Bass guitar – Deimel http://deimel.biz/ Sat, 25 Sep 2021 07:28:41 +0000 en-US hourly 1 https://wordpress.org/?v=5.8 https://deimel.biz/wp-content/uploads/2021/06/cropped-icon-32x32.png Bass guitar – Deimel http://deimel.biz/ 32 32 Foo Fighters welcomes Nandi Bushell on stage https://deimel.biz/foo-fighters-welcomes-nandi-bushell-on-stage/ https://deimel.biz/foo-fighters-welcomes-nandi-bushell-on-stage/#respond Sat, 25 Sep 2021 07:14:35 +0000 https://deimel.biz/foo-fighters-welcomes-nandi-bushell-on-stage/ Self-taught musician David Grohl, frontman of Foo Fighters, dropped out of school at age 17 to tour with punk band Scream, later becoming Nirvana’s fifth drummer. After the death of frontman Kurt Cobain in 1994, Grohl returned to writing music to form his own band. At first it was basically a one-person band, playing every […]]]>

Self-taught musician David Grohl, frontman of Foo Fighters, dropped out of school at age 17 to tour with punk band Scream, later becoming Nirvana’s fifth drummer. After the death of frontman Kurt Cobain in 1994, Grohl returned to writing music to form his own band. At first it was basically a one-person band, playing every recorded song himself. Then he had cassettes made and started distributing them to people. “… I called it Foo Fighters because I wanted people to think it was a band,” he told CBS Sunday Morning.

His idea worked. Today, Foo Fighters is one of the hottest bands in America. But Grohl, who IMDb calls “the nicest guy in music,” wants people to think of him as a normal person. He is known for his broad smile, friendly demeanor and attention to fans. So when he heard that a ten-year-old drummer had a challenge for him, he couldn’t refuse.

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New finds Friday – The Post https://deimel.biz/new-finds-friday-the-post/ https://deimel.biz/new-finds-friday-the-post/#respond Fri, 24 Sep 2021 17:01:00 +0000 https://deimel.biz/new-finds-friday-the-post/ We’re almost halfway through the fall semester, Bobcats. With the full return of classes and mid-sessions around the corner, we could all use some new music to help us get through the week. Fortunately, we’ve found some tunes to keep students motivated through those long days and long nights. While everyone has their favorite genre […]]]>

We’re almost halfway through the fall semester, Bobcats. With the full return of classes and mid-sessions around the corner, we could all use some new music to help us get through the week. Fortunately, we’ve found some tunes to keep students motivated through those long days and long nights.

While everyone has their favorite genre of music, we’ve created a playlist that will appeal to any mood or preference. Below are some new songs that are perfect for walking to class, working out at the gym, sitting in your dorm, or pulling out those last minute papers. Here are 7 new songs to get you through the week:

Mac Miller’s “Colors and Shapes”

September 7 was the third anniversary of the loss of the lyrical genius, Mac Miller. His new song “Colors and Shapes”, released posthumously, invites us to reflect on the perception of life. The track opens with an excerpt from Timothy Leary, a famous psychologist and strong advocate for the use of psychedelic drugs like LSD.

Miller raps about letting down, while being open to different points of view, to question who you are and your purpose on earth; not only accept your own point of view, but be open to other shapes and colors.

“Under the sun” by Cuco

Singer-songwriter Cuco is back with his new single “Under the Sun”. This track comes with psychedelic guitar riffs with Tame-Impala tones and a traditional indie drum beat. It takes a turn on the transition to something completely different with Latin percussion. The Spanish lyrics of the song – “Mi amigo es un fantasma / Y creo que se perdió / Porque el nunca hace falta y nunca me escribió / Y no se por que lloraba / No se que se le rompio / Se agacha con su guitarra / Lo dice con su canción ”- loosely translates to a friend being a ghost, getting lost, only crouching with his guitar while singing his song. Then the track reverts to a new guitar solo, doing” Under the Sun “a creative combination of incredible indie rock and Latin grooves.

“I feel it” by Jon Bellion

If you listen carefully, this intro looks suspiciously like “Tumblr Girls” by G-Eazy. Although it is a completely opposite composition, this track has a delectable bass groove with a melancholy synth that can be associated with a lingering sadness or severe anxiety that we feel in everyday life. It returns with an upbeat drum pattern and bass outputs. This is definitely a song to listen to when you are depressed to remind yourself that you are not alone, as Jon Bellion reminds you of “I Feel It”.

“Empty Days” by Tomorrow Daily

Getting out of the Columbus and Athens metro is Tomorrow Daily. Lead singer Avery Waffen and her brother, guitarist Jake Waffen, and their friends bring a refreshing unique take on bands like the Strokes and Peach Pit with tight grooves, creative energy and tasty bass riffs. “Empty Days” is no exception with its psychedelic chords and thoughtful lyrics, it’s a perfect song for your morning rotation.

Fire in your house ”by WALK THE MOON

Hailing from Cincinnati, OH, WALK THE MOON is a big deal for many Cincinnatians. Returning from a two-year hiatus, WALK THE MOON comes with a tasty bass groove and familiar synth arpeggios. “Fire In Your House” was produced by Johnny Clegg, a South African producer whose music intertwined with African and Western styles brings an interesting twist to Bloom, which was also produced by fellow South African, Troye Sivan.

“Midnight Abduction” by Anabel Englund

Midnight Rapture is a DJ’s dream track. It’s a perfect combination of bass and groove with the beat of classic house drums along with your modern classic arpeggios that you can find in many modern music released these days. However, Anabel Englund adding her trance-inducing voice will have you dancing for hours at a house party on Mill Street or can serve as the perfect transition for your DJs.

The ad “by G-Eazy

“These Things Happen Too” is finally almost here, 7 years after the original “These Things Happen”, G-Eazy has changed so much lyrically over the past few years. We had several absolute hits from her like “Tumblr Girls”, “Calm Down” and “Me, Myself and I”, which show off the party side of G-Eazy. This new album, based on the released singles, shows the other half that emerges once the party is over. The post-party blackout hints at the album’s title, “Thes Things Happen Too,” exploring what happens when the party has to end.

@destroyertroyer

wt005221@ohio.edu

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Up Above the City, Down Beneath the Stars review – post-punk colossus pours his guts out in raw style https://deimel.biz/up-above-the-city-down-beneath-the-stars-review-post-punk-colossus-pours-his-guts-out-in-raw-style/ https://deimel.biz/up-above-the-city-down-beneath-the-stars-review-post-punk-colossus-pours-his-guts-out-in-raw-style/#respond Thu, 23 Sep 2021 23:28:09 +0000 https://deimel.biz/up-above-the-city-down-beneath-the-stars-review-post-punk-colossus-pours-his-guts-out-in-raw-style/ Here, Adamson rose to prominence with his bass guitar in stage titans such as Magazine, the birthday party, and the original incarnation of Nick Cave and the Bad Seeds. However, he also fell victim to heroin addiction – an illness that plagued him for ten years. Above the city, under the stars is Adamson’s autobiography […]]]>

Here, Adamson rose to prominence with his bass guitar in stage titans such as Magazine, the birthday party, and the original incarnation of Nick Cave and the Bad Seeds. However, he also fell victim to heroin addiction – an illness that plagued him for ten years.

Above the city, under the stars is Adamson’s autobiography of his childhood in a mixed family on Manchester’s Moss Side and Hulme, of his membership in Howard Devoto’s group Magazine, apparently weeks after buying a bass guitar for the first time and with no real musical training, helping Nick Cave put down his primitive gothic punk blues and drug addiction, before finally cleaning up.

It’s a story that can be divided into two clear parts: his childhood in the 60s and 70s in Manchester – which is presented in a literary equivalent of a series of short newsreels in white – discovering punk rock and its subsequent musical career – which heralds a whole different dayglo style of writing. The first half of the book requires some persistence with its short stories involving friends from school, older sister, and obviously loving parents. He was born with dislocated arms and legs, due to a medical condition called dyschondroplasia and maybe it was due to this or because he really is the baby of the family, being nine years younger than his. only brother, but throughout his childhood, things just happen to him with little valuable explanation, and he has to figure them out afterwards.

One day, his parents and sisters take him on an unexpected trip to the hospital, where he eventually wakes up in a full cast, as part of treatment to correct his damaged legs. Later, he comes home from school and finds his father being yelled at and slapped by both his mother and sister, apparently due to a sexual misstep with a companion’s wife. Young Barry rarely sees things coming and while reflecting on these events, Old Barry rarely puts them into a cohesive narrative, but leaves them hanging. Likewise, on a family day trip to a damp Morcombe, the Adamsons find themselves in a movie theater, watching The golden finger. The “little life of seven-year-old Barry is forever changed,” but what if the reader did not know that the theme song was eventually taken over by Magazine or that Adamson’s subsequent solo career would be significantly influenced by the musical style of John Barry, it would be hard to know why.

Once teenage Barry discovered punk rock, however, the writing style changed significantly, as Adamson exhibited his musical successes and personal misadventures under a bright spotlight. He bought the Buzzcocks Spiral Scratch record from Paul Morley at a Stockport record store. His buddy Dave Hughes gives him a bass and in no time he joins one of the flagship groups of the post-punk scene, just as it is being formed. Soon the rock’n’roll lifestyle beckons and he drops the amphetamine pills, jumping between recording studios and tours and between the sheets with plenty of women, including the singer’s girlfriend from the album. ‘era.

He is introduced to heroin and soon his behavior changes from that of a naughty young boy to a selfish monster. He becomes a father and marries his girlfriend, all in between regular disappearances to mark and shoot, before the mother and baby flee to his parents in Australia. He falls with Nick Cave and briefly reflects on the Jamaican part of his legacy, which has been largely ignored until now, then he is interrupted by the deaths of his sister, mother and father, who quickly follow each other in the during his late 20s. It’s not quite enough to persuade him to put down the needle, but begins the process and after much more drama, Barry finally accepts that it’s time to be wise. .

At this point, the book comes to a rather abrupt halt, as Adamson embarks on a new career as a respected solo artist and film music composer, but there is little thought, or clues to. an ongoing relationship with his daughter, Christina. Maybe this cliff-hanger is a set-up for a second book, but even more so than with Above the city, under the stars, it is unlikely to attract readers who do not already know huge parts of history.

  • Barry Adamson: Above the City, Under the Stars (Omnibus Press, £ 20)
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CESAREO GARASA: Samantha Fish brings ‘good old rock’ n ‘roll’ to world records | Music https://deimel.biz/cesareo-garasa-samantha-fish-brings-good-old-rock-n-roll-to-world-records-music/ https://deimel.biz/cesareo-garasa-samantha-fish-brings-good-old-rock-n-roll-to-world-records-music/#respond Wed, 22 Sep 2021 17:26:00 +0000 https://deimel.biz/cesareo-garasa-samantha-fish-brings-good-old-rock-n-roll-to-world-records-music/ Samantha Fish is a world class talent. A 32-year-old award winner with impeccable guitar sound and a knack for writing unique and catchy melodies. She is skillful, talented, magnetic, sensual and is gaining momentum thanks to her latest album “Faster” (released September 10). Thereupon, Fish broadened his genre sound with aplomb. She will perform at […]]]>

Samantha Fish is a world class talent. A 32-year-old award winner with impeccable guitar sound and a knack for writing unique and catchy melodies.

She is skillful, talented, magnetic, sensual and is gaining momentum thanks to her latest album “Faster” (released September 10). Thereupon, Fish broadened his genre sound with aplomb. She will perform at World Records on October 2 as part of Series 103 of their nearly endless “No Stinkin ‘Service Charge Blues” series.

“I want to perform these songs in a way that does them justice because I feel like they’re so big,” Fish said in a phone interview from Nashville, Tenn., Where she and her quartet were rehearsing to competently capture the album’s wide range of sonic palette.

“They are larger than life. They ring huge on the record so it’s a challenge to do it with only four people when, if you listen to the record, there are subtle layers and not so subtle ones. I want to be successful in a good old school rock and roll band. “

“Faster” was produced by Martin Kierszenbaum, who wrote and produced Lady Gaga’s 2008 debut album, “The Fame”, and produced Sting’s 2016 album “57th & 9th”.

“Martin had a really good idea of ​​how we wanted to perform these songs,” Fish said. “The preproduction of this record was really effective. We traced it so that the skeleton was already there.”

The album is both an evolution and a transition for Fish whose musical foundation growing up in Kansas City, Missouri, was as much blues as radio rock riff, acoustic bluegrass, and country (including steamy driving songs by truck), obscure influences like Madeleine Peyroux, Dan Hicks and His Hot Licks, John Hiatt and Lyle Lovett, college alternative rock and even an uncle who “looked like Zakk Wylde” and shredded on the guitar. Screams of heavy metals and everything.

Fish’s family is musical, and her sister, Amanda, is also a full-fledged successful musician, whose 2018 album “Free” debuted at No. 6 on the Billboard Blues Artist Chart.

“Faster” is packed with generous use of synths, which Fish began exploring on his 2019 album “Kill or Be Kind”, electronic drums (especially on the song “Hypnotic”) and even ventures into the rap on the song “Loud”, which features Tech N9ne playing to a particularly inspired verse.

“We blackmailed him, man!” said Poisson. “Synthesizers and rock’n’roll music are nothing new. We’ve been doing it since the late 1970s, right? I think it’s a fun challenge to mix the old and the new one, to intersect genres, and I think that’s just as important for gender growth. “

Under, and with, all this ear candy beats the album’s sometimes broken heart. On the contemplative “All The Words”, the instrumentation is broken down into voice, organ, piano and guitar. A lone tambourine makes an appearance just when all that needs to be said has been said: goodbye, “for a caged bird never flies”.

My favorite track from the album, the growling and bouncy “So-Called Lover”, is reminiscent of TV on the Radio’s “Wolf Like Me” and Social Distortion’s “Don’t Drag Me Down”. Familiar territory for prolific session legend Josh Freese who played drums on the album with The Last Bandoleros’ Diego Naviara on bass.

They nail the groove here, expertly sustaining Fish’s weirdly angular, singing chorus. Freese and Naviara both worked with Kierszenbaum with Sting.

“Josh is a pro. He knows what the song is about,” Fish said. “The guy did this a few times, that’s all I’m saying. Diego killed him too. He came in and had such mastery of the songs and was very confident. I felt like I was in between good hands with them, honestly. I’ve been very lucky to have studio musicians in my career and working with Josh, Diego and Martin is a highlight for me for sure. “

“Twisted Ambition”, a call to reclaim your own personal power, is another star with its bass synths, impressive chorus and superb guitar solo. It seeps in with subliminal sounds buzzing just below the surface, giving it a really cool Nine Inch Nails vibe. It’s a clever detail reflecting the song’s themes about reversing power structures. That’s right. Nine inch nails. Fun fact: Drummer Freese also performed with Nine Inch Nails.

Fish is also adept at coming up with a solid turn of a phrase, like on the song “All Ice and No Whiskey” (ha!), Where Fish’s vocal melody takes on some delicious twists and returns a thick, funky groove.

But I believe the song on “Faster” that best sums up Fish’s almost supernatural ability to move in different directions with such imaginative ease is the track “Together Forever”. The intro and verses are dark and slightly distorted, the choruses soaring and pop. It’s a real dichotomy where minor threat and major optimism (or is it madness?) Fit together perfectly on an undeniably perky pace. On this poppy love song, “misery loves company”, indeed.

The mark of a good album, however, is when such an intriguing song ends and your interest is still engaged when the next song begins. “Faster” is how it is. Every song is a winner, every guitar solo a stunner, and to those who might say “Faster” could be a drastic change for Fish, I disagree. Each of her albums has been consciously conceptualized by her. “Faster” is the logical and welcome expansion of its sound. ZZ Top is still ZZ Top after all, it doesn’t matter if it’s “La Grange” or “Sharp Dressed Man”.

Samantha Fish is an engaging, honest and insightful artist and human. It is also enlightening, reminding that no matter what style of music, age or gender, or even whether a musician is on stage or on TikTok, music evolves through people. Especially those who have a keen sense of melody.

“The thing is, we have 12 notes to play with,” Fish said. “They’ve all been said before, but that’s the voice you say them with. It’s the setting, it’s the writing of the songs.”

“I love that the music never stops. I love that there is always something new. It will never stop evolving and I want to be there. I want to see it. ‘evolution while I’m still here on this planet. I want to see all the nuances of music. I don’t want to miss anything because I was closed-minded about it. “

Another fun fact, while talking about our respective hometowns, I shared some of Bakersfield’s music history with her – as well as our history of being the hitting line for the occasional entertainer joke. talk shows like Johnny Carson.

His answer ? “It builds character in people, so you probably have great people.”

As I said: enlightening.

Samantha Fish, with special guest Jonathon Long, 7:30 p.m. Oct. 2, World Records, 2815 F St. Tickets ($ 30) are available by calling 325-1982 or at World Records, open from 11 a.m. to 5 p.m. from Wednesday to Friday or 10 p.m. to 2 p.m. Saturday.

Contributing columnist Cesareo Garasa brings you The Lowdown on local music and entertainment every other Thursday.

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Twin Kennedy to perform at the Gaslight Theater on September 28 | News, Sports, Jobs https://deimel.biz/twin-kennedy-to-perform-at-the-gaslight-theater-on-september-28-news-sports-jobs/ https://deimel.biz/twin-kennedy-to-perform-at-the-gaslight-theater-on-september-28-news-sports-jobs/#respond Wed, 22 Sep 2021 05:02:32 +0000 https://deimel.biz/twin-kennedy-to-perform-at-the-gaslight-theater-on-september-28-news-sports-jobs/ Carli and Julie Kennedy will be performing at the Gaslight Theater in Sistersville on September 28 at 7 p.m. ET. ArtsLink presents Twin Kennedy, which will bring a combination of folk, jazz and Celtic musical genres to the Gaslight Theater in Sistersville on Tuesday, September 28 at 7 p.m. Their musical bond is as strong […]]]>

Carli and Julie Kennedy will be performing at the Gaslight Theater in Sistersville on September 28 at 7 p.m. ET.

ArtsLink presents Twin Kennedy, which will bring a combination of folk, jazz and Celtic musical genres to the Gaslight Theater in Sistersville on Tuesday, September 28 at 7 p.m. Their musical bond is as strong as their small town roots. Twin Kennedy, made up of the Canadian West Coast twin sisters Carli and Julie Kennedy, have been making music together ever since they learned to talk. Born and raised in the small town of Powell River, British Columbia, Twin Kennedy grew up perfecting his harmonies and dynamic live performances, while making his name known in his small community as a family band.

Growing up in a family steeped in music, it’s no wonder these sisters crafted their sound through a unique amalgamation of their background in country, folk, jazz and classical music. With years of classical training, including their BA in Music Performance from the University of Victoria, the sisters found their place in country music. With Carli on vocals, guitar and banjo and Julie on vocals, violin and bass guitar, these little powers will fill your soul with joy and warmth thanks to their harmonious harmonies and sincere writing.

ArtsLink Administrative Coordinator Donna Earley comments, “Marianne Hughes and I saw these very talented young women perform at a presenters conference in Lancaster, PA and they are phenomenal!

Those of you who got to see Twin Kennedy when they were here in 2018 know what a wonderful spectacle is ahead.

For ArtsLink members, tickets cost $ 10 for individuals and $ 20 for families; for non-members, $ 15 for individuals and $ 25 for families. Student admission is $ 5. For more information on tickets, please call the office at 304-455-2278 or visit our website at www.artslinkwv.org.

This residency is sponsored by Logan Hassig. Funding for this program was made possible through assistance from West Virginia Northern Community College, WETZ / WYMJ Radio, Ohio Valley Online, EQT Foundation and The Dominion Foundation. This program is presented with financial assistance from the West Virginia Division of Culture and History and the National Endowment for the Arts, with the approval of the WV Arts Commission. With additional support from the Harry E. and Olive T. Barth Charitable Trust, a Community Foundation for the Ohio Valley, Inc. ArtsLink fund is committed to providing universal accessibility wherever possible. People with special needs can contact us at 304-455-2278 for assistance.

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Bruce Keir, co-founder and CTO of Blackstar Amplification, dies at 60 https://deimel.biz/bruce-keir-co-founder-and-cto-of-blackstar-amplification-dies-at-60/ https://deimel.biz/bruce-keir-co-founder-and-cto-of-blackstar-amplification-dies-at-60/#respond Tue, 21 Sep 2021 16:44:41 +0000 https://deimel.biz/bruce-keir-co-founder-and-cto-of-blackstar-amplification-dies-at-60/ Bruce Keir – co-founder and CTO of Blackstar Amplification – has died at the age of 60, the company said in a Facebook post. Keir passed away peacefully with his family on Tuesday, September 14, after struggling for several years with early-stage Alzheimer’s disease. Born in Singapore in 1961, Keir’s father was a prominent BBC […]]]>

Bruce Keir – co-founder and CTO of Blackstar Amplification – has died at the age of 60, the company said in a Facebook post.

Keir passed away peacefully with his family on Tuesday, September 14, after struggling for several years with early-stage Alzheimer’s disease.

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DEATH OF A ROCKSTAR World’s first animated rock feature to premiere in New York https://deimel.biz/death-of-a-rockstar-worlds-first-animated-rock-feature-to-premiere-in-new-york/ https://deimel.biz/death-of-a-rockstar-worlds-first-animated-rock-feature-to-premiere-in-new-york/#respond Tue, 21 Sep 2021 04:00:48 +0000 https://deimel.biz/death-of-a-rockstar-worlds-first-animated-rock-feature-to-premiere-in-new-york/ Sure, Röckët Stähr’s Death of a Rockstar is not a movie for everyone, but it is truly awesome and will definitely join the greats of rock animation. Imagine Tommy meeting Yellow Submarine with a little Rocky Horror performed by some of Heavy Metal’s biggest bands. In the year 2164, when rock’n roll is banned, an […]]]>

Sure, Röckët Stähr’s Death of a Rockstar is not a movie for everyone, but it is truly awesome and will definitely join the greats of rock animation. Imagine Tommy meeting Yellow Submarine with a little Rocky Horror performed by some of Heavy Metal’s biggest bands.

In the year 2164, when rock’n roll is banned, an underground rebel group, led by a mad scientist, attempts to spark a nonviolent revolution by awakening the docile masses via a cloned rockstar sent on a guerrilla tour. to “rock n roll free them from tyranny”. But they soon discover that the best-laid plans of mice and men often go wrong.

See the New York premiere of Röckët Stähr’s animated feature The Death of a Rockstar on Friday, September 24 at 6:30 p.m. at Cinema Village (22 East 12th Street) as part of the 10th Annual Winter Film Awards International Film Festival in New York City . Tickets now on sale!

A devoted labor of love, the rock opera Death of a Rockstar is Röckët Stähr’s debut film and spanned just over thirteen years. As the filmmaker stated, there was no allocated budget, nor a pre-production process. Animation was her prime preference over her sister – claymation; as Stähr says, “this is fantastic!”

Musician, performer and songwriter, Stähr wanted a good filmmaker friend to write a story around a selection of his songs. But one day, while waiting for the metro to go to dinner with his wife, the story struck him like lightning! The metro came and he got on, and by the time Stähr met his wife, maybe twenty minutes later, he knew exactly which of the songs he already had would go perfectly with maybe 70% of the scenes. Stähr knew he would have to write new songs to fit the sections of the film, but he either had finished songs, or ideas, or other unfinished songs, which would work perfectly in almost any scene he had. on your mind. About 85% of what Stähr thought in the metro is what is in the final film. He changed a few key ideas and of course the movie fleshed out a lot more, but that basic story structure of what this movie would be like came to him just as quickly.

Stähr approached animation houses and freelance entertainers while he was still recording music. Initially he sent the original script and some demos of some songs. People responded well to the material, but were like “Sure we can do that, if you’ve got multi-million dollars!” By the time he finished recording the music, Stähr decided to try to illustrate a few scenes and draw characters to send to the investors. He bought the Toon Boom Animate software, now Toon Boom Harmony, to do some illustrations on his computer. To draw, he used a Cintiq monitor and his iPad as a second, smaller monitor that he connected to his Mac Pro computer using an app called Duet. In short, Röckët Stähr ended up animating the whole film on his own!

The first song from the movie Death of a Rockstar is actually about David Bowie’s last performance as Ziggy Stardust. Stähr came up with the idea after reading an old interview with him in the ’70s about why he had to “kill” Ziggy, so to speak, if he ever wanted to be free as an artist. And how, ironically, the character was originally a way for him to be free as an artist – hence the film’s lyrics, “a prison now what started as a way for him to be. free”. Stähr reused it for the opening scene of the film and hasn’t changed a word. Apart from that, he first wrote the structure of the film. He wrote how many scenes there would be – 26, then wrote which songs he already had that would work for each scene, which had ideas but had to end, and put a question mark where he needed to write. something from scratch.

Stähr wrote and recorded all the music in about five years; the animation lasted almost eight years. When animating, he largely ignored the script and chose to just animate freely. Röckët Stähr let the music and the atmosphere guide him every day with all the ideas that came to him at the moment. Stähr was just following where his mind was going and didn’t question it much apart from making sure he hit his points at the end of the scene. A few scenes stick quite closely to the script, including the opening one, but others, like the entire ending, are nothing like what he wrote in the script.

A fun way for Röckët to overcome a creative challenge during the animation phase was to trust his creativity to match two scenes. There was the scene where the character Ronnie Waye is on a cliff at the end of the song. In the scenario, she is on a beach by the water. Röcky Stähr is supposed to join her at the start of the next song. Stähr must have thought about how he was going to get the character from a beach to the top of a cliff in seconds. He thought to himself, “Well, this is animation, anything is possible, and the song is called Umbrella”, so Stähr made him remove umbrellas from his massive hair and the wind from the torrential rain. carried him to the cliff. !

Self-taught composer, Röckët Stähr has arranged all strings, horns and wind instruments played by real and excellent musicians. He has recorded at Threshold Studios and NY Hed, New York. Stähr played piano, bass, guitar and sang all parts except the Ronnie Waye part, which was sung by Abby Ahmad. He has also recorded drums and piano at Threshold Studios; the song Cinderella Suicide was recorded in NY Hed. All guitars, bass and vocals were recorded in his apartment directly into Protools.

Because the whole project took thirteen years from start to finish, during this period the home recording equipment got better. By the time Stähr finished the animation, he wanted to update his equipment and software and re-record all the guitars, bass, and vocals. The piano, strings, horns, winds did not need to be re-recorded as they were all performed in professional quality studios and sounded great, and Abby did not need to be re-recorded, her part was actually the last thing recorded. Stähr didn’t want to do all this re-recording – it took a long time and it was a bit of a nightmare, but he just knew it was the right thing to do, and he’s glad he did. He used Protools as a digital audio workstation, but for plugins (compressors, EQs, reverbs) Röckët mainly used Universal Audio plugins. The filmmaker finds them incredible for reproducing vintage material, which he loves; he always opts for a vintage or classic sound for his music. He used some Waves plugins. His monitors are Adam A7s.

Röckët Stähr’s biggest cost was time. Because he chose to work with top-notch instrumentalists, he had to save several months between studio sessions to be able to afford the next. There were engineers during the studio sessions, and the mastering engineer who mastered the final mixes of the music. It was pretty much the crew other than Stähr.

The biggest challenge for Stähr was learning to mix his film in a few months. Without formal training, the filmmaker worked in a considerably less than ideal space, his studio. The tracks were dense and he was struggling. The strings, horn and wind parts were played by a handful of musicians whose pieces he doubled several times to achieve a more orchestral sound. Röckët Stähr sang each part of these choir parts one by one. There are probably close to a hundred tracks on a lot of these songs. The filmmaker almost gave up – he couldn’t believe how difficult he was having. But to have twenty-six dense tracks professionally mixed, would cost him a fortune and couldn’t afford something like that. Stähr just pushed forward and understood. Then he works with Joe Lambert who masters his mixes.

Death of a Rockstar made its virtual festival debut at the Lake County Film Festival in November 2020, and has since also been seen at the Other Worlds Austin, Cinequest and Fantaspoa virtual film festivals, where the film made its international virtual debut at Brazil. Death of a Rockstar made its theatrical debut at the Anthem Film Festival on July 23, 2021 in South Dakota, and will premiere in New York at the Winter Film Awards International Film Festival in September 2021.

In the meantime, Röckët Stähr is working far! He always writes more. Stähr would love to do another rock opera, or even a rock opera miniseries or something like that. The songwriter and musician is open to collaborations. If you would like to team up and direct a live action film or an animated film, contact Röckët Stähr.

Visit https://winterfilmawards.com/wfa2021/ for tickets and information.

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ESP, Sheeran By Lowden and Gordon Smith are the latest additions to our Guitar Showcase 2021 event this week https://deimel.biz/esp-sheeran-by-lowden-and-gordon-smith-are-the-latest-additions-to-our-guitar-showcase-2021-event-this-week/ https://deimel.biz/esp-sheeran-by-lowden-and-gordon-smith-are-the-latest-additions-to-our-guitar-showcase-2021-event-this-week/#respond Mon, 20 Sep 2021 17:40:31 +0000 https://deimel.biz/esp-sheeran-by-lowden-and-gordon-smith-are-the-latest-additions-to-our-guitar-showcase-2021-event-this-week/ Our Guitar Showcase 2021 promises to be a must-see online event this Friday and Saturday September 24th and 25th. Featuring the latest gear from some of guitar’s biggest names, we’ll also have exclusive interviews with top signature players. (Image credit: Gordon Smith) ESP, Gordon Smith Guitars (with its new Gatsby offset) and Sheeran By Lowden […]]]>

Our Guitar Showcase 2021 promises to be a must-see online event this Friday and Saturday September 24th and 25th. Featuring the latest gear from some of guitar’s biggest names, we’ll also have exclusive interviews with top signature players.

Gordon smith

(Image credit: Gordon Smith)

ESP, Gordon Smith Guitars (with its new Gatsby offset) and Sheeran By Lowden are the latest brands announced for the online event. They join Fender, Gibson, Yamaha, Ibanez, Charvel, Jackson, IK Multimedia, Emerald Guitars, Auden and Laney. Get ready for the latest gear from these iconic names.

Sheeran by Lowden

(Image credit: Sheeran By Lowden)
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Review: KISS Worth More Than Heck As Iconic Band Rocks Gorge For Last Time https://deimel.biz/review-kiss-worth-more-than-heck-as-iconic-band-rocks-gorge-for-last-time/ https://deimel.biz/review-kiss-worth-more-than-heck-as-iconic-band-rocks-gorge-for-last-time/#respond Sun, 19 Sep 2021 23:29:31 +0000 https://deimel.biz/review-kiss-worth-more-than-heck-as-iconic-band-rocks-gorge-for-last-time/ If this is truly the end of the road for KISS, this is one of the most impressive swan songs in rock history. KISS no longer writes or records material, but the legendary band puts it all in their show. KISS’s final concert, according to singer-bassist Gene Simmons, at the Gorge on Saturday night will […]]]>

If this is truly the end of the road for KISS, this is one of the most impressive swan songs in rock history. KISS no longer writes or records material, but the legendary band puts it all in their show.

KISS’s final concert, according to singer-bassist Gene Simmons, at the Gorge on Saturday night will be one to remember for over 20,000 fans ranging from toddlers to those who have approached octogenarian status. Speaking of those within 80 cries of distance, Simmons, who is 72, and his co-conspirator, singer-guitarist Paul Stanley, 69, stand up.

It’s remarkable how lively KISS members are at such a late age. Their physique isn’t that different from what it was when I first caught the band 44 years ago at the late Spectrum in Philadelphia. This show, my first, is a distant but indelible memory for a primary school child blown away by the show.

I am always in awe of the endless pyrotechnics and over-the-top eye candy. KISS capped off their two-hour performance with an extended “Rock and Roll All Nite”, which included endless showers of confetti so intense I couldn’t help but get dizzy, and those around me just couldn’t help but get dizzy. a few rows of the stage in front of Simmons felt the same. Smiles and laughter (how often does this happen at a hard rock concert?) Were everywhere.

The show began at 8:45 p.m., after an hour of video and hype, with the first of many explosions and the greatest song the band have ever composed, “Detroit Rock City.” Each of the band’s four members, including guitarist Tommy Thayer and drummer Eric Singer, were taken down on stage on massive risers.

The anthem “Shout It Out Loud” followed, and KISS was on the move. During “Deuce,” footage from the group’s salad days was shown on the video screen. It was a reminder, with the help of makeup, that KISS has aged well. And they knew exactly where they were on Saturday night shouting “Washington!” ” several times.

But oily paint does not help an elderly person turn around the scene. Stanley, who sings and talks between songs, is in remarkable shape with his trademark vest. The star-eyed lover character still moves exactly like he did in the 1970s. Stanley, who still plays with a bit of a bare stomach, walks over to a small stage to sing “Love Gun” and “I Was Made for Lovin ‘. You “.

Both songs, which are some of the catchiest in the KISS canon, still stand, especially the first. It is surprising that the latter has aged so well since some members of the KISS Army were less than crazy about a disco influence song written and recorded by their favorite band in 1979. hitting with the image of a disco ball behind them.

Simmons, who looks sinister as always in his demon makeup, still spits fire, as he did in the 1982 “War Machine” deep cut and spits blood, which audiences have experienced during “God of Thunder”. The electrifying evening also included required and exceptional drum, guitar and bass solos.

There were some curious choices for the setlist, like why dust off the forgettable “Heaven’s on Fire” and, from 1985 “Asylum”, “Tears Are Falling”? Why not play “Parasite”, which is one of the greatest songs in KISS history, and “I Stole Your Love”?

If this is the end of KISS, know that KISS is not just a visual experience. Over the course of their long career, KISS has created solid and timeless songs, such as “Black Diamond”, which luckily was part of the band’s set.

Of course, KISS has had its fair share of failures, but that’s generally the way it has been for those who have been writing and recording material for the past 40 years. And when it comes to live entertainment, the band is second to none.

If the current tour is really that of the Rock and Roll Hall of Famers (inducted in 2014), it is a rock and roll rarity, a group that has imposed itself and on its own terms. Come on, KISS!

Feature editor Don Chareunsy contributed to this review. Ed Condran can be reached at (509) 459-5440 or at edc@spokesman.com.

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Weekly CD reissue: help yourself https://deimel.biz/weekly-cd-reissue-help-yourself/ https://deimel.biz/weekly-cd-reissue-help-yourself/#respond Sat, 18 Sep 2021 23:00:00 +0000 https://deimel.biz/weekly-cd-reissue-help-yourself/ “Reaffirmation” is the sound of a San Francisco ballroom in 1968. The 12-minute long track mysteriously opens with what could be a Mellotron on the flute. A bubbling bass guitar arrives, accompanied by a jazzy piano. At 2:50 am, the tempo accelerates and the guitar, which until then has made its way delicately into the […]]]>

“Reaffirmation” is the sound of a San Francisco ballroom in 1968. The 12-minute long track mysteriously opens with what could be a Mellotron on the flute. A bubbling bass guitar arrives, accompanied by a jazzy piano. At 2:50 am, the tempo accelerates and the guitar, which until then has made its way delicately into the arrangement, begins to fly away. There is a vaguely funky section, and a bit more halfway there is a dive into an almost free spiral section.

It’s top notch psychedelia. Dungen passed through similar territory.

Parallels include debut album Steve Miller Band and Quicksilver Messenger Service. The group responsible for this incredible creation is Help Yourself. They were British and “Reaffirmation” appears on their second album, 1972’s Watch out for the shade. And instead of an atmosphere of peace and love, something else seems to be happening. The second line of the lyrics is “all they serve you is crap”. The theme of the song seems to deal with a depression that is never far away.

Watch out for the shade is the third of four Help Yourself albums (the last was a double). All are collected on By the way: full studio recordings, a six-record clamshell box that adds their then unreleased fifth album, an unreleased 1976 set by band mainstay Malcolm Morley and bonus tracks from compilations, singles, BBC sessions and singles as well as of a strange demo. That’s a lot of Help Yourself, but as the extraordinary “Reaffirmation” attests, it’s a group worth digging into. Indeed, elsewhere on Watch out for the shade are the eccentric “Molly Bake Bean” (Syd Barrett if he was in the country of origin) and “American Mother” (a little llke Little Feat, but very pop).

The main driving force behind Help Yourself was songwriter Malcolm Morley. The line-up for the debut album was: Morley (guitar, keyboards, vocals), Dave Charles (drums, percussion, vocals), Richard Treece (guitar, vocals, harmonica) and Ken Whaley (bass). They were directed by Dave Robinson (later of Stiff Records) and John Eichler (who then ran the Hope & Anchor pub). Brinsley Schwarz was also on the management team’s books. Help Yourself’s self-titled debut album arrived in 1971 and was followed by strange affair (1972), Watch out for the shade (1972) and the double set Ken Whaley Returns / Happy Days (1973). A fifth album began in August 1973 but the group ran out of steam and died around January 1974. There was a last concert in April 1974.

The impression from the essay in the boxed set booklet is that Morley, Charles, and Treece were the nucleus of an otherwise unstable group. Bassist Ken Whaley came and went. Other musicians as well: their roadie Sean Tyla (who would be in Ducks Deluxe), Man’s Deke Leonard and Ernie Graham of Eire Apparent have appeared. Help yourself to feel that they have become a short stopover for wandering musicians from outside the group.

help you beware of the shadeLikewise, it’s not easy to understand exactly what Help Yourself was musically. The first two albums are excellent and reflect an immersion in the Stephen Stills and Neil Young aspects of Crosby, Stills, Nash & Young. However, strange affair includes “clips from ‘The All Electric Fur Trapper’ (soundtrack of the novel’s film)”, which shows the way to Watch out for the shades “Reaffirmation”.

Confirming the unpredictability of the group, the years 1973 Ken Whaley Returns was often very White album-esque. His offbeat accompanying album Happy Days captured the musical side of a show the band took to the road as a form of revue: performed, in costume, with additional members. There was also the strange 1972 Christmas single “Mommy Won’t be Home for Christmas”, which starred Neil Innes (it was written by Innes and Roger McGough). It becomes evident that Help Yourself followed its nose until the group disappeared. Yet the beautiful “Grace”, from the unfinished 1973 album, shows that there was business to be finished. The same goes for Malcolm Morley’s 1976 album. “Lost and Found”, which provides its title track, is a superb ballad à la Paul McCartney.

Sloting Help Yourself into any narrative of the pre-punk British musical landscape is impossible. They were more ambitious and more ambitious than what is known as pub rock, even though their surrounding infrastructure was an integral part of pub rock. They lacked the accessible rooting and frankness of fellow team members Brinsley Schwarz. They weren’t monsters by different definitions of it: like their raw contemporaries Mighty Baby (or even The Pink Fairies), for example. The memories illustrated in of passage libretto shows that they performed regularly live – including with The Flamin ‘Groovies in 1972 – and were regulars on the college circuit. Who made up the Help Yourself audience? Obviously, they had one. Heard now, no matter how astray, they shine. By the way: full studio recordings is a highly commended tribute to what looks like a neglected – and idiosyncratic – group.

@MrKieronTyler

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