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Saturday, November 18, 2006
BLINK-182 Band
BLINK-182
Blink 182 Detailed Biography
Blink 182 Detailed BiographyOriginally known as simply Blink, the trio band was formed near San Diego by Mark Hoppus (b. 15 March 1972, USA; bass/vocals), who had moved to San Diego to study, and Tom DeLonge (b. 13 December 1975, USA; guitar/vocals). Hoppus and DeLonge were joined by drummer Scott Raynor, and began a non-stop gigging schedule on the local punk circuit. They debuted in 1993 with a self-released EP, Fly Swatter. After releasing the album Buddha in 1994, the trio signed to Grilled Cheese/Cargo and released Cheshire Cat the following year which featured several of the songs from the demo tape. Shortly afterwards the trio were forced to adopt the new moniker Blink-182 following the threat of legal action by an Irish techno outfit already recording as Blink. Despite the enforced name change, the trio's popularity continued to grow owing to support slots with several leading punk bands including No FX and Pennywise, and their ubiquitous presence on the skating and snow boarding scenes. They also developed a reputation for stripping off during live shows. The trio has a penchant for gloriously immature lyrics, crafting great tunes. The third blink-182 LP, Dude Ranch, was released in 1997. Dude Ranch expanded the group's audience and won the attention of major labels. blink-182 wound up signing with MCA, who released the band's fourth album, Enema of the State, in the summer of 1999. Travis Barker, formerly with the Aquabats, later replaced Raynor. After selling over four million copies of Enema of the State, the trio played on with the limited edition release The Mark, Tom, and Travis Show (The Enema Strikes Back) in fall 2000. Barker appeared on the band's major label debut, Enema Of The State, which debuted in the US Top 10 in June 1999 and went on to sell over a million copies in barely two months. The album was helped by two highly catchy hits, "What's My Name Again?" and "All The Small Things". Following the release of a stop-gap live set, the band confirmed the commercial appeal of their scatological punk rock when their fifth album, Take Off Your Pants And Jacket, debuted at the top of the US charts in June 2001. DeLonge and Barker concurrently enjoyed success as part of Blink-182 soundalikes, Box Car Racer, while the latter also joined Rancid frontman Tim Armstrong in the Transplants. The band also graced the covers of Rolling Stone, Alternative Press (twice), Teen People, Teen and CosmoGirl, just to name a few.
SUM 41 Band
Sum 41 is a Canadian band from Ajax, Ontario. The band was formed from members of several local high school bands, 41 days into the summer of 1996. The band consists of Deryck Whibley (a.k.a. Bizzy D {lead vocals, guitar, keyboard/piano}), Jason McCaslin (a.k.a. Cone {bass and backing vocals}), and Steve Jocz (a.k.a. Stevo32 {drums and backing vocals}). Since signing a record deal with Island Records in 1999, the band has released 4 full length albums, 1 EP, and over 10 singles.
The members of Sum 41 started out in rival bands in high school. They joke that they met while attending a Hole concert 41 days into the summer - from which the name sum 41 was derived from - of 1996. However the current bassist, Cone, joined the band later in the year 1999, replacing Mark Spicoluk, who later played bass for Avril Lavigne, Deryck's wife.
The guys carried a video camera with them and filmed crazy Jackass-esque antics including, robbing a pizza place with water guns and performing a dance to "Makes No Difference" in front of an arena (both of which can be seen on both "Introduction to Destruction" and the bonus DVD from "Does This Look Infected?").
The band submitted the video footage along with their demo tapes to several record labels. Island Records, seeking a new pop-punk band in the blink-182 vein, signed Sum 41 in early 2000.
Sum 41 released their EP "Half Hour of Power" on June 27, 2000. The first single released by the band was "Makes No Difference", which had 2 different videos. The first was put together using the video clips sent into the record labels and the second had the band performing at a house party.
KORN Band
Korn Biography
Musical revolutions can foment in the oddest places: Athens, Georgia. Aberdeen, Washington. Bakersfield, California.
That's right, Bakersfield; a bleak, arid little town just west of Death Valley that could double as a David Lynch movie set-if there were anything going on, that is. As a kid Fieldy Arvizu spent much of his adolescence "standing around in dirt fields, drinking beer, watching other kids fight." At some point, Fieldy and some friends decided their time would be better spent taking out their frustrations on musical instruments instead.
And rock music would never be the same.
So Fieldy, James "Munky" Shaffer, David Silveria, Brian "Head" Welch, and eventually, an assistant coroner with a troubled past named Jonathan Davis left Bakersfield for Los Angeles and collectively became known as KORN. It helped that they all had common influences--the angry, urban stylings of hip-hop, the heavy, riff-driven angst of death metal. But the sounds emanating from this band's Huntington Beach rehearsal space would soon set an entirely fresh musical precedent--and set off a wave of imitators that eventually threatened to engulf the band itself.
After touring for nearly two years, KORN was signed by Immortal and released their now-classic eponymous 1994 debut. KORN opened with the prophetic, gravel-throated challenge "Are you ready?!" before kicking into the heaviest guitar sound yet heard in rock thanks to the team of Shaffer and Welch, who tuned their already-low 7-string guitars even lower and played with no regard for traditional harmonic consonance. The sound was metallic sludge, but tempered oddly by bassist Fieldy and drummer Silveria, who added a mix of porn-soundtrack funk and hip-hop rhythms that was puzzlingly aggressive and chill. Next, nursery-rhyme-like melodies were woven into the dark mix, helping make KORN the creepiest, heaviest debut since Black Sabbath. But Davis had no desire to sing about devils and witches; he was busy exorcising real-life demons. Songs such as "Faget" and "Shoots and Ladders" were discomfortingly personal confessionals of shattered childhood, and by album's end Davis was literally in tears in the harrowing "Daddy."
"Are you ready?!" Well, commercial radio sure wasn't. And neither was MTV. Not yet, anyway.
So KORN took their grisly show on the road someplace they knew it'd get noticed: back to the tour circuit, and a stint on Ozzfest. The band's unique sound may have been unfamiliar, but the kids knew it rocked mightily-and many of them could directly relate to Davis' grim lyrical obsessions. At that point in time, there was quite simply no band on earth like KORN.
And so they began to amass a following that would send their next album, 1996's brutal yet cheekily titled Life is Peachy, into platinum sales. And this time at least the press was ready. "...Perverts, psychopaths and paranoiacs" gushed the Chicago Tribune. "An ingeniously twisted piece of personal hell" raved Cleveland's Plain Dealer.
And while Peachy served more to reinforce the band's core sound rather than innovate in the manner of the debut, it did introduce to the world to a side of the band no one ever suspected existed: humor. The bagpipe-driven cover version of War's "Lowrider" was just one example. An A-Z dictionary of vulgarity called "K@#%!" was another-though some critics and self-appointed moral guardians were put off by the language. One Zeeland, Michigan high school administrator told the press that KORN was "indecent, vulgar, and obscene" shortly after suspending a student for wearing a T-shirt that merely said "KORN." After the band filed a cease-and-desist order against the school on behalf of the student, he was reinstated. But the episode marks yet another milestone for the band: it was the first of many times the band would go to bat for its fans.
Years of touring followed again as the band fortified its fan-base to the degree that their next album, 1998's Follow the Leader, would debut at No. 1 on Billboard's Top 200. The band charted two bona fide singles with "Got the Life" and "Freak on a Leash," while the album's actual "rap-metal" tracks ("Children of the KORN" with guest rapper Ice Cube, and "All in the Family" with guest abuser Fred Durst) were some of the band's hardest-hitting to date, and reaffirmed their status as the band by which others would be judged in this genre.
Others seemed to agree. Rolling Stone christened Follow the Leader one of the best alternative albums of the '90s, praising KORN's ability to channel "their disgust with the state of the nation--and the generation doomed to inherit it--into booming, articulate violence."
Booming, articulate violence aside, Follow the Leader exposed yet another side of KORN.
When a 14-year-old boy suffering from terminal intestinal cancer requested to meet the band for a few minutes through the Make-A-Wish foundation, the band was stunned. And nervous. But they hit it off, and the few minutes turned into a day, and that turned into a few more days, and then a song-"Justin."
Reaffirming KORN's populist roots were their weekly live Internet video broadcasts from the studio during the album's making. These "after school specials" kept fans up on the progress of the record, offered them live, call-in Q&A sessions with the band themselves, and introduced them to guests running the gamut from members of 311, the Deftones, and Limp Bizkit to porn stars like Ron Jeremy and Randi Rage.
In yet another populist move, the band launched "KORN Kampaign '98," a political campaign-style American tour to promote their album that featured "fan conferences" in major cities throughout the country. KORN also put together a heavy-rock-and-rap arena circus, mockingly called the Family Values Tour, which featured everyone from Ice Cube to Limp Bizkit to Rammstein, and proved to be one of 1998's most successful tours. A live compilation CD, The Family Values Tour '98, was certified gold the following summer, when KORN performed an explosive set at Woodstock '99.
Meanwhile, KORN's record label Elementree was up and running just fine as its first signed act, Orgy, scored a platinum record for them with Candyass.
By now, almost every heavy band on the planet was playing down-tuned 7-string guitars (which were virtually extinct before KORN). The proliferation of sound-alike bands ironically placed the band in a tenuous position: Not only was KORN in danger of seeming "played out" in the very genre they spearheaded, the beginnings of a backlash to "rap-metal" chart domination were cropping up in the media. KORN knew that another Peachy or Leader, however great, however welcome by fans, and however commercially successful, would not do. It was time to reinvent themselves and break from the pack-a risky move given the band's traditionally loyal following. KORN took some time off to work on what would be one of the most important records of their career.
"We knew when we wrote this album that we were going to have to do something really great," Shaffer said at the time. "...We had to move forward, push the boundaries, and create something very personal."
In yet another nod to their audience, KORN allowed the fans to design the cover. Fans submitted their work, and one fan painting was chosen for the record's striking cover art. Several runners-up got limited-edition album covers of their own work.
Musically, Issues turned out to be the best album since the group's debut release, and eclipsed even that record in strength of songwriting. When Issues was finally released, all the band's efforts paid off wildly. For the second time in their career, they debuted at No. 1. They had yet another high-charting single with the eerie, crushing "Falling Away From Me." And the record went quadruple platinum. This was followed by yet another massively successful tour, which kicked off on Halloween 1999 at Harlem's historic Apollo Theater.
If Issues represented an artistic, critical, and commercial triumph at a crucial moment for the band, how would KORN respond to the inevitable pressure of its follow-up?
By making a better one: Untouchables. Using a 24-BIT sampling rate--twice the highest rate normally used for recording--KORN and producer Michael Beinhorn have created a rich sonic panorama. Unfathomably heavy, uncompromisingly introspective, and startlingly unique, Untouchables catapults KORN to yet another level.
But what should we expect? After all, this is a band marked by an insatiable desire to push the rock envelope. It's what makes them KORN.
Musical revolutions can foment in the oddest places: Athens, Georgia. Aberdeen, Washington. Bakersfield, California.That's right, Bakersfield; a bleak, arid little town just west of Death Valley that could double as a David Lynch movie set-if there were anything going on, that is. As a kid Fieldy Arvizu spent much of his adolescence "standing around in dirt fields, drinking beer, watching other kids fight." At some point, Fieldy and some friends decided their time would be better spent taking out their frustrations on musical instruments instead.
And rock music would never be the same.
So Fieldy, James "Munky" Shaffer, David Silveria, Brian "Head" Welch, and eventually, an assistant coroner with a troubled past named Jonathan Davis left Bakersfield for Los Angeles and collectively became known as KORN. It helped that they all had common influences--the angry, urban stylings of hip-hop, the heavy, riff-driven angst of death metal. But the sounds emanating from this band's Huntington Beach rehearsal space would soon set an entirely fresh musical precedent--and set off a wave of imitators that eventually threatened to engulf the band itself.
After touring for nearly two years, KORN was signed by Immortal and released their now-classic eponymous 1994 debut. KORN opened with the prophetic, gravel-throated challenge "Are you ready?!" before kicking into the heaviest guitar sound yet heard in rock thanks to the team of Shaffer and Welch, who tuned their already-low 7-string guitars even lower and played with no regard for traditional harmonic consonance. The sound was metallic sludge, but tempered oddly by bassist Fieldy and drummer Silveria, who added a mix of porn-soundtrack funk and hip-hop rhythms that was puzzlingly aggressive and chill. Next, nursery-rhyme-like melodies were woven into the dark mix, helping make KORN the creepiest, heaviest debut since Black Sabbath. But Davis had no desire to sing about devils and witches; he was busy exorcising real-life demons. Songs such as "Faget" and "Shoots and Ladders" were discomfortingly personal confessionals of shattered childhood, and by album's end Davis was literally in tears in the harrowing "Daddy."
"Are you ready?!" Well, commercial radio sure wasn't. And neither was MTV. Not yet, anyway.
So KORN took their grisly show on the road someplace they knew it'd get noticed: back to the tour circuit, and a stint on Ozzfest. The band's unique sound may have been unfamiliar, but the kids knew it rocked mightily-and many of them could directly relate to Davis' grim lyrical obsessions. At that point in time, there was quite simply no band on earth like KORN.
And so they began to amass a following that would send their next album, 1996's brutal yet cheekily titled Life is Peachy, into platinum sales. And this time at least the press was ready. "...Perverts, psychopaths and paranoiacs" gushed the Chicago Tribune. "An ingeniously twisted piece of personal hell" raved Cleveland's Plain Dealer.
And while Peachy served more to reinforce the band's core sound rather than innovate in the manner of the debut, it did introduce to the world to a side of the band no one ever suspected existed: humor. The bagpipe-driven cover version of War's "Lowrider" was just one example. An A-Z dictionary of vulgarity called "K@#%!" was another-though some critics and self-appointed moral guardians were put off by the language. One Zeeland, Michigan high school administrator told the press that KORN was "indecent, vulgar, and obscene" shortly after suspending a student for wearing a T-shirt that merely said "KORN." After the band filed a cease-and-desist order against the school on behalf of the student, he was reinstated. But the episode marks yet another milestone for the band: it was the first of many times the band would go to bat for its fans.
Years of touring followed again as the band fortified its fan-base to the degree that their next album, 1998's Follow the Leader, would debut at No. 1 on Billboard's Top 200. The band charted two bona fide singles with "Got the Life" and "Freak on a Leash," while the album's actual "rap-metal" tracks ("Children of the KORN" with guest rapper Ice Cube, and "All in the Family" with guest abuser Fred Durst) were some of the band's hardest-hitting to date, and reaffirmed their status as the band by which others would be judged in this genre.
Others seemed to agree. Rolling Stone christened Follow the Leader one of the best alternative albums of the '90s, praising KORN's ability to channel "their disgust with the state of the nation--and the generation doomed to inherit it--into booming, articulate violence."
Booming, articulate violence aside, Follow the Leader exposed yet another side of KORN.
When a 14-year-old boy suffering from terminal intestinal cancer requested to meet the band for a few minutes through the Make-A-Wish foundation, the band was stunned. And nervous. But they hit it off, and the few minutes turned into a day, and that turned into a few more days, and then a song-"Justin."
Reaffirming KORN's populist roots were their weekly live Internet video broadcasts from the studio during the album's making. These "after school specials" kept fans up on the progress of the record, offered them live, call-in Q&A sessions with the band themselves, and introduced them to guests running the gamut from members of 311, the Deftones, and Limp Bizkit to porn stars like Ron Jeremy and Randi Rage.
In yet another populist move, the band launched "KORN Kampaign '98," a political campaign-style American tour to promote their album that featured "fan conferences" in major cities throughout the country. KORN also put together a heavy-rock-and-rap arena circus, mockingly called the Family Values Tour, which featured everyone from Ice Cube to Limp Bizkit to Rammstein, and proved to be one of 1998's most successful tours. A live compilation CD, The Family Values Tour '98, was certified gold the following summer, when KORN performed an explosive set at Woodstock '99.
Meanwhile, KORN's record label Elementree was up and running just fine as its first signed act, Orgy, scored a platinum record for them with Candyass.
By now, almost every heavy band on the planet was playing down-tuned 7-string guitars (which were virtually extinct before KORN). The proliferation of sound-alike bands ironically placed the band in a tenuous position: Not only was KORN in danger of seeming "played out" in the very genre they spearheaded, the beginnings of a backlash to "rap-metal" chart domination were cropping up in the media. KORN knew that another Peachy or Leader, however great, however welcome by fans, and however commercially successful, would not do. It was time to reinvent themselves and break from the pack-a risky move given the band's traditionally loyal following. KORN took some time off to work on what would be one of the most important records of their career.
"We knew when we wrote this album that we were going to have to do something really great," Shaffer said at the time. "...We had to move forward, push the boundaries, and create something very personal."
In yet another nod to their audience, KORN allowed the fans to design the cover. Fans submitted their work, and one fan painting was chosen for the record's striking cover art. Several runners-up got limited-edition album covers of their own work.
Musically, Issues turned out to be the best album since the group's debut release, and eclipsed even that record in strength of songwriting. When Issues was finally released, all the band's efforts paid off wildly. For the second time in their career, they debuted at No. 1. They had yet another high-charting single with the eerie, crushing "Falling Away From Me." And the record went quadruple platinum. This was followed by yet another massively successful tour, which kicked off on Halloween 1999 at Harlem's historic Apollo Theater.
If Issues represented an artistic, critical, and commercial triumph at a crucial moment for the band, how would KORN respond to the inevitable pressure of its follow-up?
By making a better one: Untouchables. Using a 24-BIT sampling rate--twice the highest rate normally used for recording--KORN and producer Michael Beinhorn have created a rich sonic panorama. Unfathomably heavy, uncompromisingly introspective, and startlingly unique, Untouchables catapults KORN to yet another level.
But what should we expect? After all, this is a band marked by an insatiable desire to push the rock envelope. It's what makes them KORN.
SIMPLE PLAN Band
SIMPLE PLAN
Simple plan consists of five members:
Pierre Bouvier- Lead vocals
Charles Comeau AKA Chuck- Drums
Jeff Stinco- Lead guitar
David Desrosiers-Bass and back vocals
Sebastian Lefebvre AKA Seb- Guitar and back vocals
These five amazingly good looking guys come out of good old Montreal Canada!! Jeff, Chuck, Seb, and Pierre all went to the same Highschool. They eventually formed a band, but they needed a new bassist. At the time, Pierre was doing vocals and playing bass, but wanted to just sing. So they recruited Dave from a band called Reset (Ironically Chuck and Pierre's old band). Together they formed Simple Plan.
Simple Plan is a pop/punk band and their inspirational music always gets you hyped and ready to party. They have accomplished so much in such little time, that the only way to go from here is up.
Good luck in the futur guys!
Simple plan consists of five members:
Pierre Bouvier- Lead vocals
Charles Comeau AKA Chuck- Drums
Jeff Stinco- Lead guitar
David Desrosiers-Bass and back vocals
Sebastian Lefebvre AKA Seb- Guitar and back vocals
These five amazingly good looking guys come out of good old Montreal Canada!! Jeff, Chuck, Seb, and Pierre all went to the same Highschool. They eventually formed a band, but they needed a new bassist. At the time, Pierre was doing vocals and playing bass, but wanted to just sing. So they recruited Dave from a band called Reset (Ironically Chuck and Pierre's old band). Together they formed Simple Plan.
Simple Plan is a pop/punk band and their inspirational music always gets you hyped and ready to party. They have accomplished so much in such little time, that the only way to go from here is up.
Good luck in the futur guys!
AUDIOSLAVE Band
AUDIOSLAVE
Chris Cornell formed Soundgarden in 1985 and over the course of 12 years the group established themselves as one of the most influential rock bands of the nineties, selling over 20 million records worldwide. David Fricke wrote in Rolling Stone, "On their '94 masterblast, SUPERUNKNOWN, Soundgarden blew a big, black hole through the burnt-boogie angst of heavy Muzak, managing to sound both fried and alive in the fine thunder-and-color tradition of late period Led Zeppelin."
As Soundgarden continued to release critically acclaimed and platinum selling albums, the music of Rage Against The Machine was bringing a fierce and uncompromising meld of punk-inspired hard rock and pollitically charged rap to the mainstream charts. With the release of their self-titled debut in 1992, the face of rock music began to change. Rage Against The Machine went on to sell more than 15 million albums worldwide.
The 14 tracks on AUDIOSLAVE are the result of the band's early time spent in their Los Angeles rehearsal space writing and jamming. During this writing and recording process, rough demos of the album were leaked to the Internet. Obviously, these tracks were not representative to the final album as they were rehearsal demos.
Chris Cornell formed Soundgarden in 1985 and over the course of 12 years the group established themselves as one of the most influential rock bands of the nineties, selling over 20 million records worldwide. David Fricke wrote in Rolling Stone, "On their '94 masterblast, SUPERUNKNOWN, Soundgarden blew a big, black hole through the burnt-boogie angst of heavy Muzak, managing to sound both fried and alive in the fine thunder-and-color tradition of late period Led Zeppelin."As Soundgarden continued to release critically acclaimed and platinum selling albums, the music of Rage Against The Machine was bringing a fierce and uncompromising meld of punk-inspired hard rock and pollitically charged rap to the mainstream charts. With the release of their self-titled debut in 1992, the face of rock music began to change. Rage Against The Machine went on to sell more than 15 million albums worldwide.
The 14 tracks on AUDIOSLAVE are the result of the band's early time spent in their Los Angeles rehearsal space writing and jamming. During this writing and recording process, rough demos of the album were leaked to the Internet. Obviously, these tracks were not representative to the final album as they were rehearsal demos.
GREEN DAY BAND
Green Day Picture
GREEN DAY LINKHvis vi springer tilbage til 1994, finder vi tre knægte midt i et gennembrud til mainstreamen med et pop-punket udtryk, som de reelt set var bannerførere for. De havde netop udgivet deres tredje fuldlængde og den første på et stort pladeselskab, Dookie, som indikerede, hvad dette handlede om: at have det sjovt! Der skulle gang i gaden — og hvilken bedre metode end tre-akkorders-rock med flabet attitude og sange om eksempelvis onani? Green Day var steget helt til himmels, højere end man nogensinde havde kunnet forestille sig, at et punkband kunne komme. Dookie nåede op på 10 millioner solgte plader.