Suzuki Vol. Band Ah, shall I tell you, Mother, What causes my torment? Ever since I saw Silvandre Look at me with a tender air, My heart says at every moment: Can you live without a lover? I blushed and by misfortune a sigh betrayed my heart; the cruel man, with skill, profited from my feebleness: Alas, Mother, a misstep made me fall in his arms.
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I had no support other than my crook and my dog; Love, desiring my defeat, removed the dog and the crook: Ah, how we taste such sweetness when love takes charge of a heart! Twinkle, twinkle, little star, How I wonder what you are! Up above the world so high, Like a diamond in the sky.
When the blazing sun is gone, When he nothing shines upon, Then you show your little light, Twinkle, twinkle, through the night.
Then the traveller in the dark Thanks you for your tiny spark; He could not see where to go, If you did not twinkle so. In the dark blue sky you keep, And often through my curtains peep, For you never shut your eye Till the sun is in the sky. As your bright and tiny spark Lights the traveller in the dark, Though I know not what you are, Twinkle, twinkle, little star.
Jane and Ann Taylor published Stock und Hut steht ihm gut, Ist gar wohlgemut. Franz Wiedemann — Little Hans went alone Out into the wide world. Stick and hat suit him well. He is in good spirits. But his mother cries so much, For she no longer has little Hans. Butterfly, butterfly, Come to rest on mustard plants. Fly from one cherry blossom To another. Rest and play, Play and rest.
Lightly row! On the silent tide, Let the winds and waters be mingled with our melody, Sing and float!
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In our little boat. Fuchs, du hast die Gans gestohlen, gib sie wieder her, gib sie wieder her! Give it back! Da liegt es, ach, Kinder, auf Heu und auf Stroh; Maria und Joseph betrachten es froh; die redlichen Hirten knien betend davor, hoch oben schwebt jubelnd der Engelein Chor. Oh, there lies the Christ Child, on hay and on straw; The shepherds are kneeling before Him with awe. It may not have been standard metal, but it was loud, creepy fun. Their second full-length retained that raw, confrontational M.
Eventually, these one-time pariahs became local legends, even winding up with a cameo on Treme. Zorn concocted a blend of extreme metal and out-jazz that was as rigorously structured as contemporary classical music, resulting in brutally disorienting, genre-defying bursts that can make Dillinger Escape Plan sound like disco. Each one is one bar long. Plus, guitarist Ernie C. A direct descendant of the power metal pioneered by Eighties heavyweights Helloween, Savatage and Blind Guardian, the subgenre of symphonic metal juxtaposed explosive sing-along hooks with lavish orchestration, whether produced via synthesizer or, in the case of a lucky few like Nightwish, full-scale orchestras.
But on their fifth album, Once , the band achieved their most pristinely balanced blend of force and melody. I look for new ideas mainly from movie scores.
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The Virginia band, then a raw trio, harnessed the blur of blastbeats and hyperspeed riffs, but those elements were blown through the gnash and gnarl of Nineties alt-metal bands like Helmet and Unsane. Hayes, inspired by transgressive authors like William S. But at the same time it was pretty thrilling. Fenriz built its atmosphere with cold, almost classical riffs, played through fuzzy distortion, at a constant, methodical mid-tempo, giving it a hypnotic quality.
By the time Entombed released their debut full-length, they had primed the nascent death-metal scene for an auspicious arrival with a series of demos under the name Nihilist. It never became that fun again. After summoning two albums of dirty, Venom-inspired punk-metal bombast, Bathory discovered high drama and a sense of subterranean evil on Under the Sign of the Black Mark. Thirty years later, bands like Emperor, Satyricon, Darkthrone and just about every other torch-bearing group of miscreants in white face paint resound the echoes of Black Mark.
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Bathory mainman Quorthon claimed to have arranged his shrieked vocals; blurred, repetitive guitars and drums; and eerie choral sound effects by trial and error. The New Wave—gone-industrial malcontents of Ministry improbably managed to break into the mainstream by ditching their synthesizers for guitars and crafting a dense, nightmarish sound collage for their fifth LP, Psalm If only I could extract the magic, it would be like pulling a diamond ring out of a septic tank. Psalm 69 went platinum and peaked at Number 27 on the Billboard , allowing other industrial acts passage into the charts, including Marilyn Manson, Rammstein and Orgy.
The relentlessly prolific Swedish death-metal scene of the late Eighties and early Nineties revolved around dueling power centers. To the east sat sleek Stockholm, with its dirty, punk-informed take on the genre, as gurgled forth by Entombed and Dismember. To the west lay the bleaker port city Gothenburg, where abiding love of Iron Maiden and classic heavy metal spawned a melodic revolution in Satan worship spearheaded by Dissection, In Flames and At the Gates.
While the speed and abrasiveness remained, the band coupled these elements with a remarkable sense of discipline, making room for industrial samples, shifting time signatures and memorable vocal melodies.
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By the time they finally did nab that elusive contract, with Atlantic Records, the band were a good 10 years into their career, and their trademark glam look had been usurped by a new crop of younger and prettier L. Game changer. With a guitarist known for slashing his arms with a razor before gigs and an overtly satanic image, Morbid Angel hardly seemed like a band destined for the big time. But music-industry legend Irving Azoff saw it differently. Forget about British punk; true musical anarchy arrived in the U.
The effect is beautiful. Fronted by singer, guitarist and conceptualist Aaron Turner, the band took its leads from Melvins, Swans and especially Neurosis, whose mix of punishing heaviness, surprising delicacy and avant-garde sound design would prove strongly influential. Oceanic , an archetypal saga about a desperate man seeking a female counterpart, was a decisive turning point, its songs endowed with atmospheres and textures so imaginative you practically could see them. That was in a lot of ways, a point of solidification for us. Over the effortless, off-kilter riffing of Vernon Reid, the polyglot stew of Vivid gets extra urgency with sociopolitical lyrics about racism, gentrification and consumerism.
And God bless their souls. They are keeping it alive. And nearly 30 years after its initial release, Mindcrime feels eerily relevant. With frontman Chino Moreno now complementing the steely Stephen Carpenter on guitar, and Frank Delgado enlisted full-time on turntables and synths, the band mastered an equilibrium between mayhem and melody on White Pony.
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But they chose a different path with their fourth full-length, delivering an audacious modernist-metal masterpiece that was as gorgeous and alluring as it was confrontational and subversive. On the surface, there was almost nothing traditionally metal about Godflesh beyond the distorted guitars, yet they were a product of the same bleak Birmingham environs that had spawned Black Sabbath two decades earlier.
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My own upbringing was pretty confused and chaotic … it was all part of the process that went into making that album. I was able to quit my job in the coalmine, where I had been since My dream came true to live just from the music and [spend] all my time for touring and rehearsing with the band. Some of those reels had 10 or 15 edits in them. It was like going to math class. New England hardcore-scene veterans Converge reached a precarious new perch on the tour de force Jane Doe.