99 Results for : lasses
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Pit Lasses
Pit Lasses - Women and Girls in Coalmining c. 1800-1914: ab 5.49 €- Shop: ebook.de
- Price: 5.49 EUR excl. shipping
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The Outcast (Scottish Lasses)
The Outcast (Scottish Lasses): ab 2.99 €- Shop: ebook.de
- Price: 2.99 EUR excl. shipping
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Learning from the Lasses
Learning from the Lasses - Women of the Patrick Geddes Circle: ab 12.49 €- Shop: ebook.de
- Price: 12.49 EUR excl. shipping
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Superhellamegaepic
Many bands claim to be unclassifiable, most are wrong. But Portland's Cark makes unpredictability a core value. "We get complacent when we know what to expect all the time. The whole point of keeping art vital is to try something new, to confuse people," said Josh Gross, who fronts the band and is also a PSU student. The name of Cark's latest album, SUPERHELLAMEGAEPIC, seems an apt description for a band that transitions seamlessly from speed metal to an only half ironic cover of Journey's "Don't Stop Believing." If Cark's aim to keep their audience on their toes than they succeed in more ways than one, for a raucous two-piece that is firmly rooted in metal, Cark is undeniably catchy and most of all, fun. Audiences regularly oscillate between lighthearted moshing and '80s-style dancing. "Music doesn't have to be a joke to be funny," Gross said. "It can be rock music and still be fun." And indeed Cark are hilarious, but somehow they remain earnest and passionate about the onslaught of pop riffs and cowbells that erupts from stage during their live set. Even though Cark is a unique experience, they have retained the rock ethos. Gross said that he is sick of what he calls snoozecore. "When rock started it was about being loud and energetic. It scared people because it was so fun, it was this uncontrollable energy," he said. "We just love to play and we don't give a shit about what anyone thinks about it." Cark's live show is engaging and awe inspiring. On songs like "The Standing Drummer," they manage to simultaneously jab their tongues in their cheeks and kick fucking ass. Drummer Dustin Wasserman, who is a Portland state grad, is one of the city's most energetic and inventive percussionists. And despite Cark's deliberate distance from Portland's thriving indie-pop scene, in many ways the standing drummer ranks among Talkdemonic's Kevin O'Connor and Menomena's Danny Seim as one of Stumptown's most fun drummers to see live. -Leathan Graves-Highsmith Portland Vangaurd, February 23, 2006 --------------- Cark v-(kark): 1. To vex, to confuse, to annoy. 2. To disturb in mind or make uneasy or cause to be worried or alarmed. What is Cark? Well, Cark is not a fish. Nor are they broad-shouldered lasses from the south of France. They might be a ham-fisted, rock'n'roll juggernaut terrorizing the airwaves with their fresh new sound, but then again, they could just as easily be your parent's insurance agent. Are you confused yet? Good. That's what Cark is. United in the belief that the rock world can be a bit stuffy at times, Josh, 'Mad-Sombrero' Gross, and Dustin, 'Drummer of Death' Wasserman, like to keep the audience on their toes. A hyperactive songwriting process, that covers topics as diverse as picnics, and robotically enhanced hoboes taking over the planet, fuels performances that invite the audience out of their seats to join Cark in their merrymaking. No cow is too sacred for the seppuku two. A few chords and two lines later, we all remember that rock music can be fun, and still rock. Both Dustin and Josh were members of stalwart southern Oregon band, The Vam Commanders, but had gone their separate ways for several years before Cark's inception in Portland, in late 2004. Dustin went to study in Japan for two years, and kept busy with his many recording projects, documented on his personal label, Tingle Finger records, while Josh played clubs around Portland with new-wavers, The Sucker M.C. Jive Turkeys. Cark's first year on the town was mostly spent describing how a song should go to one another, and then playing it for the first time ever on stage, since they lacked a consistent practice space. Although this sounds dysfunctional to the max, audiences liked it, and a sound was born. Since Cark didn't own a car, gear was transported to said gigs either on the bus, or by walking, or in the case of a gig at Sabala's, by shopping cart-a technique which earned them the label of most hardcore band in Portland, from the owner of Suburbia practice studios, and a lot of confused looks from other bands who brought their gear in vans because it was 'raining.' Sound people were appreciative since even without a car, Cark always arrived on time, a rarity in the sordid world of rock'n'roll. 2006 brings Cark a cache of new songs, a freshly minted new album, Superhellamegaepic, and a renewed drive to show Portland how to have a good time, even without a bass player. In their own words: We're here to fucking rock, we're here to fucking roll, so make some fucking noise, and get out of control. Fun facts derived from Cark lyrics: • Cark are in fact from another fucking planet! • The members of Cark have never actually been on a picnic, although they have every intention of going! • Josh, a genuine member of Cark, actually fears that hoboes could be robotically enhanced sleeper agents, awaiting commands from orbiting UFOs to rise up and conquer the Earth! • Dustin, another genuine member of Cark, likes to stand up while he plays the drums in order to pay respect to all his dead drum homies! • Cark once played a show after seven months of not practicing. No one noticed a difference!- Shop: odax
- Price: 24.47 EUR excl. shipping
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Coast Road
A musician, teacher and promoter, it would be no exaggeration to say that Karen Ryan lives and breathes traditional Irish music. Born in London to Galway and Mayo parents, it was a strong Connemara tradition of melodeon players and traditional singers on her mother's side that initially fired her love of the music. Karen started playing music at the age of nine, taught by the North Leitrim musician Tommy Maguire at the London Irish Centre, where she herself now teaches. It was here that she met lifelong friends and fellow fiddle players, Elaine Conwell and Teresa Connolly (née Heanue), with whom she won the under 12 Trio competition at the All-Ireland Fleadh in 1985. 'That a London style of traditional Irish music has evolved from the 1960s to the present day, is generally accepted worldwide. The product of great immigrant musicians from all parts of Ireland getting together. Goodwill and good will music being foremost at the London sessions. Listening to Karen's recording of 'The Coast Road' deos great justice to these musicians past and present. Sweet and neat would not be a sufficient description of this no leass than great recording. Musical sincerity and a yearning for the fifth dimension comes to mind. Well done, Karen and Pete and guests.' - Danny Meehan, musician. Karen was fortunate to hone her musical skills through playing with a vast array of musicians in the vibrant London Irish session scene and during frequent visits to musical gatherings in Ireland and the US. Whilst gleaning much from all these players she cites Brian Rooney, Brendan McGlinchey, Danny Meehan and the recordings of Andy McGann as having the most influence on her fiddle playing. 'Karen Ryan is one of our great musicians here in London. Lucky for me, I've known her since she was a little girl playing whistle and bangjo but as she got older she favored the fiddle which she plays in her very popular band, The London Lasses. Karen plays with fluency, great control and beautiful tone, listening to her playing reminds me of when me and my siblings were young - we used to play football but when we got tired we used to sit by the stream which ran at the back of the house and listen to the water flowing. I think that's the best way to describe her beautiful, flowing music.' - Brian Rooney, musician. As a founder member of the renowned traditional Irish six-piece, The London Lasses and Pete Quinn, Karen has performed at some of the world's most prestigious festivals and concert halls, including the Royal Albert Hall, where the band performed the first ever BBC Proms céilí in 2008. The band have recorded four albums to date. 'This is a lovely CD from Karen displaying her numerous skills on a variety of instruments. She has a personal style with strong, rhythmical, expressive tones. Karen is one of the legacy of the great immigrant musicians of the 1950s and 1960s to England. She also carries on the teaching tradition of Tommy Maguire and Breandan Mulkere. Hundreds of young people have benefited from her teaching skills, taking part successfully in Fleadh Britain and Fleadh Cheoil na hÉireann. Irish traditional music is safe in her hands.' - Brendan McGlinchey, musician. Whether as a teacher with Meitheal Cheoil in north London, a workshop leader or an adjudicator both in the UK and overseas, Karen continues to pass on the tradition to both young and old.- Shop: odax
- Price: 15.48 EUR excl. shipping
