| | Iambeage Turning Forward CD Iambeage Discography of CDs
The environment of Iambeage is a hard meltdown mix of treated beats and sub-beats, layered moving sounds coupled with multicoloured harmonies and melodies. The music of Iambeage matures in its own pace and the final wave isn't there until it should. Some would describe it as organized sounds from the vicinity of Trip Hop, New age and Industrial Electronica. Some songs contains rhythms from trains others from processed acoustic guitars.Enjoy Turning Forward Music | Category | Electronica Albums | | Label | CD Baby | | CD Universe Part number | 7211885 | | Catalog number | 19812 | | Discs | 1 | | Release Date | Nov 15, 2005 |
Iambeage Turning Forward Songs | 1. | Swallows |
| 2. | Animal Life |
| 3. | The Plate |
| 4. | Not So Many Bits |
| 5. | Picture This |
| 6. | The Changing Truth |
| 7. | Going Global |
| 8. | Turning Forward |
| 9. | The Dexed Beats |
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Turning Forward Review
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Purchase Turning Forward CD To buy, Click on price to add to cart | Kraftwerk Catalogue CDs (2009) Remastered; Box Set
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Chris' style of music has been influenced by a variety of different sources over the years. First and formost, members of her family had a tremendous influence on the style, composition and lyrics of her songs. While growing up in Northwestern Nebraska, Chris was first encouraged to write when she was acknowleded by her school principal in 6th grade at Crawford Elementary School and Jr High for her poetry. Her family would listen to and appreicate traditional Mexican music on the record player, go to the Spanish Speaking movies or Mexican dances which influenced the bi-lingual/bi-cultural component of her writings. Her community also provided a strong hertitage of music and dance for fiestas and special celebrations. She was strongly encouraged by her mother to learn music. She began by playing the piano at seven years of age. She also learned to play other instruments as the times needed. She learned to play the guitar being motivated by two priests, Fr. Max Valdez and Fr. Miguel Guevarra who worked with Migrant Ministry. Before she learned the guitar, they used to sing all of their music in acapella.Through this experience and many others, Chris had aquired knowlege of liturgical music and a deeper understanding and appreciation of the flight and experiences of migrant workers. She also composed poetry and later on lyrics reflecting this part of American history using traditional Mexcican rythum and styles. Another motivation to write bi-lingual music for children was to provide easy learning of language and combination of music theory and style for Headstart around the Nebraska Panhandle, most recently shared her music for a Headstart in Denver. She also provided many influences ...
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Jethro Tull's first album, THIS WAS, recorded and released in 1968, shows a band that is a far cry from their better-known incarnation as a prog rock outfit in the late 1970s. Instead, Tull come across here as a solid and talented blues band with elements of jazz, folk, and psychedelia thrown in. The band's sound was heavily influenced by guitarist, singer, and songwriter Mick Abrahams, whose bluesy singing and leads distinguish this disc in Tull's discography. Frontman Ian Anderson also shines with tunes like "Some Day the Sun Won't Shine for You" and the excellent cover of Rashaan Roland Kirk's "Serenade to a Cuckoo." A collector's edition, released in 2008, features a new stereo mix of the album and four early singles added as bonus tracks.
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"A band that could fit in next weekend's Best New Bands of 2007 showcase in the First Ave mainroom, City on the Make instead gets its own headlining gig in the Entry this weekend. At least it'll allow the young quartet enough time to fully unfurl its musical freak flag, as heard on the recent debut album "In the Name of Progress." The disc is full of high-energy punk-rock blues stomps that are somehow danceable, laughable and adorable all at once. Imagine Craig Finn covering Muddy Waters, backed by LCD Soundsystem, or at least something that unconventional."-Chris Riemenschneider, Star Tribune, January 2008Ever wonder what a really good blues record would sound like if it were assaulted with a tire iron and had acid splashed in its eyes? Right, not many people ever think about things like that, but City on the Make seemed to be thinking about that question constantly on last year's debut, In the Name of Progress. Their songs are all blues songs at their core, but they take weird, feedback-infused detours, and though sometimes lead singer Mike Massey's baby leaves him, it's for a robot not a new place to dwell. Massey's dark, descriptive lyrics are full of this kind of off-kilter self-loathing, but the heartbreak is tempered by revenge or exacerbated by self-destruction; he's not one to suffer betrayal with quiet grace. He speeds aimlessly down I-94 both in search ...
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