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A Nightingale Sang In Barbarella s: Stewart Lee, Michael Cumming Interviewed

A Nightingale Sang In Barbarella s: Stewart Lee, Michael Cumming Interviewed
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HIV+ MIND | Vive Le Rock Magazine

Sex, Drugs & HIV project to release a fundraising album. Through his work as a musician on London’s punk scene, notably with SHAM 69, CHELSEA and SPLODGENESSABOUNDS, he called in a few favours. Taking 16 years to complete, the album was initially released in 2014 in 2- and 3-disc versions, making thousands of pounds for charity. Now Mat has decided to release the full Sex, Drugs & HIV sessions in a mammoth 8-DVD set. Boosted by numerous outtakes, bonus tracks and extras, the set features contributions from over 200 guest musicians, including Adam Ant, Afrika Bambaataa, Beki Bondage, Boz Boorer, Brian Robertson, Captain Sensible, Charlie Harper, Damien O’Neill, Dick Lucas, Gina Birch, Gizz Butt, Jerry Dammers, Jimmy Pursey, John Otway, Kelly Johnson, Lee Thompson, Mark E. Smith, Mickey Fitz, Mike Spenser, Nicko McBrain, Paul Gray, Paul Samson, Pauline Black, Poly Styrene, Tony Hadley, TV Smith, Vic Godard, Wurzel and dozens more…

The 50 Greatest UK Indie Records Of All Time

09 02 2021 INSPIRED BY PUNK, angered by Thatcher and in love with ’60s culture, the UK indie scene produced some of the greatest (and oddest) pop records of all time. It all began on December 28, 1976 at Indigo Studios on Gartside Street in Manchester. The Buzzcocks had just recorded and mixed four songs destined for the Spiral Scratch EP. A month later the EP would be released on the band’s own New Hormones label, in the process spawning a scene of musicians, songwriters and labels hell-bent on doing it for themselves. Forged in the political turmoil of the late ’70s and early ’80s, labels such as Postcard, Creation, Factory, Zoo and Rough Trade emerged as maverick flag-bearers of a new eclectic indie aesthetic. The DIY revolution had begun and British pop would never be the same again.

Virginia Astley: From Gardens Where We Feel Secure

Open share drawer Each Sunday, Pitchfork takes an in-depth look at a significant album from the past, and any record not in our archives is eligible. Today, we revisit a bucolic cult classic from 1983, one that taps into a centuries-old tradition of pastoralism in British culture. The mid-’80s were a peculiar time for alternative music in the UK. Around 1983, the surging momentum of the post-punk era dissipated into a confused clutter of trends and revivals. People who’d begun their musical journey in roughly the same spot—the Sex Pistols, the Clash—were now making sounds unrelated to each other and a long distance from their starting point.

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