibanding dengerin musik negara sendiri kayaknya gimana ya?, enggak tahu kenapa saya kurang minat terhadap karya anak bangsa padahal bagus2, tapi kalo soal permainan gitarnya, nah disini letak yang saya kurang minati, namun ada beberapa grup band Indonesia yang bikin saya ketagihan dengernya, seperti Slank, Padi, So7, Gigi, dan Dewa.
Ada beberapa lagu yang bisa anda download dari saya, juga saya sediakan video lucu koleksi saya berikut ini saya lampirkan silahkan di ambil gratis kok hehehehehehe.........
It’s not always recognized in today’s “I want it all now” world, but patience is a virtue. And Huntington Beach, California rockers Avenged Sevenfold are being rewarded for remembering that golden rule. After releasing two highly successful albums on an indie label (Sounding The Seventh Trumpet and Waking The Fallen), the quintet is set to unleash its major label debut, City Of Evil, on Warner Bros. Records. City Of Evil, co-produced by Avenged Sevenfold, reunites the group with producer Mudrock (Waking The Fall).
“We’re at the point now where we’ve come into our own,” vocalist M. Shadows says of the ambitious City Of Evil, an 11-song collection that gives a middle finger to the idea of categorization, bridging the sonic guitar assault of Iron Maiden with the frenetic pace of Bad Religion and the musicianship of Dream Theater. “In Southern California you’re really brought up in the whole punk world. At the same time, we were growing up listening to Pantera, Megadeath, Metallica and Slayer records,” Shadows recalls. “So then you think, ‘I want to play in that kind of band, but I want to play in this kind of band.’ Then you pass that point and all of a sudden you’re just writing music and it comes out naturally. But that’s what happens cause of all the different influences we have. And we’re definitely not afraid to put anything in our songs if we think it calls for it.”
Yes, Avenged Sevenfold can rock, as the band recently did at a sold-out show at Hollywood’s Music Box Theater, where they turned the intensity of the new tunes up from 11 to about a 20, but these are musicians as well. However, as the group evidenced during the orchestral interlude in “The Wicked End,” a perfect metal moment live complemented by a boys choir and 14-piece string section, Avenged Sevenfold, in the tradition of Zeppelin, Queen, and Guns ‘N’ Roses’ “November Rain,” meld their intensity with a musical daring their hard rock forefathers would be proud of.
Those looking primarily for a cathartic release live, as so many of the kids moshing their brains out at the Music Box were, need only turn to the ferocious energy of “Bat Country,” a song written for Hunter S. Thompson about the band’s own adventures in Vegas, and the Maiden-esque guitar and Shadows’ perfect caterwaul of the line “city of evil” (where the album’s title stems from) in the opening “Beast & The Harlot.”
"Mr.Big got their start when William Roland Sheean (Billy) stepped away from David Lee Roth's first post-Van Halen band, after contributing to two albums and numerous major tours. The Buffalo, New York-born bassist had already honed his considerable skills during a decade spent touring with his band, Talas, but with the recruitment of Martin (Eric) in 1988, he knew the foundation for this ultimate musical venture was well in place. Martin (who was born in Long Island, New York, but grew up all over the world as an Army brat) had already ventured into the light, both with melodic rock-oriented Eric Martin Band, and as a more soul-leaning solo artist.
Growing up on U.S. military bases across Europe, the young Martin was introduced to the sounds of Otis Redding and Wilson Pickett. Such influences never ceased to define and motivate his musical pursuits - in his three previous albums, and shaping the character of Mr.Big. The group was made complete with talents of guitarist Gilbert and drummer Torpey. Hailing from Pittsburgh, Gilbert was already a well-respected guitarist who had released four highly-touted albums with his Los Angeles-based band, Racer X. Torpey came to California after playing his dues behind the kit in the Arizona rock community. He soon became a much sought-after road horse, touring with a number of high-profile artists, most notably Robert Plant.
Mr Big first broke ground in 1989 with their self-titled Atlantic Records debut, which received extensive radio play with the "Big Love" and "Addicted To That Rush" singles - the latter of which may have prompted labelmates Rush to invite the band on tour. The band returned in 1991 with "LEAN INTO IT", an album that further strengthened their reputation, and, in the process, went RIAA platinum.
Kurt Cobain Biography
Kurt Donald Cobain was the leader of Nirvana, the multi-platinum grunge band that redefined the sound of the nineties.
Cobain was born on the 20th of February 1967 in Hoquaim, a small town 140 kilometres south-west of Seattle. His mother was a cocktail waitress and his father was an auto mechanic. Cobain soon moved to nearby Aberdeen, a depressed and dying logging town.
Cobain was for most his childhood a sickly bronchitic child. Matters were made worse when Cobain's parent's divorced when he was seven and by his own account Cobain said he never felt loved or secure again. He became increasingly difficult, anti-social and withdrawn after his parent's divorce. Cobain also said that his parent's traumatic split fueled a lot of the anguish in Nirvana's music.
After his parent's divorce Cobain found himself shuttled back and forth between various relatives and at one stage homeless living under a bridge.
When Cobain was eleven he heard and was captivated by the Britain's Sex Pistols and after their self-destruction Cobain and friend Krist Novoselic continued to listen to the wave of British bands including Joy Division the nihilistic post-punk band that some say Nirvana are directly descended from in form of mood, melody and lyrical quality.
David Draiman: Vocals
Dan Donegan: Guitar
Mike Wengren: Drums
"What I'm trying to do from a lyrical perspective is bring back the majesty of metal," says David Draiman, defining Believe, the follow-up to Disturbed's multi-platinum debut, The Sickness. "With this album I wanted to speak about important things in a grand way, and even touch on things that may not seem so important, but come at them from a perspective that makes them inviting, delicious--even foreboding in a way."
Among his many distinguishing characteristics, Draiman has superb enunciation. As a singer, it provides his voice with scalpel-like precision that razors through the great articulated noise his bandmates generate. Combined with leather-lunged projection, his voice can both bludgeon and slash at a level that transcends his lyrics' literal meaning.
Things get really nasty, though, when his voice joins his bandmates' dexterous rhythmic assault in what Draiman describes as "a constant blend of all the elements." The resulting attack during songs such as "Prayer" and "Liberate" telegraphs contusions along a listener's brainpan.
There's a reason Draiman, guitarist Dan Donegan, bassist Fuzz and drummer Mike Wengren named 2001's victory lap around the U.S. the "Music As A Weapon" tour. Sharp enunciation and road-honed chops are merely part of the arsenal.
Lacuna Coil is a six-member band hailing from Milan, Italy, although the vast majority of their lyrics are sung in English. Their music is usually lumped into the category of “goth metal”; however, they’ve developed their own unique sound by using heavily distorted guitars overlaid with melodic keyboard arrangements and a powerful blend of both male and female lead vocals. The name “Lacuna Coil” means “empty spiral” and is said to represent the band’s life philosophy. Major players in the European metal scene for nearly a decade, the band was virtually unknown in the U.S. until they began touring there in 2003-4, with probably their greatest exposure resulting from the infamous Ozzfest tour. This discovery by American fans subsequently made their most recent CD entitled “Comalies” the best-selling release in the history of their record label, Century Media, with over 150,000 copies sold last year in the U.S. alone. In addition to touring with Ozzfest, having a song (“Swamped”) on the soundtrack of the movie “Resident Evil: Apocalypse” introduced them to new legions of U.S. fans. Add to that the promotion of “Comalies” through commercials on major music-video TV channels, and you have the recipe for the band’s newfound international success.
The brainchild of bassist and chief songwriter Marco Coti-Zelati and his long-time friend, male vocalist Andrea Ferro, the group first formed in 1994 under the name “Sleep of Right”. They asked a female friend, Cristina Scabbia, to sing backing vocals on a few songs, but it wasn’t long before they realized that her clear, soaring voice made the perfect foil to Ferro’s deep growling style of singing, and they soon asked Scabbia to join the band permanently. Thus, the three core members of Lacuna Coil that remain today were in place. In 1996, they released a 2-song demo, changing the band’s name to “Ethereal”, and this eventually led to a recording contract with Century Media in 1997 under the name Lacuna Coil.
On their self-titled first effort (a six-song EP released in 1998), Claudio Leo and Raffaele Zagaria played guitars, while drums were the domain of Leonardo Forti. However, these three members left the band while Lacuna was touring with Moonspell in support of the EP. Lacuna Coil’s first full-length album, “In A Reverie” was completed in 1999, with Cristiano Migliori on guitars and Cristiano Mozzati (“Criz”) on drums replacing the departed members. These two musicians proved a good fit for Lacuna, and they’re still with the band today. “In A Reverie” had a heavier sound than their debut EP, and earned the group further recognition in the European metal scene, particularly in Germany and Scandinavia, and somewhat in Great Britain. Ironically, the band says that metal isn’t a very popular style of music in their native Italy, except in the underground club scene.
Next in Lacuna’s discography was the five-song “Halflife” EP, which came out in 2000 and further defined their unique style, which uses inventive songwriting and their signature duality of male & female vocals to portray the good-evil/light-darkness/strength-despair themes that run throughout much of their music. The final member of the group, Marco Biazzi (“Maus”), was added as a second guitarist on this EP, and he completes the band’s line-up as we know them today. 2001’s “Unleashed Memories” was the prolific sextet’s next release, a full-length album that has a grinding, slow & heavy feel throughout many of the songs, much to the delight of their goth fans.
What many consider to be Lacuna Coil’s break-though album, “Comalies” came out in 2002, completely produced in an astonishing two months’ time. This release shone with even more innovative keyboard arrangements and brighter sound effects than their previous work. It showcases their ability to stay true to their patented style while maintaining creativity and originality, so that no two songs sound alike.
With the highly-anticipated release of “Karmacode” finally arriving in the spring of 2006, Lacuna Coil debuted yet a heavier, faster sound while retaining traces of their original melodic underpinnings. The band took some definite risks with the stronger baseline and overall edgier feel to the songs on “Karmacode”. This may be an acquired taste for some fans of the classic Lacuna sound, but marks a creative progression that will undoubtedly attract new fans more inclined toward heavier sounds. Repeated and attentive listening reveals that LC’s core attributes are still audible on “Karmacode”. The slight middle-Eastern flair in some of the new tracks follows LC’s tradition of combining haunting ancient melodies with innovative new hard rock rhythms. This seamless combination of old and new is the hallmark of Lacuna Coil, and perhaps their greatest and most original asset. Hopefully it will continue into many future releases.
Guns and Roses are a rock phenomenon today.They shot their way to fame in late 80's courstey their hard core heavy metal music winning them millions of fans world wide.Irrespective of the controversies surrounding them the band lives and rocks.
The band was formed in 1985 when Axl rose(B.William Rose) teamed up with Izzy stradlin(B.Jeff Bel),
guitarist Slash(SaulHudson) bass guitarist Duff ' Rose' Mckagen(Michael Mckagen) and drummer steve addler.They took their name from the two bands Axl and Izzy had formerly played in:The L.A.Guns and the Hollywood Roses.
(By the way ,the name makes great sense about their music as well!)It was the release of their self-released EP called 'Live ?!*@ Like a suicide',which had them signed up with Geffen A&R.