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Loveless - My Bloody Valentine > Reviews >

A groundbreaking lost classic of Indie history

A review by larsbaby on Loveless - My Bloody Valentine
September 26th, 2007
INTRODUCTION

It has taken me a while to get round to reviewing this, one of my favourite long players ever. I wasn't sure if I could do it justice in full of it's unique beauty; I'm still not fully convinced I can. I first got hold of this as a birthday present on tape in 1991, the year of it's release, and have been hooked ever since. It was a popular copy on my tape-to-tape deck amongst my uni friends, all keen to hear this strange yet compelling noise. It's such a unique album, even when compared with their previous work; there were one or 2 bands using the same ideas at the time, Medicine for example who I also quite like, but since then no one has ever tried to use their ideas.

MY BLOODY VALENTINE

My Bloody Valentine hailed from Ireland and took their name from a slasher horror movie. They started off in the mid 80s as a jangly, Indie combo, resembling The Cocteau Twins in some respects, before mutating into feedback obsessed avant-garde pioneers. Influences can be traced back to The Birthday Party and The Jesus and Mary chain. "Loveless" was their second album. Their debut longplayer "Isn't Anything" was an Indie hit and critically acclaimed, gaining them a cult following, so big things were expected from this album. They didn't disappoint and it's recognised as a modern classic. They have always been deliberately vague regarding lyrics, never publishing them as far as I know, but that hasn't stopped many fansites having a good guess. Lyrics were apparently secondary to the sonic structures of the songs.

This album all but bankrupted Creation Records, costing £600,000 in the making and being a huge critical hit but relative commercial failure. It sold, but just didn't sell enough to recoup the losses incurred. I guess there's only so many people prepared to listen to something that, to the uninitiated, sounds like a motorway multiple pile up. But a lot of time and effort was spent to make this sound exactly as was intended. I'm sure a lot of subtlety and technical skill is involved to make all the elements come together without sounding like a really nasty motorway pileup. Creation's folly in letting them spend so much resulted in the ultimate penalty of going bust and effectively selling out to Sony. The band's leader Kevin Shields had always been an obsessive perfectionist, and such habits meant that everything took time, and money. After Creation's implosion, they signed to Island and … nothing. Ever. Aside from a cover for a charity album in 1995. They reportedly recorded 2 albums but Shields scrapped them both as they didn't meet the standard; eventually people left the band, leaving Shields & Butcher and that was apparently that.

BAND LINEUP

• Kevin Shields - guitar, vocals, producer, engineer, sampling, mixing
• Bilinda Butcher - guitar, vocals
• Debbie Googe - bass guitar
• Colm O'Ciosoig - drums, producer, engineer, sampling, mixing

GENERAL ALBUM INFO

Much of the album is recorded in mono as Shields felt it was important to have a sound that consisted of "the guitar smack bang in the middle and no chorus, no modulation effect". Shields holds the tremolo bar as he strums in his guitar-playing, which contributed to the band's unique sound.

TRACK BY TRACK REVIEW

Only Shallow - if you didn't know what you were letting yourself in for, then this is a good opening track to lower you into your bath of distortion. The distinctive MBV feedback wall of sound is there right from the off, guided by dischordant riffing, choppy guitars. Listen to the vocals carefully … nope, 500 listens later and still can't make out a word.

Loomer - It's really hard to listen to at first, and won't win the vote of any Robbie Williams fans, but once you get used to the rough rasp of feedback and out of key, distorted guitar, you realise that it's all quite deliberate, overlaid by Bilinda Butchers sugary sweet vocal. This is My Bloody Valentine, a quite unique, wonderfully acquired taste.

Touched - I heard MTV use this short instrumental as a lead in to adverts a few years back, which is amazing as this is the most out of key track of theirs ever. Some sort of random, whale-call like sound laid over that distorted backdrop. I remember a friend listening to this on my tape for the first time wondering if he'd broken or stretched it; that's probably a great indication of how this actually sounds.

To Here Knows When - There is a hell of a lot going on in this track - wailing feedback loaded guitars zooming in and out, the distorted wail, almost whispered vocals, and a nod to the shoegazing type "oooo-oooo" vocal.

When You Sleep - This is the nearest to jangly Indie pop the album gets, without losing their unique wall of sound; the feedback is less cutting and the harmonised vocal of Kevin & Bilinda is backed by more conventional guitar riffing.

I Only Said - More feedback, but this time some rocky, driving, wah-wah distorted guitar, and another breathy, harmonised vocal from Kevin & Bilinda. Then some sort of off-key pipes (?) are introduced on top of this. It's an absolute cracker of a track to round off side 1 of the tape/ record (in old currency). Does anyone else still miss that; 2 separate yet conjoined acts of an album, each rounded off with their own signature track?

Come In Alone - Onto side 2 with this barnstormer, kicking you in the guts with it's thumping feedback, riffing guitar coming in and falling out of tune, and kicking yet steady drumming. The feedback wails, some high pitched backing is thrown in just for fun and Belinda keeps her composure as usual, laying that sugary vocal on top of the organised chaos.

Sometimes - I think this appears in the film Lost In Translation, as do some of the other tracks from here, so perhaps you have heard this without realising it. A low rumble, almost like an engine, with some acoustic-like guitar and Kevin this time providing the incongruously tuneful vocal.

Blown A Wish - Here, Bilinda's vocal are all dreamy, ethereal "ooo-ooo"s, in themselves seemingly distorted, squeezed, spaced out, whatever, as dischordant notes drifts in and out against the soft drumming that keeps the pace.

What You Want - heavy guitars, heavy feedback, heavy drumming and something that may possibly be a flute in the background, and a less dreamy but still sweet lyric.

Soon - The best album final track ever, no questions asked. Leading in and providing a constant backdrop throughout is a thumping, hypnotic synth/drum machine track (I think), followed by what sounds like real drumming mimicking that beat, with a heavy, jangly, swirling, feedback laden guitar, and snippets of "oooo, ahhhh" type lyrics. There is a remix of this track by the DJ Andy Weatherall that is apparently mind blowing. I have been trying to find it for 16 years but have never, ever tracked it down - until now. I found it on YouTube - it isn't all that! Sounds like Primal Scream in their Screamadelica phase.

TRACK LISTING

All songs written by Kevin Shields unless otherwise noted.

1. "Only Shallow" (Bilinda Butcher, Kevin Shields) - 4:17
2. "Loomer" (Butcher, Shields) - 2:38
3. "Touched" (Colm O'Ciosoig) - 0:56
4. "To Here Knows When" (Butcher, Shields) - 5:31
5. "When You Sleep" - 4:11
6. "I Only Said" - 5:34
7. "Come in Alone" - 3:58
8. "Sometimes" - 5:19
9. "Blown a Wish" (Butcher, Shields) - 3:36
10. "What You Want" - 5:33
11. "Soon" - 6:58

LEGACY

Fans have included Billy Corgan from the Smashing Pumpkins, Trent Reznor from Nine Inch Nails and Radiohead. I saw an early Cornershop gig in 1992, and they clearly aped the feedback, wall of sound dynamic; I read later they were big fans. So clearly I'm not the only Asian fan! The film director Sophia Copella, herself a big fan, persuaded Shields to contribute the score to her film Lost In Translation, with MBV tracks from Loveless as well as his first new material for years.

CONCLUSION

This is a lost classic of fragmented beauty that will appeal to anyone who has an interest in the more avant-garde kind of Indie music. It's certainly something unique and deserves re-appraisal by a new generation of Indie kids. If you want a change from the conventions of Razorlight or even the allegedly original Arctic Monkeys here it is, begging to be listened to!

Get This Widget #000000 #0000FF

The Return of the One-Man Band

Throughout her time spent rehearsing, recording and touring in other people’s bands, Clark maintained a sense of herself as an autonomous and almost entirely self-sufficient artist, and “Marry Me” is the fruit of years of solitary trial and error. Released this past July, the album is almost recklessly heterogenic: each of its 11 tracks has its own highly idiosyncratic frame of reference, from torch songs to New York’s no-wave of the ’80s to Parisian chansons. “That album took forever to make, mostly just me alone with my computer,” Clark said with a good-humored sigh. “I call the time I spent on it ‘invisible hours,’ because no one knows how long it took but me.”

On some tracks, the hours are less invisible than on others: “Paris Is Burning,” a protest song disguised as a fantasia of Paris’s fall to the Nazis, is an opera unto itself, beginning with a somber trio of horns and arcing through an elegantly condensed history of 20th-century popular music before landing, somewhat drunkenly, in a stiff-legged, apocalyptic waltz. The title track, by contrast — a deceptively dulcet piano ballad that manages to conceal a disquieting critique of marriage behind its seemingly straightforward proposal — is a study in effective restraint. Like Pallett, Clark plays virtually every instrument on the record, though she draws far more heavily on synthesized sounds and effects; the handful of other musicians featured (among them Mike Garson, David Bowie’s longtime pianist) seem to have been brought in less out of necessity than as the sonic equivalent of icing on the cake. From start to finish, “Marry Me” succeeds in fostering the illusion of effortlessness, of an almost careless expertise, as much in production and arrangement as in songwriting and execution — a far cry from such low-fi, rough-around-the-edges indie debuts as Cat Power’s “Dear Sir” or the Pixies’ “Come On Pilgrim.” It’s a fair bet, however, that “Marry Me” was considerably less expensive to record.

“It’s a completely different situation these days,” Clark said when I asked how she recorded her album. “With the — can I call it a technological revolution? — and the advent of the Internet, there’s this idea of global access, and to some extent it’s true. I came to music at a time when the Internet was still mostly for freaks, but I kind of fit into that category; I discovered all sorts of crazy things that way.” I asked whether that might account, in part, for the wide range of stylistic influences on “Marry Me,” and Clark nodded thoughtfully. “The home-recording situation — having it be affordable and easy — was a big part of it, too: I had so much time to try out weird ideas, then get rid of them or keep them if I wanted. I never really fantasized about joining a band, or thought, This song would be really good if I could just find a drummer, because I didn’t need to think about things in those terms. It was more fun for me to try it on my own.”

IF PALLETT AND CLARK ACHIEVE POP liberation through technology, “chops” and a flair for performance, a third variation on the theme of musical self-sufficiency is presented by the curious case of Noah Lennox. Lennox records and performs, both alone and in a wide variety of partnerships and collectives, under the moniker Panda Bear. Although he is an accomplished drummer and guitarist, he used neither instrument in the recording of his acclaimed third album, “Person Pitch,” and the technical aspects of his performances have more in common with Clark’s “invisible hours” than with Pallett’s assured showmanship. You could almost describe Lennox, whose persona is low-key in the extreme, as the drummer who fired himself.

Panda Bear has been well known for a number of years — at least in the insular world of experimental pop — for his involvement with the peculiarly elliptical band Animal Collective, of which he was a founding member (in either 2000, 2001 or 2003, depending on whom you ask). Animal Collective — which features Lennox and three collaborators of long standing who go by the names Avey Tare, Geologist and Deakin — is arguably the most innovative group to emerge from New York City’s progressive-music scene since Sonic Youth. What it is, exactly, that makes the band unique is hard to pinpoint, since its sound ranges widely, from ethereal, open-ended psychedelia to something Owen Pallett described, admiringly, as “panic folk”; common to all the band’s projects, however, is an unapologetic embrace of eccentricity.

Side projects are often perceived as threatening to a band’s equilibrium — Metallica famously forbade its members to participate in any — but everyone in Animal Collective seems to have at least one, and Lennox clearly views his two endeavors as mutually sustaining. “We’ve been getting more interested in sampling lately, all sorts of electronic sounds, moving away from conventional rock-band instrumentation, that whole guitar-driven thing,” Lennox told me when I visited him in Lisbon, where he now lives with his Portuguese wife and their child. He gave a quick, self-deprecating smile. “I guess my solo record is proof of that.”

Lennox established himself as a solo artist with Panda Bear’s first two albums, 1998’s eponymous debut and 2004’s “Young Prayer,” but it’s his third release, “Person Pitch,” that has generated the most buzz, both popular and critical. The Internet’s most powerful indie tastemaker, Pitchforkmedia.com, selected it as the No. 1 release of the past year. “I can’t really explain it, to be honest,” Lennox told me, looking genuinely dazed. “I’ve always kind of thought of myself as a weirdo.”

“Person Pitch” is a profoundly strange recording, often seemingly at odds with itself: absolutely digital and yet obviously homemade, repetitive yet oddly restless, airy yet packed to the breaking point with every sound effect under the sun. With the exception of his bittersweet, echoing, multitracked vocals, the songs consist entirely of samples culled from online databases: tribal rhythms float high above the revving of engines, falling trees punctuate acoustic guitar loops and the album’s signature track, the spacey, beach-partyish “Bros,” kicks off with the hooting of an owl. “My favorite music sounds like it was recorded underwater,” Lennox said earnestly, as we sat in a bustling restaurant off Lisbon’s Praça de Camões. “Dub music is like that: Augustus Pablo, King Tubby, that kind of thing. Reggae rhythms with a ton of reverb and effect-tweaking: that late-night, 4-in-the-morning kind of sound. I go after that a lot in my own songs.”

Laruku History

Berawal pada tahun 1991 di Osaka. Tetsu dan Hiro, berniat membentuk sebuah band. Mereka mulai mencari personil dengan melihat penampilan indie dari satu live house ke live house lain. Bertemulah mereka dengan Hyde yang saat itu masih menjadi gitaris sebuah band bernama Kidies Bombs, Kidies Bombs sedang mengalami perombakan personil, sehingga Hyde harus menjadi vokalisnya. Hyde yang ingin menjadi gitaris, merasa tidak percaya diri menjadi vokalis. Namun ia tetap mencoba untuk bernyanyi [walau sesekali sambil bermain gitar], Kidies Bombs kemudian berganti nama menjadi Jerusalem's Rod.

Saat Tetsu menonton konser Jerusalem's Rod, Tetsu tertarik untuk merekrut Hyde sebagai vokalis bandnya. Lalu Tetsu pun makin sering mengikuti aksi manggung Jerusalem's Rod, seakan ia fans beratnya. Sarnpai akhirnya, ia mendapat nomor telpon Hyde, la menghubungi Hyde dan memintanya untuk rnenjadi vokalis. Tetsu pun mengundang Hyde dan Pero untuk jam-session bersama. Hyde kemudian memutuskan untuk mundur dari Jerusalem' s Rod dan bergabung dengan Tetsu. Sedang kan Pero langsung mengiyakan, Februari 1991,terbentuk sebuah band bernama L' Arc en Ciel dengan Hyde sebagai vokalis, Hiro sebagai gitaris, Tetsu sebagai bassis, dan Pero pada drum. Nama L'Arc-en-Ciel (ラルク アン シエル, Raruku An Shieru?, "the rainbow" in French) diambil dari bahasa Perancis yang berarti ' an ark in the sky', (sok tau gitu deh gue)

Oleh orang Jepang, sering disingkat menjadi 'Laruku'. Tetsu menemukan nama ini dari judul film Perancis yang ditontonnya. la berpikir nama ini sangat menarik, namun ia tidak tahu artinya. Akhirnya Tetsu pergi ke toko buku dan mencari kamus bahasa Perancis. Melihat artinya adalah rainbow, Tetsu makin mantap akan nama ini. Siapa yang menyangka nama ini merefleksikan karir L' Arc en Ciel yang sudah berjalan lebih dari 15 tahun. Dan Laruku menjadi salah satu band rock Jepang tahun 90-an yang masih eksis hingga kini. Mereka memulai dengan manggung pada live house. Dari penontonnya yang hanya 2 hingga 300 orang saja, Pada 30 Mei 1991, Laruku menggelar konser perdananya secara indie di Osaka Nanba Rockets.

Di Jepang sendiri ada mitos yang mengatakan ' Jika ingin sukses menjadi band rock, mulailah menjadi band indie yang berpenampilan visual '. Nama-nama grup indies yang muncul pun berbau nama-nama Eropa. Laruku akhirnya terbawa dalam tradisi ini. Mereka iampil visual layaknya androgyny dengan kostum gaun, make up tebal, lipstick merah. dan sentuhan nuansa mediteranian. Alhasil, banyak penonton yang mengira vokalis Laruku seorang wanita atau gay. Namun sang pemilik live house yakin' Hyde adalah pria sejati', la berpendapat suara Hyde sangat atraktif dan kuat. la yakin sekali suatu saat nanti Laruku akan menjadi band yang besar. Sejak saat itu, mereka mulai terkenal di kalangan kornunitas indie. Tawaran manggung mulai berdatangan, dari berbagai kota. Akhirnya Laruku mulai mengembangkan ' sayap' dengar menggelar tour keliling Osaka Read more..

Tags: tribute to laruku

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Sugababes, Wombats join Oxygen bill -Tuesday, June 10 2008, 06:14 BST

Rex Features

Sugababes and The Wombats are the latest acts to be confirmed for this year's Oxygen Festival.

Other artists added to the bill include Amy Macdonald, Ben Folds, The Metros, Bryn Cristopher, Little Man Tate, Elliot Minor, Joe Lean and the Jing Jang Jong, and Alphabeat.

Further new additions include The Hold Steady, Eddy Grant, We Are Scientists, Glasvegas, David Jordon, The Script and Jack Penate.

Oxygen takes place at Punchestown Racecourse, Naas on July 11, 12 and 13.

This year's headliners are Rage Against The Machine, The Verve, REM, Stereophonics and Amy Winehouse.

Indie band play Natural History Museum

Tuesday, June 10 2008, 07:44 BST

By Alex Fletcher, Entertainment Reporter

Rex Features

Indie band British Sea Power have confirmed details of a free gig at the Natural History Museum.

The group will perform a concert in front of films from the museum's archives on June 21.

The gig is part of a series of shows taking place across various London museums called the Exhibition Road Music Day.

Earlier this year, British Sea Power played a show at the Czech Embassy to publicise the release of their Do You Like Rock Music? LP.

McGuinness reveals U2 LP release plans

Tuesday, June 10 2008, 08:28 BST

By Alex Fletcher, Entertainment Reporter

Rex Features

U2's manager Paul McGuinness has said the group will not let fans download their music for free.

McGuinness said the band would consider using "whatever technology is available", but claimed that Radiohead's decision to allow fans to pay what they want was not the way forward.

"We should all be aware that Radiohead's honesty box release of their album to some extent backfired," he told BBC 6 Music.

"Even though it was available on their own website for no money at all, if that was what you preferred to pay - 60 to 70% of the people who downloaded the record stole it anyway, even though it was available for free."

Speaking about U2's new LP, he said: "There will be events around the release of the album but for U2 physical sales are still an enormous part of our business and we still sell a lot of actual CDs.

"We will obviously work with whatever technology is available to make the release of the new record as interesting as possible."

U2's 12th studio album is expected to be released in October.

Interview With Visco Band

VISCO yang terdiri oleh Krishna (vocal, Synth), Irsan (gitar), Rama (bass, synth) dan Ma’ruf (drum), sebagai wadah ekspresi mereka memiliki lagu dengan tema yang terlahir dari perasaan setiap personilnya. Lirik-lirik yang ditulis dengan pemikiran mendalam, dan aransemen musik yang menguatkan makna sesuai dengan pesan yang ingin diekspresikan.

Sebuah lagu berjudul Intro akan membuka debut album VISCO, ”MY TERRORIST”, sebagai bentuk sapaan kepada belantika musik Indonesia. Musiknya langsung mengantarkan kita dalam sound Rock Elektronik bernuansa kegalauan hidup manusia dalam mencari satu titik cahaya terang. Tidak ada lirik dalam track pertama, suasana yang dibangun mewakili keterbungkaman manusia yang sangat lelah. Begitu dingin dan ”berteriak”, namun tak satu kata pun yang dapat dirangkai lagi. Setiap track yang disuguhkan mempunyai kisah dan atmosfir tersendiri, menceritakan hiruk pikuk kehidupan, perjuangan dalam menata ego akal dan hati, ekspresi birahi, kisah romantis hingga state of mind seperti yang tertuang dalam lagu My Terrorist.

Dipilih menjadi singel pertama VISCO yang diputar sebagai new comer oleh beberapa stasiun radio lokal. Mengisahkan hal yang selalu dirasakan oleh setiap individu, bahwa apa yang dihadapi adalah hasil ciptaannya sendiri, alam pikiran yang tidak sedikit manusia menganggap segala-galanya, sampai akhirnya terjerumus dalam gelap yang dianggap nyata, hingga suatu waktu ketika individu tersebut bangkit dan percaya bahwa dirinya bukanlah alam pikiran yang mereka ciptakan sendiri. Setiap lagu dibalut dengan aransemen musik yang terasa bertolak belakang dengan isi, dimana lirik yang galau ditemani oleh musik yang bersemangat dengan sentuhan Rock dan Up beat dikombinasikan dengan nuansa Disco elektronik, menggambarkan pemberontakan terhadap situasi keterpurukan jiwa yang harus dilawan dengan penuh semangat dan rasa positif dalam hidup.

Secara utuh, VISCO sebenarnya mengangkat tema pencarian manusia terhadap hakikat. Dari kejadian sehari-hari yang seringkali kita alami disajikan dalam kreatifitas bermusik. Coba saja kita simak lebih jauh lirik-lirik lagu dan aransemen Battle of Ego, Lots O’ lust dan Love Ocean. Setiap hubungan antara lirik dan aransemen musik di lagu ini berkaitan dengan sangat erat. Kalau kita perhatikan musiknya dan mencermati liriknya, maka kita akan menemukan sebuah kandungan cerita yang bisa membuat kita merenung.

Penampilan para personel band ini simpel, kombinasi gelap dan terang serta elegan. Mereka menciptakan nada-nada yang terdengar catchy, energik, dan menyentuh.
Tatanan musik yang unik dan dinamis memberikan kita kebebasan untuk mengapresiasikannya. Bergerak bebas mengikuti tempo/beat, atau menikmati dalam keadaan terdiam, biarkan mengalir. . . .
Sebagai penutup, debut album ini merupakan bentuk perkenalan VISCO kepada khalayak. Karakter musiknya yang energik, sedikit eksperimen dan ekspresif adalah bentuk pemberontakan sekaligus untuk dinikmati bagi mereka yang mendengarkannya.

1. Halo visco punya waktu sebentar?
   pastinya, ada yang bisa dibantu?? :)
2. Visco, Band Apaan sih kalian?
   ……..errr……”?”
3. Namanya kok visco?
   sebenernya Visco itu diambil dari “Viscoelastic” ,istilah umum dikuping anak teknik.
   Intinya kata “VISCO” terdengar keren dan ciamik…!!!
4. Inspirasi dan contekan kalian siapa aja?
   mungkin bukan contekan,tp kalo band-band yang biasa kita dengerin spt, A Flock of seagulls, New Order, Radiohead, Portishead…ya masih banyaklaah,kangen (kenjen) juga bisa..hhahahaha!
5. Senjata kalian dalam bermusik dan membuat musik apa aja?
   bedil karo mawar,hahahaha!!! senjata kami adalah kekompakan kami,hanya itu.TITIK!
6. Lagu favorit kalian disaat check sound di panggung apaan?
   madu dan racun,kadang-kadang kemesraan…….
7. Pilih Peterpan apa radja?
   HIDUPP VAGETOZZ!!
8. Fave Local Bands kalian ?
   menurut kami singiku itu bagus…
9. Ceritakan background kalian masing-masing?
   Yang penting kami semua udah lulus kuliah……AKHIRNYA !!!
10. Ciri khas kalian saat manggung tuh apa?
    kacamata kerlap kerlip yang dipakai krishna yang walaupun kalo manggung siang hari ga pernah dipake..
11. Kenapa pilih Indie?
    bukannya kita pilih indie atau major,tp emang saat ini jalannya kesitu..
12. Kalian termasuk band metal gak?
    Band metal tuh keren, tapi kita bukan band metal hehehe
13. saat manggung paling berkesan dimana?
    pada saat manggung di Cirata,acara Persib, yang nonton suporter persib smua yang gokil-gokil..
14. BTW ini album keberapa? dan musik Jagoan kalian judulnya apa?
    ini debut album,jagoannya “My Terrorist“
15. Menceritakan tentang apaan tuh?
    sisi gelap dari pikiran manusia itu sendiri,…sadeeesss….
16. Udah berapa lama kalian ngeband gak jelas sampe akhirnya ngeluarin album?
    Nah itu dia..kita juga ga jelas udah berapa lama ngeband sampai sudah ngeluarin album.hahahaa…
17. Punya situs gak kalian?
    situs resminya masih proses,tapi kalo mau tau lebih banyak lagi bisa log on ke www.myspace.com/visualdisco atau ke amp.channelv.com/visco
18. Oke Makasih kawan sebelumnya atas waktunya, pesan loe apa buat calon penggemar kalian dan yang sudah penggemar kalian?
    Bagi calon penggemar : jadilah penggemar kami!
    Bagi para penggemar :..selamat menikmati !
19. Komen loe tentang byadha.com?
    bagus,keren dan ciamik,sangat bermanfaat buat para designer.tetap semangat dan terus berkarya, …MERDEKAA !!

Date of release: April 30, 2008
Type of label: indie
Distributed by: Aksara records

Contact person: Krishna 081584265316 / Rama 08161992821
e-mail: visualdisco@yahoo.co.uk
Website : http://www.myspace.com/visualdisco
amp.channelv.com/visco

emo tuh sebenernyah dari hc pa bukan sihh,,

Merunut ke belakang sejarah Emo(tional) agak susah juga dari mana startnya. Kalo gw secara pribadi, gw bisa bilang, Husker Du dengan albumnya Zen Arcade adalah Emo pertama. Awalanya Husker Du adalah HC 80an awal yang kenceng, sekenceng Teen Idles maupun Minor Threat, sampai mereka ngeluarin album Zen Arcade itu. Bisa di bilang, secara lirikal mereka lebih emotional dan berani explore masalah pribadi yang saat itu di anggep kurang macho hehehehe.....

Nah di pertengahan 80an, DC hardcore mengalami stagnansi yang amat sangat. Skinhead mulai mengusai HC sehingga banyak partisipan HC seperti Ian Mackaye mulai jengah dengan kekerasan pada scene DC HC. Minor Threat pun bubar. Akhirnya dengan approach kepada musik Punk yang berbeda dengan HC, Ian membentuk band baru bernama Embrace. Gak bertahan lama Embrace bubar dan membentuk Fugazi bersama frontman Emo Guy Picioto dari Rites of Spring. Ada satu acara di DC yang sebagai titik awal musik Emo, revolution summer.

Sebagian dari crowd DC HC yang sok tough macho guy, menyebut mereka sebagai Emo(tional) Hardcore, Emo karena secara lirikal Emotional dan Hardcore karena mereka adalah banyak dari dulunya musisi HC jadilah isitilah Emocore. Jangan salah, Emocore adalah hinaan. Jadi awalnya bukan genre musik. Sementara si artisnya sendiri pun lebih suka di bilang Punk saja.

Dari sini, mulailah bermunculan band2 baru.....say like Dag Nasty, Jetz to Brazil, Sunny Day Estate (bener gak sih?), cap'n jazz, Texas is The Reason, dll.........

Sementara itu, di scene Metalcore pun, beberapa band mulai berani memasukan unsur Emo seperti band2 diatas dimasukan ke agresi Metalcore yang ada, say like Poison the Well, 18 Visions dll.

So, band2 sekarang, tinggal ngelanjutin apa yang udah ada di sebelumnya......

yah kira2 gitu jawabannya...hehehe sok tau deh gw