Mp3 music: Dark Moor

Artist: Dark Moor: mp3 download    Genre(s):  Metal Metal: Power Metal: Heavy Rock     Dark Moor's discography:      Tarot    Year: 2007    Tracks: 11      Beyond The Sea    Year: 2005    Tracks: 11      Dark Moor    Year: 2003    Tracks: 13      Between Light and Darkness    Year: 2003    Tracks: 8      The Gates Of Oblivion    Year: 2002    Tracks: 13      The Fall Of Melnibone    Year: 2001    Tracks: 5      The Hall Of The Olden Dreams    Year: 2000    Tracks: 10      Shadowland    Year: 1999    Tracks: 9 One of Spain's longest-running heavy metallic element exports, Dark Moor was founded in 1994 by Madrid-based guitar player Enrik Garcia, and afterward honing their fantasy-laced ability metal via leash demonstration tapes (1996's Tales of the Dark Moor, 1998's Dreams of Madness, and 1999's Quick), signed with the independent Arise label for the outlet of their uncut debut, 1999's Shadowland. This was followed by releases like The Hall of the Olden Dreams (2000), The Fall of Melnibone (EP, 2001), The Gates of Oblivion (2002), and Between Light and Darkness (EP, 2003), which john Drew comparisons to European acts care Rhapsody and Blind Guardian, and fared quite considerably in constituted power metallic element markets such as Germany, Japan, and Brazil. All of these were too recorded by a stable batting order consisting of Garcia, vocaliser Elisa Candelas Martín, fellow guitarist Albert Maroto, bassist Anan Kaddouri, keyboardist Roberto Peña de Camus, and drummer Jorge Saez, simply a severe creative schism would tear Dark Moor asunder (and spark advance to the creation of equal work Dreamaker) prior to 2003's eponymous long-player, leaving only Garcia and Kaddouri to work with new members Alfred Romero (vocals), Jose Garrido (guitar), and Andy C. (drums). At least the hallmarks of their music weren't neutered, although a very distinctive calibre was confused with Elisa Martin's passing (the cosmos non existence exactly dominant with great distaff metallic element vocalists). Kaddouri too would make up one's mind to stock rip the following year, only when was punctually replaced by bassist Daniel Fernandez as Dark Moor carried on as usual with 2005's Beyond the Sea.

Download Gemma Hayes mp3

Mp3 music: Oxymoron

Artist: Oxymoron: mp3 download    Genre(s):  Rock     Oxymoron's discography:      Pack Is Back    Year: 1999    Tracks: 14 Oxymoron began in the early '90s when the punk stone vista had once again been driven to the subway and the mainstream was qualification the transition from tough rock to dirt and metal. They played a form of Oi! medicine that resisted the unimaginative racial issues that plagued the musical genre in the mainstream's eyes and rather was one and only of the first base revivalists to punctuate that the music was static a feasible force in the resistance. Continuing their efforts into the next c, the band stands as a simulation for carefully design a living history circle a genre that has fallen tabu of favor with many o'er misunderstood intentions.

Mp3 music: Newsboys

Gang Starr

   
Artist: Gang Starr

   Genre(s): 
Rap: Hip-Hop
   Other
   

---

Discography:


   
 Mass Appeal: The Best of Gang Starr

   Year: 2006   
Tracks: 20


   
 Ownerz

   Year: 2003   
Tracks: 19


   
 Code of Streets

   Year: 2003   
Tracks: 22


   
 No More Mr. Nice Guy

   Year: 2001   
Tracks: 17


   
 Full Clip - A Decade Of Gang Starr (cd2)

   Year: 1999   
Tracks: 17


   
 Full Clip - A Decade Of Gang Starr (cd1)

   Year: 1999   
Tracks: 16


   
 Moment of Truth

   Year: 1998   
Tracks: 20


   
 Hard to Earn

   Year: 1994   
Tracks: 17


   
 Daily Operation

   Year: 1992   
Tracks: 18


   
 Step in the Arena

   Year: 1991   
Tracks: 18

---

The near influential MC-and-DJ tandem of the nineties, Gang Starr plant new standards for East Coast belt with a mates of early-'90s touchstones, Step in the Arena (1991) and Daily Operation (1992), whose appeal has only if big over the decades. Beginning with these classic releases, both listeners and critics heaped mounds of kudos upon Guru and DJ Premier -- the other because of his socially conscious lyrics and no-nonsense stance, the latter because of his DJ-style beat-making and trashy sound. Following Step in the Arena and Daily Operation, Premier became unitary of New York's near demanded producers, crafting hits for the city's finest MCs, including the Notorious B.I.G., Nas, Jay-Z, and KRS-One. Guru alike collaborated with plenty of well-known artists -- Roy Ayers, Donald Byrd, N'Dea Davenport -- on his solo debut, Jazzmatazz, Vol. 1 (1993), and its series of follow-ups. Following Hard to Earn (1994) -- the duo's fourth Gang Starr quislingism overall -- Guru and Premier began focalisation primarily on their solo projects, reuniting infrequently -- to a fault infrequently, many fans mat -- for albums such as Instant of Truth (1998) and The Ownerz (2003). During this period of solo action, Gang Starr became more and more recognized as a standard, one that critics and hip-hop purists ofttimes cited as a color bearer for street smart, socially witting East Coast rap.


Guru (innate Keith Edward Elam on July 17, 1966, in Boston, MA) and Premier (born Christopher Edward Martin on March 21, 1966, in Houston, TX) began operative together in 1989. Guru had founded Gang Starr a duet eld earlier, in 1987, and had already conventional a working relationship with Wild Pitch Records. The partnership of Guru and Premier as Gang Starr lED to a formative debut album, No More Mr. Nice Guy (1989), and its featured exclusive, "Words I Manifest." The DJ-spotlight rail "DJ Premier in Deep Concentration" is some other highlight of the album, which dog-tired geezerhood out of print. Between albums, in 1990, Guru and Premier contributed a vocal, "Malarky Thing," to the Mo' Better Blues soundtrack. Gang Starr afterward stirred to Chrysalis Records for their second album, Step in the Arena (1991), on which they perfected the coming of their debut, that is, a crude, hard-hitting jazz-rap production elan, complete with Premier's masterful DJ thinning, over which Guru's battle-rap-hardened yet smoothly delivered lyrics -- often thoughtful, crafty, and streetsmart -- get hold of trajectory. Gang Starr's one-third album, Daily Operation (1992), furthered the duo's approach stylistically; widely considered an East Coast rap classic, it's arguably Guru and Premier's finest work, along with its forerunner.


Beginning in 1993, Guru and Premier began operative singly. Guru's debut album, Jazzmatazz, Vol. 1 (1993), took the alleged jazz-rap panache to a new floor, featuring malarky musicians such as Lonnie Liston Smith, Branford Marsalis, Ronny Jordan, Donald Byrd, and Roy Ayers, along with guest vocalists such as N'Dea Davenport (of the Brand New Heavies) and MC Solaar (of French rap renown). Meanwhile, Premier produced captain Hicks tracks for KRS-One's solo debut, Repay of the Boom Bap (1993); furthermore, in 1994 he proceeded to get three tracks for Nas' debut, Illmatic ("N.Y. State of Mind," "Computer storage Lane [Sittin' in da Park]," "Represent"); iI for the Notorious B.I.G.'s debut, Ready to Die ("Unbelievable," an unreleased remix of "Machine Gun Funk"); fin for the self-titled debut of Branford Marsalis' Buckshot LeFonque project; the integrality of Jeru the Damaja's debut, The Sun Rises in the East; and besides a handful of remixes for versatile artists. Amid all of this activity, Guru and Premier set up clock time to record their fourth album, Hard to Earn (1994), which was more than hardcore-fashioned -- as was the panache at the time, in the wake up of Death Row's rising -- than yesteryear Gang Starr albums and, likewise different past efforts, featured guest rappers. The track record album spawned the duo's biggest strike to date, "People Appeal," their number one to break the Billboard Hot hundred singles chart (peaking at number 67).


Following Hard to Earn, Guru and Premier resumed their solo activity. Guru released Jazzmatazz, Vol. 2: The New Reality (1995) and a various-artists digest, Guru Presents Ill Kid Records (1995), piece Premier produced the bulk of Livin' Proof (1995), the debut of Gang Starr affiliates Group Home (a twosome comprised of Lil' Dap and Melachi the Nutcracker, wHO both had been featured on Hard to Earn). Also in 1995, Premier produced terzetto tracks on KRS-One, the rapper's second solo album; and iI tracks on Hold It Down, the one-third album by Das EFX; as well as miscellaneous remixes and one-off productions. While Guru remained more or less nonoperational during 1996-1997, cathartic no solo albums, Premier stayed busy, producing the entirety of Jeru the Damaja's second album, Wrath of the Math (1996); basketball team tracks on Bahamadia's debut, Kollage (1996); six on M.O.P.'s second album, Fire Squad (1996); trey on Jay-Z's debut, Fairish Doubt (1996) ("D'evils," "Friend or Foe," "Add It On"); one on Nas' second album, It Was Written (1996) ("I Gave You Power"); deuce on Jay-Z's second album, In My Lifetime, Vol. 1 (1997) ("A Million & One Questions," "Friend or Foe '98"); deuce on the Notorious B.I.G.'s second album, Spirit After Death (1997) ("Kick in the Door," "Ten-spot Crack Commandments"); four-spot on O.C.'s second album, Jewelz (1997); iI on Rakim's solo debut, The eighteenth Letter (1997); two on the Lady of Rage's debut, Necessary Roughness (1997); and more.


In 1998, after foursome days 'tween albums, Gang Starr returned with Bit of Truth, their number one album to chart number unmatchable (on the R&B/Hip-Hop album chart, that is; it peaked at number six overall, still their c. H. Best display commercially to date). Consequence of Truth was a significant deviation from past times Gang Starr efforts, selfsame much contemporary in style; for example, the album features numerous guests (Inspectah Deck, Scarface, G. Dep, K-Ci & JoJo, M.O.P.) and eager little trace of the duo's jazz-rap beginnings. The lead individual, "You Know My Steez," became the second Gang Starr strike to break into the Billboard Hot one C chart (peaking at telephone number 76). A double-disc retrospective, Full Clip: A Decade of Gang Starr (1999), after marked the duo's ten-year anniversary. In the age that followed, Guru and Premier continued to direction on their have work. Guru continued his Jazzmatazz series, beginning with a third base volume, Streetsoul, in 2000; he also released solo rap albums, root with Baldhead RPLC338% & da Click (2001). Premier continued his product activity, working with superstars such as Jay-Z, Nas, and Common, as well as underground rappers such as Royce da 5'9, Termanology, and NYG'z; he even dabbled in mainstream pop, nearly notably working extensively with Christina Aguilera on her double-disc album Second to Basics (2006). As for Gang Starr, Guru and Premier did reunify for The Ownerz (2003), a historied return to grade, but the reunion proved short-lived, departure back-catalog collections such as Mass Appeal: The Best of Gang Starr (2006) to fill the void.





Amy Poehler's 'Baby Mama' Drama

Freundeskreis

   
Artist: Freundeskreis

   Genre(s): 
Rap: Hip-Hop
   

---

Discography:


   
 Fk 10

   Year: 2007   
Tracks: 16

---

Comprised of MC Max Herre and producers Don Philippe and DJ Friction, the Stuttgart-based Freundeskreis (which translates to "Circle of Friends") released their full-length debut, Quadratur dES Kreises in 1997. Their politically and socially charged lyrics, along with their ebullient unrecorded picture (which oftentimes featured a striation alongside the DJs), south Korean won them instant fans. In 1999 Freundeskreis followed up with Esperanto, an record album that featured multilingual rapping. Soon after, the members of the group began to focus on item-by-item side projects, but in 2007 they regrouped in order to perform at festivals that summer, and as well in purity of being in concert for a decade, a feat that was besides famed by their tag, Four Music, wHO released a retrospective later that year.

Editors: 'Supporting R.E.M Is A Dream Come True'

Editors frontman Tom Smith has described being invited to support R.E.M as a dream come true.



The band are due to support the American band at a number of separate tour and festival dates this summer.



Speaking to BBC 6Music, Smith said that the group were “on my wall growing up”.



“We met Peter Buck. He came to see us in Seattle a while ago. Lovely guy. He brought his kids,” Smith explained.



“It was at an in-store we were doing at a cool kind of record shop called Easy Street Records and his children can’t get into normal shows in America.



“So he came down to the in-store because they can come and see rock music – and he was lovely.



“Everyone I know that has met them and been part of their kind of camp and been on tour with them, has said they are all lovely.”



You can purchase tickets fro R.E.M and Editors tour dates by clicking here.



Alternatively, you can call our ticket hotline on 0871 230 1098 for more details.

Check out our latest pictures of both bands below...

Buy Editors tickets


See Also

• Malevolent Creation
• Father Ted - Father Ted Star Given All Clear
• Brian Wilson back at Capitol for next album
• Marilyn Manson’s Absinthe ‘Kills’

Keith Urban 'Very Excited' About Impending Birth

Keith Urban has admitted he’s “very excited” about the impending birth of his first child with Nicole Kidman.
The country music star says the reality of becoming a father hit him after the happy couple learned the baby’s gender - but isn’t prepared to share the happy news with us just yet.
He tells People.com, “I'm not saying! I'm glad we found out though, because it brought it home, you know what I'm saying. I'm very excited about it.”
Pictures today of the couple shopping for baby books near their Nashville home confirm Urban's comments.
An eyewitness tells the Mail On Sunday, "They looked so happy and so cute together. They were both pointing at the books and sharing a laugh about what they were doing.
"You can tell they are thrilled at being pregnant and loving every minute of it."

Miten+Premal

   
Artist: Miten+Premal

   Genre(s): 
Other
   

---

Discography:


   
 Songs For The Inner Lover

   Year:    
Tracks: 9

---

 





Canned Heat

Obituary: Wilfrid Mellers

When Wilfrid Mellers, who has died aged 94, wrote late in life that Percy Grainger's music reminds us that "the Happy Tribes of Folk sang and danced that they might have life more abundantly," he might have been supplying his own epitaph: An Abundant Life. As small in build as Grainger himself, he "sang and danced" his way through an enviably packed life: a charismatic teacher and communicator; the author of some 20 books of music commentary and analysis and a huge number of articles and reviews; and an ardent composer. With his death the world of music has lost what a colleague called one of its most exciting and exuberant personalities.

Mellers used to find it hard to explain where his evident talents came from. Apparently not from his parents who, although intelligent and perceptive, were not particularly interested in music or literature. His father, who was gassed during the first world war and then became a teacher, was dedicated to silence and his pipe. But with his remarkable and romantic mother, Mellers had "a very close and meaningful relationship" and he was her only child. Nonetheless, his parents would have found it hard to believe that one day their son would be appointed an OBE (1982) and an honorary DPhil by City University (1981).

Born in Leamington, Warwickshire, Mellers was educated at Leamington college, from where he won a scholarship to read English at Downing College, Cambridge, and study with FR Leavis. He duly took a first and felt liberated intellectually; a genuinely creative person, he began drawing and painting. He wrote reams of poetry and, above all, he composed music. Moreover, he formed a friendship with the Leavises and lived in their family for three years while studying for a further degree, in music.

During this period, he began contributing to the Leavises' journal Scrutiny - he joined the editorial board in 1942 - producing articles notable for their range, from medieval European to contemporary American music, and for the enthusiasm with which he would come up, each quarter, with yet another new composer. He championed Mahler, for example, long before he became generally recognised. Indeed, a charismatic enthusiasm was the quality that his students remembered years later when describing his teaching. Mercurial, gnome-like, perched cross-legged on a table or even on the grand piano, his lectures were a flow of seeming improvisation, punctuated by screams of delight at the sheer sound of the music.

In 1945 Mellers was appointed to teach English and music at Downing College; and in 1949, after a precarious but romantic year composing incidental music for provincial theatres in the midlands, he settled down at Birmingham University as extra-mural tutor in music. At this time, he was awarded a Birmingham doctorate of music for his thesis on François Couperin, which subsequently became a book. In 1960-62 he moved to the University of Pittsburgh as Andrew Mellon visiting professor of music, a very significant experience out of which came what some consider to be his undoubted masterpiece, Music in a New Found Land, a pioneering study of American 20th-century music.

This half of Mellers' life culminated triumphantly at the new University of York, where, in 1964, he accepted an appointment to teach in the English department and to encourage music; very quickly, however, he converted the post into a full professorship of music and set up a quite distinctive school. He had a talent for finding outstanding staff, all composers, and their students were required to create music as a living art. For Mellers, the classics - Bach and Beethoven, above all - and in the last century Debussy and Stravinsky, were a "living art", along with folk music and jazz.

In this centre of creative activity he communicated in his exuberant way a sense of musical and cultural liberation. Rising habitually at 5.30am, he would sit each day for a few hours at his typewriter, translating his lectures into books. In the process there was both gain and loss, for while one misses his effervescent performance, one gains a much fuller treatment of the historical and social setting of the work under discussion.

In his major studies, Bach and the Dance of God (1981) and Beethoven and the Voice of God (1983), Mellers sought "to relate the musical events to their physiological and psychological consequences", for these two composers "never doubted that their music had 'meanings' discussible in terms simultaneously musical, theological and philosophical". He would even venture further, into terms mythical, metaphysical, and at times indulgently fanciful (eg "the holy trumpets of Tibetan priests are gigantic versions of amorously phallic flutes"). Moreover, though an avowedly secular person, Mellers would often, when discussing religious music, write as if he shared the composer's Christian commitment.

Mellers felt that, while his study François Couperin and the French Classical Tradition (1950) was his scholarly claim to fame, his books on Bach and Beethoven were at the heart of his achievement as a writer. However, in virtually all his books, as in the structure of his academic courses, his method was to concentrate on a comparatively few key examples; a critical method which was characteristic of Leavis and his Scrutiny associates. In the lecture hall, Mellers carried all before him, because his musical analyses arose directly out of the musical examples he played on cassette or with apoplectic gusto on the piano. But many of his readers were unlikely to be able to translate written quotations into sound, let alone arm themselves, as he seemed to expect, with full scores. And so he would have recourse to a florid adjectival prose to help convey the feeling of the music: for instance, "the gradual release of those passion-laden sobs in an ecstatic metamorphosis of (chromatic) harmonious Experience into (pentatonic) melodic Innocence, as the wordless chorus wings us to the peopleless peaks" - this apropos Delius's A Song of the High Hills.

Thus for most readers the strength and originality of Mellers' innumerable books, be they on Couperin and the great polyphonists or contemporary American composers and Grainger, lay in his exploration of the links between a great variety of music and European history and civilisation.

Significantly, his first book, written while still a student, was Music and Society (1946); and one of his last was on Vaughan Williams and the Vision of Albion (1989). Mellers evidently felt a close affinity with Vaughan Williams, and admitted that this book had a strong autobiographical element, "since it is a rediscovery of my own roots and a tribute to 'the Mind of England' ".

For so exuberant a person, whose mission was to communicate joy in and through music, Mellers could now and then be unexpectedly sombre. He wondered, when in his sprightly 70s, if any of his books would still be in print on the day his obituary appeared (in fact, at least two have been reprinted). Most of all he wished that he had composed more, and that more of his music had been heard outside York.

Though Rose of May was commissioned in 1964 for the Cheltenham festival and Yeibichai, scored for large forces - including coloratura soprano, improvising scat singer, and jazz group - for the 1969 Proms, he felt, sadly, that he had not become a significant composer. Yet a close friend and critic once remarked that if he had not been a composer he would not have been the creative figure he was. Mellers, at any rate, believed that once every seven years, "I write a piece that is a real piece," and that invariably it turns out to be based in the Garden of Eden, a theme about innocence and childhood with which he was obsessed.

In fact, he was still writing into his late 80s, publishing his two last books, Singing in the Wilderness (2001) about music and ecology in the 20th century, and Celestial Music? Some Masterpieces of European Religious Music (2002). The 2004 York Late Music Festival opened with a weekend tribute to Mellers, and that October a 90th birthday tribute concert was held in his honour at Downing College, where he was by now an honorary fellow, featuring music by Mellers himself as well as new pieces written for the occasion by Stephen Dodgson, David Matthews and Howard Skempton, among others. During the celebrations, he gave a spirited lecture on Shakespeare and music entitled Fear No More.

Mellers was married three times: first to Vera; then to Peggy, with whom he had two daughters, Caroline and Judy, and a granddaughter Helen; and in, 1987, to Robin, who already had five children. He also had a third daughter, Sarah, by a previous relationship.

· Wilfrid Howard Mellers, composer, critic and teacher, born April 26 1914; died May 17 2008

Ivan Hewett writes: As he got older, the inimitable Mellers tone of voice as revealed in the books became ever more richly distinctive. It was a compound of formidable learning, an exuberantly metaphorical turn of phrase, and an evangelical fervour that revealed itself in hymn-like cadences (as in his Musical Times review of Roger Scruton's Aesthetics of Music, 1997, which ends "a beacon to our bleakness, its value should endure").

The combination recalls Gerard Manley Hopkins, and Mellers does sometimes sound like him (in his collection of essays Between Old Worlds and New, 1997, he describes Brahms as having had a stranglehold on "our native woodnotes wild", ie English music). In the effort to plumb the heights and depths of his subject, Mellers does sometimes ride roughshod over the detail; but at his best, he can persuade us that a shrewdly observed detail really does glow with the, at first, sight implausibly deep import he discerns there.

For example, most writers describe the descending chains of thirds in Brahms's B flat minor Intermezzo for piano in terms of nostalgia and regret. Mellers has quite a different take on this piece: "In the suspended polytonality the interlaced thirds create, it is as though human dust were dissolving into air and rain; Brahms's pantheism is as natural as it is beautiful". Like Leavis, Mellers wanted to praise and celebrate the "felt life" in art, and he abhorred anything that smacked of narrowness, system, or cant.

He dismissed academically fashionable systems of musical analysis for their "pre-ordained" insights, and once castigated the head of new music at the BBC, Hans Keller, for his narrowness.

But despite his enthusiasm for the blues, the Beatles and fringe figures like Grainger, Mellers always insisted that Bach and Beethoven were for him the greatest composers. Beethoven's superiority to Wagner was, for Mellers, a matter of moral and spiritual value; the idea of a purely musical judgment would have been a nonsense to him. "Beethoven did not command us to submit to his wilful will-lessness in order to be saved; he created artefacts which, if we have ears to hear, afford redemption. The difference, if subtle, is sublime."

· Boris Ford's contribution to this notice has been revised since his death in 1998


See Also

• Britney’s holiday with Mel Gibson (+pics)
• Britney takes Costa Rica holiday with Mel Gibson (+photos)
• Justin Timberlake To Wed Jessica Biel?

Morgan

   
Artist: Morgan

   Genre(s): 
Other
   

---

Discography:


   
 Da A ad A

   Year: 2007   
Tracks: 11


   
 Canzoni Dell Appartamento

   Year: 2003   
Tracks: 12

---

Named after keyboardist Morgan Fisher, Morgan was formed in the early '70s by trey musicians wHO had played in the late-'60s British pop grouping Love Affair: Fisher, drummer Maurice Bacon, and bassist Bob Sapsed. Singer Tim Staffell, wHO would assign lyrics to Fisher's euphony, united from Smile, the pre-Queen turnout of Brian May and Roger Taylor. Ex-King Crimsonite Ian McDonald fifty-fifty jammed with them while they were auditioning for their fourth phallus, although as it sour out he didn't unite up. Playing electronic keyboard-drenched progressive rock, they issued only one album, Nova Solis, in their lifespan. A bit record, initially titled Brown Out, was recorded in 1973, and is an eccentric mix of half-crazed, hysterical-toned synthesizer solos; rambling high operatic vocals; pretentious pseudo-classical keyboard art rock a la Emerson, Lake and Palmer; and arty, experimental birdcall structures in the mold of more serious artistes like King Crimson. The Robert Brown Out album was non released after it was recorded, in section because the banding pissed off RCA executives by spreading their cheeks--the ones on their backsides, non the ones on their faces--at the photograph shoot for the album cover. Fisher joined Mott the Hoople within a few months of the band's 1973 breakup, and soldiered on with them as they mutated into Mott and then the British Lions. The Robert Brown Out album was released in the US by Passport in 1977, and then on CD under the deed of conveyance The Sleeper Wakes by Angel Air in 1999.

The best films on the box: May 27 - June 2

Film and television critic Philip Wakefield assesses the best movies on offer on the box this week, for Tuesday, May 27 to Monday, June 2.

A Place To Bury Strangers produce record-melting rock

Ever since we were little, our mums have been scolding us to turn the volume down, or we'll damage our hearing.

The mothers of A Place To Bury Strangers (APTBS) need to give their sons a ring. Not because these Brooklyn boys have turned their iPods up too high (they have, no doubt), but because their band's psych-rock is so loud - so deafeningly overdriven - that "red noise levels" on their new single's master tapes caused the pressing plant to malfunction, according to a band spokesman.

APTBS have a reputation for being one of the loudest bands in New York, due in part to the technical wizardry of guitarist Oliver Ackermann. Ackermann founded the effects pedal company Death By Audio, whose equipment has been sold to outfits including U2, Wilco and Nine Inch Nails. Few people have dedicated so much of their lives to volume, feedback, and the optimisation thereof.

The release of the 10" of To Fix The Gash In Your Head/Ocean has been postponed until May 12, although there are download versions available now. If you're planning to catch A Place To Bury Strangers at one of their UK gigs, we suggest you bring ear-plugs. Do it for your mum's sake.

Upcoming tour-dates:

Tonight - London, England (Barfly)

May 08 - London, England (The Legion)

May 09 - London, England (Koko)

May 11 - Camber Sands, England (ATP vs Pitchfork Festival)

May 12 - London, England (The Social)

May 13 - London, England (Madame Jo Jo's)

May 15 - Hull, England (The Welly)

May 16 - Brighton, England (Great Escape Festival)

May 17 - Leeds, England (Nastyfest - the Faversham)

May 19 - Glasgow, Scotland (The Captain's Rest)

May 20 - Nottingham, England (The Bodega)

May 21 - Birmingham, England (Jug of Ale)

May 22 - Luton, England (Sub Club)



See Also

• Suri Cruise’s Baby Bottle Backlash
• Another Step Forward For Britney Spears
• Sex and the City Movie Director Addresses Fan Fears

Rihanna enjoys second week at No.1

Rihanna has maintained her hold on the UK singles chart, scoring a second week at number one with 'Take A Bow'.

The Ting Tings stick at two with 'That's Not My Name', itself a former chart-topper, while Duffy's 'Warwick Avenue' makes an impressive leap from seven to three.

The only new track in the top ten comes from Ne-Yo, who climbs from 12 to seven with 'Closer'.

Elsewhere, Gabriella Cilmi's remarkable chart run continues, with 'Sweet About Me' reaching a new peak of 14 after more than three months on the countdown.

Danish six-piece Alphabeat also make a notable gain, rising from 23 to 16 with latest single '10,000' Nights'.

The top ten UK singles in full (click for our reviews):

1 (1) Rihanna: 'Take A Bow'
2. (2) Ting Tings: 'That's Not My Name'
3. (7) Duffy: 'Warwick Avenue'
4. (3) Madonna ft. Justin Timberlake: '4 Minutes'
5. (4) Will.i.am ft. Cheryl Cole: 'Heartbreaker'
6. (5) Sam Sparro: 'Black and Gold'
7. (12) Ne-Yo: 'Closer'
8. (8) Usher ft. Young Jeezy: 'Love In This Club'
9. (9) September: 'Cry For You'
10. (6) Wiley: 'Wearing My Rolex'

> Who's number one on the albums chart? Click here to find out!



See Also

• Voice In The Wire
• Kro
• Busta Rhymes - Busta Rhymes Addresses Murder Of Ex-bodyguard
• Joaquin Phoenix - Stomach Flu Keeps Phoenix From Cannes

Diamanda Galas and John Paul Jon

   
Artist: Diamanda Galas and John Paul Jon

   Genre(s): 
Industrial
   

---

Discography:


   
 The Sporting Life

   Year: 1994   
Tracks: 10

---

 

Edith Bowman reveals pregnancy danger

Pregnant DJ Edith Bowman has revealed that giving birth could put her life at risk, because she is suffering from a serious heart defect.
The 33-year-old star, who is five months pregnant with her first baby, told the Evening Standard that she has a bicuspid aortic valve, which increases her chances of dying in childbirth.
The DJ said that she will require a Caesarean section and that doctors must monitor her closely throughout her pregnancy.
Bowman said: "We get to find out the baby's sex later this month but I'm like, 'there are really more important things to worry about right now than the colour of baby clothes'."
"Basically I need these extra scans early in the pregnancy and I'll have to have a Caesarean because no-one - including my heart specialist - sees the point in putting my heart through unnecessary stress."
Bowman was diagnosed with the condition in summer 2004 after suffering palpitations and tiredness while working at the Glastonbury Festival.
She said: "It was shocking, obviously. But once you get your head around it, you realise there's nothing you can do except try and get on with life."
"I was told that the greatest risk is deterioration and that I may need a valve transplant later on, which is scary. But for now, it seems fine."