Inkubus Sukkubus

   
Artist: Inkubus Sukkubus

   Genre(s): 
Rock: Gothic
   

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Discography:


   
 Witch Queen

   Year: 2005   
Tracks: 9


   
 The Beast With Two Backs

   Year: 2004   
Tracks: 13


   
 Supernature

   Year: 2001   
Tracks: 12


   
 Wild

   Year: 1999   
Tracks: 15


   
 Away With The Fearies

   Year: 1998   
Tracks: 15


   
 Vampyre Erotica

   Year: 1997   
Tracks: 13


   
 Beltaine (The Early Recordings 90-91)

   Year: 1996   
Tracks: 15


   
 Wytches

   Year: 1994   
Tracks: 15


   
 Belladonna and Aconite

   Year: 1993   
Tracks: 14

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Uncovering novel rhythms and moving orchestrations developing within gothic rock flair inspirations and thaumaturgy lyric references, Inkubus Sukkubus likewise display a multitude of influences ranging from the sounds of the Sisters of Mercy to the creations of the Rolling Stones. Concentrating their musical efforts on the flair of pagan ideals and orphic references, Sukkubus was conventional in Cheltenham, Gloucestershire, in the U.K. in 1989. The batting order consists of singer Candia Ridley, Tony McKormack (guitar, programming), Adam Henderson (bass), and Mick Egan. Playing across the local club scene during the months that followed, Sukkubus finally distinct to record their start record album in 1992. Belladonna and Aconite, the group's debut full-length arrived in record stores that same yr. In 1994, the band released their second full-length, Wytches, earlier entry an all-inclusive tour which included headlining shows for bands like Nosferatu, Clawfinger, or the Mission. Heartbeat of the Earth showed up in 1996 as their one-third album, before still some other varied circuit that took them all over Europe. Vampyre Erotica, Sukkubus' fourth album, was issued in 1997, one yr before Away With the Faeries. In 2001, the British band released Supernatural, their sixth studio endeavour.





John Surman, John Warren

Leeds United win means busy weekend for Kaiser Chiefs

Kaiser Chiefs are set for the weekend of their lives, after their beloved Leeds United made it into the Football League Play-Off Final last night (May 15).

The team came from behind � after losing the first leg 2-1 � to beat Carlisle United 2-0 on the night, thus winning the two-legged tie 3-2 on aggregate.

It means Leeds will now play either Doncaster Rovers or Southend United who play tonight (May 16) at the Wembley final next Sunday (25) � and the timing could not be better for Kaiser Chiefs.

The band play a massive homecoming show the day beforehand (24) at Leeds United's Elland Road stadium, the perfect build-up to the final.

NME.COM can reveal that some last-minute tickets have become available for the gig after the film crew covering the gig decided they did not need the extra space.

To check the availability of Kaiser Chiefs tickets and get all the latest listings, go to NME.COM/GIGS now, or call 0871 230 1094.

It also means a busy weekend for Kaiser Chiefs. They will be playing live on Radio 1's Breakfast Show from 9am on May 23, the band then will play the Elland Road show before dashing down to London overnight to attend the Wembley Play-Off Final.

NME and NME.COM will be bringing you full coverage of the Kaiser Chiefs' Elland Road gig with news coming live from the venue on the day along with a special souvenir issue which is due to hit UK newsstands just days after the show.




May 24, 2008 at Elland Road, Leeds -
More Kaiser Chiefs tickets

Potter star Watson parties with Borrell

'Harry Potter' star Emma Watson has been spotted partying with Razorlight frontman Johnny Borrell in London.
They met at the Vanity Fair And Burberry Portraits party at the National Gallery. And despite a 10-year age gap, the 17-year-old actress reportedly seemed enthralled.
"Emma had gone over to speak to Pixie Geldof, who was chatting to Johnny at the time. Emma and Johnny immediately hit it off," an onlooker told the Daily Telegraph.
"It was clear they had loads to talk about - even if they don't look like they have much in common."
According to the Daily Star, Borrell, 27, didn't realise who Watson was until they left the party and fans started calling her name.
The unlikely pair then reportedly hopped into a cab to another fashion party and from there, they are believed to have gone on to a private event at the Dorchester Hotel.

Kooks bassist quits band for good

The Kooks have permanently parted ways with bass player Max Rafferty.
Rafferty had previously spent several periods away from the group because of illness, but he has now left the Brighton rock group for good, according to his bandmates.
He will be replaced by Cat the Dog's bassist Dan Logan on a temporary basis.
No reason for Rafferty's departure has been given by The Kooks.
A statement from the band said: "Max Rafferty has parted company with The Kooks - the band will be continuing with the forthcoming shows. Dan Logan, bassist with local Brighton band Cat the Dog, will be filling in for the short-term."
The Kooks are currently preparing for the release of their second album 'Konk' on 14 April, which is the follow-up to their hugely successful debut 'Inside In/Inside Out'.

Company takes on royalty board

Royalty Logic challenges law that created board





NEW YORK -- Royalty Logic hopes to challenge the very existence of the U.S. Copyright Royalty Board, which sets rates for compulsory licenses under federal copyright law.
The company filed a motion Tuesday with the federal Appeals Court in Washington, D.C., which will be hearing the webcasters' appeal of the CRB's rate decision from last year, asking for permission to file additional legal arguments. The arguments challenge the constitutionality of the law that created the CRB.
Royalty Logic was a party in the webcaster rate trial. The company wanted the authority to compete with SoundExchange, which the CRB denied. SoundExchange is the only organization currently authorized to license and collect royalties for sound recording owners, musicians and vocalists under section 114 of the Copyright Act.
That section authorizes the public performance (e.g., streaming) of sound recordings over non-interactive digital services as long as certain royalties are paid and other conditions are met. The CRB is authorized by law to set those rates through a two-year rate-setting process.
The deadline for filing legal briefs with the Appeals Court has passed. Therefore, Royalty Logic is asking the court to permit the filing of additional arguments for consideration.
If permitted to file the brief, Royalty Logic will argue that the law creating the CRB violates the appointments clause of the U.S. Constitution. In other words, Congress improperly permitted the Librarian of Congress, which controls the Copyright Office, to appoint the three Copyright Royalty Judges.
If a court held that the law is unconstitutional, it is conceivable that decisions made by the CRB would be null and void.

Mystic Forest

   
Artist: Mystic Forest

   Genre(s): 
Metal: Death,Black
   

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Discography:


   
 Waltz In The Midst Of Trees

   Year: 2002   
Tracks: 11

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Highway To GWAR, 1989, In The Loder Files

Namie Amuro

   
Artist: Namie Amuro

   Genre(s): 
Hip-Hop
   Other
   Pop: Japan
   Rap: Hip-Hop
   

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Discography:


   
 Play

   Year: 2007   
Tracks: 12


   
 Funky Town

   Year: 2007   
Tracks: 4


   
 I Wanna U Know (cd2)

   Year: 2006   
Tracks: 20


   
 I Wanna U Know (cd1)

   Year: 2006   
Tracks: 25


   
 CAN'T SLEEP CAN'T EAT I'M SICK

   Year: 2006   
Tracks: 5


   
 Queen of Hip-Pop

   Year: 2005   
Tracks: 12


   
 All For You

   Year: 2004   
Tracks: 4


   
 Alarm

   Year: 2004   
Tracks: 4


   
 So Crazy - Come Single

   Year: 2003   
Tracks: 4


   
 When Pop Hits The Lab

   Year: 2002   
Tracks: 13


   
 I WILL

   Year: 2002   
Tracks: 4


   
 Good Life Just Say So

   Year: 2002   
Tracks: 4


   
 GENIUS 2000

   Year: 2000   
Tracks: 15


   
 Toi et mo

   Year: 1999   
Tracks: 3


   
 How to be a Girl

   Year: 1997   
Tracks: 3


   
 Dreaming I was dreaming

   Year: 1997   
Tracks: 3


   
 Concentration 20

   Year: 1997   
Tracks: 12


   
 Can you celebrate

   Year: 1997   
Tracks: 3


   
 Taiyou no season

   Year: 1995   
Tracks: 4


   
 Chase the Chance

   Year: 1995   
Tracks: 4


   
 Dancing Junk

   Year: 1993   
Tracks: 4


   
 Aishite masukatto

   Year: 1993   
Tracks: 2


   
 Koi no cute beat

   Year: 1992   
Tracks: 2


   
 Dance Tracks Vol. 1

   Year:    
Tracks: 13


   
 Baby Don't Cry

   Year:    
Tracks: 4

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Namie Amuro is Japanese pop's almost resilient matinee idol. Debuting in 1992 with the all-girl five-piece Super Monkey's, where she first caught the attending of Tetsuya Komuro, the producer/songwriter wHO would go on to sHAPE her early calling, Amuro has bounced back from hurdles that have felled lesser J-pop idols (videlicet elevation a family and disjoint) to persist on top. And care any J-pop starlet worth a theme song to a strike anime moving-picture show, Amuro has reinforced up a solid resonance with her fans through her sense of style as much as for her music, which is fundamentally R&B-influenced pop, harder edged and more than risqué than that of her equal Ayumi Hamasaki.


Born in the city of Naha, in Japan's southern tropical islands of Okinawa, Namie Amuro (born Namie Maruyama on September 20, 1977) began playing from an early age, bucked up by her female parent. Amuro's solo career did non take off until her irregular album, Dulcet 19 Blues, released in July 1996 on Avex Trax. Few albums ar as emblematical of an geological era. Preceded by the single "Body Feels Exit" in October 1995, Odorous 19 Blues was written and produced by Tetsuya Komuro, a former extremity of the mid-'90s pop work Globe and wHO went on to master the Japanese pop landscape painting as a ballad maker and producer.


Scented 19 Blues, released with no less than quadruplet different sleeves, typified the songwriting and production values of Komuro -- videlicet, a extremely polished dance-pop heavy characterized by discotheque rhythms and funky basslines. As a solvent of its immense sales (over three million albums sold in Japan), it is as well the Amuro album to the highest degree associated with her legion of young fans, dubbed "Amura" by the media and wHO, for the most part, followed their idol's lead in dyeing their tomentum brown, plucking their eyebrows, and proudly wearing away the same fashion accessories. High heels, a mini, and tattoos -- in addition to Amuro's provocative dance routines featured in her videos -- all added up to an tout ensemble less wholesome simulacrum than that perpetuated by Amuro's contemporaries. Komuro was likewise behind the controls for Amuro's tierce album, Concentration 20, released in August 1997, including the gospel-influenced individual "Pot You Celebrate?" The musical theme song to the Fuji TV dramatic play Virgo Road, it went on to sell two meg copies, seemly a karaoke staple and a popular alternative as a hymeneals vocal with danton True Young Japanese couples.


An enforced hiatus came around in 1997 when Amuro, aged 20, became pregnant with fellow and succeeding husband Sam (Masaharu Maruyama) of the pop radical TRF. This far from sense the end of her vocation, and Amuro presently launched a successful replication at the end of 1998 with a performance on the wide watched New Year's tV picture Kohaku Uta Gassen, beam on NHK. Avex brought the heavyweight R&B production talents of Dallas Austin in for Amuro's fourth album, Mastermind 2000, released in January 2000. Austin's previous credits included TLC, Boyz II Men, and Monica. Amuro played to great hundred,000 fans in total during her nationwide circuit of Japan in March of the same twelvemonth. While she was widening her compass of collaborators (she would too record with the well-thought-of Japanese blame yoke m-flo), Amuro earned her first songwriting course credit, for the 2001 single "Say the Word." At the 2002 MTV Video Music Awards Japan, Amuro was awarded the "Inspiration Award Japan" as acknowledgement for her influence on Japanese pop.


Another hiatus of sorts was broken in December 2003 when Amuro released her first album of original material in three age, Stylus, an album with a marginally more than mealy R&B edge that took her closer in sound to her musical idol, Janet Jackson. Significantly, for this album Amuro had ended her musical relationship with Komuro. The transformation from dance-pop to a more mature, transatlantic sound was completed with Amuro's following album, 2005's suitably titled Queen of Hip-Pop, Amuro's best-selling liberation since 2000's Mastermind 2000.