†††*D!mmµ BorG!r*†††

†††*D!mmµ BorG!r*†††
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†††*D!mmµ BorG!r*†††
Pronounced "dim-moo bore-gear", the Dimmuborgir is a large area of unusually shaped lava fields east of Lake Mývatn, on Iceland. The Dimmuborgir area is composed of various caves and rock formations. It would seem that this has been formed from a lava-lake, out of which molten lava flowed and left behind strange formations. The most famous cave being Kirkjan - the Church - high with a large gothic style vault. Dimmu=foggy/dark, Borgir=castle/fortress.

Dimmu Borgir is a melodic black metal band hailing from Norway. Shagrath, Silenoz and Tjodalv initiated the band in 1993. Shortly after, Brynjard Tristan joined to play bass, and Stian Aarstad joined for keyboard duties. Dimmu Borgir was born. They are a band which success is measured with such bands as Emperor, Kreator and Cradle of Filth. I will without a doubt say that Dimmu Borgir is the best black metal band in the world today (webmaster's comment).
Haunting keyboard melodies, aggressive guitar work, destructive drums, grim/raw vocals and a touch of melodic/operatic vocals characterize Dimmu Borgir's sound. They are musically inspired by 80's black metal and heavy metal. Classic composers, like Wagner and Dvorak, also inspire them.

Dimmu Borgir began their career by releasing a 7" EP entitled "Inn I Evighetens Morke" ("Into the Eternity of Darkness") on Necromantic Gallery Productions in 1994. It sold out within a few weeks, marking the start of a successful and magnificent band. Dimmu Borgir existed in the black metal scene for quite some time but did not get the recognition they deserved until late 1994, when they released their debut full length album "For All Tid"--a slow, dark and atmospheric recording--on No Colour Records. The album features contributions by Aldrahn from Dødheimsgard and Vicotnik from Ved Buens Ende. The lineup on their debut album was: Shagrath - Drums & Vocals (Guitar on track 5), Erkekjetter Silenoz - Guitar & Vocals, Tjodalv - Guitar, Brynjard Tristan - Bass, Stian Aarstad - Synthesizers, Piano & Effects.

In 1996 they released one of the most important albums in black metal history, "Stormblåst", on a new label, Cacophonous records. During that time period, this album showed that Dimmu Borgir was one of the better melodic black metal bands. They took a big step forwards, towards the distinctive sound in which Dimmu Borgir is known for today. Mature song writing, with good variance of tempos, a strong classical influence and one of the best black metal sounds out there. "Stormblåst" showed an increase in speed, yet maintained the melody and atmosphere. Lineup on this recording was: Shagrath - Lead Guitar & Vocals, Erkekjetter Silenoz - Rhythm Guitar & Vocals, Tjodalv - Drum & Percussion, Brynjard Tristan - Bass Guitar, Stian Aarstad - Synthesizers & Piano.

For the first two full lengths, Dimmu Borgir wrote their lyrics in Norwegian, however after the release of "Stormblåst", they changed the lyrics into English. The main reason was that the majority of the audience did not understand the lyrics and so Dimmu Borgir wanted use a popular language to communicate their message--to reach a broader audience.

After "Stormblåst", Dimmu Borgir released the "Devil's Path" MCD on Hot Records, in 1996. Shagrath actually worked in Hot records and he was responsible for the signing and promotion of bands. "Devil's Path" is a MCD with 4 songs, and includes a brilliant song entitled "Devil's Path", so it's worth purchasing this release to complete your Dimmu Borgir discography. For the MCD, Nagash, who at that time was in Troll and The Kovenant (previously called Covenant) was recruited to replace Tristan on bass. Stian Aarstad did not perform keyboard duties on this album due to the fact that he had to take care of business regarding the Norwegian army. Line up on this recording was: Shagrath - Guitar, Vocals & Keyboard, Erkekjetter Silenoz - Guitar, Tjodalv - Drums, Nagash - Bass.


In 1997 Dimmu Borgir released their masterpiece "Enthrone Darkness Triumphant"--an engaging, powerful and moving recording. One of the most important black metal releases this century (webmaster's comment). "Enthrone..." marked a move to a bigger label, impeccable production (by the famous Peter Tagtren) and the success of 150,000+ in record sales. Due to these reasons, many have claimed that Dimmu Borgir have sold out. This is not true. The fact is that with this release they have made black metal available for a much broader audience and with their melodic-yet-still-aggressive sound, they became one of the biggest names in black metal. This was a great achievement, and being a hard working, dedicated and persistent band, Dimmu Borgir deserve their high status. "Enthrone..." was released on their new label, Nuclear Blast, after their old record label failed to give their best to promote Dimmu Borgir. If you are curious as to why the lyrics of "Tormentor of Christian Souls" are not include in the booklet is because Nuclear Blast did not want to be responsible for printing them! Line up on this recording was: Shagrath - Guitar & Vocals, Erkekjetter Silenoz - Guitar, Tjodalv - Drums, Nagash - Bass, Stian Aarstad - Synthesizers and piano.

After the recording of "Enthrone..." the band hired Astennu to play guitars during live performances, so Shagrath could fully concentrate on his vocals and stage performance. Astennu replaced Jens Petter who was a member for a short while between "Stormblåst" and "Enthrone..." Astennu is originally from Australia and came to Norway to record his solo project Carpe Tenebrum, which was previously called Lord Kaos. He then played guitar in The Kovenant and after a short time, became aware of his priorities, quit, and is presently a full-time member of Dimmu Borgir. After the "Enthrone..." tour, Dimmu Borgir had a mini-tour where Tjodalv left the band for a few months to be with his family and newborn child. His replacement was Aggressor, filling in as a session drummer, who is currently with Aura Noir. In the "Enthrone..." tour, Stian Aarstad had trouble participating in some of the performances and was fired from the band. Stian Aarstad has now joined the ranks of the Norwegian black metal band Enthral. His replacement was Kimberley Goss, who has previously worked with Therion, Ancient and currently, Sinergy. But after an incredibly brief stay with Dimmu Borgir, Kimberly Goss had to leave the band, due to the fact that she was a session member. Her replacement--on a very short notice--was Mustis, a young keyboard player from Norway and acquaintance of Shagrath since early 1998. He had his first live appearance with Dimmu Borgir at the Dynamo Open Air festival 1998. Mustis has not played in any significant bands previous to Dimmu Borgir, but he has added a new element to the band, and the new sound can be heard on "Spiritual..." Mustis had a heavy influence on this album, considering 60% of Dimmu Borgir songs are created on keyboard first.

A very nice surprise was the re-release of Dimmu Borgir's debut album, "For all Tid", on Nuclear Blast in 1998. This album contains all of the original material and includes two songs from their 7" EP "Inn I Evighetens Morke" ("Into the Eternity of Darkness"). In the same year, Dimmu Borgir released a MCD, "Godless Savage Garden", which is also on Nuclear Blast. The album contains 2 new songs, 2 re-releases, one cover and 3 live recordings. This release was only intended to be a "goodie" while the fans were waiting for the new album, "Spiritual..." This MCD was rated so good that it was nominated for "Spellemannsprisen", a Norwegian Grammy, in the metal category. "Godless..." was nominated together with albums from The Kovenant and Mundanus Imperium. The whole show was aired on Norwegian television and Dimmu Borgir played "Grotesquery Concealed" live, from the "Spiritual..." album. The performance was the only highlight of the entire show. Unfortunately Dimmu Borgir did not win the Grammy, but The Kovenant did, for their "Nexus Polaris" album.

The recording of "Spiritual Black Dimensions" once again took place in the infamous Abyss Studios with Peter Tagtren (Hypocrisy, Pain, The Abyss). Dimmu Borgir achieved an outstanding sound, complexly layered and powerfully enchanting. "Phantasmagoria" was the name of the song first performed live at 1998 Dynamo festival. Another song from "Spiritual..." was released on the Beauty in Darkness Vol.3 compilation, on Nuclear Blast, entitled "The Insight And The Catharsis", serving as a teaser before the albums official release.

Released officially on March 1, 1999, by Nuclear Blast, "Spiritual..." took the record stores by storm and proved once again that Dimmu Borgir are the kings of the dark throne. Prior to the release, many have been curious as to what direction the music would take. Those in doubt of Dimmu Borgir's dedication to extreme music were forced to face reality when "Spiritual..." proved to be their most complex and extreme album to date. After this recording Nagash decided to quit Dimmu Borgir to concentrate fully on The Kovenant. The temporary replacement, Simen Hestnaes (also known as I.C.S. Vortex) from Borknagar contributed to this recording with clean and operatic style vocals. He is also the session bassist on the "Spiritual..." tour 1999. In late 1999 Simen became (as I think everybody hoped for) the permanent replacement on bass and full member of Dimmu Borgir. The line up on this recording was: Shagrath - Vocals, Erkekjetter Silenoz - Guitar, Astennu - Lead Guitar, Tjodalv - Drums & Percussion, Nagash - Bass, Mustis - Synthesizers & Piano.

A month after the release of "Spiritual... ", Dimmu Borgir made a split album with Old Man's Child, titled "Sons of Satan Gather for Attack." Also in the same month Astennu released his side project, Carpe Tenebrum, entitled "Mirrored Hate painting". This project involved vocals from Nagash and contains similar elements as Dimmu Borgir, only faster. Both of these albums were released through Hammerheart Records, and more information is available at the following link: Hammerheart Records

In the early stages of the 1999 Dimmu Borgir tour, right after their crushing gigs in New Jersey and Montreal, Tjodalv decided to leave the band due to musical and personal differences. He has a family to take care of and cannot do the immense touring of Dimmu Borgir. Tjodalv's replacement should be familiar to everyone, it is none other than the godly Nick Barker, former Cradle Of Filth drummer. Nick has recently finished drumming duties with Borknagar on the North American "Kings of Terror Tour". Nick will release a new album with his side project "Lockup", the album is titled "Pleasure paves sewers". The album was recorded in Peter's Abyss Studio in Sweden and released 22.11.99 by Nuclear Blast.

Dimmu Borgir was about to start the recording of a new album in March 2000 the bandwas booked into Abyss studio with producer Peter Tagtgren to record the yet untitled new album in March and April 2000. This did not happend because they needed more time to finish the new material. They also have had some financial problems that restricted the rehersal time, because Nick still live in England and could not afford to come over to norway as often as he should have.

Further line-up changes took place during the writing period for their new album when the band fired guitarist Astennu due to various personal reasons. Astennu's replacement ended up being a man named Galder (Tom Rune Andersen) the "Mastermind of Old Mans Child" who is known for his brilliant guitar playing in Norwegian black metallers Old Man's Child. With a firm line-up now intact Dimmu Borgir entered Sweden's Fredman Studio (At The Gates, In Flames, Dark Tranquillity) in Fall 2000 to record their highly anticipated new album, Puritanical Euphoric Misanthropia. Once again the band created a masterpiece in aggressive music with outstanding atmosphere and audibly evil songs. The songwriting is at its highest peak making Puritanical Euphoric Misanthropia the band's strongest release to date (proven by such standout tracks as"Blessings Upon The Throne Of Tyranny", "Kings Of The Carnival Creation","The Mealstrom Mephisto" and "Architecture Of A Genocidal Nature").

As an added bonus, the band recorded various tracks with the Gothenburg symphonic orchestra yielding astonishing conclusions sure to turn heads. The end result is nothing short of perfection from the complex guitar work to the dynamic keyboard tinkering. Drummer Nick Barker blasts through the material with devastating force and fluidity while Hestnaes' bass rumbles supremely below as he adds intelligently lays down well-placed backing vocals for added enhancement. Vocalist Shagrath pushes himself to an underworldly level never sounding more sinister and ferocious.

Puritanical Euphoric Misanthropia is not just another Dimmu Borgir release that so many people are expecting to hear by any means. It possesses its own dark emotions and exciting creativity that only a band as experienced as Dimmu Borgir can deliver leaving all other "top tiered" black metal bands flailing helplessly in their wake.

Another chapter is in Dimmu Borgir history is about to take place as they hit the roads in March 2001 to give their brilliant piece of work to the thousands of loyal fans around the world, well.....people "You wanted the best you got the best..... Dimmu Borgir!" show up and prepare to se another awesome show performed by Dimmu Borgir.


Source: http://www.dimmu-borgir.com/

# Posté le vendredi 04 septembre 2009 02:04

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# Posté le vendredi 31 juillet 2009 20:36

Modifié le vendredi 31 juillet 2009 20:53

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# Posté le jeudi 11 juin 2009 02:58

Modifié le samedi 13 juin 2009 02:35

†††Ψ MµDvAyN£ Ψ†††

†††Ψ MµDvAyN£ Ψ†††
MUDVAYNE


Ryan "R-üD" Martinie on Bass
Chad "Chüd" Gray doing Vocals
Matt "Spüg" McDonough on Drums
Greg "Güüg" Tribbit on Guitar

These are the members of Mudvayne. The band started out in Peoria, Illinois in 1996. However two years later the original bassist, Shawn Barclay, left the band to persure different interests. This was when Ryan Martinie joined up as the new bass player and Mudvayne was created.
Their first self-released album was entitled Kill I Oughta, which was a 7 song ep consisting of 3 studio tracks and 4 live songs. Soon after Epic Records signed them in 1999, they released their sophemore album L.D. 50. "L.D. 50 is a medical term used by pharmacologists to measure how toxic a substance is," explains sPaG about the album's title. "It stands for Lethal Dosage 50, which represents how much of a chemical it takes to kill fifty out of a hundred test subjects." The album was recorded in Vancouver, B.C. and Shawn "6" Crahan of Slipknot serves as the executive producer.
Many people believe that Mudvayne is just a copy of Slipknot however nothing could be farther from the truth. "Man we're always five fucking minutes late" stated vocalist Chad Gray after hearing Slipknots album. The painted faces the band members sport are nothing more than a part of the show. "We always wanted to try and bring some visual aspect to what we did, but of course our budget lim-ited what we could do," says sPaG. "The makeup thing just came upon us. It doesn't necessarily symbolize anything, and I'd really hate to see things like that taken too literally," he insists. "I feel the same way about our music - we try to leave it up to the listener to make their own opinions about what it is we're really do-ing."

"The day I write something for the radio is the day this band is fucked" --Kud

After spending a year and a half on the road, the members of Mudvayne only took a month off before starting work on the quartet's second album, The End of All Things to Come (Epic Records, out November 19, 2002).
Instead of easing into the album, the band gambled on an ambitious recording schedule that made the ticking of the clock a constant source of tension. The self-imposed pressure to create paid off as Mudvayne produced a collection of songs that offer a window into the band's growth.
The first single "Not Falling" along with "(Per)Version of a Truth" and "World So Cold" combine a new attention to melody and disciplined musicianship with Mudvayne's trademark dark lyrical vision, rhythmic complexity and jagged, sonic brutality. The End of All Things to Come captures Mudvayne at time when the band has found its voice and is hitting its stride with confidence.
"I've always said David Lynch could make a film out of anything and it would still look like a Lynch film," explains drummer Spüg. "At one point while we were writing this album, I felt like we could do the same thing with music; we could play anything and it would sound like Mudvayne. Looking back I realize that what happened was after 18 months on the road we'd finally come to a realization of who we are as a band."
The making of The End of All Things to Come was an exercise in deadline management for the band. "We didn't want to take much more than two years between albums and since we were on the road for such a long time that really didn't leave us with a whole lot of time to make this record," explains Chüd. We wrote and rehearsed for four months and then spent another four months to record and master the entire album. The pressure made us focus instead of fold."
"I honestly didn't think we could make the record we wanted to make so quickly, but we did," continues Chüd. "I'm very proud of this album from every angle - the music, melody, songwriting and lyrics. It captures who we are at this moment in time."
Although the album meets-and in some cases exceeds-the band's expectations, it wasn't all smooth sailing. Taking the first step, admits Spüg, was the hardest. "From the beginning we knew what textures we wanted on the album and the themes we wanted to explore, but we didn't know how to start."
Luckily, the band reached a turning point early when "Not Falling"-the first single-emerged quickly from the writing sessions. "That was the second song we wrote and once that was under our belt everyone breathed a little easier," recalls Spüg. "Looking back, I realize how much that song really pointed the way sonically for the rest of the album."
While the aggressive tone on "Not Falling" is undeniably Mudvayne, the song represents how much the band's approach to music has matured since the band recorded its debut, L.D. 50.
"On the first record we all played in our own little boxes, like we were playing to impress ourselves," says Spüg. "Touring for so long taught us to listen to each other more and play off each other instead of playing over each other. Making that adjustment gives the new music a more rock feel and allows more room for the vocals and melody to shine."
"Not Falling" not only served as the key that unlocked the new album musically, Chüd says the song's subject of self-realization also opened the album for him lyrically. "Writing that song was a powerful experience for me," he says. "The song demanded to be the nucleus, the central figure on this record. If you want to think about it in solar terms, the song became the sun for the rest of the album to orbit around."
The momentum from "Not Falling" helped the rest of the album fall quickly into place. Buoyed by that confidence, Mudvayne began recording The End of All Things to Come with celebrated producer David Bottrill (King Crimson, Tool, Peter Gabriel) in Minneapolis, Minnesota at Pachyderm Studios-where Nirvana recorded In Utero.
In the studio, Bottrill wasted no time getting to work, says Chüd. "David brought an unbelievable sense of control to the project. He showed up, had dinner with the band and three hours later he was on his hands and knees in the studio plugging in his gear."
"He brought out the best in us by forcing the band to question what it was doing and helping us trim away the gratuitousness of some songs," adds Spüg.
While Bottrill has been typecast as Tool's producer, Mudvayne was pleasantly surprised to learn that Bottrill had worked with prog-rock cult band King Crimson, one of the quartet's inspirations. Bottrill's experience helping a technically gifted band like King Crimson find a way to make music that is challenging but does not alienate listeners came in handy while recording Mudvayne.
"One of David's biggest contributions to this album was helping us mellow the intellectuality of the band without eliminating it," says Spüg. "When we started going too far over the top he would ask us, 'Are you playing it that way because you can or because it works for the song?' He really kept us in line."
Bottrill's attention to structure and the band's experience on the road combine to create an organic vibe on The End of All Things to Come. Where L.D. 50 was intentionally sterile and internally focused, new songs like "Shadow of a Man" and the title track focus more on the group dynamic rather than individual heroics.
But fans that enjoy the band's use of outrageous time signatures won't be disappointed with the new songs. "Trapped in the Wake of a Dream," for example, boasts verses written in 17/8, choruses in 11/8 and a bridge that mixes both time signatures. Despite the wild syncopation, Spüg says the song's strength is its flow. "If I hadn't pointed out which song was written in 17/8 I don't thing most people would have noticed. It's a strange time signature but it works because it's smooth."
The song, however, presented Chüd with the intense challenge of finding a way to sing over the song's odd rhythm without sounding like a robot. "It really was the hardest song for me to record on the whole album," Chüd explains. "I wanted to make the song groove and find a way to make people dance in 17/8. The hardest part for me was learning that dance."
Chüd's struggles came to a head while trying to record the song's bridge. Overwhelmed by too many ideas, Chüd froze in the vocal booth. It was Bottrill who finally broke the singer's mental logjam. "David looked at me from the control room and said 'I don't' care what you do, just do something. Anything. Let's make something happen.' He helped me regain my focus. I hated that song while I was working on it, but now that it's done, 'Trapped in the Wake of a Dream' is my favorite song on the record."
When the album was finished, Spüg says he realized how much the band grew on the road and how comfortable they'd become making music together. "We didn't have any time to absorb and process the chaos of the last couple of years because we started working on this album almost right away," he explains. "It wasn't until later-when I was listening to the finished album-that I realized how much the new songs reveal who we'd become and where we're going."
Mudvayne got its start in a Peoria, Illinois basement in 1996. From the beginning, the band was determined to play by its own rules. "If you're a band in the Midwest, you play cover songs or you don't make money," says Chüd. "We refused to play covers because we were more interested in finding our own voice rather than trying to emulate someone else's."
The band's dedication to realizing its unique musical vision was rewarded in 1999 when Mudvayne signed with Epic Records. A year later, the group's debut L.D. 50 was released. While maintaining a brutal touring schedule, the band gained a reputation for delivering a live show that was visually outrageous as well as musically compelling. Mudvayne watched the number of its fans steadily grow as they toured on the Tattoo the Earth festival and with Disturbed. Mudvayne criss-crossed the country again as it headlined the second stage of Ozzfest in 2001.
The tour turned out to be the start of a victory lap for the band. After the tour, Mudvayne's debut, L.D. 50, was certified gold (500,000 sales) by the RIAA. In September 2001, the band won the first ever MTV2 Video Music Award at MTV's Video Music Awards. In true Mudvayne fashion, the band accepted the award with a humble speech while wearing blood-spattered white tuxedos and sporting bloody bullet holes in their foreheads. The band responded to the award by returning to the road and assuming the coveted role of opening act on Ozzy Osbourne's Merry Mayhem tour.
Mudvayne's winning streak continued into the winter as the band released The Beginning of All Things to End, which included its 1997 independent debut Kill I Oughtta along with additional remixes and interludes from L.D. 50.
To follow-up the band's DVD-single for the song "Dig"-the first-ever DVD single for Epic Records-Mudvayne released its first full-length DVD, Live in Peoria. The disc included 90-minutes of live performance, behind the scenes footage and a bonus director's cut of the video for "Death Blooms."
Mudvayne explores the possibilities of DVD on The End of All Things to Come offering a special-edition of the album that includes a bonus DVD. The disc features 30-minutes of in-the-studio footage, photo shoot outtakes, an interview with Chüd and Spüg along with previously unreleased songs "Goodbye" and "On the Move."

Tak£ Th!§ W£LcOm£ www.mudvayne.com

DisCoGrApHy :
http://www.starpulse.com/Music/Mudvayne/Discography/Index/P441360/1/
L.D. 50
Release Date: August 22, 2000
Label: Sony
Beginning of All Things to End
Release Date: November 20, 2001
Label: Epic Europe
End of All Things to Come
Release Date: November 19, 2002
Label: Epic
Lost and Found
Release Date: April 12, 2005
Label: Epic
Shades of Gray
Release Date: December 15, 2007
Label: Epic Japan
New Game
Release Date: November 18, 2008
Label: Vibe

# Posté le samedi 11 avril 2009 20:13

Modifié le vendredi 18 septembre 2009 02:00

Ψ PaPa ROaCH Ψ

Ψ PaPa ROaCH Ψ
Papa Roach > Biography

Starting out as a punk- and rap-influenced band, the northern Californian alt-metal group Papa Roach grew into a straight-ahead hard rock ensemble with strong heavy metal leanings. Consisting of Coby Dick, Jerry Horton, Dave Buckner, and Tobin Esperance, Papa Roach formed in 1993 and began releasing EPs soon after, including 1994's Potatoes for Christmas and 1995's Caca Bonita. By 1996, the group replaced original bassist Will James with Esperance and hired a new manager; the following year, Papa Roach released their first full-length album, Old Friends from Young Years, which became a surprise hit on local radio.

The band's regional success led to more prominent gigs, including dates with Suicidal Tendencies, Sevendust, and Powerman 5000, and a deal with Dreamworks Records, which released Papa Roach's second album, Infest, in early 2000. The album went triple platinum thanks to the success of the single "Last Resort." Two years later, frontman Coby Dick opted to go by his given name of Jacoby Shaddix. A second album, lovehatetragedy, appeared in June 2002. Stylistically, the band had begun to grow beyond its rap-rock roots and the new tracks showcased a slightly more mature, melodic, and straightforward hard rock sound. That same summer, the band joined a number of rap acts including Ludacris and Xzibit on Eminem's Anger Management Tour.

In 2004, Papa Roach released their third studio effort, Getting Away with Murder. Buoyed by the success of the single "Scars," Getting Away with Murder sold well and eventually went platinum. Two years later, Papa Roach began work on their fourth studio album at the infamous and historical Paramour mansion in Hollywood -- once the home of silent movie star Antonio Moreno. Released in fall 2006, The Paramour Sessions featured a heavy L.A. rock aesthetic and generated two Top 10 rock singles, although its sales stalled around 400,000 copies. Drummer Dave Buckner exited the lineup one year later; after filling the empty seat with Unwritten Law's Tony Palermo, Papa Roach hit the road to support The Paramour Sessions with tour dates alongside Seether and Staind. They remained on the road after joining Mötley Crüe's Crüe Fest in 2008, but the band also found time to return to the Paramour mansion, where they launched songwriting sessions for another album. Released in early 2009, Metamorphosis found Papa Roach reprising their interpretation of metallic hard rock and reuniting wiht Infest producer Jay Baumgardner. Heather Phares, All Music Guide
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# Posté le vendredi 03 avril 2009 10:44

Modifié le dimanche 19 avril 2009 22:20

>>>GooD ChaRLo††£<<<

>>>GooD ChaRLo††£<<<
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Good Charlotte Biography :
Band Members
Joel Madden - Lead vocals and rhythm guitar
Benji Madden - Lead guitar and backing vocals
Billy Martin - Rhythym guitar, keyboard, backing vocals
Paul Thomas - Bass guitar
Dean Butterworth - Drums
Good Charlotte - Their Start
Benji and Joel Madden are no longer the punky kids they were when Good Charlotte was formed in 1996, but they can still rock as hard as they did back then. Learn more about your fave musical twins!
In 1995, brothers Joel and Benji Madden went to their first concert - the Beastie Boys' Ill Communication Tour. They were so psyched by the show, they formed Good Charlotte two weeks later with their high school buddy Paul Thomas . In 1998, Good Charlotte moved to Annapolis, Maryland to get in on the booming music scene. The band worked low paying jobs to make rent while they played bars, clubs and parties. Guitarist Billy Martin joined the Good Charlotte line-up and record labels started to take notice. Good Charlotte went on to sign with Epic Records and released their first full-length album in 2000.
Good Charlotte - Big Break
MTV recruited Joel and Benji Madden to host the show All Things Rock as VJs, giving the band a lot of exposure before their second CD, Young and the Hopeless was released. Good Charlotte shot to stardom with hits off that disc like The Little Things and Lifestyles of the Rich & Famous. Following the massive success of Young and the Hopeless, Good Charlotte released The Chronicles of Life and Death in 2004 and Good Morning Revival in 2007.
Good Charlotte - Did U Know?
Joel Madden and his brother Benji Madden are identical twins.
Joel Madden and Benji Madden never played an instrument or sang before forming Good Charlotte.
Joel Madden is currently dating socialite Nicole Richie and the couple is expecting their first child together in January 2008.
Joel Madden previously dated pop songstress Hilary Duff for almost three years.
Benji Madden is engaged to Australian actress Sophie Monk.
Billy Martin owns his own clothing line called Level 27 Clothing.
Good Charlotte toured with Blink-182, Bad Religion and Lit before being signed to a record label.
Before becoming obsessed with music, Benji Madden and Joel Madden were really into baseball.
Good Charlotte Says...
"We want kids to come to our shows and forget about everything. Whatever their problems are, we want them to be focused on the energy, have a good time, and then go back to their normal life tomorrow."

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# Posté le mercredi 01 avril 2009 22:27

Modifié le dimanche 19 avril 2009 22:22