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Happy Feet Two (Original Motion Picture Soundtrack) is the soundtrack to the 2011 film Happy Feet Two, directed by George Miller and a sequel to Happy Feet (2006). It features a collection of songs ranging from various genres—rock, pop, hip hop, rhythm and blues—performed by the cast and an original score composed by John Powell.
Hardcore (also known as hardcore techno) [2] [3] is a genre of electronic dance music that originated in the Netherlands, Belgium, and Germany [4] in the early 1990s. It is distinguished by faster tempos and a distorted sawtooth kick (160 to 200 BPM or more [5]), the intensity of the kicks and the synthesized bass (in some subgenres), [6] the rhythm and the atmosphere of the themes (sometimes ...
Atkins performing as Model 500 at DEMF in 2007.. Prior to recording "No UFO's", Juan Atkins grew up in a musical family with his father being a music promoter. [2] Atkins first began playing music with friends on his street initially playing bass and guitar until he became 14 or 15 years old, and his family moved to Belleville, Michigan near Atkins' grandmother. [2]
"Happy Feet" is a song with music by Milton Ager and lyrics by Jack Yellen, first published in 1930. It was originally introduced in the Universal Pictures revue film King of Jazz (1930), where it was performed by Paul Whiteman and his Orchestra with the Rhythm Boys .
Big beat is an electronic music genre that usually uses heavy breakbeats and synthesizer-generated loops and patterns – common to acid house/techno.The term has been used by the British music industry to describe music by artists such as The Prodigy, the Chemical Brothers, Fatboy Slim, the Crystal Method, Propellerheads, Basement Jaxx and Groove Armada.
Happy hardcore, also known as 4-beat or happycore, is a subgenre of hardcore dance music or "hard dance". It emerged both from the UK breakbeat hardcore rave scene , and Belgian, German and Dutch hardcore techno scenes in the early 1990s.
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Dub techno is a subgenre of electronic music that originated in the early 1990s, blending the repetitive, minimal structures of techno with the echo-laden, spacey production techniques of dub music. It is notable for its deep, atmospheric soundscapes, layers of elaborate basslines , slowly developing musical phrases featuring heavy delay and ...