#inspired by lyrics or even just a mood that music produces

[giriduck]

My primary / private LoZ fanfiction music playlist has crossed the 700 song mark. It is over 48 hours long. 😂

#while also being really picky about it too #every song I hear I run through mental fandom filters #it’s been a fun hobby to multitask to while doing chores and yardwork #little glimpses of feeling and imagery #inspired by lyrics or even just a mood that music produces #music broke me out of a 15-year-long writers block funk #gives me hope that I’ll feel inspired to make more art again someday too

[gerogerigaogaigar]

Various artists - Saturday Night Fever

Do you know what your threshold for camp is? If you can make it to the end of this album then it's higher than most people's. From the absolutely iconic Bee Gees tunes to the inspired instrumentals to the absolutely unhinged disco covers of classical music this album is a mood and a half. Some of the tracks like The Trammps' Disco Inferno, KC & the Sunshine Band's Boogie Shoes, or anything by the Bee Gees are certified classics. Other aren't as well known but should be. The idea of making a disco version of Mussorgsky's Night On Bald Mountain is absolutely insane, the fact that it works is sincerely confusing to me. I love this stuff so much, it's so much more inspired and fun than you would think. Then again I'm a huge disco fan so I'm not an unbiased source. Like I said you need to be able to tolerate a lot of camp, but if you bask in random aesthetics like I do then you'll be right at home.

Pulp - Different Class

Luscious britpop with aspirations of art rock. That's what pulp brings to the table with Different Class. Jarvis Cocker manages to bring class consciousness and sexuality together and deliver with the deadpan energy of someone who is just narrating their everyday life. Different Class is just full of fantastic lines. Obviously the sort of hit Common People is just loaded with digs at bourgeois poverty tourists, Pencil Skirt has the exquisite line "But I've kissed your mother twice / And now I'm working on your dad" and I Spy has "The crowd gasp at Cocker's masterful control of the bicycle / Skillfully avoiding the dog turd outside the corner shop." Fantastic stuff, if I could write lines like that I would be famous.

Crosby, Stills & Nash - s/t

I think it's a little less fully realized and dynamic than their follow up with Neil Young, but the debut by supergroup Crosby, Stills & Nash is still quite delightful. There's an angelic majesty to the way they compose harmonies from the bombastic Suite: Judy Blue Eyes to the pastoral Guinnevere. It's an essential piece of late 60s hippie folk camp.

Pearl Jam - Ten

Eddie Vedder had a voice that belonged in a hair metal band and he used it to make the mopiest music imaginable. Ten cemented the grunge sound as something beyond a miniscule punk movement pushing it into the mainstream. It also pushed the sound towards a more classic rock / hard rock sound that would become a major staple of later bands like Soundgarden, Alive In Chains, and Stone Temple Pilots. The album is moody and heavy, dealing with themes of alienation, abuse, homelessness, suicide, it's bleak stuff. But it put a voice to the darkest human feelings with a sincerity that definitely resonated with people.

The Police - Synchronicity

A pop rock masterpiece. Sting's anxiously urgent delivery and cryptic lyricism blend with the manic and complex percussion of Stewart Copeland. It The Police's finest album. Most people know classic stalker song Every Breath You Take but there are so many standouts from the chaotic arpeggios of the two title tracks to the psychotic breakdown that is Mother or the incredible drumming on Murder By Numbers. It's the softest of all their albums, but the most artistically concise as well.

Erykah Badu - Mama's Gun

The rich depth, both musical and emotional, that can be felt on this album is enough to drown in. Erykah Badu perfects the confessional song airing every emotion, every grievance, every guilty thought into an hour plus epic. As a member of the Soulquarians she also had access to an all star cast of musicians and producers including J Dilla and Questlove. The beats have subtle elements of funk with strong jazzy overtones, jazzier than her neo soul contemporaries for sure. Mama's Gun probably runs a little long at an hour and ten minutes, but the long songs are worth it. This album is the blueprint for things I like about neo soul and honestly even the albums I like better refer so heavily to it that Mama's Gun ought to be remembered as one of the greatest achievements in the genre.

#500 album gauntlet #bee gees #pulp #crosby stills and nash #pearl jam #the police #erykah badu

[uh-velkommen]

Fall Out Boy So Much (for) Stardust

~First Impressions~ Review: First let's talk about what everyone else is saying and then I'll go track by track. "Love From The Other Side was misleading" "The album is very 80s inspired" "We're getting Folie A Deux 2.0" "Disappointing." While yes, LFTOS may be more in your face than the others, it was the "omg Guitars!" people who misled themselves. FOB is my top favorite band so I know better than to make inferences based on the first single. Yes it feels very 80s with the rhythmic drums, uppity messages, and what has to be direct references to other earlier artists but lucky for me, my favorite genre is that 80s influenced happy guitar music and one can't help but to compare this album to Patrick Stump's solo album Soul Punk. The evolution feels natural; Soul Punk - ambitious but underdeveloped, Mania - well produced but wrong audience, So Much (for) Stardust - right ideas right execution. I was hoping for a Folie 2.0 actually, it's my favorite album and I think we've evolved enough to appreciate another bass riddled, poetic, solemn-happy album. This is definitely not another Folie. If anything it's a Mania 2.0 but there's some moments in songs, some lines that remind me of Folie. That's the beauty with this band, you can really feel everyone's contribution to this album. Pete's lyrics unchanged from the early days, Patrick's soul made futuristic, and of course Andy and Joe's experienced-rock artistry. The songs are cohesive and the lyrics bounce well between gleeful and nostalgic however, I would like to hear more from the guys about the message they were wanting to get across this time around. Lastly, if I had to pick a single gripe with this album, it would be that its not what I needed the moment that I first listened. When listening to new albums, I look for two things "Does it make me dance and/or does it completely enthrall me?" At the exact same time, Babymetal dropped their new album The Other One and after a still listen to SMFS, I found myself bobbing along to Babymetal. This doesn't mean it's not a dance album. I just wasn't in the mood for an 80s jam. Now if you asked me to describe the album in one word or put me on the spot, I don't hate it and I don't love it YET. I enjoyed listening to it and my one word would be, "It's creative."

Track by track listed below.

When I was putting this together I used emojis to remember my train of thought. See if you can decipher them and if they're ones you would've used lol.

Love from the Other Side (I didn't even think to put an emoji here) What can I say, it's a good song. I've had more time to sit with this one. Learned the words, the bass line, and all of Patrick's vocal inflections. There's nothing new that can be said.

Heartbreak Feels So Good🎈🫂 When this song first came out I remember feeling my heart drop. I was freshly surrounded by the idea that this album would finally be a rock album and then I heard the opening which sounds a little too much like Let Me Love You by DJ Snake and Justin Bieber and I immediately thought, "Oh God, another Mania." But that mentality conflicts with the actual grit of the song (Also, I enjoy Mania). It feels like a heartbreak song. Like a "Remembering the good times, the bad times, and having a cry over what it used to be." Like a Jet Pack Blues or Favorite Record. It's catchy, it's good, and it's relatable.

Hold Me Like a Grudge👑😀 Again, the opening sounds too much like Another One Bites The Dust for it to be non-coincidental. The descriptive word I got for this is "fun." (Future me here, there's literally a line that goes, "You put the "fun" into dysfunction" This was not intentional). I like the way the lyrics are sung, like half of this album borders on being raps. It's got the same sentiment as early FOB with the, "You can hate me but my life is glitter" idea and it's a certified bop, solid song.

Fake Out🍬💋 It's sweet. Cute. Kisses. Lovey, lovely. I like it, I don't know what else to say.

Heaven, Iowa👩‍🎤 This song is a full blown power ballad. It's beautiful. It kinda tricks you starting off slow but the slow build is worth the pay off. I love the melancholic or maybe nostalgic instrumentals. You know, I was scared of this being another City In A Garden (I don't know, if I see a location in the title and think "Not another song about Chicago" Chicago isn't even in Iowa???) This is one of the standout tracks on this album.

So Good Right Now (co-writer: Robert Byrd) This might be the shortest song on here at two minutes and fifty-eight seconds and instead of an emoji, I'm leaving you with this information. Clearly influenced by the vocalizations of Little Bitty Pretty One and the try-hard feel-good vibes makes the fact that they credited multiple writers on this one laughable. Half of it is just repeating the "So good right now" and while a quick little break from the songs with messages is totally excusable it's definitely the weakest of the whole album.

The Pink Seashell❓️What is this. What does it mean, how does it relate to the album's story? After the whole "red-herring" promotional material, the Pink Seashell Beach homage here is hilarious. It reminds me of the lyric, "The time my dad caught me a horseshoe-crab and I asked if throwing it back into the sea would bring our luck back," (This Shipped (Gold) Standard).

I Am My Own Muse🎸SMASH ALL THE GUITARS WE GOT TO THROW THIS YEAR AWAY. I like this song. No really you can't go wrong with an orchestral instrumental. It's catchy, it's eerie, it's demanding. The violins ARE the moment. It's great.

Flu Game🐒 I also really like this song because it reminds me of Fall Out Boy's cover of I Wan'na Be Like You (I'm so obsessed with the live version) and that one part from One & Only by Timbaland. The swinging drum beat and the funky nanananana's. The cocky lyrics, the ATTITUDE, the harmonies. It feels so Patrick Stump. This is a song I wanna sing at the top of my lungs.

Baby Annihilation📝 So I heard ONE person say this before listening to this "song" and it kinda warped my perception. The spoken poetry at the end of 20 Dollar Nose bleed was brilliant. It worked with the tone of the album, it was unique and original for FOB, and what makes their lyrics so great is Pete's poetic inclination. However, 15 years later, a grown man reading a mediocre poem unaccompanied, unexpected, unwarranted, is not as edgy and impactful as it could have been. (Update I forgot about Get Busy Living and im starting to change my mind). I think what would have made this work is if they stuck to one spoken part, one intermission, either this or The Pink Seashell. OR space the two songs out more evenly. These should act as segues into a new part of the album's story. The second half of the album is just as strong as the first so these breaks feel unnecessary (Disclaimer: I could read and enjoy Pete's poetry for days on end but let's not kill the momentum here)

The Kintsugi Kid (Ten Years) 🔟🕙 This song feels like an ode to the mmrs and its a sweet somber one. It's also 100% an 80s movie-prom dance-song choice-moment and the dog barking at the end is adorable and reminds me of something (It's gotta be a movie reference but I can't place it (Also I'm pretty sure it's a human girl impersonating a dog, though I imagine it's the dog on the album cover)). However, this is where you learn that I hate slow songs on albums and this is the slowest one rhythmically. Sure if it comes on in a random playlist I am more likely to enjoy it but as of right now I have no strong opinions. I will say as we're nearing the end of the album, one might start to get weary. There are a lot of songs on this album so I find that slow songs have better luck near the middle point of the album.

What a Time to Be Alive🎥 This one totally feels like it should be playing during a montage or ending sequence in a teen-family movie. The song feels like a happy "what a time to be alive, everything is so sweet" but it's Fall Out Boy and it's pandemic themed so it for sure is a "what a time to be alive, this shit sucks."

So Much (for) Stardust 👍FAV FAV FAV The instrumental at the beginning reminds me of early 2000s RnB ballads. It feels like another "Nobody wants to hear you sing about tragedy," (Disloyal Order of Water Buffaloes). It's the, "yeah we're famous but look at what we lost on the way, what we had to sacrifice, was it worth it?" It's the Folie mentality and I eat it up every time. It works so well with this band when you know about all the struggles they dealt with in their personal lives. Pete's Bipolar Disorder and the various affairs and tabloids, Patrick's modesty, weight, solo career, hair line (dude?), Joe's mental health and his role in the band, and Andy's... I don't know, Andy is just there. It's no secret that the fame was hard on them so FOB, you guys are all wrong, I want to hear you sing about tragedy. Not to mention the choir that comes in at the end and Patrick's ability to riff and belt and just get jiggy with the rhythm is freakin' gorgeous. This song is the most perfect icing on this cake. It's a beautiful fade out and the repetition of the "You were the sunshine of my lifetime, what would you trade the pain for? I'm not sure," is pure excellency. What a wrap around. This song balances despair with hope. It's melancholic, it's upbeat, it's desperate yet it comes across like anyone could feel the same emotions. And let me also just say I'm so happy they featured a classic Pete Pun™ in the song (and album) title. I've read nearly all of dear Peter's livejournals and blog posts and he does this so often that it's endearing to see in 2023.

I wanna rate this album a strong 8.5/10 <3

#Fall Out Boy #Fob #so much for stardust #so much (for) stardust #smfs #music #me #review

[lizzygrantarchives]

The Huffington Post, February 20, 2009

Lizzy Grant: I like things that go fast, things with bright colors, things that taste good. At Coney Island, you can get a Coca Cola, ride the roller coaster, and watch everybody.

New York City songstress Lizzy Grant makes her debut into the music world with a video for her single, "Kill Kill." Armed with her three-track EP, devastatingly retro-sexy look, and haunting, soulful voice, Grant is one to watch in 2009. Lizzy Grant is the kind of singer/songwriter that walks into your home and has no intentions of leaving. And just when you were about to draw an easy comparison to Cat Power, Billie Holiday, or Aimee Mann, Grant's voice pulls the proverbial rug right from under you.

Grant's music is impossibly original, her sound decidedly anti-genre: the songs on her splendid debut, Kill Kill offer an eclectic mix of jazz, pop, electronica, rock, blues and hopeful melancholy. Her videos are quirky, odd, magical and infatuated with Americana. And while scores of other artists attempt to craft pithy esoteric poetry, Grant's lyrics are wholly dark, elegant, and beautiful.

Where is the strangest place you've ever performed? Ever written a song?

Strangest performance: Alone in a basement for a handsome record executive. Strangest ever written: Back at his office while I was making out with him.

I love that Coney Island figures so much on this album, indirectly or otherwise. You feel the evocation of a place in Brooklyn, New York that's at once a symbol of the beautiful and macabre. A place that has this magical boardwalk but also a ghoulish House of Horrors. A place that's real but isn't -- a place that symbolizes escape. Can you talk about why the amusement park was a touchstone of the new record?

I like that, "...real but isn't." All the good stuff is real but isn't, myself included. Coney Island is a place people go to escape, but whatever you choose to be your reality is your reality. So, in a way it's just as real as anything else. I mainly let my imagination be my reality. Fantasy is my reality.

I never saw Coney Island when it had all its big attractions, but there was something desperate about the boardwalk, and I related. There was no end in sight to it, and there were people in bars you didn't know were there. Maybe the amusement park was the touchstone because I have such a history with cheap thrills. I like things that go fast, things with bright colors, things that taste good. At Coney Island, you can get a Coca Cola, ride the roller coaster, and watch everybody.

As an author I often tell people that I'm sometimes more influenced by a David Eggleston photo or a Nick Cave song as opposed to immersing in the work of other writers. In the end, I find my influences or inspirations where I can. If a song or image gets me where I want to go, I'm happy. So where do you find your influences and inspirations? Who or what affects the songs you write? The videos you produce?

It seems to be that way for me too. Mark Ryden's pictures drive me crazy, and Vegas makes me shine. Daytona and the Jersey Shore just kill me. Yes. Even pictures of other performers do it for me. I knew Elvis' songs would be the soundtrack to my life as soon as I laid eyes on his photograph. I know when I love something as soon as I see it. Then, I write about it. Speaking of Elvis, it's unfair not to mention the Beach Boys and The Flamingos as my other constant companions.

My mood affects the songs and videos I make the most. Only when I'm in a good enough mood will I write about, and film, myself. I definitely won't get on camera when I'm not feeling hopeful.

What I love most about Kill Kill is my inability to easily classify it, to place it in any one genre. It's blues, but it's jazz, and it's also pop. "Yayo," for instance, is more haunting and melodic, while "Gramma" has more of pop feel. When writing these songs, were you conscious of your sound's direction? Of what form each song will take?

Writing to me doesn't feel that much different from talking, and my new shrink says that I talk differently from most people he sees. Maybe that has something to do with why the songs sound unique.

I knew how the songs felt to me, but I was surprised when they translated the right way to other people. It's the only thing I've ever done the right way.

My producer, David Kahne, and me got along very well because he knew that I lived in my songs, and so he just tried to make them better. He asked me in a letter what I wanted the record to sound like, and I said, "I want it to sound famous, like a sad party." He thought that was a wonderful idea, and we began working the next day. I like to think we're birds of a feather.

Many artists today are deliberate in the way their image is packaged and how their music is positioned. Their sound is neatly manufactured; one sometimes wonders if lyrics were written by committee. And then there are other artists -- renegades and risk-takers. Their sound is a hybrid of genres; their videos are odd, magical, unexpected -- a visual representation of the songs and stories in the artist's head. I dare say that I'd include you in the latter. Your music is organic and daring in the way that artists who try to find their story, work out their obsessions, and find themselves, often is. Have you considered yourself an artist who refuses to color in the lines? How important is it for one to be as unpackaged as possible?

I guess I haven't colored in the lines of a corporate picture, but making up the rules for myself comes with just as many problems as following someone else's. It's not important to me to be unpackaged. If it looks like I don't know what I'm doing, it's because I don't. But, if someone came along with a better idea of how to do things, I would take it.

I think obsession is a good word to talk about. I live in my obsessions and then the music comes from there. Living that way and writing from that place doesn't make for a "color in the lines" mold. And yet, the songs and the videos and the image go together well because they all come from the same place. So, maybe I'm not deliberate about the packaging, but I am deliberate at trying to do things that I adore.

Would it be safe to say that the songs on Kill Kill tell the story of precocious, but strong-willed woman on display -- whose uncertain of herself and how unique she truly is -- trapped in a dismal trailer park, and her dreams of escape, of being whisked away by the good, decent man she deserves?

Well, I would say I do well on display. . . as long as I don't have to talk. So that part is true. But, no one has put me there. I know what I'm good at and what I'm not good at. I write about what I know, and I know about putting on a show.

I didn't feel trapped in a trailer park. I felt trapped before I got to the trailer park because I had nowhere to live. When I got my trailer, everyone there had the same taste as I did. We all liked giant, lush, fake flower gardens and liked to decorate the walls with streamers even if it wasn't our birthday. I couldn't have been happier there. Before that, I did dream of escaping. I always just figured it was gonna be a man who would take me away. I don't know if I deserve a good man, but I think about it sometimes.

Did you know that as with other Long Island barrier islands, Coney Island was virtually overrun with rabbits (which makes me think of children) in the 1600s -- Coney Island's name was actually derived from the Dutch Conyne Eylandt, and rabbit hunting was common until the resorts were developed? And then in the 1800s it became a resort, a refuge from daytrippers wanting to escape Manhattan summers?

I didn't know that! Saying that it reminds you of children reminds me of the story "Runaway Bunny." I love bunnies.

From American flags and classic cars in the "Kill Kill" to Calico Hills, Las Vegas, sparklers, Planet Hollywood and images of you as a flower child and Marilyn in "Yayo" -- your videos have such a wonderfully nostalgic, classic American feel. Even the way the videos are shot is retro -- at times you feel as if you're transported back to 1950s-1960s America. Can you talk a bit about how your videos are conceived and how it's a visual representation of the album?

Vegas is a place that seems magical to me. I'm very swayed by how things look on the outside. Though I have been burned by what's on the inside of them so many times -- don't get me wrong, but I still have love for something that hits my eye right. A flag waving or a Pontiac Grandamn -- I didn't even have to know what those things stood for to know they were beautiful.

I once had a boyfriend who talked about all the reasons why he loved flags, Rock-and-Roll, and America. I didn't know much about all of that, but I did love him and I wanted to be just like him. So everything in the videos -- the Vegas pyramid, the brides' smile, the groom motioning "cheers" -- they're all different expressions of the happiness I had when I loved a man who loved me and America.

Vegas and sparklers and the 50s are all things that are beautiful, and they're all a big part of my film world.

Originally published on huffingtonpost.com with the headline Singer/Songwriter Lizzy Grant on Cheap Thrills, Elvis, The Flamingos, Trailer Parks, and Coney Island.

#2009 #Kill Kill #The Huffington Post #Felicia C. Sullivan

[griffithsteenberg00]

Unleashing Creativity: AI Lyrics and Songwriting Revolution with contenthubai.com

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#AI song writer #AI lyrics writer

[sann3e-blog]

Makari, Deserves as much Fandom as Atari

There's a sea of amazing guitarists, drummers, bassists, vocalists etc. Makari sticks out in the wave’s of hardworking, talented musicians that we all play throughout our day's via Pandora, Spotify or YouTube, to create that extra dopamine we need in today's tricky times. Eric, Matt, Kevin, John and Andy wrote some incredibly moving few songs as of recent for their upcoming album. I want to dig more into how much I encourage Makari's new album, Wave Machine, to be at the top of your 2024 playlists.

I highlight Makari because of their pure talent. I'll start with that. Listening and analyzing music over the past decade for one of my careers, I have been craving the subtle/not so subtle intricacies musicians create. The wind fortuitously blew me the name of a band I hadn't heard of yet and this band, Makari, was like an intravenous B12 shot that gave me the nostalgia of those sparking intricacies I could remember feeling when I first started to really study music.

Makari's tsunami of notes throughout their albums and drum sequencing illuminate my soul, truly. Faith I had in music was restored with my first listen to their album, "Hyperreal."

From Better to Fractals, straight through ending the 'Hyperreal' album with songs, Dashboard and Control, I was in awe. I was in awe at the connection the band members in Makari are able to communicate with their fans through guitar riffs, drum beats that'll steal your soul and vocals that range to the farthest black hole in space and back. That, is the definition of a band worth listening to.

What I find intriguing about all these apps we use daily, is the positive side of how we're all able to connect on a global level. How what we enjoy can be enhanced by suggested artists based on who's station you chose that day. Listening to Makari on Pandora, I have come across other artists that inspire the heck out of me. Strawberry Girls, Body Thief, Tillian and Hail the Sun are just to name a few.

Instagram can feel supportive in finding individual's with mutual interests. I remember this one person, vocalist, music producer Mitchel Madak, and I commented on one of Makari's post's. By him resonating with whatever I said on the photo, curiosity called and I checked Mitchel's ig because it seemed like he may be making some music too.

Listening to Mitchel Madak, reminded me of weekends with Owl City dream pop vibes on the way to the beach. With more punch and soul in the vocals, though. I might rename him as an archangel, you’ve brought me peace and ease when listening, Mitchel, thank you. Mixing in some rap to beat, you got your bases covered for a mood booster with Madak in your earbuds. Check him out on all music platforms. Links for Apple Music & Spotify here.

I asked Mitchel how Makari has influenced his own work. This is what he had to say, "Being a vocalist and even a music producer is all about getting out of one's own way and letting raw emotion come through. When listening to Hyperreal or really any Makari project, I can feel this sense of an unleashed outpouring of emotion. Especially for me as a vocalist, I admire Andy's voice and how there is really nothing he can't sing. His belting is just this blast of energy. I always feel inspired and even challenged by Makari to push myself to another level."

'Hyperreal, 'Elegies,' 'Continuum,' including the acoustic album 'Alternate EP,' are some of their discography worth many listens. These mentioned albums are medicine that help me stay sober. I found throughout my struggle with drinking (in particular, last year) that when I felt a craving, I could get in my car or sit in my room...and air guitar, then air drumming along, while sing out the notes...relating to every lyric, my craving would pass. These albums have been on my music listening platforms playing in circles. I have a lot to credit for being successfully sober...but Makari healed more than I knew I needed. Acceptance for me was found in how important it is to remain on the path of light and Makari helped me stay there.

Interestingly enough, someone I knew in high school (mind you, that's over 15 years ago for me) and I still see each other's thing's on ig. I knew her on an aquaintice basis more than me being able to say that I knew Payton well. I do know that she exudes from the inside out that she's a beautiful person. Strong, funny and caring. She now lives in Colorado with her husband. I posted "Breakers," one of Makari's tracks off their new album, so pumped to share. Payton said she really appreciated the post. Little did I know at the time how much the song helped her through. An ICU trip to the hospital with her husband, who as I do, struggles with alcoholism.

When I asked Payton generally, what her first impression was of Makari, what she had to say hit so close to home. "this song came into my life during another one of my husband's alcoholic relapses (he was in the ICU) the song just really got me through my day." I don't think she knew my struggle with alcohol, but I'm sure she saw it over the years. This article was not supposed to end up mentioning anything about being sober. When I asked Payton about Makari, she didn't know I had written of my own experience with addiction to alcohol. I generally asked, "what was the first thing Makari reminded you of when you listened to the "Breakers" song?" I didn't expect her to have experienced the same relief I felt listening through their albums, Makari's music was a perfect prescription for making productivity out of pain. I'm not a Doctor but if I was, I'd prescribe daily listen's to all things Makari.

“We’ve worked so hard on this album over the past 2 years,” Makari says. “We’re lucky to have amazing fans supporting our art, thank you.”

These interactions drive me to want to let as many people as I can know about this band. They know we’re here as fans to support them. Do all you can to support their music. Buy albums, go to shows and sing along. Raise the bar in your subscribe button pushing and “likes” because these actions can give back to the band members of Makari who gave Wave Machine their all.

2024, Wave Machine is about to drop in March and I couldn’t be more excited to listen. Everyone meditates in a different way. I meditate while I dive into music. Makari’s music center’s me. I’d like to walk into a meditation practice with a song like, "Soul Stealer" from Makari's new album. “Soul Stealer’s” intro will give you chills. And set you free.

On March 8, 2024, Makari’s album, Wave Machine will be released. The album will be my favorite new outlet. Makari continues to be my way to expel that excess of happy realizations in life. I love dancing in the car with them on my car stereo. Life hit's softer with Makari playing in my 2012 Honda Civic. Feel the energy yourselves when the album comes out in MARCH 2024!

#waves #new music #2024 #sobriety #apple music #spotify #youtube #artists on tumblr #concert #new album #march #orlando #florida #Spotify #glow #owl city #vocalist #producer #courage #mental health #healing

[assamnews]

‘Gulzar is a part of my creative journey’-Namrata Datta

‘Growing up, Gulzar's lyrics were not just melodies to me; they were an intimate connection etched into my heart. As a singer, his compositions echoed through my childhood, and I found myself frequently humming his tunes. However, it wasn't just the music that captivated me; it was the enchantment woven into his words. This profound admiration for Gulzar's artistry sparked my interest in exploring his literary world, leading me to his book, 'Actually I met them.' To my astonishment, the journey took an unexpected turn when Sanjay Kumar Sanyal, a respected producer at Assam Publishing Company, presented me with a unique opportunity – to translate Gulzar's book into Assamese. The outcome was the Assamese rendition named 'Smritir Manuhbor.' The unveiling ceremony was graced by Mumbai's screenplay writer and director, Akashaditya Lama, alongside Kolkata's Ranjan Ghosh.’

Subham Panseshwar delved into a conversation with Namrata Datta about the book and her fascinating journey of creativity.

Q: How did your foray into writing begin?

Namrata: My journey into writing commenced during my school days, although initially, I never envisioned sharing my creations with the world. Singing occupied the forefront of my pursuits at that time. After marriage, a serendipitous encounter with La Rochefoucauld's 'Maxim' ignited an unplanned translation journey, fueled by a growing attachment to the book.

Fate intervened when I met Mr Jiten Deka, a senior publisher from Nalbari, who, after a brief discussion about books, requested a manuscript. His unwavering confidence became a pivotal catalyst. Completing the translation and handing it over to him, I soon discovered a report in the weekly newspaper Sadin, acknowledging the Assamese translation of 'Maxim' by me. It was a report by Bedabrat Bora. This unexpected recognition was a gratifying milestone.

Q: Tell us about your original writing.

Namrata: Inspired by Keshab Mahanta's Assamese lyrics, I harboured a fervent desire to unravel the untold stories behind those melodious tunes. Approaching him, he generously agreed to share his insights, culminating in the creation of 'Priyatama ei Jivan.' The book garnered positive feedback. Additionally, I authored a novel titled 'Kathopakatha,' derived from a distinctive Sunday program I conceptualized for a local FM channel. It was a fictional narrative in the form of conversation. Curated songs were inserted in between the conversation to enhance the situation and the mood of the narrative. Rituparna Das, a distinguished broadcaster and playwright-director, lauded the program's form and content. Later, I expanding this concept into a novel. Mr Das hosted the book release event. Pervez Ahmed, a filmmaker, and my school friend, even translated parts of the novel into an English film under the title ‘Cherrypicker’, now available on mxplayer.

Q: You wrote a book on Assamese Lyrics and the Freedom movement. Could you share more about this book?

Namrata: This book emerged from a research project that earned me a Senior Fellowship from the Indian Government's Department of Culture. Titled 'Reflection of India's Freedom Movement in Assamese Lyrics,' it proved to be a laborious yet profoundly fulfilling undertaking.

Q: What about your book on Modoji's Maan Ki Baat?

Namrata: The concept for this book originated from Sanjay Kumar Sanyal. We meticulously selected excerpts from Modiji's 'Mann Ki Baat,' focusing on social responsibility, community development, success stories, and innovative ideas evident in his speeches. I firmly believe these speeches unveil the leader's inner spirit, philosophy, and administrative approaches. The resulting book, titled 'Mor Priya Deshbashi,' is an essential read for those seeking to understand the man behind the Prime Minister.

Let me add one line more, I translated some poems by GulzarJi and those were published in book form by a prestigious publication house of Assam- Journal Emporium. The title of the book is ‘Gulzaror Kabita’ (Poems by Gulzar). That was probably first translation of Gulzar in Assamese book form.

Beyond her writing journey, her career has taken diverse paths, from being a casual announcer and news reader at Akaswani and Doordarshan to transitioning into private TV channels and FM radio. She has also worked in newspapers and magazines. Presently, her active involvement in social work. Her projects includes co-authoring a book with my husband - , titled 'Pati, Patni and Bandhabi (Man, woman and Girl Friend).' And household hacks for working women titled Gharuwa Diha (Household Tips).

#NamrataDatta #GulzarInAssamese #AssameseTranslation #LiteraryTranslation #GulzarBooks #AssameseLiterature #NamrataDattaWrites #CulturalTranslation #GulzarInNortheast #AssameseLanguage #LiteraryDiversity #TranslationMagic #GulzarLegacy #AssameseCulture

[raaag1]

Unlocking the Magic of Custom Song Art and Personalized Melodies

In a world filled with countless songs and artistic expressions, there's a growing trend that allows you to make your musical journey truly unique – custom song art and personalized songs. These two innovative concepts are transforming the way we connect with music, offering an intimate and individualized experience that resonates deeply with our emotions and memories.

Custom Song Art: Painting a Musical Canvas

Music has always been a powerful way to convey emotions, stories, and memories. Now, imagine having a piece of art that captures the essence of a specific song that means the world to you. Custom song art does just that. It blends visual aesthetics with the emotional impact of music to create a personalized masterpiece.

How It Works:

Song Selection: The process begins with selecting a song that holds special significance in your life. It could be your wedding song, the tune that played on your first date, or a track that reminds you of a cherished memory.

Artistic Interpretation: Talented artists use their creative skills to translate the emotional tone and essence of the chosen song into visual art. The result is a unique, handcrafted piece that encapsulates the song's mood and message.

Aesthetic Choices: You have the opportunity to collaborate with the artist to choose the style, colors, and overall design elements that resonate with your personal connection to the song.

Meaningful Decor: Custom song art isn't just artwork; it's a reflection of your personal narrative. Display it in your home or give it as a heartfelt gift to a loved one, turning a melody into a treasured visual keepsake.

Personalized Songs: Music Tailored Just for You

Personalized songs take the concept of music Customized Songs a step further. Instead of creating art inspired by a song, you get to create an entirely new song that's uniquely yours. It's like having your life's soundtrack composed just for you.

How It Works:

Songwriting Collaboration: You work with a talented songwriter or musician to craft lyrics and melodies that convey your thoughts, feelings, and personal experiences. This could be a surprise gift for a loved one or a heartfelt expression of your own emotions.

Musical Style: You have the flexibility to choose the musical genre, style, and tempo that best suits the message you want to convey. Whether it's a romantic ballad or an upbeat pop track, the possibilities are endless.

Recording and Production: Once the song is composed, it is professionally recorded and produced to ensure the highest quality. This results in a fully realized musical piece that can be shared and cherished.

Memorable Gifts: Personalized songs are a touching way to celebrate special occasions like weddings, anniversaries, birthdays, or even as a heartfelt gesture to say, "I love you."

Embracing the Magic of Personalization

In a world where music is often mass-produced and consumed on a global scale, custom song art and personalized songs offer a beautiful way to infuse your personal experiences, memories, and emotions into your musical choices. These creative innovations bring a new dimension to our connection with music, allowing us to celebrate the songs that have shaped our lives and the ones we've yet to create.

Whether you choose to adorn your walls with custom song art or serenade someone with a personalized song, these unique experiences provide a bridge between the auditory and visual, connecting your heart and soul to the world of music in a deeply personal way.

[independentartistbuzz]

Indie 5-0: 5 Questions with Amanda Daviner

Welcome to another edition of Indie 5-0, where we throw five burning questions at artists you absolutely need to know about. Today, we're shining the spotlight on Amanda Daviner, a Brooklyn-based dynamo. With a voice that could make angels weep and lyrics that dig deep into the soul, Amanda is the real deal. Her debut EP, "Catharsis," just landed and it’s a sonic journey produced by Oisin O’Malley and mixed by the industry legend Steve Lyon (Depeche Mode, Paul McCartney). Larry Flick of SiriusXM called her "a future megastar" when she appeared on his show. We agree! Drawing inspiration from icons like Bowie, Prince, and Fiona Apple, Amanda is a genre-defying artist who's stitching together the musical tapestry. Here’s what she shared with us:

Your music is described as a testament to the power of interpretive imagery. Could you share how you use this imagery in your music, and what kind of emotions or stories you aim to convey through your songs?

When I write music it is very much influenced by all the senses. I use the description of my surroundings to emulate my emotions. Many of the songs I write will reference nature and color to reflect my mood or state of mind. I also use metaphors to convey many ideas. Even the style is influenced by my emotions. I find that when I am feeling angry or frustrated, the songs tend to be more rock-influenced. When I am sad or vulnerable, I lean more toward Americana and Blues. I really just let those feelings come through the writing as a form of Catharsis, which is where the name for the EP comes into play. I’m involved in the production of both the music and the visual aspects when making video content as well so it allows me to really tap into all the senses. My goal is to share my experiences using all these avenues of expression so that the listener can feel like they are a part of my journey and they can reflect on and explore their own as well. You draw inspiration from a diverse range of influences, including legendary artists like Bowie, Prince, and Fiona Apple. How do these influences manifest in your music, and how do they contribute to your unique style as an artist?

Growing up I had influences from my family members from a young age. I listened to New Wave and 80’s Rock with my mom's side of the family and then I learned about Classic Country music and folk from my Dad. As I became a little older I started branching out, discovering things I had not been exposed to. I discovered artists such as Fiona Apple, Prince, Bowie, and Harry Nilsson and admired how they could seamlessly blend so many different sounds and textures into something new. I never liked the idea of sticking to one specific genre or being labeled because, as an artist, I didn’t want to be stuck in a box that limited my creativity. My favorite artists are those who march to the beat of their own drum.

You've had some notable performances and appearances in the Brooklyn music scene, such as co-headlining the Brooklyn Music Festival and performing at Vimeo's corporate offices. Can you tell us about your experiences in these events and how they've influenced your career?

These experiences were so exciting! At the time, I had never really been exposed to playing these larger events before and it enabled me to meet so many interesting people and musicians. The Vimeo performance was especially fun and the people there were great. I hope to explore even more avenues in the future. Getting out and playing for people brings this kind of energy you can only experience in front of an audience. It allows you to feel vulnerable and strong all in one shot. The best feeling is getting approached after playing for strangers and being told that something I sang really resonated with them and awakened an emotion in them. It is an energy exchange and you truly get back what you give. Your latest single "Fight the Fray," is out now. What was the inspiration behind this song?

Fight the Fray is a juxtaposition of the feelings of self-doubt

that you have when pursuing your dream compared to the natural high you attain from living it out. The song is a reflection on the determination it takes to believe in yourself and follow through with your dreams, no matter how hard or unattainable they may seem. Fight the Fray is about pushing past the din or the naysayers and focusing on the one voice that matters: your own. With great risk comes great reward but if those risks are never taken, how will we know that we did ourselves justice? No one is going to pull you through the hard times or hold your hand, you simply have to start believing that you are worth the outcome. Sometimes cynicism, pessimism, and complacency drive us to be stagnant but we can’t let the dark swallow the light.  Do you stand by as the story unfolds or do you grab hold of the tools and write the narrative? If you have what it takes to Fight the Fray, then find a way.

Your new EP, "Catharsis," is highly anticipated and mixed by renowned producer Steve Lyon. What can fans expect from this release, and how has working with a producer of Steve Lyon's caliber shaped the sound of the EP?

Catharsis is a cleansing of the soul, both metaphorically and physically. Part of the album was written during a time of my life when I was on a path of self-discovery and growth. A couple of the songs (Doll and Good Girl) were co-written with my previous writing partner, Adam Bishop, which brought a musicality reminiscent of some tracks that we wrote together in our band Dreams of June. You will hear that there are many deep and dark textures in the music. There are also orchestral aspects that I think really tap into that emotion. I recorded with a good friend and producer here in the States, Oisín O Malley. Oisín has tremendous attention to detail and helped write and shape many of those orchestral ideas and layers. He introduced me to Steve who completed these mixes in London. Steve is amazing! He really knows how to capture the rich sound and textures of my voice, and his mixes are incomparable. I am so thankful to know and be working with such talents!

Head over to her socials, give her a follow, and keep an eye out for her upcoming projects and if you live in NYC catch her live if you can.

Follow Amanda Online:

https://amandadaviner.com/

https://www.instagram.com/amandadaviner/

https://www.youtube.com/@amandadaviner6455/channels

https://www.facebook.com/AmandaDaviner

#amanda daviner #interview #indie 5-0 #Spotify

[junoandtheechodog]

YME - ENEMY

https://youtu.be/yMhhsLau1Zc

Artist Bio:

YME, also known as Ymkje de Bijl, is an artist based in Venlo, The Netherlands. Her music straddles the line between a wide range of styles. Her music combines the edge of electro with the melody of alternative pop, finding the perfect balance between these different styles and making for a truly unique formula. Although she was diagnosed with autism from a very early age, she has always been passionate about music, as she grew up in a musical family with parents who were artists! Her mom was actually in a successful group named Ottawan, which recorded various hits in the 1980s. To this day, the band has over one million monthly listeners on Spotify alone, and it also features production work from Daniel Banghalter, whose son is Thomas Banghalter from Daft Punk!

Long story short, YME’s musical background is undeniably awesome, and becoming an artist was a natural step forward for her. Her music is immersive and endearing from the moment you hit the play button. The sound of her songs offers a very engaging listening experience, which immediately makes for a unique mood setter. Her music is brimming with fun, catchy, yet personal melodies that instantly create a deeper connection with the audience. All of her tracks are very hooky, due to their strong melodies and incredibly catchy vocal lines.The artist’s distinctive style of melodic, upbeat, and cleverly written electro-pop has quickly contributed to growing her fanbase, placing her as one of the hottest new artists on the European scene today.

The audience will be transported right away, showcasing the artist’s ability to create ambiance, a true world in sound. While the songs have a very organic, cinematic power to it, it also feels like a stunning opportunity for the audience to really get to discover more about what drives YME’s creativity. Her current discography is a perfect way in: an entry point into the imaginative and vibrant vision of an artist that’s far from the average player in the electro-pop music scene today. In addition to the performance and sound design, her music is also excellent in terms of production. The sound of YME’s productions is pristine and world-class, exactly what people might expect from a world-class act that wants to find an audience on a truly global stage.

YME is definitely recommended to fans of Billie Eilish, Dead Rituals, DeathByRomy and GAYLE, only to mention but a few. Much like the above mentioned artists, YME is all about making music that feels incredibly personal and direct. She is all about increasing her vision and sharing her personality with the audience. Some artists are natural-born entertainer, but YME is so much more than that: she wants to create a true community with her music, reaching out to people of all walks of life with a sound that is always engaging, inspiring, and easy to relate to. YME writes all the lyrics by herself, and produces music with Marco Roosink. She doesn’t just use music for entertainment, but also as a powerful way to express herself. In particular, she writes music that deals with her experiences through life, such as living with autism and even experiences such as being bullied when she was in school. She hopes that by sharing these experiences and feelings through music, she can actually connect with people and reach out with others who might be experiencing similar situations: they’re not alone!

Instruments and Audio Equipment used when creating this track:

Fender Strat.

Logic Pro X.

Shure Mic.

Where to find out more:

https://instagram.com/ymemusicofficial_

twitter.com/ymeofficial_

https://youtube.com/channel/UC7vPfHY7Px1omwLIjuVX9aA

https://facebook.com/ymkjedebijlmusic

https://www.ymemusic.com

https://www.yme4.com

https://www.tiktok.com/@ymemusicofficial

#Alternative #Juno's Interstellar Radio

[thebandcampdiaries]

Survivor Q inspires rap fans with his relatable and passionate rap songs.

A distinctive take on “Kingdom Music” from an artist who puts passion and faith first

Survivor Q is undoubtedly not your average hip-hop artist. He strays from the usual cliches of the genre and focuses on a more personal approach. In other words, he wants to make music that is something more than plain old entertainment. Most rap fans often lament the lack of true substance in a genre that’s often plagued by cliches. However, some artists are here to make a big statement and remind the world that rap could (and should) be an ultimate form of expression. Survivor Q is here to show that, and more. He is a fresh and motivated veteran who genuinely wants to inspire and connect with the audience, offering a positive vibe that makes his blend of “Kingdom Music” stand out. Survivor Q’s upcoming studio album is titled Kingdom Rooted. This release, which has just been announced, is going to be a one-of-a-kind milestone for the artist. His sound stands out as a powerful combination of hip-hop, gospel aesthetics, and more. Survivor Q swiftly combines various influences under one banner, and Kingdom Rooted will be a perfect example of how far he can take his creativity.

Meanwhile, fans can still check out some of the artist’s most recent singles. Each song he releases feels like a celebration of the Lord and an opportunity to share a positive influence with the listeners. He is also not afraid to share personal stories and experiences, even when he had to go through some difficult times in order to reach maturity as a person and a follower of Jesus. In addition, each and every song in Survivor Q’s discography has something special to offer in terms of stylistic influences. One of the artist’s best singles is titled “Gotta winner.” The song is a perfect mood-setter and a fantastic way to get to know the artist’s music, should you not be familiar with his songs. The beat has a modern sound inspired by trap drums and soothing atmospheric background melodies. More importantly, Survivor Q’s vocals are outstanding. He brings so much character and passion to his flow. The second song that’s definitely worth a special mention is titled “OUR GOOD.” A catchy piano melody drives the track, and a trap-inspired drum pattern immediately seals the deal. This song is incredibly thought-provoking, with lyrics that are outspoken and relatable. The collaboration with Emcee Mia on this song is spot-on, as the chemistry between the two artists on this track is undeniable.

Another single, “Foe Life,” continues on the thread-line of combining modern hip-hop aesthetics with meaningful lyrics and big, lush tones. The instruments collide beautifully, and there is much room to let everything breathe. In this song, the tone of the lead vocals is truly remarkable. It adds a recognizable yet subtle flavor, giving the tune its distinctive signature.

Last but not least, the song “Most High” is a compelling musical moment that brings something really interesting to the artist’s discography. This track features Goodwritt3ns, and it brings a fresh, punchy outlook to the table. The featured artist’s vocals are really unique as well, with a “West Coast” flavor reminiscent of legends such as Snoop Dogg.

The upcoming studio album mentioned earlier is going to be released later this summer. However, this massive new work is only the beginning for the artist, who will also drop a new single later next month. The track will feature Kidd Lee, who is well-known in social media circles! Survivor Q is a name to watch out for in the music scene. The artist has the confidence and skills necessary to produce something that will make a deeper impact in the life of his listeners. Tune in if you enjoy the sound of artists such as Lecrae, Bizzle, or KB.

Find out more about Survivor Q, and do not miss out on his music.

https://open.spotify.com/artist/13aW7JAGwAKtH9QU9FoZOA?si=d9eAx5FIQky0tJGcTiqNsg

https://twitter.com/survivorque

https://www.instagram.com/survivor_q/

https://www.youtube.com/user/SURVIVORQUE

[sinceileftyoublog]

Dawes & Bahamas Live Stream Review: 11/15, Mandolin

Photo by Ward & Kweskin

BY JORDAN MAINZER

On their latest album Misadventures of Doomscroller (Rounder), Dawes finally stepped out of their comfort zone. With longtime collaborator Jonathan Wilson in the producer’s chair, the Los Angeles band ditched their trademark Laurel Canyon-inspired sound for longer, more experimental rock songs. Fittingly, they tackled everything from age-old tales of political control in a world of tyrants to new school themes of social media addiction. The proggy nature of the music fit the concept-heavy lyrics.

As if the about-face of Doomscroller wasn’t enough, Dawes decided to further shake things up with their recent tour with Bahamas, the project of Canadian singer-songwriter Afie Jurvanen. Throughout September, the two acts backed each other, even singing each other’s songs. Last Tuesday via Mandolin, they presented a stream of their concert from the Englert Theatre in Iowa City. At first, even older Dawes songs, stretched out to languid jam sessions, presented a clear contrast to Bahamas’ efficient pop. Jurvanen’s songs represented a welcome change of pace between ripping, tempo-changing Dawes tunes like “Someone Else’s Cafe / Doomscroller Tries to Relax” and “Most People”. Still, they contributed to each other. Jurvanen’s thrilling guitar solos bolstered Taylor Goldsmith’s urgent vocals, Lee Pardini’s smooth keyboards, and Griffin Goldsmith’s unexpectedly stadium-sized drums. On Bahamas songs like “Own Alone” or the snappy funk of “All The Time”, the Dawes folks offered up strong instrumental and vocal harmonies, guitars in sync before Jurvanen unveiled his terrifically prickly lines.

What was perhaps even more notable, though, was the difference in sentiment between the songs of the two acts. Take a Doomscroller song like “Everything Is Permanent”, introduced by Taylor as “our collective brains melting together.” A choogle with a mid-song breakdown and proggy keyboard solo, dipping to silence and elevating back, it ends with the refrain, “Did you really need to cry or be seen crying?” It’s a lukewarm take on social media performance, some Steely Dan cynicism for the modern age to go along with Taylor’s Becker-esque guitars. It couldn’t be farther in mood than Bahamas’ “Way With Words”, a smooth soulful keyboard-heavy tune with a heart of gold, or “Opening Act (The Shooby Dooby Song)”, wherein Jurvanen reflects on all the time he spent opening for other bands and learning from his own mistakes. (For what it’s worth, Doomscroller’s “playing in the band” song “Ghost in the Machine”, which Dawes didn’t perform, could be “Opening Act”’s sibling.) During “Opening Act”, Jurvanen goofily ad-libbed a semi-introduction to Dawes, “Taylor on my left and Trevor [Menear] on my right / I just remember to put away all the Fenders and just let Lee loose.” Real jam band lore should someone have been taping.

At a certain point towards the end of the concert--probably Bahamas’ “Trick To Happy”--I couldn’t help but think that as much as I enjoyed how much each band bolstered the other’s songs, that even if you were dropped in not knowing either one prior, and even if they weren’t alternating, you’d be able to tell whose song was whose. Ingeniously, however, and intentional or not, they then played two songs in a row that bucked the trend. Dawes’ “Roll With The Punches” sported a Bahamas-like strut, while Bahamas’ gentle “Lost in the Light” embodied the scratchiness of the earliest Dawes records. And their encore performance of Bahamas’ “Stronger Than That” personified both bands, Jurvanen’s inherent hopefulness combined with Dawes’ skyward melodies. All in all, it was the third time Dawes surprised me this year. Perhaps only a fool would say this, but Dawes’ concert with Bahamas exemplified a band in their second decade of existence growing as much as ever.

#live music #dawes #mandolin #misadventures of doomscroller #bahamas #ward & kweskin #rounder #rounder records #jonathan wilson #afie jurvanen #taylor goldsmith #lee pardini #griffin goldsmith #steely dan #walter becker #trevor menear #englert theatre

[kabir88]

8 Reasons Why Music is Important to Us

Music has a very important role in human life because everyone likes to listen it. The person who listens to music with pleasure in his life knows the importance of it in the real-life world, if a person is interested in music, then that person is always happy in his life, and remains stress-free in every problem. Listening sound gives peace and joy to the mind, listening to music inspires a person to do something better in life.

1. The Universal Language

While every country has it’s own language(s), there’s only one language we can all understand: the language of music. We don’t even need words to understand what it is saying. Every year I see a lot of different people from a lot of different countries attending festivals. When it is being played, it seems every one understands what’s coming out of the speakers and they just start dancing to it.

2. Ambiance

Music creates ambiance. It adds up to the experience of whatever you’re doing. Can you imagine a party without music, a sports event without it, or a movie without it? Probably not.

3. Music Unites

Music plays a very important role in bringing people together. Whether it’s a festival, concert or a club night, people come together to enjoy the music that’s being played. I’ve had the privilege to attend a few big festivals in Europe, and it’s amazing to see the amount of people coming from different countries in the whole world, just to be part of the experience. At festivals like Tomorrowland or Ultra, you’ll see a lot of people from all over the world to enjoy the whole musical experience. It doesn’t matter where you come from, every one is treated the same. This is something we can all learn from.

4. Focus

If I have to do some business related stuff, I’d like to put on some music at the background in order to focus a little better. It is scientifically proven that it has enhances brain functioning. Besides, listening to music in an environment with other people also makes sure you don’t get distracted by other people’s noises. For me as a producer, a good side thing is I get inspired a lot by listening it when I’m busy doing things.

5. Emotions

Music can do great things for your mood. If you want to feel happy, you can listen to songs that are happy and this works the other way around too. When you lost someone in your life, it’s helpful to listen to sad songs. Science says listening to sad songs can actually make you happier. If you want to know more about this, Google knows a lot ;), For Me You Can Mp3 Song Download according to your moods.

6. Imagination

I don’t think I’m the only one who listens to music and instantly has a vision in my head of surroundings that would fit that particular piece of it. It let’s your imagination flow and that’s obviously a good thing for your creativity and health.

7. Memory

Music is good for your memory. I bet you can remember the lyrics of a bunch of songs much better than an article you recently read. In nursing homes, they started using musical therapy in order to let the elderly remember things of their past, which they couldn’t remember without listening it.

8. It’s just a pleasure

I’ll close off with probably the most important reason why we listen to music. It’s just a pleasure listening it so let’s just continue doing so! If you happen to be in need of some Techno.

Listening to music gives us mental, peace, satisfaction, health, music increases our attention, and at the same time listening to music keeps positive thoughts in us, if you listen to music in trouble, then to calm your mind. It helps a lot, it often takes you out of many dilemmas and will lead you to success. Listening to music motivates you, it encourages you to move forward

Music is effective for relaxation and stress management.

What I Do For Refreshing My Mind?

I Have Downloaded lots of songs according to my moods from wapking, Wapking is Providing You Thousands of Songs, You can download any according to your moods, like Song Download for refreshing your mind and feeling love with special one. and there has lots of sad songs, love songs, dancing tracks which you can listening according to your choice.

#music #wapking #song download

[luuurien]

Hatchie - Giving the World Away

(Alternative Dance, Dream Pop, Baggy)

Harriette Pilbeam's sophomore album as Hatchie sends her into the rabbit hole of pop revivalism, turning out some of the most genuine and delightful albums in recent years. Worshiping 90s alt-dance and psychedelic baggy, Giving the World Away is a crash course in how to play off older genre's fundamentals while inserting enough of yourself into it to make the music memorable and distinct.

☆☆☆☆½

It's a challenge, unraveling an album so overtly indebted to its influences. While every artist has their inspirations, albums whose direct goal is to channel the sounds of the past add the extra task of trying to decide where the line between that old sound and an artist's own unique sound lies, and doing that often reveals many holes within the music. Balancing that love with an individualistic artist's touch is one of the trickiest and most rewarding things they can do, and when things are all in order, it's impossible for it to not succeed.  For Australian singer/songwriter Hatchie, she makes it all seem effortless with her sophomore album Giving the World Away, a mountain-sized step forward from her chillier, less extroverted debut Keepsake that takes hold of both pop sentimentality and the blissful moods of alternative dance and dream pop and weaves them into a neon thread of pure magic. It's an album that is simplistic by design, but like many of the best pop albums, that passion and calculated eye for detail within these more established frameworks is what makes Giving the World Away such a rapturous success. Using the eternal youth pop promises to explore feelings of disillusionment, meaning, and desire, Pilbeam's escape to the 90s is so much more than what's on the surface. The meat of the album is in its fantastic mix of genres and Pilbeam's ear for good hooks: with help from star producers Dan Nigro and Jorge Elbretch alongside Beach House drummer James Barone, all twelve of Giving the World Away's songs are huge, emotive, and ebullient. Barones' drumming is the beating hear of the album, the hypnotizing syncopated grooves of 90s baggy found in the magnetic lead single This Enchanted among washes of shoegaze guitars and blubbering synthesizers before taking a lighter presence on the following Chapterhouse indebted Twin, jangly guitars and a yearning hook from Pilbeam making this one of the most romantic and starry-eyed tracks the album has to offer. But Pilbeam's got more than a few tricks up her sleeve, too: naming influences from Screamadelica to Ray of Light to even Slowdive's 2017 self-titled in a recent r/indieheads AMA reveals just how well Pilbeam knows her craft. You can feel that Screamadelica influence in the tropical swirl of dub she throws into B-side opener Thinking Of, electronic hoots and fluffy acoustic guitars showing the revealing the heart ofGiving the World Away, the darker side of New Order's discography in the soul-baring synthpop centerpiece Quicksand; she even plays a bit of a trick in the starting section of This Enchanted with flowery Europop pianos that imply a bubblegum pop tune before thrusting you into a dream pop fantasy. Even if you aren't one for the linear structures pop relies on, there's no way to listen to Giving the World Away and not fall under Pilbeam's spell. What makes Giving the World Away so special, though, is that it uses all this sweetness to confront the toughest questions Pilbeam has asked in her music yet. Keepsake, despite how wonderful the majority of its production and performances were, leaned so heavily on cliches - finding "the one," staying true to your heart, one song is so on the nose being titled Kiss the Stars it's not even funny - that it often felt like the lyrics weren't speaking to anything deeper within Pilbeam and were largely there for her to, with an undeniably beautiful voice, sing without having to commit to any deeper songwriting themes. But as it also went for many other artists, the screeching halt of the pandemic unearthed questions she'd been avoiding until then, contemplating her place within music as a whole and having to interact with long-held anxieties and fears. With all this in mind, Giving the World Away is both a celebratory admission of her beginning to tackle those feelings and a way for her to begin working through them, perhaps a bit too definitive in her conclusions, but always a joy nonetheless. The writing is undoubtedly heavy handed at times: the cheery piano pop tune Take My Hand is absolutely gorgeous but doesn't leave much up to the imagination in a way that holds back some of the reward that comes with beginning to approach your fears head on and The Key nears triteness in the first verse's much too static imagery ("Lost sight of who I'm supposed to be / But within the chaos I can see, I'm not me"), but it's Pilbeam's loving spirit and heart-on-sleeve optimism that keeps it all from falling apart. In its best moments, the songwriting underneath these fully-stuffed mixes makes these already halcyon songs glow even brighter, the fleeting romance on Twin where Pilbeam's partner doesn't see her near fondly enough, the saccharine final line of the chorus able to break through that barrier and become incredibly heartbreaking as she uses usual pop imagery to speak of loss in a highly creative way. It doesn't have to be anything more than this when it all works so well for these kinds of songs, writing that is easy to grasp and always ready for whatever Pilbeam needs to make Giving the World Away unforgettable. It's the final three tracks that really cement the pure euphoria Giving the World Away delivers. Starting with the swelling synthpop marvel Don't Leave Me In the Rain, the gummy synth hits and walloping guitars make this urgent plea for self-understanding and acceptance that much more spine-chillingly, Pilbeam embodying the 90s pop anthem with so much investment and honesty that nothing else matters but watching her rule the world. Sunday Song conversely feels like staring into Pilbeam's eyes and watching a film reel of her most sentimental memories, it's where the album finally breathes after the onslaught of enveloping guitar distortion and massive synthesizers, where the dream pop side of her sound comes out the most as warm backing chords simmer under tender acoustic guitars and angelic vocal harmonies, a pastel penultimate track that lets Pilbeam dig deeper into herself than anywhere else. "All the things you wish you hadn't said / Sick of waiting for something heaven sent / Can't you see all that I see in you?" she sings in the prechorus, and the swirl of instrumentation that follows is indelible. But then there's the finale, Til We Run Out of Air, and the future of Pilbeam's music is cemented in this one legendary track. If there was ever a song to define the future of pop, I pray that it's this one, full of atmosphere and grit in its distorted guitar progression and bubbling synth arpeggios that marinate to a honey glaze as her most visionary writing comes out in full force ("It's not too late, scars can fade / Nothing blooms from sill to sky / Count the ways to kiss your face / Open the curtains and let in the light"), and the release of that chorus the first time you hear it is like nothing else. As Pilbeam continues to build up a reserve of that potent ecstasy with added textural layers and a constant built, she proves that there's absolutely nobody else like her right now. By not trying to constantly test the boundaries of her sound and instead inviting a dictionary-sized book of guests into her music, Pilbeam makes Giving the World Away one of the most rewarding and unimpeachable albums this year, such a constant source of revelry that even conceptualizing an album that could do it better than this is quite the task. Pilbeam is learning how to let the entirety of herself exist within her music, every worry and whim finding a place in her world of pop exuberance, and Giving the World Away is a sensational new beginning for her.

#hatchie #giving the world away #secretly canadian #alternative dance #alternative rock #baggy #dance #dance pop #dream pop #electronic #electropop #indie pop #indie rock #neo-psychedelia #pop #psychedelic pop #rock #shoegaze #2022 #9/10 #jangle pop

[ks-dreams-fantasies]

Hi can I request like a vinnie x reader like the reader wrote deja vu by olivia rodrigo (let’s pretend the reader wrote it and released it) and when the music video got posted on yt yall watch it together with the hype house members and when it finish your crying (tears of joy) and vinnie is proud of her and the other hype house congratulated the reader and thomas and alex filming everyone’s reactions and later thats night the reader and the other hypehouse member are hanging out in the living room and vinnie is all cuddled up to the reader and mia ask who’s the song abt and the reader said its abt vinnie and she explained it that she wrote the song when they broke up and vinnie got with another girl and everyone is shock.. you ucan continue it and do whatever you want in the end thank youu<33

Déjà Vu - Vinnie Hacker

Sooooo, I feel like this wasn't my best piece but I hope you still like it. I love Olivia Rodrigo 👀 I just can’t imagine Vinnie breaking someone’s hearts tbh, he looks way to sweet 

Warning : None

Word Count : 1.2k

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Today was an important day for you and your career. Your debut single Déjà vu was coming out and you couldn’t stop yourself from being excited but nervous at the same time. Having been doing covers of your favorite songs on social media for the last 2 years, fans wouldn’t stop asking you when your own music would come out. Today was the day they would hear your ideas for the first time in what seems like forever. You had posted little bits of some compositions you had made but never did you post a clip over 15 seconds long, let alone a full song.

You had been recording a lot in the past few weeks and when you presented the lyrics to Déjà vu to the producers, they fell in love with it. In all honesty you didn’t think it would be one of their favorites since it was sad and angry. You had written these lyrics a while back when you and your now boyfriend were apart. You and Vinnie had been good friends since the moment you had met. Being two growing TikToker, you found yourself hanging in the same places with the same group of friends.

Your relationship was complicated to say the least, you both knew you had feelings for each other, but he wasn’t ready to be in a relationship at the time and you were afraid to get into one as well. It didn’t stop the both of you of doing everything together, you were inseparable. From sharing one spoon to eat your favorite strawberry ice cream, to sharing clothes, you did everything a couple would do. All went crashing down the day you went on a trip with your best friends, a bunch of pictures of Vinnie and a blonde girl holding hand and sharing ice cream, laughing, came flooding the internet. You couldn’t believe what you were seeing, the guy you liked, the guy you thought liked you too was with another women having the time of his life not even giving the time of day.

A few days after you came back from your trip, Vinnie had texted you, but you had decided to ignore him, staying in your room writing down into your notebook. That’s how the lyrics for your new song were created.

After that, things got awkward between the two of you, both of you having the same friend group, hanging out wasn’t easy. He would often bring his new friend with him and the situation made you uncomfortable and sad. They would share moments together, moment you first had with Vinnie, moments you thought belong to the two of you. The girl even posted pictures of places Vinnie would bring her to, places you showed him first.

A few months past and the two of them broke up, leaving the majority of your friends and yourself happy. Soon enough, Thomas invited you to move into the Hype House and you did. You and Vinnie got back to talking frequently and he one day asked you to lunch which you agreed to. You decided to give him a second chance and soon enough he asked you to be his girlfriend. Everyone had been talking about your relationship, approving of your love. The fans were mostly happy, some of them were mad that Vinnie found a new girlfriend, but for the most part, everyone was supportive.

Four weeks later, here you were, all sitting in the backyard waiting for the show to start. Your roommates had decided to surprise you with a nice diner, and they had set up an outdoor projection screen for the release of your debut single. Vinnie had his arms wrapped around you as the both of you sat down on a huge bean bag next to the others. You were all laughing and talking when the voice of the presenter got your attention.

“She’s been getting more and more popular over the past two years and fans had been waiting for her to drop her own music. From singing covers of her favorite songs on the internet to now coming out with her own song, this artist is destinate to a great career. We had the pleasure of getting the exclusivity of her debut single and videoclip, here is Déjà vu by (Y/F/N)”

The screen changed quickly, your face appearing as you licked some ice cream in a convertible. You had told Vinnie about the song a few weeks prior since it was about him. You could feel his arm tightened around you as he kissed your temple

“I’m so proud of you baby” he whispered so only you could hear. You smiled feeling the tears well up in your eyes, realizing how far you’ve come. It wasn’t always easy, but you were doing what you loved with the people who you cherished most. Once the videoclip ended, everyone was clapping making you laugh slightly as tears poured out your eyes.

“OMG! This song is so good (Y/N)” Kouvr said smiling widely as you turned towards her, seeing Alex filming.

“It is, and the video is great” Thomas continued

“Thank you, guys! You’re too kind, you’ve been supporting me from the beginning, and I couldn’t thank you enough for that” you said wiping your tears, looking at them.

“I could never do what you do, you’re so creative, where do you get all your inspiration from? Like for this song, I didn’t know you had all these emotions built up” Mia said, questioning you. You felt yourself tense up as Vinnie rubbed your arms softly.

“It was from an old relationship, all is good now” you shrugged, trying to avoid the question

“Well, this guy seems like he made a big mistake, who would do this to you?” Michael said trying to light up the mood

“Actually, it was me” Vinnie spoke as everyone looked at him with big eyes, including you.

“I’m sorry. What?” Kouvr was the first one to speak

“I was a dick to her two years ago, and I know I broke her hearth. I still regret it to this day and I’m sorry about everything” Vinnie stated now looking at you deeply

“I decided to forgive you and give you another chance and look where that has gotten us. I was scared at first, because of what had happened, but you proved me wrong. You showed me that you’ve changed and that you weren’t that guy anymore. You make me feel so special and I feel so lucky to have you”

“I love you baby, and I’m so proud of you” he said before kissing you tenderly, his tongue finding your bottom lip, making you smile slightly against his mouth

“Okay guys, get a room” Alex said, pushing Vinnie slightly

“We’ll gladly do that” he stood up, offering you his hand to help you do the same

“Stop” you said swatting his chest softly, laughing “Thank you guys so much for this perfect evening, I couldn’t wish for better friends”

“We love you (Y/N)” Mia said bringing you into a tight hug “And you” she said pointing at your boyfriend “If you break her hearth, I’ll have to kill you”

“Don’t worry, I won’t make this mistake a second time”

----------------------------------------------------------------------------------

Thanks for reading

Hope you liked it, let me know what you think

-K

#vinnie #vinnie hacker #vinnie hacker imagine #vinnie hacker x reader #vinnie hacker x y/n #vinnie hacker tiktok #vhackerr

[dustedmagazine]

Kazuki Tomokawa — Kazuki Tomokawa 1975–1977 (Blank Forms Editions)

"Protest, Age 23" on SoundCloud

Emerging in the early 1970's as one of most important and polarizing figures in Japan's musical underground, Kazuki Tomokawa brought a desperately existential vitality to the burgeoning Tokyo folk scene, something he however never really felt himself truly a part of. Though not exactly a household name to many listeners outside of Japan, Blank Forms Editions hope to rectify this situation somewhat with the three-CD box set Kazuki Tomokawa 1975–1977. The set documents Tomokawa's first three LPs, all originally released on the Tokyo Harvest Records label. The collection of interviews also published by Blank Forms Editions, Try Saying You’re Alive!: Kazuki Tomokawa in His Own Words, gives valuable background information to the screaming philosopher's thoughts on music, as well as his activities as a painter, poet, construction worker, basketball coach, keirin track bike racing enthusiast, actor, radio disc jockey, TV host, pachinko parlor denizen, cook and all-around bon vivant.

Referring to himself as a “part-time singer” is just one of the instances in these interviews in which Tomokawa oscillates between total self-deprecation and utterly shameless boasting, sometimes in the same breath. But however he wants to characterize himself, the fact remains that even as a part-time activity, Tomkawa's singing easily inhabits the realm of absolutely bone-chilling, eviscerating emotion. To wit, “The Flower of Youth,” the opening track on his debut album Finally, His First Album, documents the then- 25-year-old's defiant scream into a black void. Sung against a simple two-chord guitar pattern that would not sound out of place on a Daniel Johnston record, Tomokawa sets the stage for all his work to come, shrieking out a litany of declarations against himself and God:

In that tiny room in Kawasaki Kawasaki Sharpening a knife Sharpening a knife in the early morning Ain’t that me? Slicing up your dreams just because you’re tired Dicing yourself up just because you’re frustrated But you can’t even kill a single cockroach! Go ahead and do it, kill if you can kill! Go ahead and do it, kill if you can kill!

The rest of Finally, His First Album navigates its way through elegiac folk rock (“Soul”), full-blown blues rockers (“Protest, Age 23”), hebephrenic screes (“Phone Call”), ghostly 3/4 ballads (“Grave”), traditional-sounding Japanese numbers (“An Akita Folksong Run Amok”) and sweet folk crooning (“Yumiko's Spring”). This inventory of styles might seem like a splattershot approach, but, across all these jarring musical detours, Tomokawa's fantastically evocative singing ties everything seamlessly together. One could easily place these recordings in the realm of ancient Greek poetry as sung by the bards. A sense of pathos suffuses each track on this LP. However, one gets the feeling at times that Tomokawa might not be that particular about the setting for his voice and lyrics, even though he always seems able to adapt to whatever his producer and band throw at him in the way of accompaniment. And he does so with unabashed aplomb on each track, easily surpassing any reservations one might have about the record’s smorgasbord of styles.

Including a photo of his late grandfather with the liner notes, Tomokawa's second release Straight from the Throat opens in a similar manner to his debut: the track “Grandpa” sets alternating exposed-nerve singing and banshee falsetto cries against repetitive acoustic guitar and, later in the track, an avalanche of cataclysmic drum set accompaniment from Tomokawa's long-time drummer, friend and musical inspiration, Toshio Ogiwara. Calling this track visionary would be a gross understatement. It foreshadows by decades the ideas of Freak Folk and New Weird America, but with the addition of Tomokawa's absolutely blood-chilling vocalizations. Segueing into the next track “Goddamn Winter,” the listener might get the idea they've just passed through some alternate reality portal, as the mood shifts radically into something like a folk ballad with wistful Roy Bittan electric piano flourishes. Still, it’s just great.

Straight from the Throat proceeds in a similar fashion to the first LP, ricocheting from musical style to style with little regard for sense of direction, other than the consistently mind-shattering singing and devastating lyrics:

I can see sorrow from up on the footbridge A salesman-type walks by Wiping the sweat from his brow Inside its cage, a bird thrashed wildly till it died Wilted, drooping red chili blossoms I can see sorrow from up on the footbridge I don’t want to die I don’t want to die, I don’t Maybe songs are a kind of cage

With the track “Don’t Kill the Sea Lions,” Tomokawa even scored something of a hit, taking a detour from his existential rumblings by evoking the angst of these suffering animals and the coarse indifference of people to their environment:

Bored housewives glancing at the tube Dying to find out how many they killed today The men can’t raise their faces to look up higher than they are tall While the children’s faces turned the color of concrete A dream is the dream of a dream dream dream . . . . . . Don’t kill the sea lions Don’t kill the sea lions We’re all sea lions Don’t shoot! Hey, don’t shoot! Stop, hey, don’t shoot me! You there! Don’t shoot me!

Uncannily enough, some of this record's text evokes Springsteen's lyrical turn on “Born to Run”, released just one year earlier. See “Cars–A Poem for My Little Borther”; here Tomokawa reveals a sharp eye for life's more banal details as a tableau vivant of intense passion (and we should bear in mind that Tomokawa’s brother was a suicide):

The young cars howled through the vastness At blistering speed A police car following hot on their tail Ready with a mountain of complaints A hearse drove by: Forget all that and return everything to the soil 

Straight from the Throat closes out with “Stone,” a kind of nod at things to come with blanketing keyboard banks, something approaching a severely detuned West Coast whistle synth and spoken text—as if Dr. Dre and Brian Eno found themselves in the studio together when Tomokawa happened to be passing by, and they yanked him in.

The third CD of this box set, A String of Paper Cranes Clenched between My Teeth, starts with a vaguely New Wave atmosphere of keyboard synths and punctuating drum accents before, depressingly enough, collapsing into a Classic-Rock-à-la-David-Gilmour wailing guitar solo. Mercifully, Tomokawa has not attempted to add anything to this track. But he kicks back in on the second piece, “Try Saying You're Alive.” The song pretty much sums up what Tomokawa is all about, as he demolishes his guitar and cries out in a nerve-on-edge, quivering voice:

This world is no slaughterhouse! So why all the anguished melodrama? This loneliness, kindness, suffering and pain You’re no cripple! So why are you dabbling in the joy of sorrow? Hippy vagabond beggar child You call that life? Try saying you’re alive! Try saying you’re alive! Try saying you’re alive!

It just doesn't get any better than this. The intensity, the sheer desperation, reaching for straws in the eternal darkness. And then, another rollercoaster ride, skidding into the third piece, “Kill or Be Killed.” It’s tender and sweet, a soothing respite from the previous track. Tomokawa seems to inhabit a Jekyll-and-Hyde world. Either it's a glorious summer day or he’s going through a nervous breakdown. And the middle ground is a wasteland of jarred emotions played out across a vicious hangover, and the sense that at any moment we could die an incredibly torturous death.

A String of Paper Cranes Clenched between My Teeth conjures up a potpourri of styles as in Tomokawa's first two LP's, though by this time one gets the impression that perhaps he's lost some interest in the whole studio process. His band and the overall production seem more in the forefront than on the first two LPs, and, quite frankly, some of the musical decisions are less than fortunate. Like the last track of the record, “Missed My Time to Die,” blends what could be a demented Klezmer melody line with some absolutely cheesy funk guitar strumming. Still, time and time again, Tomokawa manages to surmount all these musical obstacles with absolutely compelling vocals and powerful lyrics:

Long lines snake Through town again today Give me your sadness Give me your sadness The women stand in line I can’t walk sober And I can’t walk drunk The gaggle of skulls is weeping And glaring at me Hey! Got a problem?

Tomokawa went on to record another 30-odd records after the first three documented here. He enjoyed something of a resurgence in the 1990s with his recordings for the Tokyo PSF label, also known for the work of Fushitsusha, Keiji Haino and High Rise. In his introduction to Tomakawa's collection of interviews, Try Saying You're Alive! Damon Krukowski notes, it's “not always the meaning of the words that gets a song across. Great singers always communicate, regardless.” And indeed, whether one is fluent in Japanese or can't understand one single word of it, the voice of Kazuki Tomokawa will fill you with a lust for life and a deep compassion for all sentient beings around us. These are exceptional qualities we could use now more than ever. So, yes: Try Saying You’re Alive!

Jason Kahn

#dusted magazine #album review #jason kahn #kazuki tomakawa #1975-1977 #blank forms #folk music #experimental music