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FUCK BUTTONS - Slow Focus [FULL ALBUM, EXPERIMENTAL ELECTRONIC]
Slow Focus is the third and final studio album by Fuck Buttons, released on 22 July 2013. It peaked at number 36 on the UK Albums Chart. It was the first album released by ATP Recordings to reach the top 40 of the UK Albums Chart.
Upon its release, Slow Focus received critical acclaim. At Metacritic, which assigns a weighted average score out of 100 to reviews and ratings from mainstream critics, the album has received a score of 81, based on 39 reviews, indicating "universal acclaim."
Fuck Buttons was an electronic music duo formed in Bristol in 2004 by Andrew Hung and Benjamin John Power.
Hung and Power grew up in Worcester. Hung was influenced by Aphex Twin, while Power was a fan of Mogwai. They developed a friendship in 2004 while attending art school in Bristol, and began working together, initially to create the soundtrack to a film made by Hung. Immediately after forming, they played live whenever possible, and soon gathered a cult following. The duo use a variety of instruments including Casiotone keyboards and children's toys such as a Fisher-Price karaoke machine. Their name was chosen to sound "playful and abrasive".
Time Out magazine described the band's live sound as an "adrenaline pumping, ear purging slab of towering, pristine noise".[6] The duo signed to All Tomorrow's Parties-affiliated ATP Recordings in 2007, and released a limited-edition 7" single named "Bright Tomorrow", which received complimentary reviews from such sources as Drowned in Sound, Pitchfork (who described it as "something like the sun rising over the ocean... then going supernova"), Mojo (it became their No. 1 Mojo Playlist Single for that month) and Stereogum.
Combined with an upsurge in reviews of their live performances at the Supersonic, Truck and Portishead-curated ATP festivals in the second half of 2007, this attention resulted in Fuck Buttons being included in many end of year newspaper, magazine and online articles predicting them as a 'Hot Tip' for 2008. These included New-Noise, who said that "rarely have two men sounded so much like the end of the world"[9] and British newspaper The Observer, which called their sound "a joyous racket of swirling atmospherics and percussive gunfire" in an article highlighting them in a new wave of intelligent, literate British pop music.[10]
They started the year with a tour of slightly larger UK venues, supported by label-mate Alexander Tucker. This was done to build anticipation for their debut album, Street Horrrsing, which was released on 17 March. Produced by John Cummings of Mogwai and mastered by Bob Weston of Shellac, it was promoted through festival appearances (including a slot at the ATP vs Pitchfork festival) and a North American tour with Caribou.
Early reviews of Street Horrrsing were very positive; it was named Underground Album of the Month by Mojo Magazine, who called it "a 50-minute melange of iridescent synths, psychedelic drone, distorted vocals and tribal rhythm". Pitchfork awarded it with an 8.6 out of 10 rating which placed it in their "best new music" section. Positive reviews also featured in The Times, The Observer, The Wire, NME, Rock Sound, Kerrang!, Uncut, Sydney Morning Herald, and many other music publications and websites. It was also chosen for the shortlist of The Guardian's First Album awards.
Tarot Sport
In 2009, the band appeared at the Australian All Tomorrow's Parties event. They released their second album, Tarot Sport in October 2009. It has been well received, with Rock Sound giving it an 8 out of 10 rating and hailing its consistency ("the continuity gluing them together confirms a genuine full-length article to brandish at all those gun-jumping 'The album is dead' doomsayers"), while AllMusic gave it a 4-star rating, describing it as "an impressive step forward for Fuck Buttons".[13] Discussing it with Exclaim! magazine, the band admitted that "direction is not something we are conscious about because it doesn't fit into our creative process. We just want to keep being content and surprising ourselves".
"Surf Solar" and "Olympians" featured separately during the 2012 Summer Olympics opening ceremony on 27 July 2012. "Sundowner" from Power's solo venture Blanck Mass was covered by the London Symphony Orchestra during the raising of the Union Jack.
Fuck Buttons released their third album Slow Focus on 22 July 2013.
A new track recorded with electronic musician Jean Michel Jarre entitled "Immortals" was released on the Jarre album Electronica 1: The Time Machine on 16 October 2015.
After an extensive world tour in support of Slow Focus, the band went on hiatus while Power and Hung pursued solo projects.
Following years of silence regarding new music, Hung confirmed on his Twitter account in 2022 that the band had officially broken up.
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Songs-for-the-Deaf
Songs for the Deaf is the third studio album by the American rock band Queens of the Stone Age, released on August 27, 2002, by Interscope Records. It features guest musicians including Dave Grohl on drums, and was the last Queens of the Stone Age album to feature Nick Oliveri on bass. Songs for the Deaf is a loose concept album, taking the listener on a drive through the California desert from Los Angeles to Joshua Tree, tuning into radio stations from towns along the way such as Banning and Chino Hills.
Songs for the Deaf received critical acclaim and earned Queens of the Stone Age their first gold certification in the United States. One million copies were sold in Europe, earning a platinum certification from the International Federation of the Phonographic Industry in 2008. Three singles were released: "No One Knows", "Go with the Flow", and "First It Giveth".
Songs for the Deaf was the first Queens of the Stone Age album that featured Dave Grohl of Nirvana and Foo Fighters on drums, who also toured with the band. He replaced drummer Gene Trautmann, who started working on other projects. Grohl had admired Queens of the Stone Age since they opened for Foo Fighters, and had wanted to appear on their previous album Rated R. Guitarist Josh Homme, with whom he had been friends since 1992, while Homme was the guitarist for Kyuss, invited him to join in October 2000. Grohl admitted that he had not drummed for a long time and added that fronting a band was "tiring".
Songs for the Deaf was the last appearance on a Queens of the Stone Age record by Brendon McNichol (lap steel) and Gene Trautmann (drums). It was also the last album to feature bassist and vocalist Nick Oliveri as a full-time member, as he was fired following the tour. The album also included the first musical contribution to a Queens of the Stone Age album by multi-instrumentalists Natasha Shneider and Alain Johannes. Shneider and Johannes, alongside Songs for the Deaf touring recruits Castillo and Troy Van Leeuwen of Failure and A Perfect Circle would subsequently become full-time Queens of the Stone Age members and contribute to the follow-up album Lullabies to Paralyze, released in 2005.
Rounding out the core recording lineup of Homme, Oliveri, and Grohl, was singer/songwriter Mark Lanegan, formerly of Screaming Trees, a band that Homme had toured with previously. Lanegan joined the band as a full-time member in 2001 after having guested on the band's previous album, Rated R, and provided additional songwriting and lyrics, in addition to lead vocals on several songs.
Several songs on the album are reworked versions of tracks previously recorded and released in the Desert Sessions, a side project of Josh Homme with various guest collaborators. "You Think I Ain't Worth a Dollar, But I Feel Like a Millionaire" was the opening track of Volume 5: Poetry for the Masses (Sea Shed Shit Head by the She Sore), with vocals originally performed by Mario Lalli instead of Oliveri. "Hangin' Tree" first appeared on Volume 7: Gypsy Marches. "Song for the Deaf" and "Go with the Flow" were previously performed as early as 2001 with the former having very different lyrics and vocals completely by Mark Lanegan. The main riff for "No One Knows" comes from another Desert Sessions track, "Cold Sore Superstars".
Grohl's drums were recorded in a small, "dead"-sounding isolation booth, to create a "tight, focused, punchy and kind of claustrophobic" sound. To allow for greater flexibility in positioning microphones, the cymbals were recorded separately. To achieve this, Grohl performed each song twice; for the initial pass without cymbals, he hit electronic cymbal pads, then repeated the performance with real cymbals but a dummy snare and padded toms, so only the cymbals made noise. The takes were then blended. The engineer Eric Valentine credited Grohl for his patience in the process, which he described as "very difficult".
Between them, Homme and Oliveri had different opinions on the usage of fake radio excerpts between tracks on the album, the former believing it gave the album "fluidity". According to Oliveri, they are a jibe at "how a lot of stations play the same thing over and over. We don't get played on the radio, so I figure we should talk shit about them."
In September 2002, Homme explained the band's goals with the release of the album:
"I've been thinking of this album since the first album, not necessarily the radio thing, but to me that isn't the full concept, the full concept is the diversity of it all, I think we're supposed to be pushing buttons over the three records. I've always looked at our first three records as a set: the first one was to distance ourselves from Kyuss, the second album fanned out the music into different areas and this one takes that out even a little further, I think."
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In 1991, Colm Mac Con Iomaire and Dave Odlum left Kíla to join The Frames, an Irish rock band. In the same year, Dee Armstrong and Eoin O'Brien joined the band as replacements. Dave Reidy also joined as a lead guitarist, though he emigrated to San Francisco a year later. Karl was then replaced by Ed Kelly on bass who emigrated to Scotland a little over a year after the recording Mind the Gap in 1994. Eoin O'Brien was replaced by Lance Hogan. Laurence O Keefe filled in temporarily on bass until Brian Hogan assumed that position prior to recording Tóg É Go Bog É.
In 2003, in a review of their album Luna Park, Kíla's blend of Irish traditional music and world music with a modern rock sensibility was credited with breathing new life into contemporary Irish folk music.
In 2009, Donegal guitarist Seanan Brennan joined the band to replace Lance who was on a sabbatical. He has remained with the band since then bringing an electric guitar to the line up for the first time since Eoin O'Brien was a member. He made his first appearance with Kíla in early January of that year on a televised version of Leath ina Dhiaidh a hOcht.
In 2008 Kíla recorded "The Ballad of Ronnie Drew" with U2, Shane MacGowan, Glen Hansard, Damien Dempsey, The Dubliners and a host of other artists. With proceeds going to The Irish Cancer Society. The song was later included on a U2.com-only album of collaborations that U2 recorded with other artists - Duals (2012).
Kíla have played at many festivals around the world, including Dún Laoghaire Festival of World Cultures, Electric Picnic, Womadelaide, Glastonbury, Féile an Dóilín, St. Chartier, Reading and Cambridge Folk Festival, Montreaux Jazz Festival and the Stockholm Water Festival. All members of the group participate in composing and arranging Kíla's songs. they have also performed at student events such as the NUIG Arts Ball in 2010, the biggest event of its kind in Ireland.
The band collaborated with French composer Bruno Coulais on the soundtrack of The Secret of Kells, an animated film by the Irish studio Cartoon Saloon. The film was nominated for best animated film at the 82nd Academy Awards in 2010. That same year their music was heavily featured in two other feature films - Maeve Murphy's controversial Beyond the Fire and Ciarán O'Connor's Trafficked. Kíla's music also features in the award-winning documentary film Fight or Flight.
In late 2011, Kíla published their long-awaited Book of Tunes. Comprising over 100 of their compositions and lavishly decorated with photos, poems & prose, the book was a huge success, being described as 'a masterpiece' by Seán Laffey from Irish Music Magazine. The publication of the book ended a fine year for Kíla in style. Through this year they played three sell-out shows in Harare, Zimbabwe at the HIAFA festival, played at the Possibilities conference that welcomed the Dalai Lama to Ireland and played the inaugural concert in Temple Bar Meeting House Square, under the elegant retractable canopies, two days before Christmas.
2015 could be termed the 'year of the awards and nominations' for Kíla. They collaborated on the music for the Oscar nominated animated feature, Song of the Sea with Bruno Coulais. They received an Annie Awards nomination for 'Outstanding Achievement in Music in an Animated Feature Production'. They also received an Emmy nomination for their work on a Crossing The Line production called The Secret Life of the Shannon. In June Eoin Dillon left and James Mahon from Shankill took his place.
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This Is the Sea is the third The Waterboys album, and the last of their "Big Music" albums. Considered by critics to be the finest album of their early rock-oriented sound, described as "epic" and "a defining moment", it was the first Waterboys album to enter the United Kingdom charts, peaking at number 37. Steve Wickham makes his Waterboys recording debut playing violin on 'The Pan Within' and subsequently joined the band, appearing on the video of "The Whole of the Moon". This Is the Sea is the last album with contributions from Karl Wallinger, who left the group to form his own band, World Party.
Mike Scott, the album's principal songwriter and leader of The Waterboys, describes This Is the Sea as "the record on which I achieved all my youthful musical ambitions", "the final, fully realised expression of the early Waterboys sound", influenced by The Velvet Underground, Van Morrison's Astral Weeks, and Steve Reich.[4] Regarding the end of the groups sound being tied to "The Big Music" after completing the album, Scott stated, "I finished with that kind of music to achieve whatever it was I was trying to achieve with that album. That overdubbed big sounding music, I didn't need to do it anymore."
The album was recorded between March and July 1985, and released that October (see 1985 in music). A remastered and expanded version was released in 2004. This Is the Sea contains the best-selling Waterboys single, the song "The Whole of the Moon". The album cover is a photograph taken by Lynn Goldsmith.
Scott began writing songs for This Is the Sea in the spring of 1984, beginning with the song "Trumpets". Scott recalls that in December 1984 "during The Waterboys' first American tour, [he] bought two huge hard-bound books... in which to assemble [his] new songs"[4] For the following two months Scott worked on the songs in his apartment, writing the lyrics, and working on guitar and piano arrangements. Scott wrote between thirty-five and forty songs, but felt that the nine songs that made it onto the album "were the ones that were intended to be there".[4] The first song from the album to be played live was "Trumpets", on 10 April 1984.
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The recording sessions continued through June. By July, Wickham, after an invitation from Scott, entered the studio with the band to add his fiddle to "The Pan Within". Produced from the original sessions at Park Gates Studio, along with recordings from Livingston Studios in London, Amazon in Liverpool, Seaview, and The Townhouse Studio, among others, the album was released in October. Peter Anderson, writing in Record Collector, describes Scott as "completely at home in the studio" and writes that Scott "spared nothing on" This Is the Sea.
A remastered version was released in 2004, with a second CD of material from the album's singles, and unreleased tracks from the This Is the Sea recording sessions.
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The Sickness is the debut studio album by American heavy metal band Disturbed. It was released on March 7, 2000, by Giant and Reprise Records. The album peaked at number 29 on the US Billboard 200, and spent a total of 106 weeks on the chart. It was Disturbed's only album to not hit number one on the US Billboard 200 until their seventh album Evolution debuted at number 4 in 2018. In 2018, The Sickness was certified five times platinum by the RIAA for shipments of over five million copies in the US, making it the band's most successful album.
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However, as the late 1990s brought a shift in focus in the rock industry toward a heavier sound, the band secured a record deal with Giant Records and Disturbed got their big break. Prior to the album's recording, the band sought to refine its sound. Lead guitarist Dan Donegan took a different approach than usual and adopted a style that did not incorporate guitar solos: "In the beginning, before we were even signed, I'd solo all over the place and it didn't really work, so I pretty much cut out the solos altogether until the last album or two. That's the way it's worked with us. Over time we've pushed each other to become better musicians," Donegan said in a 2011 interview with Guitar World.
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With Draiman on vocals and Donegan on guitar, the two were joined by Mike Wengren on drums and Steve "Fuzz" Kmak on bass. Seeking help with the album's production process, the band turned to producer Johnny K, who had gone to high school with Donegan's brother. By the time work on the album had started, a bond had already formed and Johnny K had begun working with the band as the producer for their album. In an interview with Guitar Edge, Johnny K spoke about the process, saying, "They fought hard to get me to do their record. They didn't want to go to L.A. and make a record that wouldn't be any better than their demos. I felt that with a budget and time, I could make a record everyone would really like [...] I pushed them as hard as I could, and we felt successful before it sold one copy. All of that hard work, and the fact that they are such a good band, made it easy for me to get other jobs. People liked it and would say, 'Who did the Disturbed album? Let's get him.'"
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