Hawkwind

Helt nytt prosjekt, lansert i går, hvor fyren som har utviklet nettstedet Progarchives står bak. Denne nye siten tar for seg alle formet for metallmsuikk, og vil som forannevnte nettsted i all hovedsak basere seg på brukerbidrag for videre utvikling. Sånn i fall noen her inne skulle ha interesse for slikt ;-)

http://www.metalmusicarchives.com/

Sikkert ikke den eneste artisten som gjør dette, men tenkte jeg kunne starte en tråd om dette, så kan andre legge til flere eksempler.

Den amerikanske gruppa Shadow Circus gir alle inntekter de får via websiden sin i januar 2010 til nødhjelp i Haiti etter jordskjelvene der.

Link: http://www.shadowcircusmusic.com/

Switcher ligger på lag 2 i OSI modellen og har lite funksjonalitet, men en kan ha og det er at de kan dektetere selv om du har en krysset kabel eller vanlig tp-kabel. Kanskje di switch ikke har den funksjonen mens routeren din har det... Prøv å bytte til en annen kabel og se om det virker..

Har forsøkt kabelbytte, såvel som å bytte porter på switch for såvel linje ut til PC som linje inn fra router.

Uten at noen av delene med noen av de forskjellige kabelalternativene gjorde noen forskjell. Situasjonen er rett og slett ganske sær...

Har nå fått min første maskin med Vista i hus - og sliter med å få en del ting til å funke. Spesifikt i forhold til nettverk.

Kobler maskina direkte til router - og presto, internett er klart til bruk.

Men kobler jeg maskina til switchen i hjemmenettverket, så klarer ikke denne og PC'en med Vista installert å kommunisere. Når jeg kabler mellom switch og PC, så er nettverksposrten på PC'en tilsynelatende død.

Men ved kobling direkte til router funker det fint som bare det.

Har forøkt å google denne, og selvsagt bladd febrilsk gjennom Windows-menyer og innstillinger for å se om det kan løses - men finner ingen åpenbare saker der. Har (selvsagt) også slått av brannmur for å se om problemet ligger der.

Noen som har noen ideer om hva som er feil? Kan det være at switchen (noen år gammel, helautomatisk 8 porters sak av billigtypen) ikke er kompatibel med Vista?

Er ganske n00b på Hawkwind selv. Har hørt Hall of the Mountain Grill og Space Ritual. Den sistnevnte er best, men begge er blandt det beste jeg har hørt av prog-rock, en sjanger jeg egentlig ikke har sansen for lenger.

Hawkwind ja - et band som i de første tiårene skiftet bandmedlemmer og musikkstil oftere enn andre skiftet undertøy. Har alltid hatt sans for gruppa selv :-)

Levitation fra 1980 regnes for å være et godt sted å starte med gruppa. Litt laid-back heavy prog med space-tendenser, og briljant tromming fra Ginger Baker (han som var i Cream sammen med Eric Clapton) gjør at plata låter svært bra på det feltet. Godt produsert og med mange gode låter.

Selc har jeg og en svakhet for "Chronicles of the Black Sword", hvor gutta er nærmere hair metal i stilen, "Xenon Codex" som er en mer spaca variant av det samme, samt de tidlige 80-talls electronica/rock eksperimentelle utgivelsene "Church of Hawkwind" og "Choose Your Masques".

Av 70-tallsutgivelsene er "In Search of Space" artig - preget av tidens tann riktignok, men med en god del rester af folkinnflytelsene hørbare gjennom eimen av tung psykedelia/space.

"Warrior on the edge of time" blir ellers regnet for å være en av deres klassiske 70-tallsutgivelser, også den noe tyngre og mer psykedeliske "doremi faso latido" er blant de anbefalte. Og selvsagt live-albumet "Space Ritual".

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De som liker Hawkwind bør også ta en titt på Ozric Tentacles, forøvrig.

I morgen er det en litt artig konsert i Skårer kirke, Lørenskog.

Verker av Lørenskogkomponisten Trygve Madsen skal fremføres i en konsert som starter kl. 19.30. Madsens fremste inspirasjonskilder er de klassiske komponistene Prokofjev og Schostakowitch, samt jazzkomponistene Art Tatum, Erroll Garner, George Shearing og Oscar Peterson.

Så om klassisk musikk med jazzelementer høres ut som noe som kan være artig å lytte til, og det å betale en Camilla for å høre på det høres overkommelig ut, så kan dette være en konsert det kan være verdt å få med seg.

Hmmm, anmeldte de "klassiske" liveskivene til Maiden for en tid tilbake - riktignok på et nettsted i USA. Slenger dem inn her i fall de kan være av interesse.

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Iron Maiden: Iron Maiden

In 1980 Iron Maiden released their self-titled debut album, starting what would become a legendary career for the band. They were one of many promising bands in the New Wave of British Heavy Metal movement at the time; and still some development away from being the leader of the pack. However, some historic record covers soon made them quite famous, giving the band invaluable PR at the start of their career.

Musically, Iron Maiden's debut album is an inconsistent affair. They try out a number of different styles, and it is obvious that they are uncertain of what type of music that really suits them at this point. The guitar riffs used in most tracks obviously have been somewhat influenced by the punk movement; and in tracks like "The Prowler" punk inspired riffs are used extensively, played in a fast and simple fashion. The overall sound also indicates the influence from 70's hard rock though, and the track has a surprisingly light pop feel about it.

Tracks like "Remember Tomorrow" and "Phantom of the Opera" showcase Iron Maiden's progressive influences; and the latter track also showcases some of the styles Iron Maiden would pursue later in their career, especially the "epic" chomping guitar riffing underscored by bass that the group would utilize in many future long songs.

“Strange World” is the odd one out on the album; one of the few mellow tracks ever made by the band. The slight psychedelic touch and the detailed moods made in this track are unique in the history of Iron Maiden; and tracks like this one probably was abandoned when the band started figuring out where to go musically.

The rest of the tracks here are to a greater or lesser degree mostly fast paced hard rock tunes with some metal edges to them; relatively simple in structure and style. There are quite a few differences in detail on the tracks; but all of them share some basic facts - punk-inspired riffs, influences from 70's hard rock to a greater or lesser degree, and high on intensity.

There are quite a few standout tracks on this album; and all of the songs here are seen as classic Iron Maiden tracks, apart from the mellow "Strange World". Not all of the tracks are at their best here though; the band was young and inexperienced when this album was recorded, which is easily heard. In many instances the later live recordings of the tracks here are much better than the original recordings; and as the overall sound here is much unlike what Iron Maiden would sound like later, this is not a release that can be seen as a must buy. Indeed, fans that haven't heard this album previously will be rather surprised on first listen.

Still, it's a good release as long as you're able to live with it's various shortcomings; and a must buy for anyone that wants to find out more about Iron Maiden's musical background and inspirations.

My rating: 73/100

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Iron Maiden: Killers

English heavy metal band Iron Maiden is a household name for most people interested in music, starting their rise to fame and fortune at the very tail end of the 70's. Their sophomore album Killers from 1981 is an interesting album in many ways. It is an album showing a band still trying to develop their own style, it is a classic release in the New Wave of British Heavy Metal, and it is the last studio album with charismatic frontman Paul Di'Anno handling the vocals.

Musically most remember this album for the fast, punk-inspired riffing present on the classic tracks here. Listening closer to the album reveals that the album has more sides to it than this one asset. There are several examples of songs here with musical roots in traditional 70's hard rock, many examples of Iron Maiden's trademark double harmony soloing, and even some guitar solos with a slight bluesy edge to them. The main aspect of this album is the classic NWoBHM sound though, hard rock riffs played faster than earlier, staccato riffing inspired by the now dying punk movement and extensive use of solo guitar as melodic overlays in and in-between verses and quite a lot of Maiden's legendary harmonic guitar soloing.

The songs on this release have lost a bit of their edge with time. Even the classic Maiden songs all their fans love sounds slightly more ordinary now than what they did when the album was released. As often is the case with songs that were truly inventive and original when first released - when the thrill and joy of experiencing original sounds fades with time, songs can be viewed more on the strength of the songs themselves than the originality of the individual song.

Still, this album does contain quite a few excellent songs, probably so well known that naming them really isn't a necessity. The album as a whole isn't as good as I remembered it, although it should still be seen as an essential addition to most music collections due to the classic tunes on this release.

My rating: 70/100

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Iron Maiden: The Number of the Beast

The Number of the Beast is the third studio release from legendary English metal band Iron Maiden, and is kind of a transitional album. With new vocalist Bruce Dickinson on board, the band seems to be searching somewhat on how songs should be played and arranged to suit his voice; which is very different from previous vocalist Paul Di'Anno's. At the same time, the band starts showing off more of what will be their own trademark sound here, with fast-paced riffing, more harmonic guitar-playing and the bass guitar clearly a solid foundation in many tracks.

Musically Iron Maiden to some extent leave their punkishness on this release; production and playing eliminating many of the rough edges of punk in the past, while the fast paced and at times staccato riffing developed due to the punk influences now to a greater extent has been developed into something new.

Iron Maiden’s trademark type of songs are developed here, with fast-paced riff-based rockers, some more mellow atmospheric tracks and the first raw examples of what would develop into the classic epic tracks being in place on this release.

The music is clearly heavy metal throughout; but influences and inspirations are not as easily identified here; and in many aspects this is the album where Iron Maiden lay down the foundations for their individual version of heavy metal.

There are many classic songs on this release, but also a few that are a tad on the weak side. The classic tracks here are all household names for most; and as with previous release Killers these songs are the main reason for adding this release to the music collection.

My rating: 71/100

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Iron Maiden: Piece of Mind

Iron Maiden is a heavy metal band hailing from England that has become a household name for anyone with a slight interest in hard rock and heavy metal during the 27 years they have released music so far. Piece of Mind was their fourth studio album, released back in 1983.

Many fans, especially their older fans, think this album is the high point of the bands career. Which is understandable, for many reasons. Piece of Mind was the first studio release with what by most is seen as the classic Iron Maiden line-up; Dickinson-Murray-Smith-Harris-McBrain. On this album they take a final goodbye to the more obvious musical influences from the past; and for the most part have a very strong personal identity stamped to the music made.

And although the band seeks out some calmer and mellow moods on this album, the music is clearly heavy metal from start to finish. Examples of the progressive leanings they would explore further on later releases can be found; especially on second track "Revelations"; but most of all this is a heavy metal album high on melody, a good balance between riffs, riff patterns and drawn out guitar chords to form melodies; some really nice harmonic and melodic guitar soloing, and at times beautiful and imaginative underscoring of the melody line from Steve Harris on the bass guitar with excellent rhythms courtesy of Nicko on the drums, and mostly good vocals from Dickinson.

The songs are a mixed affair on this release though. The band seems to have decided what direction to follow at this time, but still seem to be exploring how to best utilize their musicianship in this style. Some really cheesy choruses are to be found here too; that probably sounded much better in 1983 than they do in 2007. There's quite a few goodies on this release though; and for many "The Trooper" is the absolute highlight on this release; a track combining the best parts of the sound Iron Maiden pursued before 1983 with some of the best parts the band would pursue after 1983.

My Rating: 69/100

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Iron Maiden: Powerslave

Powerslave is the fifth studio album by legendary British heavy metal band Iron Maiden, and for many this release is seen as the peak of their career musically. With all members now having a minimum of one album and one tour under the belt, the band is very tight sounding. In addition they are more aware of what they want their music to sound like when recording in the studio, and main songwriter Steve Harris still has the ability to conjure up tracks containing slightly surprising creative elements.

Musically Iron Maiden now has developed a distinct style of their own. Small remnants of their early punk roots still remain, the heritage from 70's hard rock can still be heard in places; especially on a track like "2 Minutes to Midnight", but most times Iron Maiden now has a distinct, unique sound on this album. Fast paced riffing combined with slower, atmospheric riffs, harmonic riffs and extensive use of harmonic, melodic soloing are all trademarks of Iron Maidens sound here, as well as drums and bass at times played faster than the guitars; and the bass guitar being a central instrument in the soundscape of most songs.

In addition to that, the song structures now begin showing influences from prog rock. The long epic "Rime of the Ancient Mariner" is the prime example of that, but also a track like "Losfer Words"; where the band plays around with repeating themes and slight touches of dissonance; is a good example of that influence. The musical style is still heavy metal though; as the influence from progressive rock shows more in structure than in style.

The songs on Powerslave are mostly good. Title track "Powerslave" and the long epic "Rime of the Ancient Mariner" dominate the album, but most of the other tracks here are of high quality as well.

Overall this results in a classic heavy metal album; and is a worthwhile addition to most music collections.

My rating: 80/100

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Iron Maiden: Somewhere in Time

Iron Maiden's sixth studio album Somewhere in Time is a heavily discussed album by fans of this legendary English band. It was very original in its day, as the band switched to synth guitars on this album and were among the first bands to use that instrument in a way that enhanced their sound. At the same time the synth sounds alienated many fans, of which quite a few would say that this album showed a band in creative and musical decline.

Musically the band has perfected their sound on this album. The playing is tighter than the proverbial duck's arse, and the band members are experienced enough to add the extra touches to ordinary tunes to make them sound good, adding small nuances and touches in turn to make the songs sound interesting; as can best be heard on opening track "Caught Somewhere in Time".

Adding the synth sounds to the music also elevates many tracks from the realm of the ordinary to something better, where the slightly softer edges of the synth guitar riffs adds flavour and atmosphere to Iron Maidens trademark harmonic and melodic soloing and riffing, and giving a warmer touch to Maiden’s spacey songs, where the fast paced bass guitar and drumming do sound better accompanied by the slightly softer synth guitars.

A new aspect to Iron Maiden's sound on this album, or at least an aspect much developed here, are several examples of songs where Bruce Dickinson's vocals are used as a melodic instrument in itself. These songs are rather monotone and repetitive apart from the soloing, and Dickinson's vocals carry as good as all melody in the singing parts of these songs. "Wasted Years" is a very good example of this. If this is planned or more an indirect result of the synth guitars slighter fuzzy sound is of course something that only can be speculated upon.

The influence from progressive rock continues on this album as well; an aspect of their music surfacing on their previous studio album Powerslave. As with that album, in many songs the progressive elements are more to be found in structure than in actual playing; and the elements are most noticeable in the long, epic tracks on this release.

The individual songs on Somewhere in Time are a rather mixed affair. Although musically at their peak now in my opinion, the songs as such aren't as good as on previous albums. The creative well seems to have run dry; with fewer songs than normal containing original or really captivating elements.

The addition of the synth guitars to their sound as well as the band members ability to play on individual and collective strengths are the factors that elevate this album to an interesting, albeit varied, release.

Personal favorites: "Sea of Madness", "Deja Vu", "Alexander the Great"

My rating: 70/100

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Iron Maiden: Seventh Son of a Seventh Son

By 1988 British heavy metal band Iron Maiden had firmly established themselves as one of the major bands, perhaps even THE major band, in the heavy metal scene. Their seventh studio release, Seventh Son of a Seventh Son is the last of what most would say are the classic Iron Maiden albums. It is a release loved by many and hated by some, and showed a band moving on from heavy metal to something else. A move that would be abruptly stopped after this release, sadly.

Musically Iron Maiden continues the transition they started with Powerslave and further explored on Somehwere in Time. The influences from progressive rock are if not stronger then at least easier recognizable on this release. The songs are more complex; with changes in style and tempo more radical than on past releases; the synth is more extensively used on this release; and is a vital aspect of the soundscapes in many songs here. In addition, the guitars are toned down making the music as such less "heavy" than before, and the individual instruments are used to create nuances and subtle moods quite a lot on this album.

The overall sound of most songs on this release are still heavy metal though, Maiden's by now typical fast paced drums, fast paced bass, pacey riffing varied with drawn out riffs, and the melodic and harmonic soloing are still very much present; but they are now used with in a slightly changed musical context; where progressive rock now seems to be the main influence.

But as with their previous release Somewhere in Time, this evolved sound can only do so much with songs that aren't top notch. Although lyrically fitting within the concept story on this album; there are quite a few songs on this release that really doesn't manage to inspire. And even on the better songs, there are parts that deduct rather than add to the overall quality of the song.

Still, there are quite a few good tracks on this release; tracks that are on par with he best Maiden wrote a few years earlier. On a varied release, my personal highlight is the title track; which in itself is almost a good enough reason to buy this release.

My rating: 68/100

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Iron Maiden: No Prayer for the Dying

No Prayer for the Dying is the eighth studio release from classic British heavy metal band Iron Maiden, and their first release with guitarist Janick Gers. Upon it's release the album was given a lukewarm reception by many, mostly because new guitarist Gers replacing long-time guitarist Adrian Smith led to a distinct change in Iron Maidens sound. Their trademark melodic and harmonic solo guitar-playing was sorely missed by many.

Musically the album shows a band seemingly in an identity crisis. There are quite a few examples of the band trying to continue with the musical direction they had on their previous release, Seventh Son of a Seventh Son. Songs where the guitars are slick, toned down in the mix and generally coming across as a lighter form of heavy metal. In some songs they use synths as on their previous two albums, but in others they choose not to so. But there are harder, grittier tracks on this album as well. Songs with darker textures, meaner vocals, with vocalist Dickinson snarling more than singing.

One major change from their last studio release; and what is a major change in the sound Iron Maiden developed throughout the 80's, is that few tracks here contain any structural progressive leanings. One of the main characteristics of Iron Maiden’s classic albums had been their development towards being a progressive metal band. This is mostly history on this release. Another major change in the sound is a more subtle change; on many songs there's less riffing than what Iron Maiden usually has had; and in the songs where they use their traditional mix of fast riffing and drawn out guitar chords the pace of the riffing most times is noticeable slower. Adding those elements to the fact that the harmony soloing now is mostly history; and a greater influx of traditional metal soloing in the songs; and you have an album with a dramatic change in overall sound.

Many feel that this album shows a band going back to their roots; that this album is closer to the punk-influenced roots of Iron Maiden. Indeed, when recalling this album from memory only that was what I remembered about this release as well. After listening through this album I'll have to admit a faulty memory in that respect. Although many of the songs are more primitive than on previous releases, they are not any closer to Iron Maiden's musical roots. The songs are less complex and more straightforward only. Indeed, the addition of Gers has led to some songs getting a slight bluesy flavoring rather than punk-influenced; and the overall musical style here is closer to traditional heavy metal than NWoBHM.

As for the songs on this release; my main impression is that the band struggled hard to put an album together. Opening track "Tail Gunner" and "The Assassin" are the best songs here in my opinion; the first being a classic opening track in true Iron Maiden style, and the second one showing a band experimenting successfully with their sound. "Run Silent, Run Deep" and "Mother Russia" give me the impression of being scrapped ideas for the typical long, epic Iron Maiden tracks they used to have on previous albums, where the band has tried to put together the best pieces of songs previously abandoned. The rest of the tracks are for the most part not convincing; and my overall impression is that the creative well of the songwriters now has run dry; and that the songs selected for this album is a selection of outtakes and previously abandoned ideas. There's nothing truly awful on this album; just too much that isn't good enough.

My rating: 54/100

Rart de ikke får lån i en vanlig bank i hjemlandet når det bare er snakk om småbeløp. Han med taxien kan jo stille sikkerhet i bilen. Nå kjenner ikke jeg banksystemet i Aserbadsjan men.................

Står en del om det på sidene til Kiva, faktisk. Kort oppsummering: De som formidles til Kiva får ikke lån i en vanlig bank, av årsaker som går på alt at de ikke kan lese/skrive til at de ikke har akseptabel sikkerhet.

Det finnes alternative lånere de kan låne av - og de opererer med renter på 80% og oppover på slike smålån.

Kjenner til en del folk som har jobbet ute i felten i u-land, så vet at dette er en faktisk realitet i disse landene og ikke kun noe som Kiva hevder ;-)

www.mindawn.com bør vel med på oversikten.

Har kjørt uten DRM hele veien, selges filer i .ogg (lossy) og flac (lossless)

Cirka 50-lappen for album i flac, og cirka 40 kroner for album i ogg.

Et nytt band som kan føyes til på listen over ting man bør høre litt på, er Amaseffer fra Israel.

En dash Ayreon, en dash filmscore godt krydret med musikalske referanser til midtøsten. Definitivt noe for seg selv; og bra laget.

Svenske Faith sin siste kreasjon, Blessed?, kan også være vel verdt å sjekke ut. Doom metall a la Candlemass krydret med innslag fra folke musikk og symfonisk rock ender opp i en gansk så artig og tidvis veldig fengende blanding.

Da har jeg og blitt med på å bidra med penger til fattige entreprenører.

Oppsummering av systemet - etter hva jeg har lest meg til:

Kiva er en betalingsformidler mellom privatpersoner og mikrofinansinstitusjoner

Kiva overfører alle midler privatpersoner låner ut uavkortet til samarbeidspartneren, som deretter formidler disse uavkortet til låntaker.

Låntaker må betale tilbake med rente. Høy rente etter norske forhold - 20-25% - men sammenlignet med alternativene for låntakerne er den lav. Dette er mennesker uten sikkerhet som ellers har ymse bakgårsutlånere å forholde seg til; som tar alt fra 80-150% rente på slike smålån.

Kiva følger med på og evaluerer alle mikrofinansinstitusjonene de samarbeider med. Nye partnere har visse begrensninger mht. hvor mye de kan låne ut eksempelvis, og om noen skulle bryte retningslinjene i avtalen de har med Kiva - eksempelvis å ta høyere rente eller å ta gebyrer fra midlene formidlet fra Kiva - opphører samarbeidsavtalen.

Det virker ganske seriøst ut fra alt jeg har lest meg til både på interne og eksterne sider, og anbefaler andre å vurdere dette tiltaket.

Til trådstarters opprinnelige spørsmål - om mor har juridisk eller etisk rett til å kaste disse snusvarene.

I og med at dette er smuglergods, er den juridiske biten grei nok.

I forhold til etikken, så antar jeg trådstarter er som de fleste tenåringer - bor gratis hjemme, får gratis mat, klesvask og diverse andre goder uten å yte så veldig mye tilbake. Og så lenge man holder seg trygt hjemme i redet, må man innfinne seg med at det er de som eier redet som setter bruksbetingelsene - for å si det slik.

Om det er tobakksvarer, alkohol, narkotika eller svensktopp-plater - vil ikke foreldrene ha det i hus så må man innfinne seg med at det blir kastet.

Jeg tar det selvsagt for gitt at mors negative holdning til tobakksvarer i forhold til trådstarter her neppe er et nytt og plutselig fenomen som nettopp har oppstått, men noe som har blitt behørlig varslet og kommentert tidligere.

Mer norsk fantasy - om bøkene stadig finnes i bibliotek-systemet (man kan glemme å få kjøpt dem).

Forfatter: Felix Thoresen

Bokserie: Amal Nor trilogien

Handler om: To nordmenn som legger ut på vandring for å finne den hellige gralen på syttitallet en gang.

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Ellers anbefales folket å ta en titt på forfatteren Øyvind Myhre, som har skrevet en litenm hærskare av bøker som er fantasy, sci fi eller en miks av disse genrene.

Reidar jensen er en annen interessant forfatter, som har gitt ut en del novellesamlinger med fantasy såvel som sci-fi tilsnitt.

Hmmm, i og med at det er en del jazzfolk her inne, anbefales det å sjekke ut en dansk label som heter calibrated - http://www.calibrated.org/ - en god del snadder blant utgivelsene der :-)

Sitter her og tar notater til nok en CD-anmeldelse. Og har kommet over nok en utgivelse som det anbefales andre å sjekke ut.

Gruppa er italiensk, heter Moongarden, og skiva heter "Songs from the Lighthouse".

Stilmessig symfonisk prog, med fokus på stemningsformidling fremfor teknikk, og en vokalist med en stemme som innehar mye av den samme rufsete sårbarheten som Seal har.

MySpace for de som eventuelt ble nysgjerrige: http://www.myspace.com/moongardenband

Et par andre som er verdt å nevne:

Kitaro - eksperten på avslappende new age aktig musikk, med et hopetall av utgivelser siden 70-taller

Isao Tomita - har ikke kommet mye fra den kanten de siste årene, men har en rekke utgivelser hvor han har laget synth-versjoner av diverse klassisk musikk. Ganske stilig; og mye brukt som lydeffekter. KLM-gutta har plukket lyder fra platene hans til de fleste av seriene sine; eksempelvis.

Earthshaker - morsomt metal/hard rock band som var aktive på 80-tallet.

Yasushi Ishii - lagde soundtracket til den opprinnelige Hellsing-serien, mye vaiert og stilig musikk på de CD'ene.

Side Steps - polert og særdeles teknisk avansert fusion er spesialiteten til disse gutta, vel verdt å sjekke ut om jazzrock eller fusion er noe man liker å høre på.

Setter stor pris på at du nevner disse bandene, har nesten ikke hørt om noen av dem, så nå skal det bli kos fremover!

Godt at oppramsingen kom til nytte.

Selv anmelder jeg musikk for 4 forskjellige nettsteder etterhvert; og blir derfor eksponert for ganske mye ny musikk. Hvor godt jeg skriver tør jeg ikke si noe om selv, men om det er av interesse så har jeg en blogg hvor jeg linker til de forskjellige anmeldelsene etterhvert som de blir publisert - www.myspace.com/haukevind

Om ikke annet er det -mange- band der jeg tipper du aldri har hørt om :-)

Så polske Riverside nevnt her - et av mange "nye" band som lager bra musikk. Har folk her inne sjekket ut andre nye artister mon tro?

Phideaux - amerikansk gruppe, seneste skiva "Doomsday Afternoon" har fått svært mye skryt internasjonalt. Stilmessig isammenlignbart med Pink Floyd (i perioden før The Wall)

Future Kings of England - britisk gruppe, med et sound mer likt tidlig Pink Floyd - flere psykedeliske elementer og folkpreg, især på andreskiva "The Fate of Old Mother Orvis"

First Band from Outer Space - svenske gutter som lager musikk som i stil kan minne om en miks av Hawkwind og Black Sabbath anno 1975. Røft, tungt og spaca.

Ritual - ikke akkurat et nytt band når de feirer 15 år som artister, men relativt lite kjent stadig virker det som. Tenk Genesis med sterkt innslag av folk. Og mange låter med tekster inspirert av Tove Janssons bøker - den siste skiva deres er en temaplate om dette, hvor de fleste låtene handler om hendelser og karakterer fra Mummidalen :-)

Birds of Beauty - gammel storhet som nå er tilbake etter noen tiår i dvale. Fusion med sterkt innslag av tradisjonell rock/pop, ikke helt ulikt stillen man finner på de to første skivene til Bendik Hofseth egentlig.

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Dette for å nevne noen svært få band; det lages mye "prog" i disse dager, med alt fra mer eller mindre gode kopier av fortidens musikk til nyskapende og ekstrem eksperimentell musikk i genren (japanske Mutyumu et godt eksempel på det siste forøvrig). Sist jeg forsøkte å få en oversikt kom jeg til at det lages omlag 700 nye titler i året som artister/indie-labels forsøker å selge inn mot prog-markedet.

så kan dere nå skaffe dere et helt album med dette gratis (og lovlig) - i lossless format - og musikken er av bra kvalitet også.

Gruppen "Systems Theory" har nemlig lagt ut hele plata "Codetalkers" fra 2007 til nedlasting i form av et CD-image; komplett med cover- og trayart. De vil selvsagt synes det er hyggelig å motta en liten symbolsk donasjon om man setter pris på tiltaket eller musikken selvsagt; men det er helt frivillig.

Da gutta i gruppen ba meg spre ordet om tiltaket legger jeg ut link her. Og de har også lagt ut mp3-filer til gjennomlytting slik at folk kan sjekke om de liker musikken eller ikke før de laster ned cd-kopien forøvrig.

Link: http://www.mikedickson.org.uk/codetalkers/

Hmmm - nå har jeg ikke hørt noe fra radiofolka her mht. om de kunne tenke seg å få et par timer prog/rock/metall på onsdagene fra 22; som jeg skrev om for en uke siden (har eksisterne show som muligens kan streames til to steder).

Slenger ut samme linken nå som for en uke siden, så kan evt. nysgjerrige lytte (og lover å ikke spamme tråden mer om jeg ikke hører noe mer *s*)

Fokus for min sending i kveld: Qwaarn, Book of Reflections, Alex Masi, Ayreon

Link: http://olavmb.googlepages.com/progcafetest2.html

BUMA / Stemra sier:

• €26 i måneden (uten skatt)
  
• Det kan spilles ubegrenset med sanger
  

Det virker som Buma / Stemra lønner seg, ettersom lisensen er betydelig rimeligere enn det TONO tilbyr. Hva sier dere?

Om dere har tenkt å kjøre et oppleg via Nederland, må dere også ha en avtale med SENA ser det ut til - fra FAQ på BUMA/Stemra:

"Are there other music copyright organisations in the Netherlands?

Buma/Stemra is the only copyright organisation for music copyright in the Netherlands. The only other similar organisation is SENA. SENA manages the neighbouring rights of performing artists and producers of sound carriers. This is therefore about the artists who perform the works rather than the authors. Those who write music and also perform it, well-known Dutch artists such as Herman van Veen for instance, are affiliated to both organisations. "

Stena ser ut til å kreve et minimumsbeløp på 558 euro - ut fra min svært begrensede språkforståelse på nederlandsk...

"Muziek op Internet

Via het world-wide-web zijn zeer veel radiostations actief. Hierbij kan het muzieksignaal uitsluitend via het internet worden gedistribueerd maar ook gelijktijdig met het traditionele radio-signaal. Een en ander gebeurt via de techniek "Streaming-Audio". Belangrijk hierbij is dat de luisteraar op geen enkele wijze invloed kan uitoefenen op de te beluisteren muziek of de muziek kan downloaden.

Met andere woorden: de muziek kan alleen worden beluisterd!

De vergoeding wordt vastgesteld aan de hand van het listeners-log en de playlist en bedraagt € 0,00089 per luisteraar / per track met een minimumvergoeding van € 558,- per jaar / per kanaal. "

Hm, var for det meste Trance og hip hop og sånt her jo

 

Kan dere ikke få tak i en "DJ" som spiller litt mer innen rock-sjangeren? Ellers ser det jo bra ut, fett konsept!

Vurderer å joine inn med litt rock og sånn om det er praktisk mulig - har et slikt show allerede.

Nysgjerrige kan jo høre på nå i kveld - starter sendingen om et par minutter og holder på til midnatt. Enkel, hjemmesnekret opplegg for å lytte og chatte: http://olavmb.googlepages.com/progcafetest2.html

Har et lite forslag til sendingsplan her nå. For all del kom med innspill.

 

 

Onsdag: Rock/Metal

 

Rock/Metal:

Ingen so far, men bare å melde seg!

 

-danno_O

Hmm, kjører et rock/metal show på onsdager allerede, for en knøttliten utenlandsk stasjon. Kunne kanskje gått an å streame denne over til dere og?

Mest prog og relatert der - avhengig av hva jeg får inn av promoer fra 4 nettsteder jeg anmelder for. Noe bra, noe rart og en del småsnadder - av den siste kategorien har jeg hatt den kommende skiva til Ayreon i min besittelse i noen uker blant annet.

Send meg en PM om det høres interessant ut - så kan man sondere terrenget mer utenom forumpostene.

Jeg ser at dere har sjekket ut prisene mht. Tono (og priser hos minst ett utenlandsk søsterselskap).

Men har dere sjekket Gramo også?

Tono tar seg av lisenspenger til opphavsmenn (i praksis er dette oftest et plateselskap).

Gramo tar seg av lisenspenger til den spesifikke utøveren (det er fra disse pengene artistene får sin betaling...i teorien ihvertfall).