Aurora Night#3 | es

Nightwish es una popular banda de Power Metal Sinfónico procedente de Finlandia. Nightwish nace en julio de 1996, durante una salida de camping de Tuomas Holopainen, quien concibe esta idea de formar una banda en la cual él pueda componer su música, ya que a pesar de ser un músico de estudio para la banda Black Metal Darkwoods My Betrothed, siente la necesidad de componer sus propias canciones, a su manera. Es por esto que recurre al también músico de sesión de esa banda, Erno Vuorinen (Emppu) como guitarrista. Ambos solicitan la colaboración de Tarja Turunen (en ese tiempo una...

Básicamente es un estilo de música propio, dado que sus canciones son increibles. Tiene mucho talento y si eres un gran fan del techno no te perderias a este gran artista. .

There is more than one artist with this name. 1) Nightmare, a Japanese visual rock band Naitomea, see ナイトメア. 2) Nightmare, a French heavy metal band. 3) Nightmare, a Japanese hardcore punk band. 4) Nightmare, an Italian progressive metal band. 5) Nightmare, a Serbian rapper. 6) Nightmare, a Polish thrash/speed metal band. 7) Nightmare, a Croatian rapper 8) Nightmare, a Colombian Heavy/Speed Metal band. 2) Nightmare is a heavy metal band from Grenoble, France, formed in 1979 and stopped in 1987 then came back in 1999 with Jo Amore (ex drummer) at the microphone, Jeannot Stripoli and Nicolas de Dominici...

There are at least three bands that have used the name Tonight 1) A power pop from the United Kingdom, known for their 1978 hit single "Drummer Man" 2) A synthpop group 3) A latin alternative band 1) Tonight was a power pop band from the Southend in the U.K. The 70s-era group had a charting hit with "Drummer Man", but a lack of later success gave them the reputation as a 'one hit wonder'. Their first album, unreleased at the time, has finally appeared on CD and in download form in the digital era. 2) Producer Darin Rajabian met...

After a tumultuous period in the late '60s, when the American record industry had to chase trends that emerged organically from artistically and politically engaged music scenes, the major labels finally consolidated their grip over their rock product again. Having isolated their ideal audience -- unreflective teenagers with nothing better to spend their money on than records -- the labels began to churn out corporate rock that embodied the beer-commercial values best suited to catering to that audience's half-baked hedonism while orienting that pleasure-seeking towards the treadmill of endless consumption. Musically, rock was standardized into the most streamlined and accessible...