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Bring the Noise: 20 Years of Writing about Hip Rock and Hip Hop. Soft Skull Press. ISBN 978-1-59376-286-5. Shaw-Miller, Simon (1993). The Last Post: Music After Modernism. Manchester University Press. ISBN 0-7190-3609-7. Strong, Martin C. (2002). The Great Scots Musicography: The Complete Guide to Scotland's Music Makers. Mercat. ISBN 1-84183 ...
Japanoise: Music at the Edge of Circulation. Durham, North Carolina: Duke University Press. ISBN 978-0-822-35392-8. Graham, Stephen (2016). Sounds of the Underground: A Cultural, Political and Aesthetic Mapping of Underground and Fringe Music. Ann Arbor, Michigan: University of Michigan Press. ISBN 978-0-472-11975-2
The following 39 pages are in this category, out of 39 total. This list may not reflect recent changes. ... List of alternative hip-hop artists; List of Arab rappers;
Grindcore is influenced by crust punk, [5] thrashcore, [3] hardcore punk and thrash metal, [7] as well as noise musical acts like Swans. [8] The name derives from the fact that grind is a British term for thrash; that term was prepended to -core from hardcore. [9]
Pages in category "American hip-hop musicians" The following 200 pages are in this category, out of approximately 209 total. This list may not reflect recent changes .
Hi-NRG (pronounced "high energy") [2] is a genre of uptempo disco or electronic dance music (EDM) that originated during the late 1970s and early 1980s.. As a music genre, typified by its fast tempo, staccato hi-hat rhythms (and the four-on-the-floor pattern), reverberated "intense" vocals and "pulsating" octave basslines, it was particularly influential on the disco scene.
American hip hop duo The Dirtball: 2004–2013 6 American solo rapper Humble Gods: 2004 1 American hardcore punk band DGAF 2005–2008 3 American hip hop group Wicked Wisdom: 2006 [9] 1 American nu metal band X Clan: 2006–2010 2 American hip hop group OPM: 2006–2010 3 Currently signed to MNO Records Potluck: 2006–2011 3 American hip hop duo.
The more Hi-NRG-oriented artists were typically played only during special "mix" shows, and it was often necessary to go to a club to hear Eurodance music. While Eurodance did become popular with club DJs in the United States, radio stations were cautious about playing anything that sounded too much like disco during most of the 1980s and 1990s.