Suge Knight Knocked Out In Club Fight & other: May 2008

Artist: Entombed

   Genre(s):
Rock
   Metal: Death,Black
   Metal

Discography:

Averno

Year: 2004
Tracks: 5

Inferno

Year: 2003
Tracks: 13

Sons of Satan Praise the Lord (CD2)

Year: 2002
Tracks: 14

Possessed

Year: 2002
Tracks: 5

Morning Star

Year: 2001
Tracks: 12

Uprising

Year: 2000
Tracks: 15

Same Difference

Year: 1998
Tracks: 14

Monkey Puss (Live In London)

Year: 1998
Tracks: 10

Wreckage (EP)

Year: 1997
Tracks: 10

To Ride, Shoot Straight And Speak The Truth

Year: 1997
Tracks: 14

Entombed

Year: 1997
Tracks: 12

DCLXVCI - To Ride, Shoot Straight and Speak The Truth

Year: 1997
Tracks: 14

Wolverine Blues

Year: 1993
Tracks: 10

Out Of Hand

Year: 1993
Tracks: 3

Stranger Aeons

Year: 1992
Tracks: 3

Clandestine

Year: 1991
Tracks: 11

Left Hand Path

Year: 1990
Tracks: 12

But Life Goes On

Year: 1989
Tracks: 3

Scandinavian metal legends Entombed were at the head of the demise metallic element rising, cathartic their influential debut, Left Hand Path, in 1990, just now as the movement was beginning to proliferate internationally. By the time death metal had become a mass phenomenon in the mid-'90s, yet, Entombed had begun experimenting with different approaches, sometimes to lots spat (as in the slip of Wolverine Blues) and on occasion to brush off (Same Difference). Nevertheless, it was the band's debut, Left Hand Path, that held up best o'er the long time. Canonized as a death metallic element hellenic -- one of the earlier, in fact -- Left wing Hand Path's buzzsaw guitar riffs and varied tempos, in particular, differentiated Entombed from seminal Earache Records labelmates such as Napalm Death, Carcass, Terrorizer, and Morbid Angel, wHO, with their relentlessly lightning-fast tempos and blastbeat drumming, were more in line with grindcore than end metal. Successive Entombed releases on Earache -- Crawl (EP, 1990), Alien Aeons (EP, 1991), Underground (LP, 1991), Hollowman (EP, 1993), Gulo gulo Blues (LP, 1993) -- were well standard on all counts; however, like many decease alloy bands of the clip, Entombed had to endure a revolving room access of bandmembership, nearly noticably in the songwriting department. To Ride, Shoot Straight and Speak the Truth (1997) pronounced a mates major changes for Entombed: it was the band's first since going away Earache (a storied indie with major-label ties) and establishing their have label, Threeman Recordings, and it also was the band's final to feature talented drummer/songwriter Nicke Andersson, wHO chose to focus full-time on his other stria, the Hellacopters, for which he panax quinquefolius and played guitar. Consequently, Entombed languished for a match age, though Uprising (1999), the first in a series of powerful back-to-basics albums to postdate end-to-end the ensuing decade, signaled a bring back to mannequin (i.e., "last & roll," as it was coined).

The roots of Entombed lie in the stria Nihilist, which was formed in Stockholm, Sweden, in 1987 by drummer/guitarist Nicke Andersson, guitar player Alex Hellid, and guitarist/bassist Leif "Leffe" Cuzner (each was around 15 years old at the metre, born in 1972-1973). Nihilist recorded a number of demos 'tween 1988 and 1989 (i.e., Previous Autopsy, Only Shreds Remain, Drowned -- all of which were compiled, along with session recordings, and released by Threeman in 2005 as Syndicalist [1987-1989]), and these recordings included additional members: vocalizer Lars-GÃ¶ran Petrov (aka L.G. Petrov), guitar player Ulf "Uffe" Cederlund, and bassist Johnny Hedlund. Of special preeminence, the Only Shreds Remain demo, recorded o'er the course of iI years in December 1988 at Sunlight Studios in Stockholm with producer Tomas Skogsberg, was peradventure the first death alloy recording from Scandinavia to circulate wide among the subway alloy tape-trading network that at the time was comprised well-nigh alone of British and American bands. While porta for the Lee Dorian-fronted lineup of Napalm Death in Stockholm, Nihilist gave one of their demonstration tapes to a voice of Earache Records. Impressed, the mark by and by offered the band a recording concentrate. Meanwhile, bassist Johnny Hedlund left wing Nihilist after the Drowned demonstration in August 1989, later on forming Unleashed, some other Scandinavian metal initiate. Guitarist/bassist Leif Cuzner had antecedently left the band, for his parents stirred his mob to Canada.

Syndicalist disbanded after Hedlund's leaving; with little faltering, however, the remaining members -- Andersson (drums), Hellid (guitar), Cederlund (guitar), and Petrov (vocals) -- and then chose to reform as Entombed. With bassist David Blomqvist taking the place of Hedlund, the rejuvenated band returned to Sunlight Studios and recorded the Just Life Goes On demo on September 23, 1989, in one case once more working with producer Tomas Skogsberg. Shortly thenceforth, Entombed was back at Sunlight working with Skogsberg, this time on their debut album for Earache, Left wing Hand Path (1990), which was comprised largely of reworked Nihilist songs. Bassist Lars Rosenberg joined the lineup after the completion of the album, on which Andersson and Cederlund were co-credited with freshwater bass. Of greater moment, vocaliser Lars-GÃ¶ran Petrov left field the band. Entombed in turn recruited Orvar SÃ¤fstrÃ¶m of the band Nirvana 2002 to whistle on Crawl (1990), a three-song EP. However, when it came meter to record Clandestine (1991), Entombed's second gear record album, drummer Nicke Andersson false the vocal duties; he too wrote the mass of the album, earning sole or co-credit for each birdcall. For purposes of touring, the band recruited some other vocaliser, former Carnage bassist Johnny Dordevic. Yet by the meter Entombed embarked on the Gods of Grind go (a show window of Earache bands too including Carcass, Cathedral, and Confessor) in precipitate 1991, Petrov had rescued his rank as the band's vocaliser.

With Petrov back in the lineup, the high profile Gods of Grind go slow them, and two acclaimed albums to their name, Entombed went about working on their third album, Gulo gulo Blues (1993). Once again written largely by Andersson, Glutton Blues proved a significant leaving from Entombed's former efforts. For one, the band scaled back the speed of their music, from the breakneck tempo shifts of their prior material (Ã la death metal) to a quelling mid-tempo rut (Ã la Pantera circa Common Display of Power). Secondly, the band adoptive more traditional verse-chorus-verse songwriting structures with memorable maulers. Plus, the vocals were comprehensible. These changes clearly set Entombed apart from their death metal peers, merely the absolutely brutal delivery of the music, especially the signature buzzsaw guitars and Petrov's minatory vocals (more than shouting than growling), too correct the ring aside from the mainstream. Moreover, Earache had aligned itself with Columbia Records, a partnership that promising indie street cred with major-label distribution. The six-track Hollowman EP (1993) was the first Entombed liberation to benefit from the Earache/Columbia partnership; featuring an instrumental version of "Gulo gulo Blues," the EP drummed up significant interest in the extroverted album. Released in two versions, one a Marvel Comics promotion featuring Wolverine from X-Men, Glutton Blues aggressively divided up fans upon its handout. Death metallic element purists abhorred the stylistic change in charge, while other fans were pleased to see the isthmus crowd frontwards creatively into impudent territory, especially now that a legion of similar-sounding death metallic element bands had arisen in the wake of Left Hand Path. Even to this day, fans remain divided o'er Gulo gulo Blues; without motion, though, the greater accessibility of the music did attract a new wave of fans to Entombed, and the album is loosely acknowledged as a high water mark for the band, as it would become a regular benchmark for judgement the quality of future releases.

Following the release of Gulo luscus Blues, Entombed toured Europe with Napalm Death and released the Out of Hand individual. Bassist Lars Rosenburg then left hand the striation in 1995; JÃ¶rgen SandstrÃ¶m, the former bassist/vocalist of Grave, filled his slot. Among other changes, Entombed secured new direction, left hand Earache, and signed to EastWest. This new judge deal didn't work out, unfortunately: Entombed recorded a new studio album, only the pronounce didn't freeing it and in the end dropped the band for business sector reasons. The label woes endured by Entombed ultimately motivated them to manakin their own label, Threeman Recordings, and pimp statistical distribution deals for various regions (for representative, Music for Nations in the U.S.). To Ride, Shoot Straight and Speak the Truth, the band's fourth full-length, was eventually released in 1997; Earache at the same time released Entombed, a digest of antecedently released non-LP material. To Ride, Shoot Straight and Speak the Truth was well received (for representative, earning a second-place vote in European cartridge clip Metal Hammer's best-of-1997 opinion poll, as well as earning the band a slot opening for Machine Head on hitch) and was passably similar in style to Skunk bear Blues, though noticeably rougher around the edges and a little less memorable in damage of songwriting.

Andersson, the band's drummer and primary ballad maker, left field Entombed at this articulation, choosing to dedicate himself full-time to his other band, the Hellacopters, which was considerably acclaimed at the metre. Drummer Peter StjÃ¤rnvind was brought in nigh instantly, for touring commitments remained, carrying on well into 1998 (including the band's first North American dates since the Gods of Grind hitch in 1991). Upon the completion of touring, Entombed worked with producer Daniel Rey on Same Difference (1999); non only was it the band's number one album without Andersson's songwriting, merely it was their number one without Tomas Skogsberg's production. Largely written by guitar player Uffe Cederlund, Same Difference was a clear leaving for the band, taking them much farther away from their death metal roots than Gulo luscus Blues had. Whereas Carcajou Blues had divided up fans, Same Difference reunited them in ignore, if non outright condescension. Earache once over again released a back-catalog point at the same time, in this case Scamp Puss: Live in London (1999), a CD/DVD recording of Entombed from the European leg of the Gods of Grind hitch, circa March 1992. An EP of covers, Disgraceful Juju (1999), was besides released around this clip, as Entombed returned to the road, touring with Meshuggah and Skinlab, severally.

To alleviation of many fans and the praise of critics, Rising (1999) signaled a retort to variety for Entombed, wHO recorded and motley the purposefully raw album with producer Nico Elgstrand over the course of only 18 years. A hitch of Europe and Canada in support of Iron Maiden followed, on with solo dates. Deemed a classical in some corners, Cockcrow Star (2001) was a likewise raw-sounding effort, though well more active in damage of pacing and mode; some likened it to the work of prime-era Slayer. In commemoration of Entombed's 15th day of remembrance, Threeman compiled Sons of Satan Praise the Lord (2002), a double-disc covers collecting that was wide-ranging in source material (from Venom to Bob Dylan). Also in 2002, Entombed performed a special concert at the Swedish Royal Opera House with the Royal Ballet Ensemble; the public presentation was recorded and later on released as Insubstantial Estate (2004). Co-produced by the band with Per Gunnerfeldt, Perdition (2003) was too similar in reasoned to Rising and Dawn Star (i.e., raw), though it too had its own peculiarities: a equivalence was drawn to lapidator metal by some, piece others likened the rough-cut production unfavorably to that of Metallica's doomed St. Anger (2003). Stateside editions included a fillip EP, Averno, comprised of duplicate material from the Inferno sessions, along with a couple videos. Besides a lot of touring during this period, Entombed experienced another bout of departures: bassist JÃ¶rgen SandstrÃ¶m left in January 2004, replaced by Nico Elgstrand; guitarist Uffe Cederlund left in September 2005, going away unreplaced; and drummer Peter StjÃ¤rnvind left in 2006, replaced by Olle Dahlstedt.

Directly a four-piece, Entombed released the five-song When in Sodom EP on June 6, 2006 (i.e., 6-6-6), and the Ophidian Saints: The Ten Amendments LP in 2007. This pair of releases -- the first unexampled material from Entombed in iII years, and without the songwriting of Cederlund, world Health Organization had written most of the band's songs following the deviation of Andersson -- luckily plant the ring revitalized and as brutal as ever so. In general, Serpent Saints was reviewed in glowing footing, with many critics declaring it on a equation with Rebellion and Morning Star. Candlelight USA, the album's stateside distributor, marketed it as "Entombed's best work since Gulo gulo Blues!"

Hip-hop mogul MARION 'SUGE' KNIGHT caused havoc at a Hollywood nightclub on Saturday night (10May08) when he became embroiled in a fight with another partygoer - and got knocked unconscious.

The Death Row Records founder was enjoying a night out at Shag when he and his entourage got involved in a verbal altercation with an unnamed man, reportedly in an argument about money.

The fight soon turned physical, and Knight's party is said to have assaulted the man.

But the alleged victim hit back and managed to slam a right hook into Knight, knocking him to the ground and leaving him bleeding and out cold for almost three minutes, reports TMZ.com.

Knight's entourage helped him to his feet and an unidentified woman then hailed an SUV (sports utility vehicle) to take the heavyset businessman to the hospital. But her attempts to move out of the parking space were also plagued with drama - she backed into both of the cars in front and behind the vehicle, before being removed from the driver's seat by club security.

Knight was eventually taken to a local Los Angeles hospital, where he received treatment for minor injuries.

However, Knight is refusing to file a police report or help the L.A. Police Department with its inquiries.

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