#lap band Melbourne

[cwlsmelbourne]

Lap Band Surgery: A Life-Changing Weight Loss Solution

A Lap band surgery is a life-changing weight loss solution. Lap band surgery is a surgical procedure that uses small silicone bands to alter the size of your stomach pouch. Lap band surgery can help you lose weight and achieve optimal health by making sure your body has enough room for food and drink.

In this blog we will discuss the on the topic lap band surgery.

visit our website: https://completeweightlosssolutions.com.au/lap-band-surgery-melbourne/

Understanding Lap Band Surgery

Lap band surgery is a weight loss solution that can help you achieve your weight loss goals. With lap band surgery, you'll have a smaller stomach and feel fuller after eating smaller amounts of food.

Lap band surgery involves creating an artificial restriction in the stomach by placing a silicone band around the upper part of your stomach. This creates a small pouch filled with gas that keeps food from being digested or absorbed into your body.

The result is that less food goes into your intestines and causes you to lose more than two pounds per week.

Benefits of Lap Band Surgery

Lap Band surgery is a life-changing weight loss solution that can help you lose weight and get healthy. It's the most effective type of bariatric surgery, which means it can help you lose up to 100 pounds in one procedure while keeping your body at a healthy weight. And Lap Band surgery is safe and effective for everyone no matter what your age or health history is.

Lap Band Surgery is also an option if you have diabetes, high blood pressure, or other medical conditions that make it difficult for you to maintain your current lifestyle without medications or other treatment options (such as diet and exercise).

In fact, many patients who have had Lap Band surgery are able to stop using their medication completely.

The Lap Band Surgery Process

Lap band surgery is a minimally invasive procedure that can be performed under local anaesthesia. It involves the placement of a laparoscopic tube (catheter) through your abdomen into your gallbladder to remove the excess fat from around your middle section.

A surgeon will make an incision in your belly and insert this tube, which is connected to suction machines that pull out excess fat from inside your body. The surgeon will then cut away any remaining loose tissue from around the drain before closing up any wounds with staples or stitches.

Afterward, you'll be taken back to recovery where banding therapy prevents further complications like infection or blockage due to fluid build-up within the device itself (this sometimes happens if patients don't follow instructions).

Conclusion

In conclusion, lap band surgery offers a life-changing weight loss solution for individuals struggling with obesity. With its ability to restrict food intake and promote significant weight loss, it has the potential to improve overall health and quality of life.

The Lap Band is a life-changing weight loss solution that has helped millions of people lose weight and improve their health. With this procedure, you can get the best results without any bariatric surgery risks or complications.

This is an affordable treatment option for those who are looking to lose weight. Consider lap band surgery as a transformative step towards a healthier and happier future.

#Lap Band Surgery #lap band Melbourne #lap band surgery Melbourne #Weight Loss Solution

[adoristsposts]

muse x dr3

author's note; I do not know how music making works but I do own a guitar that I play constantly so hopefully that gives me some credibility. summary; Your boyfriend is your favourite person in the world, obviously, but you find he can get a little envious of the equal amount of attention you pour into your guitar characters; Daniel Ricciardo x musical!Reader word count; 700~ warnings; Fluff pretty much

Daniel shut the door to your shared home with as much force as he could without making it a slam. He knew you'd be wrapped up in your music, as you usually were. Whether it was making it or listening to it, it was your one true love. Other than him, obviously. He huffed when he got no response, setting his suitcases down by the door and making his way through the large house to find you. When he did you were wrapped up in your guitar, headphones plugged into your amp as your earbuds were tucked gently underneath them. You were playing some song you obviously enjoyed, your head bobbing to the rhythm as you effortlessly shifted through keys Daniel couldn't even imagine being able to perfect in a single strum, let alone the flurry of them you were making. There was a dull noise of your pick hitting the strings as your amp sent the melody straight to your headphones. Your eyes were closed, he realized, as he stood by the door to your studio. The entire place was covered in soundproof panels, ones you had insisted the two of you put up together despite the fact he would have been happy to get it done. And yet you still had your headphones plugged in, still forgetting you weren't living in your small Melbourne apartment anymore. "Babe." He said, hoping you could hear him. You couldn't, and he laughed, crossing his arm and leaning against the frame. He observed you quietly, the way your eyes followed your fingers and then closed when you straightened up. As though looking anywhere else would disconnect you from the rhythm. Finally you finished, and he watched as you pulled out your phone to change to another song. You raised your eyes to the ceiling, thinking, before they came shooting back down at connected with him. "Holy shit!" You jumped, his sudden presence startling you. You jumped up, lunging into his arms in excitement. He laughed before tugging the headphones off your head and pulling out one of your earbuds. "Took you a while." "How much of it did you see?" "End of the song. 'Bout a minute or so, I reckon." You smiled up at him, propping yourself up on tiptoes so you could give him a quick kiss. "Sorry. I knew you were coming home. I was just working on some stuff for the band." "It's your job, I don't mind. Dinner?" You smiled sheepishly, "Takeout?" He groaned happily, "Oh, absolutely."

The next morning when Daniel woke up to warm sun on his face and the familiar sound of birds in the nearby trees, he reached out to wrap his arms around you. Instead he felt nothing but cold sheets. He cracked an eye open, revealing your side empty and the covers made neatly. He groaned, rubbing his eyes and throwing the blanket off. Quietly he padded down the hallways, immediately going to where he knew you would be. Your studio. There you were, headphones on again and your bass in your lap this time as you scribbled away in your notebook. You had one ear out, and so Daniel mumbled a sleepy "Babe." that had you turning in your seat with a wide smile. "Sorry. I had a bassline in my head I couldn't stop thinking of. I'm sorry." You told him. Dragging his feet he made his way over to you, wrapping his arms around your back and peeking over at the letters and numbers you had written that made no sense to him. He nuzzled into your neck, making you laugh. "Come back to bed." He said into it, the vibrations tickling your skin. You reached up to run a hand through his hair. "I will. I will. Just let me-" "Noooo" He groaned. "No more music. Not until at least the afternoon." "What can I say? My muse is home." "Your muse?" He hummed teasingly, pulling his head up to face yours as you tilted to look at him. "Mhm." You said back. He leaned in to kiss you, ghosting your lips with your own before pulling away. You whined. "Bed." He said simply in response. "Ugh. Fine. Let me put away my cords and shit first?" "No shot. Leave it on the ground."

#formula 1 #formula one #daniel ricciardo #daniel ricciardo fluff #formula 1 fluff #f1 #f1 fluff #dr3 #daniel ricciardo x reader

[footprintsinthesxnd]

Thank you so much for tagging me @merriell-allesandro-shelton

WIP ASK GAME

Post up to five (5) filenames of your WIPs; not titles, file names.

Post a snippet from one/all of them. Snippet must be words you wrote in the last 7 days. We're posting progress here. If you haven't made any, go make some and come back to post.

After you've posted, people can send you an ask with one of your file names. You must then write 3 sentences in that file.

That's it! You can invite others to join in or just post.

Young Love and Old Money - Lewis Nixon x Josephine Wills

Her thoughts were interrupted by a gentle cough from beside her as she glanced at the hazy figure sitting on the wrought iron bench.

“Hello JoJo,” the voice came quietly, causing Josie to freeze, her heart thudding loudly in her ears.

“Will?” She asked, watching cautiously as the figure stood, stepping closer into the moonlight. William Beaumont stood before her, his nightshirt hanging loosely on his well built frame, his golden locks tousled from sleep but his blue eyes shining more beautifully than ever.

“Will,” Josie said again, this time more convincingly as she approached him.

“Did you miss me JoJo?” Will asked, using his childhood nickname for her as he came to stand before her. His large frame towered over her smaller one and yet she had never felt safer.

“Of course I have Will.” Josie flung her arms around his neck, burying her head into the crook of his neck and inhaling the all too familiar scent of cigarettes and Brylcreem. “I’ve missed you so much.”

Josie thought she couldn’t cry anymore tonight but the floodgates soon opened and before she knew it Will was cradling her on his lap, smoothing down her disheveled locks and whispering comfortingly to her. This was a scene so common throughout her childhood where her father would say something awful and Will was always there to pick up the pieces, he knew her inside and out and he cared for her. Josie felt herself wondering that despite the wonderful evening she had spent with Lewis was Will actually the best man for her?

David Webster x Florence Durrant

Florence tapped her foot rhythmically against the wooden floorboards of the stage as the music played out from the band around her. Some light chattering from the men in the front row distracted her, eyes hovering over the man at the end of the row who seemed too engrossed in his novel to listen to her singing. As the instrumental section came to an end she took a deep breath, drifting across the stage as she began to sing again.

“We'll meet again

Don't know where

Don't know when”

Florence preferred singing to the English troops, they always knew all the words and would sing along with her. It was in those moments that Florence felt that she was doing the most good to help boost their morale. The American troops however seemed disinterested. Too many of them were smoking, playing cards and talking but the one dark haired soldier at the front bothered her the most, his nose buried in a red, leather bond novel. A few of the officers at the back watched her intently, swaying along to the music, whether it was more out of respect to her or because they didn’t have any other plans for their Saturday evening.

The Good Die Young - Jake Seresin x reader (WW2 au)

(This is an extract from chapter 3 which I will hopefully be posting soon)

“I swear to God, if I have to take one more step I’m gonna shoot myself,” Edward whined, his pack slipping further down his back and his knees sinking to the floor despite their orders to continue marching.

“Get up, Mary. Come on we can’t rest yet,” Jake hauled his fellow Marine up so he was standing against him, supporting him around his waist and hauling him forward, ignoring the protest from the boy at his distasteful nickname. That boy was far from a virgin anymore, not with all the women he’d spent time with in Melbourne. They had fallen behind their original group but with the blisters Jake was suffering from he hadn’t minded the slower pace with Edward.

“Just a little further now,” Jake pointed to the distance where he could see a group of Marines stopping to make camp for the night. “Just up on that ridge and then we can stop, I promise.”

Edward groaned but nodded, standing to support himself a little more. He swung his Springfield disdainfully over his shoulder, he was still upset that the M1 Garand he’d scrounged from the army supplies had been confiscated and instead replaced with his original Springfield. Jake recalled the lectures of ‘it's lightweight and ammunition capacity is far better than this fucking shit’ Edward had complained nearly every night since they’d docked in Melbourne.

I have several other WIPS but I haven’t added to them in the last 7 days and I currently don’t have time/ inspiration etc for so I’ll add them down here and you guys can ask about them if you wish.

An original WW2 story - this story doesn’t currently have a definite title, despite the fact that I’ve been adding to it for almost a year, and is mainly just a load of research and planning with a few odd sentences and paragraphs but I’m very excited to start turning this into something beautiful. This will be a project for me following into winter 2023 and 2024.

Be My Last - Rhett Abbott x reader series - the reader is a student vet who comes home from university for the summer and works at the local veterinary practice. On a call to the Abbott’s family ranch with one of the vets she meets Rhett. To say it was love at first sight would be the furthest from the truth but they begin to grow on each other but families are complicated and long distance relationships are hard. ( I haven’t added to this series for a while and it’s very much a working progress but I may eventually get back into the swing of writing it)

Tagging: @desert-fern @mayhem24-7forever @mayhemmanaged @georgieluz @softspeirs @mads-weasley and anyone else who wants to join in.

#my wip list #wip game #tagging mutuals

[sinceileftyoublog]

Rolling Blackouts Coastal Fever Live Show Review: 7/28, Schubas, Chicago

BY JORDAN MAINZER

Melbourne jangle pop band Rolling Blackouts Coastal Fever could have probably made retreads of their first two EPs and debut LP and been successful. But with 2020′s Sideways to New Italy and May’s Endless Rooms (Sub Pop), they’ve slowly shown their ability to slow it down without sacrificing the hooks. Specifically, Thursday night, during a Lollapalooza aftershow at Schubas, they played a remarkable nine songs in a row from their two most recent albums, proving to the crowd they don’t need to rest on the laurels of the tunes that made them break out. Instead, they relied on their newfound versatility. Following the bouncy “Mainland” was “Dive Deep”, a slow and slinky highlight from Endless Rooms, a careful, but steadfast statement of love and dedication. With a similar sentiment but a harder charge was the next track, “Blue Eye Lake”. The performance exemplified the band’s ability to weave thematic and narrative threads in a set just like they do on their albums: cohesively, yet with the ups and downs that make for a good journey.

Rolling Blackouts Coastal Fever are still at their most thrilling when their songs build up, layer upon layer, with slight increases in volume and/or tempo. From opening song “An Air Conditioned Man” and the wondering “Cameo” to the speedy “Cars In Space”, Tom Russo and Joe White’s electric and Fran Keaney’s acoustic guitars intersected and then ricocheted off each other, all while bassist Joe Russo and drummer Marcel Tussie provided a steady base. To this point, the band may always end their set with “Fountain of Good Fortune” and “French Press”, the two songs that perhaps best demonstrate the “formula” that first wormed its way into the ears of everyone from Flying Nun aficionados to R.E.M. diehards. And as Rolling Blackouts Coastal Fever continue to explore new territory, The French Press songs aren’t bad victory laps to ultimately fall back on.

#live music #rolling blackouts coastal fever #sub pop #lollapalooza #endless rooms #sideways to new italy #tom russo #joe white #fran keaney #joe russo #marcel tussie #flying nun #r.e.m. #the french press

[lsdunesarchive]

Frank Iero: ‘The Universe Will Tell You Where You Need to Be, What You Need to Do’

As someone who has spent a significant portion of his adult life touring the world, Frank Iero knows the importance of music that can bring with it a sense of grounding and peace. 

March 31, 2023

by Sosefina Fuamoli

As someone who has spent a significant portion of his adult life touring the world, Frank Iero knows the importance of music that can bring with it a sense of grounding and peace. 

These can be records that bring your travel anxiety down; they can be the records that remind you of home, what you’re travelling back to. They can be the records that remind you of why you love being on the go; they can be the records that enhance your focus while you’re in transit. 

Sitting opposite me in a Melbourne hotel, during his first trip to Australia in over five years, the American musician smiles when thinking of his latest record – Past Lives with supergroup L.S. Dunes – being this specific sonic haven for others.

“In my experience and in my world, they’re the records that bring a sense of peace,” he says. “They’re like a comfortable blanket. I love this record so much, I want it to be that for other people.”

Past Lives, which was released in November, is a striking collection of music that treads the line between contemporary and nostalgic; the carefree and the cathartic. 

An exploration of dynamic post-hardcore and punk influences that have threaded their way throughout band sessions that Iero recalls as some of his most creatively inspiring and nurturing experiences, Past Lives is the meeting point of five distinct musical identities, converging over a shared love for music itself, in creating something fresh and new.

L.S. Dunes, who only made their debut as a live band at Riot Fest in 2022, comprises genre-defining musical pedigrees. Of course, Iero, with his unmistakable talents honed over decades spent performing with My Chemical Romance (as well as his various side and solo projects); the band also features Travis Stever (Coheed and Cambria), Tim Payne and Tucker Rule (Thursday), and Anthony Green (Saosin, Circa Survive). 

Though the opportunity was likely there for the band to rely on familiar sonic routes with this new project, L.S. Dunes opted to take the path less travelled – pushing themselves outside their comfort zones in creating this new and diverse album of work.

To speak with Iero about his relationship to the music on Past Lives and the impact of the record, he puts it rather simply, “I have a very hard time saying no to things that sound fun.”

“Things just end up falling in my lap, just like this band.” he laughs. 

“I didn’t actively go out and search for this band. It just presented itself. That’s my secret, that’s all I do.”

“I’ve always felt that I’m not so much creating these things, as much as I am being a conduit for the universe to channel it through me. In order to continue to create and to create in different settings, different bands and genres, you need to be an open source. Have these experiences and influences go through you; the universe will tell you where you need to be, what you need to do. You need to be open to listening to those signs.”

The passion for artistic freedom sits at the core of the L.S. Dunes project, and it’s in the constant encouragement from every member of the band, that makes Iero light up. 

When the byproduct of being successful in a field to be able to create your art as your profession, is having to deal with an industry fraught with instability, it can be hard to remain focused and engaged. But as Iero talks about the L.S. Dunes dynamic, it’s evident that this project has become more than just a band formed out of the pandemic. 

It has been a project that has lit a new fire beneath him, as a lover and follower of music itself.

“Within this band, the five individuals are very open,” he explains. 

“It’s fucking scary just how accepting of challenges and supportive everyone is of everyone else doing what they do, and how they do it. Going back and revising. Serving the sound is always paramount, and it’s so rare.”

“We’ve all been around the block quite a few times and I think that we’ve all learned that shit doesn’t mean anything if the song’s not good.”

The freedom that can be heard throughout Past Lives correlates directly to the experience of recording the album. Made during a time where musicians were being told they would never be able to tour again, make music again; that they’d never be able to harness that connection between listener and artist, Past Lives is a statement of survival. Moreover, it’s proof that art will always thrive.

It’s also a testament to the dynamic of the group that, though the members’ previous projects are inevitably going to be a drawcard for new listeners, Past Lives is a record that can stand strong and independent of such definitive catalogues of music.

Perhaps it’s part of the reason Iero speaks about Past Lives with such pride. But more than that, it’s evident that the experiences he has shared with L.S. Dunes already, in just a short period of time together, have given him some of the most fulfilling ones yet in all his years of being a musician.

“I’ve been doing this for a very long time. I started my first band at 11, I did my first show at 13. So it’s like…how do you keep it fresh?” he ponders. “There’s only really 12 notes, but infinite possibilities!”

“It would be very easy for us to rehash the things that we had done 20 years ago. Sometimes, records and songs are only as special as those people in the room. It’s a very unique thing to have, these five people in that room, playing together. That’s why Coheed sounds the way Coheed sounds; why Thursday sounds the way Thursday does. It’s why My Chem sounds like My Chem. And it’s the same with L.S. Dunes. You can’t create that with anyone else.”

At the time of our chat, Iero is approaching the midway point of the long anticipated My Chemical Romance Australian tour – one that had been postponed and rescheduled, almost to the point where it felt like it may not eventuate at all, thanks to the pandemic.

The shows have been an opportunity for Iero to reconnect with Australian fans, and the response has been unsurprisingly, mega. However at the same time, Iero continues to write; his focus is definitely buzzed and energetic when it comes to the sophomore L.S. Dunes project, already underway.

Concepts of the unknown and the freedom to play with musical form are ones that have driven Iero’s artistry for a long time – this hunger for something new that pushes his creativity has been integral to the formation of his sound over the years. 

Music can’t simply be a formulaic process, finding the beating heart at the centre of each composition is key.

“I’ve been in bands before, where you write together and then you get out on the road and you’re like, “Oh fuck, I never wanna play with these people again,” and that’s fine too!” Iero laughs. 

“Not every relationship is going to end in marriage. These dudes though, I like them a lot! We’re gonna stay married for a little while, we’re going steady.”

“I can tab out what Greg Ginn plays in Black Flag. I can tab out the things that Thurston Moore plays in Sonic Youth,” Iero continues. “[But] him playing those parts is different to me playing those parts. It’s going to feel totally different. It’s about the soul behind it.” 

#ls dunes #l.s. dunes #frank iero #interview #m: frank iero #lsd: 2023 #misc: interview #p: the brag #t: photo #t: text #archive[ane] #in: mar/23

[winnettspecialist-blog]

Weight Loss Surgery in Melbourne

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[mercy-misrule]

car crash, child injury, serious injury, ptsd, do not reblog this

got real mad about a post just then that had the op saying they hated when people laughed at them for wearing a seatbelt

who the fuck isn't wearing a seatbelt. you want to die? because thats how that plays out.

i had a band of fatty necrotic tissue acrosd my stomach from where my single lap seatbelt held me in place when i was 4, in the first car crash. that took a long while to heal. but i was also alive to do so, which i would not have been without

but being angry about this and thinking about this has me wound up a little.

i remembered one of the worst days ive had. when i was about 23 my sister called me, audibly upset and said she needed to talk. it was easiest to meet in the cbd, so i waited for her in Melbourne Central's food court.

she had clearly been crying when she walked up. she said that she'd spoken to my dad about the car crashes.

she's always been funny about them because she was in both but has no memory of them. in the first she was about 11 months old, of course she doesn't remember.

in the second she was about six. don't know why she doesn't have memories of that but she doesn't.

i remember them both. with perfect clarity, i had thought. it turns out, almost perfect.

wooof, i cannot write the specifics down because you don't need that and it starts to cause me panic, but basically i had memory wiped one of my father's injuries.

the medics had to cover my dad's face with a towel so we couldn't see it, because the injury he had was causing both of us, mostly me to go into further shock.

she was crying as she told me this and i just atarted crying too, not quietly, both of us holding hands, loudly crying in a food court as my brain started to weave in previously locked down memories.

and then as i was crying, a mouse fell out of an airvent in the ceiling, landed on a nearby table and jumped away, scampering at high speed.

the absurdity of what id just seen broke the crying jag, and to this day i am grateful to the ceiling mouse for preventing me getting sectioned because of a public breakdown, cos it was looming in at about ten more minutes of that.

#car crash #car accidents #i know this isn't a new story for some #had to get it out

[missoneminute]

Hackney recollections! A bit jumbled and I will add more if I think of anything! After the cut.

We arrived the day before the show and because we were staying literally around the corner from the venue we wandered by the stage door to see if we could hear any rehearsals going on. It was silent but we did see the band’s equipment being loaded in. We ran into some lovely fans at the bar in the alley that had a view of the stage door, Patrick and his mum Clara who I had met in Australia too! We had some drinks and waited around.

Eventually at around 7pm Sarah saw the huskies first and Peter in his incredible suit. We walked over to say hello. He seemed so happy and so excited and appeared to have walked there with the dogs. We went straight for the puppies and petted then both. He seemed in a hurry so I quickly handed him my gift - a pair of antique cigarette cards as he collects them - and he ran in.

Two minutes later he emerged dashing out looking excited and asked “who gave me these?” meaning the cards. I timidly put my hand up and said me! He said “they’re amazing!” And kept asking where I got them. Apparently they’re quite old and rare and he had my lovely friend Camilla google them. Then he asked if they were real or reprints - I was slightly insulted and insisted they were real! - but he picked at the silk covering to be sure haha! Standard. Then he gave me a hug and kiss and again said they were amazing. I was so, so chuffed to give him something he loved. After taking photos with a few of us, including myself, I asked him if Carl was inside because I heard a trumpet - he smirked and said no he’s not, as if that was the most ridiculous suggestion ever.

I showed him my tattoo of “the luck a penny brings” and his eyes lit up and he said “I saw that in the alley!” I told him I had written it. Not sure he was filming anything that day, so it appears he just wandered through the Up The Bracket alley himself for a little nostalgia. Which is so cool! Then he headed back into the venue.

Carl arrived soon after looking very rushed and hurried and a little unwell, he had a chest cold apparently. He was carrying a kid’s backpack. I handed him a Neighbours Christmas album I got for him literally two years back and he looked surprised - inspected the cover for faces he recognized from his fave show haha - kindly said it’s brilliant then gave me a quick hug. He had to go as he was late for rehearsal so dashed off fairly fast. Apparently he came outside later looking for ‘the Australians’ including myself and Camilla haha but we’d left. He had a beer with Patrick and his lovely mum and shouted them a round.

Next day was the show! We didn’t see them arrive as they were in good and early. Now the show... what can I say. Word got around a few hours before that the Langley sisters would be joining them on stage and suddenly what we all thought was an acoustic set - just them like 2007 - was something else. And won’t lie - there was a lot of concern and disappointment at first, and worry about how it would be received, but we all hoped for the best.

The show was of course bloody epic. The boys looked amazing in their matching Herr Von Eden suits. So impressed by the arrangements and Peter playing far more interesting and complex guitar parts than usual. Both their vocals were spot on and some of the best I have heard them do. Carl admitted they were nervous - telling the crowd as much - and it was obvious, they both seemed a touch tense. Peter also seemed a little more... high than usual which was probably due to nerves too.

But that and the nerves did make the pair of them a little less connected than I would have liked to have seen them. They were so in sync musically but banter was very minimal and there wasn’t the same sense of chemistry you sometimes see. They seemed extremely focused on being very professional and it paid dividends musically for sure.

However because we were so close - like most people in stalls we got out of our seats and stood in front of the stage - you could see how much of that famous eye contact and small gestures were used as shorthand communication. It’s really amazing to see how well they know one another without many words. You could also see them sing mashed lip to lip and mouth to mouth rather frequently - the latter to the point where people seated further away asked if they’d had a smooch as they were literally singing with their mouths near-entirely pressed together at one stage. They really don’t have any physical boundaries on that level.

At some stage during the night a group in the crowd began chanting, “Touch his bum!” about Carl and Peter stopped and asked: “Touch his BUM??” While Carl looked flustered and amused. No bum was touched. It was also enjoyable seeing Peter swaying side of stage when Carl was singing Let it Rain. He seemed really into it and watching attentively.

There were some awesome lyric changes - they did a portion of The Letter and Peter said, “my lonely days are gone, I’m going home, Carlos he sent me a letter”. Then there was the Tell The King change on both nights where Peter sang, “you’re like a tabloid journalist, you cut and paste and twist, like me you’re awful”. Which felt like a nice acknowledgement of recent interviews and such.

Peter also told Carl to “thank the girls” meaning the backup singers and Carl looked at the audience and said “thanks girls!” Which got a laugh. It was then explained to him that Peter meant the singers ha.

Highlights were definitely Bound Together (where Carl sang “we’re bound together by sex and drugs”) and the shared version of Grimaldi, which was just ... astonishing. There could not be a higher fan service delivered in terms of what so many of us had dreamed of hearing. It was even better the second night when they did it again - the way they mixed the two different ways they perform it was just poetic, operatic, amazing. It needs to be recorded! 

They’d opened the first night with Seven Deadly Sins but the next night did a medley instead including Can’t Stand Me Now which sounded insanely good acoustic.

After the show we headed out to see if they’d emerge and after a long wait Carl did with Edie and his older son, who in person truly looks a LOT like his dad, he has the whole Carlish vibe. Edie was quite vocally insistent on ensuring he’d leave quickly but he did attend to as many fans as he could. Sarah and I managed to get a hold of him to write out some of the lyrics to Truth Begins to get tattooed. When I said we wanted the lyrics to the song he said, “How much of it do you want? My son’s waiting!” in standard Carl comic tone. He wrote Sarah’s line - all the friends you’ve not yet met - and looked so pleased and touched when he said, “that’s my favourite line too”. Awwww. He was though very very drunk and properly slurring. Then he was rushed off by the missus who was quite insistent in saying that they had a taxi waiting. Peter escaped via a side door so we all headed home on a total high.

Night two was amazing as well, again we didn’t see them come in to rehearsal but heard they’d arrived a lot later that time. You could hear Peter singing from inside however, believe doing MWTLGO. We were seated way higher that time and it did give us more of a sense of how epic the whole musical performance was. While we waited we say Gladys and Narco get loose in the theatre and have to be wrangled by a helper. It was hilarious but I do worry they’re getting enough sleep as they’re so often up all hours.

The show was even better than the night before and Peter seemed more lucid. The two of them were a lot more in sync emotionally and some warm looks and small jokes exchanged, making for more unity than the night before. A group started chanting “We love Carl” and Peter said “Carl loves you too!” And Carl seemed all coy. Peter also invited a round of applause for Carl’s hard work on making Hackney happen which was really moving and Carl seemed touched. Peter then added that he was only responsible for the “cha cha cha” version of What A Waster but it was still being worked out and “may be ready by Amsterdam” which got a laugh from everyone including Carl. The version of Grimaldi was insane that night too and even longer.

At one stage Zeus ran on stage and Carl leaned down and gave him kiss on the snoot! So cute. Carl then brought the mic down to his level and Zeus did a huge husky howl! Massive applause for that haha, then he was led off.

Watching from higher up gave us a better perspective of how amazing the staging and music was. It was really such an operatic gig and what they pulled together in a short time was miraculous.

After the show we waited outside at the stage door and it took a while for anyone to emerge. Peter stuck his head out the top window looking all fluffy and so cheerful and said hello. We were glad he stayed back to spend time with Carl and everyone backstage for a few hours though no window performance as we’d hoped! Katia and Jack were leaning out a lower window to smoke and Jack later came out to lap up some attention from the waiting fans. 

Eventually Carl came out and was swamped! @carlbaratnews encouraged him to wish Sarah Happy Birthday and he gave Sarah a lovely birthday hug. They had a chat which she described in her recap. I came over and asked if he liked the Neighbours record I gave him - he said he did - then he rattled off a bunch of gifts he recalled getting from various people - some from us and some from others, and went on about how much he loved the ship cup he’d gotten from lovely Polina @bergamotandbiggles in Melbourne and said he uses it. He also mentioned he had Sarah’s record she gave him last year on his jukebox at home. 

Sarah then assured him we both loved Let it Rain - he had said on stage that it’s a song not many people know or like and “If you know it I love you” - and he seemed genuinely touched. I got all emotional at that stage and looked him in those lovely eyes and said of the whole show: “It was amazing, just amazing” and I admit I got a little tearful. He looked quite moved by my ridiculously embarrassing display of fan-girl sop and grabbed me for a hard hug and a big warm smooch. His lips were so damn warm in the cold air and it was ... gah lovely. I’m glad I got to tell him how I felt.

He was then ushered off by Edie who asked how much longer he was going to be, he said ten minutes but she said let’s go now. He stayed another minute to sign my lovely pal Jessie’s ticket but then headed off. Peter left around the same time, through the side door yet again, and a van took him and the dogs away. We didn’t see him leave but a few fans did though he didn't stop.

All in all it was such an amazing night and we got to spend time with so many amazing fans from on here and beyond, who were all having an incredible time. Still can’t quite believe it all happened, and so hope to see them again soon.

It was nothing like most of us expected - nothing, but for those I spoke to that night, it was beyond our wildest dreams. I kept looking at @jessinthesky and @riddle-me-this-blog and @suchasinistergame and literally asking “Is this a dream? Have we fucking died?” It was a show that we couldn’t have imagined could ever come to be, and it was sheer, unbridled joy. I keep remembering seeing Camilla @riddle-me-this-blog just beaming and beaming and thinking wow, yep, this is the feeling I will aways have and always turn up for. No matter how much noise and naysaying there is, it’s those moments that just take us somewhere brilliant. Wank as it sounds - Arcadia, even. 

#pete and carl #hackney #personal #recap

[soundsof71]

Shiny! Freddie Mercury and John Deacon, Melbourne, April 19 1976 by Alessio Rizzitelli via queenlive.ca

One of the keys to understanding Queen as a band and as men in relationships with each other is to note how often they’re touching. No matter how big the stage, they tend to find each other over and over -- and not just on stage. Whether in press conferences or rehearsal or generally offstage, they’re practically in each other’s laps as often as not. 

The Beatles certainly had that in private -- they shared beds for years, well into the 60s -- but, the moon eyes of McLennon notwithstanding (whatever else is true or false about McLennon, their public flirtation is thoroughly and indisputably documented), Queen’s style of casual, virtually continuous physical intimacy wasn’t part of The Beatles public image. 

With Queen, I don’t think it was at all part of an image. They certainly didn’t play it up the way that, say, Bowie and Ronson did, or Bruce and Clarence, as part of the stage act. No play homoerotica for Queen -- maybe with Freddie toward the audience, but not at all with each other. 

I don’t think they even thought about the hows or whys of touching each other, or how it “should” be for the sake of the audience as part of the show. It seems utterly organic as something between them, for them and them alone, which is why it takes place in so many contexts without any apparent intent. If they’re close enough to touch, they touch. If they’re not close enough, they GET close enough, over and over.

That’s what I love about this photo. John is laser-focused on his bass. Freddie is working the mic and projecting to the audience. They’re not even looking at each other. But they’re close enough to be literally joined at the hip, and so of course they are.

#freddie mercury #queen #john deacon #vintage #classic rock #glam rock #glam #australia #melbourne #shiny #satin pants #nice pants man #unitard #intimacy #touching

[luvneedsnosyt]

My Favorite Albums of 2019

Here is my list of my personal top albums of 2019 You can find my separate list for top EPs of 2019 here.

My Previous monthly lists from 2019: January, February, March, April, May, June, July, August, September, October, November, December

My list last year for my top albums of 2018 can be found here.

*Indicates someone I saw live in 2019

Honorable Mentions:

Anderson .Paak - Ventura Genre: Hip Hop / R&B/ Soul

Recorded at the same time as last year’s Oxnard, Ventura is the more tender and unassuming brother of the two. Despite the vulnerability this seems to be Anderson’s more comfortable persona. Focusing on love and feelings and other mushy stuff. The experimenting on this album between R&B, jazz, electronic music creates a glossy and elaborate form of hip hop. At times Anderson’s versatility can get a bit in the way on long form projects, here that creativity is perhaps the most channeled of his career.

Proof: Reachin’ 2 Much (Feat. Lelah Hathaway) / Chosen One (Feat. Sonyae)

Anna of the North - Dream Girl Genre: Synth-Pop

The tender and delicate music of Oslo singer Anna of the North is back following up her touching 2017 debut album. Anna’s music is not totally unassuming but is very subtle and reserved. You can take a moment to stop and feel the soothing vibes or you can pass it by and not notice. The synth based production is meant to provide a basis to get hips moving but also not to reach out and demand your attention in a needy way. Anna’s vocals are always warm and bouncy even when singing about sad subject matters.

Proof: My Love / Playing Games

Billie Eilish - WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? Genre: Synth-Pop

I stumbled on Billie Eilish’s “ocean eyes” single early on and instantly became a fan of her dark and brooding sound. It reminded me of the first time I heard The Weeknd. Even being an early subscriber it did surprise me a bit the vice grip the 18 year old would put on 2019. I knew she would find an audience with the undeniable talent for songwriting and impacting voice beyond her years. I did not foresee this low lit and frankly weird music hitting the mainstream with such a force, but I sure am glad it did. This is where I would say I can’t wait to see how she follows up this monster of debut album, but honestly she deserves to revel in the influence it is having and enjoy this moment. She will be around for however long she wishes to in the industry; that I am certain of.

Proof: bad guy / you should see me in a crown

BJ The Chicago Kid - 1123 Genre: R&B / Soul

It was a long time coming for hook provider BJ The Chicago Kid’s 2016 debut album In My Mind. He showed he can carry a solo project just fine. Now in 2019 he’s back for his victory lap with another soulful and sexy album that follows up his debut quite nicely. BJ is a bit of a throw back to the late 90’s/early 2000’s soul music which is right up my alley so you already know I ride for it with no qualms.

Proof: Rather Be With You / Reach (Feat. Afrojack)

Bon Iver - i,i Genre: Indie Pop / Folk

Justin Vernon’s band Bon Iver has created quite a robust cult following that’s very impressive off of four albums spanning over 12 years and in non-uniform song structures and themes. i,i might be the band’s most straightforward record, but that doesn’t mean there’s any downgrade in creativity and innovation. As always the case with Bon Iver albums your senses are confronted with multiple instruments and production tools used in traditional ways and used in ways you wouldn’t think of. Grooves are created then shifted and the only real constant is you don’t know what direction the music will go next. But that’s part of the joy and you know Justin Vernon is a trustworthy navigator on this expansive journey.

Proof: Hey, Ma / U (Man Like)

Bring Me the Horizon - amo Genre: Rock / Alternative

On their sixth album, the English rock group took experimentation and expansion seriously broadening their rock sound to new horizons (ok, that was bad). amo isn’t as much a departure for the alt-Metal group but more increasing their pallet to include more cross genre influences dipping into punk, pop, electronic and hip hop. There’s definitely risk with lofty exploration so suddenly in a band’s discography but BMTH pull it off rather elegantly here creating a unique blend that sounds a bit like a harder hitting Muse record. I am one to applaud audacious creative efforts to expand on ones sound if the motives seem pure; even when those attempts don’t quite work (Mumford & Sons - Babel, Jack White - Boarding House Reach, Coldplay - Everyday Life this year for instance). When they do stick the landing you can bet I am in awe.

Proof: in the dark / medicine

Circa Waves - What’s It Like Over There? Genre: Alternative / Rock

I will admit the English band hasn’t really been on my radar before this album, so I can’t ascribe how this album is different than their previous two albums (from what I've read it is very different though). What I do know if this is some of the best rock music to come out of 2019 in a year that wasn’t too kind to the genre. There are many emotional moments of this record that really bring levity to the glossy and cinematic music backdrops. There are two albums already announced in early 2020 from the group; they are definitely on my radar now.

Proof: Sorry, I’m Yours / Be Somebody Good

Chance The Rapper - Big Day Genre: Hip Hop / R&B

With how long he’s been around and how many Mixtapes and side projects Chance has dropped it’s pretty surprising this is his first ever official LP. When you wait that long and build (to his credit) the anticipation he has, a lot of weight gets put on that first album; unfortunately I feel that weight affected the product and swallowed it up a bit once released. Chance, I think, felt a responsibility to speak to his vast diversity we’ve seen over the years in sounds and flows. That resulted in a bit of a bloated and disjointed project. Something Chance projects always seem to have is a continuity despite their variety that seems to be absent here. Once the short coming are acknowledged there is some really great songs here with few missteps (although there are a few). Some more quality control, restraint and a concept to follow there are the makings of a possible top 10 of the year album here. My favorite moments are the nostalgic and 90’s R&B influences moments that sprinkle the album, a whole project with those as more a driving force could really be something special.

Proof: All Day Long (Feat. John Legend) / Zanies and Fools (Feat. Darius Scott & Nicki Minaj)

Dabin* - Wild Youth // Wild Youth (The Remixes) Genre: Electronic / Future Bass / Dance

Toronto multi-instrumentalist and electronic DJ Dabin returns with a sophomore album of more emotional and evocative electronic soundscapes. The melodic album flows smoothly through inspirational tracks of finding oneself coming to a climactic crescendo with the cinematic closer “Alive”. 

Proof: In Flames (Feat. Lexi Norton) / Alive (Feat. RUNN) // Part-Time Lover (Crystal Skies Remix) Feat. Claire Ridgely / Alive (Trvecta Remix) Feat. RUNN

Dermot Kennedy* - Without Fear Genre: Pop / Soul

Irish singer Dermot Kennedy’s voice comes in like a freight train straight for your ear drum. He sings with such evocative passion and force it is quite a sound to behold. That’s not to say Without Fear is all potent bellowing. Dermot on his soulful debut here has plenty of softer, tender moments as well.

Proof: Moment’s Passed / Redemption

Foals - Part 2: Everything Not Saved Will Be Lost Genre: Rock / Alternative

The second part of the English Rock bands 2-part album project this year is the louder and more aggressive sibling. The music is a bit less glossy and more gritty then it predecessor but still is quite refined in its ferociousness. I do prefer the more melodic first offering of the two but that doesn’t need to take away from how exhilarating this album is as well. 

Proof: The Runner / Neptune

GoldLink - Diaspora Genre: Hip Hop / R&B

With his second album, DMV rapper GoldLink dove deeper into his African roots with increased Afro-inspired production and themes. Diaspora is a fusion dish of of East coast Hip Hop base, with 90’s R&B notes, a sprinkle of Jazz, a dash of DC house and intermixing of traditional African qualities. It’s quite a vibrant and varied plateful!

Proof: Zulu Screams (Feat. Feat. Maleek Berry & Babi Bourelly) / More (Feat. Lola Rae)

Goldroom - Plunge /\ Surface Genre: Electronic / House / Dance

Returning from a brief hiatus after his debut album, 2016’s West of the West, Goldroom sneaked in at the end of November with one of the years most fun house records. The wait was definitely worth it for Goldroom fans. Plunge /\ Surface has a sense of wonder, discovery and joy that I think was quite well timed.

Proof: Do You Feel It Now (Feat. Love & Alexa) / Just Like A Dream (Feat. Nikki Segal)

Georgia Maq - Pleaser Genre: Synth-Pop / Alternative

My late addition to my already completed list is this surprising and electrifying debut solo project from the lead singer of Melbourne punk/Alternative group Camp Cope. Just slipping in with an early release right before my cut off date (for my own sanity). This album is nothing like the sound of her band though. Instead Georgia Maq looked to artists like Robyn, LCD Soundsystem and Cut Copy for her solo venture with some delightfully delicious 80′s synth vibes. Pleaser is dark and atmospheric but not devoid of brittle emotion and angst. 

Proof: Pleaser / Big Embarrassing Heart

Hozier* - Wasteland, Baby! Genre: Indie Pop / Soul / Folk

Years later, when looking back on Hozier’s career, we may look back at this album as a sort of turning point. The Irish singer through early EP’s and his debut album has always had a powerful form of soulful Folk music that moves people to many emotional states. But on this sophomore album Hozier seemed to figure something out. Incorporating a Motown feel into his music has unleashed it and his strong voice to a new level. Wasteland, Baby! Is a sentimental excursion through love, empowerment and hope.

Proof: Movement / Would That I

James Blake - Assume Form Genre: Progressive Pop / Electronic / Indie Pop

English producer and singer James Blake returns with his artful progressive form of pop music that only he can produce. Assume Form continues in his tradition of bending song structure and genres to his will to create powerful evocative landscapes to explore. The experimental artist keeps finding ways to push the boundaries while still making beautiful lush music to get lost in.

Proof: Barefoot in the Park (Feat. ROSALÍA) / Where’s The Catch? (Feat. Andre 3000)

Kevin Abstract - ARIZONA BABY Genre: Hip Hop

BROCKHAMPTON founding member drops off his third solo album which is a tender and impacting affair through the life of a figure in hip hop with a lot of hate sent to him, but a lot of love to send out. The openly gay rapper using this as a form of empowerment to let others who may be struggling know they have the power within themselves to make their life something of fulfillment.

Proof: Joyride / Mississippi

Kim Petras - TURN OFF THE LIGHT [Mixtape] Genre: Synth-Pop / House / Dance

Only a few months after dropping her debut album the new, exciting singer wants to keep us all guessing and elaborated on her Halloween EP from last year with this full mixtape. Her debut album is more Synth-Pop with some targeted EDM moments. This is a burst of haunting house music meant to get your heart rate pulsating and feet moving.

Proof: There Will Be Blood / Close Your Eyes

Mabel - High Expectations Genre: R&B / neo-Soul

British female R&B artists are having quite a moment right now. With the success of Jorja Smith, Ella Mai and RAYE last year to Sinead Harnett, Mahalia (it was seriously hard to take her off my list) and Mabel this year. Mabel has already had some hits from her 2017 mixtape Ivy to Roses, so this debute is quite a confident strut with tales of love, love lost and overcoming. The glossy production establishes a bouncy, beach vibe, probably influenced from her origins on the Mediterranean coast of Spain. Her stellar song writing is really what takes the attention throughout as every track has an ability to establish a connection with the listener quite effortlessly. 

Proof: Don’t Call Me Up / Mad Love

Maverick Sabre - When I Wake Up Genre: Pop / Soul

English/Irish singer Maverick Sabre returns with his third album that’s a unique and soulful jaunt. The 29 year old’s deep voice has a commanding and captivating effect on the listener throughout. The somewhat minimalist backing lets the potent voice and piercing song lyrics be the emotional driving force to great effect.

Proof: Slow Down (Feat. Jorja Smith) / Weakness

Rapsody - Eve Genre: Hip Hop

For her third album, Grammy nominated rapper Rapsody drops off quite a Tour de force of inspiration and empowerment. Every track is named after a black female icon that has influenced Rapsody. The North Carolina rapper’s lyrics flow and dense lyrics are top notch as always. The production has an increased levity to match the themes. Rapsody has gotten where she is from sheer will and strength within, now she's looking outward to inspirations to find her next step up the ladder.

Proof: Nina / Iman (Feat. SiR & JID)

The List:

Last One Out: Kim Petras - Clarity Genre: Synth-Pop / Electronic

The debut album from German singer Kim Petras was a long time coming and the build up was quite a slow burn. Since 2017 the 27 year old singer started one by one dropping pretty exciting one-off singles (none of which show up here). To our surprise her first official project was a surprised-dropped Halloween themed EP in 2018 (that, as seen in my Honorable Mentions above, was released this year as a full mixtape). Finally in early 2019 we get Kim’s first full length album and the wait was well worth it. Clarity is an electric and glossy affair of lust, self love and female empowerment. Kim is on quite a tear right now from this to her features on other artists projects that I don’t see slowing down anytime soon.

Proof: Icy / Got My Number / Do Me / Another One

35. 88rising - Head in the Clouds II Genre: R&B / Hip Hop

LA based collective 88rising began as mostly Asian-American rap artists. As they went in a more serious direction with their music and label they began acquiring production and R&B talent that has elevated the output to something to really admire. In the early stages I was a bit dismissive of the artists but the last three years I have increasingly been won over. With the success of Joji’s 2018 solo album the collective chose to lean heavier into the electro-R&B sound on their second compilation album that is paying great dividends here. Head in the Clouds II is filled with spacey tender songs that inspire and captivate. The lessons and progressions everyone in the collective are making adds to my excitement with each release. 

Proof: Joji & GENERATIONS from EXILE TRIBE - Need Your Love / Jackson Wang & Higher Brother’s - Tequila Sunrise (Feat. AUGUST 08 & GoldLink) / RHYME SO - Just Used Music Again / NIKI - La La Lost You

34. Karen O* & Danger Mouse - Lux Prima Genre: Alternative / Indie Rock

Two of today’s icons collide on this collaboration album that probably should have happened years ago. Yeah Yeah Yeahs front singer Karen O has influenced so many of today’s alternative artists (especially women led ones), and it’s always a solid veteran karaoke bar move to put in “MAPS”. Meanwhile Danger Mouse has been a go-to producer in both hip hop and alternative and formed a few emblematic pairings on albums with MF Doom (as Danger Mask), CeeLo (as Gnarles Barkley) and James Mercer of The Shins (as Broken Bells). Together Karen and DM are a perfect pair. Karen is as potent as ever singing over a lush and intricate backdrops by the paws of Danger Mouse. 

Proof: Lux Prima / Turn the Light / Woman / Redeemer

33. Little Simz - GREY Area Genre: Hip Hop

London rapper comes in swinging with her powerful third full length album. Her flow is so measured and confident and firing on all cylinders here with no wasted syllables or breaths on any verse along the project. The song subject matters dive into some pretty personal and touching territory letting the listener into some intimate thoughts. At 25, we are witnessing an artist really come into their own and it is an inspirational and beautiful thing.

Proof: Offense / Boss / Venom / Pressure (Feat. Little Dragon)

32. Shura* - forevher Genre: Synth-Pop

For her second album, Shura used the same 80’s nostalgic electronic pallet of her debut but this time a bit more slowed tempo with a layer of added sensuality. While her marvelous 2016 debut, Nothing’s Real, focused on the angst of growing into young adulthood, finding ones self and feeling comfortable in your own skin (as she initially struggled coming out publicly as a lesbian artist). On forevher, Shura focuses more intimately on her own relationship. Many of the songs being inspired by precise moments in the relationship with her current girlfriend, there is a noticeable narrowing of the scope. The result is an incredibly tender offering that allows us a glimpse into the UK Singer’s warm heart. 

Proof: religion (u can lay your hands on me) / the stage / flyin’ / forever

31. A R I Z O N A - ASYLUM Genre: Synth-Pop

The New Jersey electro-pop band A R I Z O N A follows up their 2017 debut album nicely here. Maintaining their knack for writing catchy as hell hooks along enticing dance inducing electronic production. With features on both Don Diablo’s 2018 album Future and Avicii’s posthumous release, TIM, this year, the band’s notoriety seems to be on a steady incline. 

Proof: Nostalgic / Find Someone / Freaking Out / Still Alive

30. VÉRITÉ - new skin Genre: Pop

Brooklyn based singer VÉRITÉ returns with her sophomore album aimed right for all of your feels at once. VÉRITÉ’s sound is understated and delicate, yet packed with raw and identifiable emotions. There is a progression as well from Somewhere in Between with a noticeable bit more comfort in moments where she can let loose. new skin, doesn’t reach out and scream for your attention, but it is a rewarding and sentimental ride for those that give it.

Proof: good for it / body in my bed / think of me / gone

29. Vampire Weekend - Father of the Bride Genre: Indie Rock / Alternative

Ezra Koenig and Vampire Weekend took their sweet time for their fifth album. Six years to be exact from 2013’s Modern Vampires of the City. Also in that time founding member Rostam left the group as a full time member (though still contributing to this album on a few songs). The time lapse and shifting of collaborators led to their most sprawling and experimental album to date. There are some swings that don’t quite connect but for the most part this is an exhilarating and unpredictable exploration by the band that is definitely worth the journey. 

Proof: Harmony Hall / This Life / How Long? / Sympathy

28. LÉON - LÉON Genre: Pop / Soul

When I saw this was Swedish singer LÉON’s debut I had to google to make sure. It’s been awhile since LÉON first popped on my radar with her beautiful and sultry tunes, but those have been from three EPs. The wait was well worth it for this angelic record of pleasant pop bops, one after another. These tracks make themselves right at home in your subconscious; taking their shoes off and checking what’s in your fridge. LÉON’s voice itself has a gentle nature to it coupled with a raspy, sensuality that is enduring and soothing. 

Proof: Lost Time / Falling / Hope Is A Heartache / You and I

27. MUNA - Save The World Genre: Synth-Pop

No sophomore slump for the American trio, MUNA here. Save The World is quite a refreshing progression from their tender 2017 debut. There’s a little more of a free feeling on this album that comes with increased confidence in their craft. The tracks are all incredibly catchy and easily stick with you well after first listen. “Stayway” is the shining jewel on the album and one of my most favorite tracks of 2019. 

Proof: Number One Fan / Stayaway / Never / Hands Off

26. Foals - Part 1: Everything Not Saved Will Be Lost / Part 1: Everything Not Saved Will Be Lost (Remixes) Genre: Rock / Alternative

The 1st part of English rock band’s 2-album project comes in like a Indy Car full speed for subconcious. The unique melding if Synth based beats and guitar driven grooves creates an enticing energetic sound you can get lost in. Part 2 was a big more reaching and aggressive, where Part 1 had more of a basis track to track that I felt made it the stronger outputting of the two. 

Proof: Exits / White Onions / In Degrees / On The Luna // In Degrees (Purple Disco Machine Remix) / Syrups (Vincent Taurelle Remix) / Exits (Lawrence Hart and Little Clubs Remix) / Exits (George FitzGerald Remix)

25. Denzel Curry - ZUU Genre: Hip Hop

Denzel Curry has always had promise to me with his frantic delivery. There were meaningful lyrics there and more focused passion than most of his peers his age in hip hop. The trick was channeling that boiling emotion for the rapper, that he struggled with early. Last year’s TA13OO was the first hint the 24 year old was starting to get this balance in his music. Only ten months later we see a fully formed Denzel with the directed missile that is ZUU. There aren’t many wasted moments here as Denzel focuses on what he needs to say and the most effective way to say it. All the while also making track after track meant to be played at the loudest decibel possible; that all smack the concrete with aggression and no remorse. 

Proof: ZUU / RICKY / BIRDZ (Feat. Rick Ross) / CAROLMART (Feat. Ice Billion Berg)

24. Tei Shi - La Linda Genre: R&B / Soul

For those of us following Tei Shi’s career since her early EP days there is a definite increase in her confidence as an artist on this sophomore album. The Argentina-born Colombian artist’s beautiful melodies flow at their own pace with a delicate precision and grace. Tei Shi’s low lit sounds lives in a mellow and assured range making the pockets where she lifts her voice that much more impacting. There’s both a layer of innocence and care as well as a level of empowerment and self-assured sex appeal in her vocals that are impossible to not get enthralled with.

Proof: Alone in the Universe / Even If It Hurts (Feat. Blood Orange) / When He’s Done / A Kiss Goodbye

23. Sigrid - Sucker Punch Genre: Pop

23 year old Norwegian singer Sigrid burst on the scene with her successful debut EP in 2017, and it’s been an effective upward trajectory since. Another EP came out in 2018 before this marvelous debut album. Sucker Punch packs quite a punch of delightfully infectious and identifiable jams. There is an ease to the charismatic mood of this album that shows how genuine Sigrid is with every song written. This young singer has some definite longevity ahead of her in the pop world.

Proof: Basic / Strangers / Don’t Feel Like Crying / Don’t Kill My Vibe

22. Charli XCX - Charli Genre: Synth-Pop / Electronic

After her sophomore album, 2014’s Sucker, English singer Charli XCX stated she felt a bit restricted in her solo career and decided to break out of the standard production method. A whole album was made but leaked online and Charli decided to scrap the project and began tinkering with her music more. During this period first came the 2016 collaboration EP with the producer SOPHIE, Vroom Vroom. Then in 2017 came two mixtapes. It was these two mixtapes Charli started realizing how she can warp and bend music to her will. Her production became more of a unique melding of dancey Synth-Pop with abrasive Electronic sounds. Her hooks were still top notch but the song structure began to become more of a free flowing organism then a structured framework. Taking what she learned from SOPHIE, and the two mixtapes into her third album, Charli is a project of abundance and unfiltered passion. The feelings are real and human but are focused into a diamond and refracted out into numerous directions. The description sounds chaotic but there still is a very controlled nature to the chaos of this vibrant pop. Charli has found a way to manipulate pop music to contort like a complicated yoga stance. She's Neo from The Matrix. I suggest just plugging in and letting the complex machine she built take you away.

Proof: Gone (w/ Christine and the Queens) / Blame It On Your Love (Feat. Lizzo) / Silver Cross / February 2017 (Feat. Clairo & Yaeji)

21. Bishop Briggs - CHAMPION Genre: R&B / Pop / Soul

Less than 18 months after her roaring debut album, British singer Bishop Briggs is back with her sophomore effort. CHAMPION is a bit more subdued than last year’s Church of Scars, but still the centerpiece is the powerful vocals. My only critique is that I feel the short timeline of this project when I listen. I don’t know the reason for such a short turn around, but some of the songs don’t feel as fleshed out as its predecessor that was years in the making. Despite that critique, this is still a beautiful and authoritative collection of power ballads meant to inspire and embolden.

Proof: CAN YOU HEAR ME NOW? / CHAMPION (Feat. Tom Morello)  / LONELY / WILD

20. Lizzo - Cuz I Love You Genre: R&B / Hip Hop

Detroit singer/rapper Lizzo has been around a few years now, but her third album was definitely her break out to insurmountable success and admiration. Songs like “Coconut Oil”, “Good As Hell” and “Water Me” (added on the deluxe version of this album) would get some attention, especially after featured on television shows. But in 2019 the stars aligned for Lizzo’s take over. Despite the increase in notoriety (to now include the backlash from people tired of her) let’s not overshadow that this music and its message is worthy of the attention. Lizzo’s dramatic and vibrant mixture of R&B, Hip Hop, Soul, Jazz, Funk and Gospel wrapped in a fast paced train with the breaks cut is quite the exhilarating experience. This coupled with her unapologetic message of self love and respect created quite the energetic Molotov cocktail for her to throw in our ears and get our bodies up and moving. Those that may be tired of her, well either learn to ignore or deal with it, because Lizzo is not going anywhere anytime soon.

Proof: Cuz I Love You / Jerome / Tempo (Feat. Missy Elliott) / Water Me

19. Tory Lanez - Chixtape 5 [Mixtape] Genre: R&B / Hip Hop

Having now established himself in the industry with three albums. Tory decided to take a trip back to his beginnings with this album/mixtape drop. Early in his career, Tory had four Chixtape mixtapes that were all influenced by the late 90’s/early 2000’s R&B Tory was raised on. For the fifth entry, and first since he has become established, Tory took this to a whole new level not only directly sampling classics from that timeline but also featuring the artists themselves. The result is a blast of nostalgia and sexy-ass grooves that I dare your hips to stay still the whole hour. I haven’t heard a lot of Tory’s early catalog but since his debut album this is solidly my favorite project by the Canadian Singer. The nostalgia is a bit of a crutch but that doesn’t make this project any less successful or enjoyable. I am squarely in the wheelhouse of who this is made for so there is a bias here but this was probably my most fun first listening experience of the year. 

Proof: The Trade (Feat. Jagged Edge & Jermaine Dupri) / Beauty in the Benz (Feat. Snoop Dogg) / Still Waiting (Feat. Trey Songz) / If You Gotta… (Feat. Fabolous)

18. Mark Ronson - Late Night Feelings Genre: R&B / Pop

2015’s Uptown Special with the mega-hit “Uptown Funk” was a whirlwind for Mark Ronson’s career as a solo artist. Already a prolific producer behind the boards of some of the most important albums over the last 15 years, Ronson’s solo career has been a bit under the radar until 2015. Which is why the about-face from glitz and abundance to a tender collection of songs about heartbreak is a bit of a surprise. But not a surprise I am mad about. The infectious, dancey funk we know from Ronson is still very much present on Late Night Feelings, but wrapped in a blanket of anguish only broken love can bring. Despite it’s more subtle and depressing themes, Ronson has stated this is the solo album he has spent the most time creating and that level of care is very apparent. 

Proof: Late Night Feelings (Feat Lykke Li) / Find U Again (Feat. Camila Cabello) / Pieces Of Us (Feat. King Princess) / Why Hide (Feat. Diana Gordon)

17. Lana Del Rey - Norman Fucking Rockwell! Genre: Pop / Soul

My long time admiration for Lana’s artistry and craft are well documented on here. Happening on her homemade “Video Games” video on YouTube was one of the catalysts to creating this blog. A memory I will always cherish is seeing her in 2011 at the Troubadour in Hollywood when she only had about 6 songs on YouTube to sing. Now, six albums later her music still is some of the most moving and affecting out there for me. Norman Fucking Rockwell! Is probably Lana’s most consistent and assured record since Ultraviolence. Lyrics wise this may be her most crisp ever. 

Proof: Venice Bitch / Fuck it I love you / The greatest / Hope is a dangerous thing for a woman like me to have - but I have it

16. Seven Lions* - Ophelia Volume 1 Genre: Electronic / Trance / Dance

Prolific electronic producer Seven Lions has long been one of my favorite artists. 2018 and 2019 have been excitingly very busy years for the Californian DJ/Producer. Starting his own label Ophelia Records in 2018, 7L has used it as an opportunity to seek out great up and coming electronic artists like Crystal Skies, Jason Ross, MitiS, Trivecta, Wooli and others as well as collaborate with other greats in the game such as Above and Beyond, Dabin, SLANDER, NGHTMRE and Gryffin. Ophelia Volume 1 is a collection of many of the singles released by 7L over the last two years and is quite the gripping burst of excitement and emotions. This compilation album shows off what is 7L’s best musical attributes. His diversity in sound, effortlessly switching between many subgenres, including Trance, Future Bass, Dubstep, Drum and Bass, from song to song, sometimes making a switch within a single song. The other aspect is 7L’s deliberate and effective use of dead space to create a moment of floating before a bellowing drops knocks your ass back down to earth. His pockets of tranquility make these tracks more living and breathing forms of passion and sentiment than normally associated with the mechanical genre.

Proof: Start Again (Feat. Fiora) / Ocean (w/ Jason Foss Feat. Jonathan Mendelsohn) / First Time (w/ SLANDER & Dabin Feat. Dylan Matthew) / Dreamin’ (Feat. Fiora) // Bonus: See The End (w/ Above & Beyond Feat. Opposite The Other)

15. Gallant - Sweet Insomnia Genre: alt-R&B / Soul

The soulful and sultry vocals of Gallant return with another steamy alt-R&B soiree. The overall vibe is a bit more mellow than his thunderous 2016 debut Ology. The main driving force is still the forceful emotion driven vocals from the American singer. R&B has been a genre pulled into various directions over the last 8 or so years, sometimes for good, sometimes at it’s detriment. Gallant and his potent falsetto is a nostalgic artist in 2019 pointing to the late 90’s, early 2000’s neo-soul movement. Fans of artists like Musiq Soulchild, Maxwell, Raheem Devaughn and of course D’Angelo will get some warm feelings from Gallant’s seductive grooves. 

Proof: Crimes / Hurt / Compromise (Feat. Sabrina Claudio) / Céline

14. G Flip - About Us Genre: Pop

Melbourne multi-instrumentalist and singer Georgia Flipo, or G-Flip, introduces herself with this tender and moving debut. About Us is sort of an autobiographical story about Georgia and her girlfriend over a five year span that includes a break up and eventually make up. Georgia’s vocals are both commanding and approachable. The song writing is effortlessly relatable and potent in the life of love. Georgia would write most of the instrument riffs and have others play it during recording but the most unsung hero is her command of the instrument she first learn and played herself; the drums. The emotional impact and intensity of these songs all get magnified in the later stages when Georgia grabs the sticks and begins going to town. About Us is both a subtle piece of pop yet also a cinematic and emotionally captivating one. 

Proof: Lover / I Am Not Afraid / Morning / About You

13. Becky Hill - Get To Know Genre: Synth-Pop / Electronic / Dance

After being a semi-finalist on The Voice UK, the potent and soulful vocals of UK singer Becky Hill has become a go-to feature in the European house world. Becky’s commanding voice is a perfect compliment to house production to not be overpowered and bring a level of vivacity and vitality to the composition. Get To Know is a compilation of those features and one-off singles from the last three years to get more people familiar with Becky as she takes more creative control of her solo career. I’m expecting much more to come from the singer in 2020; so keep an eye and both ears out.

Proof: I Could Get Used To This (w/ Weiss) / Piece of Me (w/ MK) / Sunrise in the East / False Alarm (w/ Matoma)

12. BANKS - III Genre: alt-R&B / Pop

On her third album, singer BANKS is showing off an impressive increase in prowess and courage in her music. Although, I still really enjoyed BANKS sophomore album The Altar, there were some growing pains visible in it. III on the other hand comes out much more competent, coherent and confident. The noticeable addition of Hudson Mohawke’s production and influence is one of the most noticeable additions. His powerful distorted synthed-out drums gives quite a thunderous backdrop for BANKS sultry vocals to sway back and forth through. The song writing has notably continued to get even better for someone that already had quite the skill at. I’ve followed BANKS since she only had a couple songs out on SoundCloud and the journey has been quite a rewarding one for us fans. 

Proof: Gimme / Look What You’re Doing To Me (Feat. Francis & The Lights) / Propaganda / The Fall

11. Gryffin* - Gravity Genre: Electronic / Dance

Success has come rapidly for Gryffin, releasing his first original song only four years ago. Despite that short time, there is a level of sophistication to Gryffin’s blending of house and pop music that feels like the work of a veteran. It helps he has really filled up his phone contacts with some of today’s top Electronic producers and rising pop singers to collaborate with. Gryffin’s debut is quite a reflective and illuminating galaxy of deep emotions and expression. Every song on Gravity has identifiable passion and sentiments while enclosed in a glitzy exterior; feelings with strobe lights. It’s been over two years since the first song from this album “Nobody Compares to You” was released showing Gryffin has the ability to make us really feel emotions while also bust out dancing. Now if you excuse me, I'm going to go have a good cry in the club.

Proof: All You Need To Know (w/ SLANDER Feat. Calle Lehmann) / Baggage (w/ Gorgon City & AlunaGeorge) / Hurt People (w/ Aloe Blacc) / Nothing Compares To You (Feat. Katie Pearlman)

10. Maggie Rogers - Heard It In A Past Life Genre: Pop

A chance encounter with Pharrell that went viral was what started Maggie’s career, but she took her time with this debut to make sure that one video wasn’t all that defines it. Heard It In A Past Life is a subtle flex of the new singer’s musical dexterity. On the surface the tracks all flow at a mellow cohesive pace. Maggie’s soft and sensual vocals are the first thing you appreciate when listening. When you give a little deeper of a dive you realize the strong themes Maggie is conveying as well as a sophisticated diversity in her sound that’s more than originally meets the ear.

Proof: Give A Little / The Knife / Alaska / Say It / On + Off // Bonus: Love You For A Long Time

9. Nick Murphy - Run Fast Sleep Naked Genre: Indie Pop / Electronic

On his second release (first full length album) since changing his name from Chet Faker to his real name Nick Murphy, the Australian artist has some new tricks up his sleeve. Run Fast Sleep Naked is a more expansive sound then his Chet Faker beginnings and we are all quite rewarded by it. The subtle Synth-Indie pop melding is still present. But there always was a form of restraint in his early work that Nick has seemed to let go more of here allowing his emotion to burst out at key moments a bit unfiltered and untethered. 

Proof: Harry Takes Drugs On The Weekend / Sanity / Yeah I Care / Never No / Dangerous

8. Madeon - Good Faith Genre: Electronic / Synth-Pop / Dance

2019 has been an interesting year of growth for EDM. With artists like Big Wild, ILLENIUM, Goldroom, GRiZ, Flux Pavilion and others showing some added depth, discovery and diversity in their sounds. That is continued here with Madeon’s four years in the making follow up to his 2015 debut album Adventure. His first album was quite a glorious introduction but very steeped in the bold and at times lumbering mechanical nature of Electronic music, but with this follow up there is a dramatic divergence. Good Faith is quite a romp through R&B, Gospel and Funk influenced synth wonderlands meant to inspire souls and entice movement. The French producer created a lush world to wonder around, despite being Electronic music, that is devoid of any plasticity for organic and visual expression. The closing two minutes are completely devoid of vocals, yet still packs a powerful emotional punch, leaving you wanting to instantly hit replay.

Proof: Dreams Dreams Dreams / All My Friends / Nirvana / No Fear No More / Borealis

7. Tyler, The Creator - IGOR Genre: alt-R&B / Hip Hop

After a frustrating start to his career I saw some of the promise in Tyler, The Creator come to life on his 2015 third album Cherry Bomb. By 2017 Tyler had found his sweet spot with the marvelous Flower Boy. Being someone always eager to learn and grow on his craft, Tyler didn’t remain in that sweet spot, instead abruptly left it in his rearview mirror for his follow up in the daring IGOR. Long gone are the low-fi, abrasive hip hop vernacular of Bastard, Goblin and Wolf here. Instead, Tyler created a unique and colliding world of R&B, Hip Hop, Funk and Synth-Pop. Further showing his evolution Tyler tells a heartfelt story across the album of a man, Tyler, dating another man, who’s also dating his ex-girlfriend. When Tyler tells his feelings for his lover,  which results in him starting to drift back to his ex-girlfriend, leading to heartbreak for Tyler. The character Igor represents the negative tendencies of Tyler, as his heart is broken and begins to take over throughout the album’s duration. Coming out the other side the album ends with sadness, but still with a level of hope that I’m sure anybody can relate to who’s had their heart broken.

Proof: IGOR’S THEME (Feat. Lil Uzi Vert) / EARFQUAKE (Feat. Playboy Carti & Charli Wilson) / I THINK (Feat. Solange & Ryan Betty) / A BOY IS A GUN* / WHAT’S GOOD (Feat. Slowthai)

6. SebastiAn - Thirst Genre: Electronic / Synth-Pop

8 years after his debut album, the French producer is ready to step out from the background again with this thrilling collection of bold electronic pop. Known best to the general for working with Frank Ocean on his Endless album (and being the voice on “Facebook Story” on Blonde), SebastiAn has also worked extensively with Daft Punk, Kavinsky, Charlotte Gainsbourg, Beastie Boys, Block Party and others over the years. Thirst is a wild ride in a dark dystopian pop landscape that has a tough exterior but a tender interior. The features from pop and R&B are expertly placed among the distorted and thunderous production. The industrial feel may seem a bit artificial at first, but there is an organic heartbeat under the mechanical exoskeleton worth exploring.

Proof: Doorman (Feat. Syd) / Better Now (Feat. Mayer Hawthorne) / Pleasant (Feat. Charlotte Gainsbourg) / Sober (Feat. Bakar) / Run for Me (Feat. Gallant)

5. Khalid - Free Spirit Genre: Pop / R&B / Soul

I gushed on both my last two year lists about Khalid with his debut album and last year’s EP; all that is still very much relevant in 2019. Khalid is one of today’s top young talents. His evocative voice can fit into so many different environments. Straight Pop, R&B, Hip Hop, Country, EDM, Rock, Khalid’s voice is quite the emotive chameleon. His own albums are a bit more straightforward pop and R&B that with every release keeps getting more polished and evolved with his songwriting. Already at 21 the singer has become a go-to for album features and movie soundtracks; I don’t expect this to change for quite some time.

Proof: Better / Talk / Right Back / Outta My Head (w/ John Mayer) / Twenty One

4. Big Wild - Superdream Genre: Synth-Pop / Electronic / Dance

To many fans of the EDM scene Big Wild has been well known before his debut album dropped. The producer was one the first signees to ODESZA’s label after dropping multiple great remixes. His debut EP last year only increased his notoriety. What we didn’t know if he had a different plan for his sound that would be introduced to the world on this sneaky debut full length. Superdream still has plenty of his EDM beginnings throughout but interwoven in a much more complex package then we anticipated. Notes of 70’s/80’s pop to 90’s R&B make a surprisingly profound presence dancing through the intersecting synths and drums. Big Wild sings more than he ever has in a soft hushed tone that glides his bold production so smoothly. The Electronic genre is in the middle of quite a renaissance currently and yet more creative artists like Big Wild keep showing up and taking the sound to new directions we haven’t seen before.

Proof: Joypunks / 6’s to 9’s (Feat. Rationale) / No Words / Maker / She Makes Magic

3. ILLENIUM* - ASCEND Genre: Electronic / Future Bass / Dance

Denver DJ ILLENIUM found quite a sweet spot on his 2017 sophomore album, Awake, with his euphoric electronic music. Anybody who claims EDM is all plasticity without emotion that other music genres can evoke, I dare you to listen to Awake and not feel the raw human emotion bursting with every dramatic drop. However, Nicolas Miller was not complacent and has expanded his sound in 2019. Taking some inspiration no doubt from the late great Avicii, there’s plenty of experimenting with genres both externally and internally to the EDM landscape. With great ease, effort care and skill the tracks maneuver from Pop/Future Bass to House to Trance, to R&B to Country/Rock to Dubstep. The emotions continue to be the driver with tracks about love, heartbreak, feeling lost and even Miller’s opening up about his past issues with drug abuse. The Jon Bellion assisted “Good Things Fall Apart” and Chainsmokers partnered “Takeaway” are the tracks most people go in knowing, but powerful tracks like the lightning bolt opener “Hold On” to the Rock/Dubstep powerhouse of “Pray” to the R&B Ear drum slapper that's “Gorgeous” steal the listeners attention through this whirlwind of melodic feels.

Proof: Hold On (w/ Georgia Ku) / Good Things Fall Apart (w/ Jon Bellion) / Pray (Feat. Kameron Alexander) / Gorgeous (w/ Bipolar Sunshine & Blanke) / Lonely (w/ Chandler Leighton) // Bonus: Ekali & ILLENIUM - Hard To Say Goodbye (Feat. Chloe Angelides)

2. Nilüfer Yanya* - Miss Universe Genre: Indie Rock / Alternative / R&B

It could be too easy to take Nilüfer Yanya’s sensual music for granted, but those that pay close attention are very much rewarded. Her subtle and mellow melodies can slip into the background but by the time her infectious choruses hit you may find your shoulders swaying and feet tapping without thinking about it. The UK Born new artist has such an effortless feel to her genre melding sound of soul and indie pop. Her unique, raspy voice among the groovy, plucky guitar riffs has an ability to relay emotions while also keeping a veil of mystery. Miss Universe is probably 2019’s most consistent record, no song is out of place in this whole strong debut album. 

Proof: In Your Head / Paralysed / Angels / Tears / Heavyweight Champion of the Year

1. Labrinth - Imagination & the Misfit Kid Genre: Pop / alt-R&B

Sometimes it takes some time to find your comfortably and inspiration. English singer Labrinth’s debut album was released over seven years ago. In the time since the powerful voice, proficient productions or potent pen of the singer would pop up here and there with one-off singles, song features ("Losers” with The Weeknd off Beauty Behind The Madness was one great one), production or writer credits. 2019 though was quite the change in pace. The marathon of a year started with forming the supergroup and dropping the debut album of LSD with Sia and Diplo. Labrinth then was the lead composer on the music score for one of the year's best new shows on HBO’s “Euphoria”. This all was cultivated with this magnificent and expressive sophomore effort. Imagination & the Misfit Kid is a layered project of the many influences Labrinth has picked up over his lifetime packaged together in something innovative yet also familiar. On the surface the music is pretty crowd pleasing pop but when dissected more there's rich notes of music genres colliding including R&B, Gospel, Blues, UK Hip Hop and Electronic ingredients. The production is its own cunning beast, at times it is muted and let’s the great voice of Labrinth take the reins, only to come thundering in to smack you in the temple. There’s an obvious cinematic theme carried through in the songs that is driven home with the song titles and short skits. Labrinth is tapping into your ears while making a visual art piece. One you’re meant to close your eyes and let the melodies and lyrics help you visualize. “Can’t tell me the world don’t mind, a miracle.”

Proof: Miracle / Dotted Line / All For Us (w/ Zendaya) / Something’s Got To Give / Where The Wild Things Are / Oblivion (Feat. Sia) // Bonus: Don’t Fence Me In

Others:

Good: Aaron Aye - F.E.A.R., Ada Lea - what we say in private, Africa Express - EGOL, AJ Tracey - AJ Tracey, AKON - Akonda, The Alchemist - Yacht Rock 2, Aldous Harding - Designer, Alex Cameron - Miami Memory, Algee Smith - atl, Alice Merton - Mint, Allen Stone - Building Balance, Allie X - Super Sunset (Analog), The Amazons - Future Dust, Andrew Combs - Ideal Man, Angel Olsen - All Mirrors, Angie Stone - Full Circle, Ann Marie - Pretty Psycho, Anna Wise - As If It Were Forever, Ardalan - Mr. Good, Ari Lennox - Shea Butter Baby, Ariana Grande - thank u, next, Armin van Buuren - Balance, A$AP Ferg - Floor Seats, Asiahn - Love Train 2, Audien - Escapism, AURORA - A Different Kind of Human, avery r. young - tubman., Avicii - TIM, A1 - Turbulence, Baby Rose - To Myself, Bad Bunny - X 100PRE, Barrie - Happy to Be Here, Bastille - Doom Days, Bat For Lashes - Lost Girls, Bazzi - Soul Searching, Beast Coast - Escape from New York, Beck - Hyperspace, Becky G. - MALA SANTA, Beirut - Gallipoli, Berhana - HAN, Better Oblivion Community Center - Better Oblivion Community Center, Betty Who - Betty, Beyoncé - The Lion King: The Gift [Music Inspired by the Motion Picture], Big K.R.I.T. - K.R.I.T. IZ HERE, Big K.R.I.T. - TDT, Big Thief - Two Hands, Big Thief - U.F.O.F., Black Belt Eagle Scout - At The Party With My Brown Friends, The Black Keys - “Let’s Rock”, Black Milk - DiVE, bLAck pARty - Endless Summer, blackbear - ANONYMOUS, Blaq Tuxedo - Blaq Tuxedo, Blaqk Audio - Only Things We Love, Blasterjaxx - Perspective, Bleached - Don’t You Think You’ve Had Enough?, Blood Orange - Angel’s Pulse [Mixtape], Blu & Oh No - A Long Red Hot Los Angeles Summer Night, Boogie - Everything’s for Sale, Boy Harsher - Careful, Boy Harsher - Country Girl Uncut, Boy Scouts - Free Company, Brittany Howard - Jaime, BROCKHAMPTON - GINGER, Broods - Don’t Feed The Pop Monster, Brother Ali - Secrets & Escape, Bun B & Statik Selektah - TrillStatik [Mixtape], Burna Boy - African Giant, Busy Signal - Parts of the Puzzle, Caamp - By and By, Cage The Elephant - Social Cues, Camila Cabello - Romance, Carly Rae Jepsen - Dedicated, Caroline Polacheck - PANG, Casey Veggies - Organic, Casey Veggies & Rockie Fresh - Fresh Veggies [Mixtape], Cashmere Cat - PRINCESS CATGIRL, Cassius - Dreems, Catching Flies - Silver Linings, Cehryl - Slow Motion, The Chainsmokers - World War Joy, Charly Bliss - Young Enough, Chase & Status - RTRN II JUNGLE, Chelsea Wolfe - Birth of Violence, The Chemical Brothers - No Geography, Cherry Glazer - Stuffed & Ready, Childish Major - Dirt Road Diamond, Chinatown Slalom - Who Wants To Be A Millionaire?, Choosey & Exile - Black Beans, Chris Brown - Indigo, Chris Lorenzo - Late Checkout, Chris Staples - Holy Moly, Chromatics - Closer To Grey, Ciara - Beauty Marks, Cigarettes After Sex - Cry, City and Colour - A Pill for Loneliness, Citizen Cope - Heroin and Helicopters, Clairmont The Second - The Second’s Do You Drive?, Clairo - Immunity, clipping. - There Existed an Addiction to Blood, Cold War Kids - New Age Norms 1, Coldplay - Everyday Life, Collie Buddz - Hybrid, Common - Let Love, Cross Record - Cross Record, Crumb - Jinx, Crystal Fighters - Gaia & Friends, Cuco - Para Mi, Curren$y & Statik Selektah - Gran Turismo, CZARFACE & Ghostface Killa - Czarface Meets Ghostface, DaBaby - KIRK, Damar Jackson - U2, Dame D.O.L.L.A. - Big D.O.L.L.A., Danny Brown - uknowhatimsaying¿, Dave East - Survival, David B - BLEU, Dawn Richard - New Breed, Deadmau5 - here’s the drop, Deadmau5 - Polar (Music from the Netflix Film), Deaton Chris Anthony - BO Y, Deerhunter - Why Hasn’t Everything Already Disappeared?, Delta Heavy - Only In My Dreams, Dermot Kennedy* - Dermot Kennedy, Devin Morrison - Bussin’, DIIV - Deceiver, Dillon Francis - Magic Is Real [Mixtape], Dizzy Fae - NO GMO [Mixtape], DJ Khaled - Father of Asahd, DJ Shadow - Our Pathetic Age, DJ Snake - Carte Blanche, Doja Cat - Hot Pink, Dope Lemon - Smooth Big Cat, Dounia - THE SCANDAL, Drake - Care Package, Drax Project - Drax Project, Dreamville & J. Cole - Return of the Dreamers III, Dreezy - Big Dreez, DROELOE* - A Promise Is Made, The Drums - Brutalism, DUCKWRTH - THE FALLING MAN, Earl Sweatshirt - FEET OF CLAY, EARTHGANG - Mirrorland, Ed Sheeran - No. 6 Collaborations Project, Electric Guest - KIN, Electric Youth - Memory Emotion, ELHAE - Trouble In Paradise, Elle Varner - Ellevation, Emeli Sandé - REAL LIFE, Emmavie - Honeymoon, Emily Wells - The World Is Too ___ For You, Eric Bellinger - Cuffing Season 3, Eric Bellinger - Saved by the Bellinger [Mixtape], Eric Bellinger - The Rebirth 2, E-40 - Practice Makes Paper, Fabolous - Summertime Shoot 3: Coldest Summer Ever [Mixtape], The Faint - Egowerk, Fantasia - Sketchbook, FEELS - Post Earth, FIDLAR - Almost Free, Fitz & The Tantrums - All The Feels, FKA twigs - MAGDALENE, The Flaming Lips - The King’s Mouth: Music and Songs, Flume - Hi This Is Flume [Mixtape], Flying Lotus - Flamagra, Frances Cone - Late Riser, Frankie Cosmos - Close It Quietly, Freddie Gibbs & Madlib - Bandana, FRENSHIP* - Vacation, Freya Ridings - Freya Ridings, Friendly Fires - Inflorescent, Froth - Duress, The Game - Born 2 Rap, Gang Starr - One of the Best Yet, GASHI - GASHI, Gary Clark Jr. - This Land, Gena Rose Bruce - Can’t Make You Love Me, Gesaffelstein - Hyperion, The Get Up Kids - Problems, Giggs - BIG BAD…, girlpool - What Chaos Is Imaginary, The Glorious Sons - A War on Everything, gnash - we, Goo Goo Dolls - Miracle Pill, grandson - a modern tragedy vol. 3, GRiZ - Ride Waves, GTA - La Nueva Clásica (Remixes), Gus Dapperton - Where Polly People Go to Read, HÆLOS - Any Random Kindness, half●alive - Now, Not Yet, , Hatchie - Keepsake, Hayden James - Between Us, Hayden James - Between Us (Remixes), The Head and the Heart - Living Mirage, Headie One - Music x Road [Mixtape], Helado Negro - This Is How You Smile, Hermitude - Pollyanarchy, Hibou - Haive, Higher Brothers - Five Stars, Hobo Johnson - The Fall of Hobo Johnson, Holly Herndon - PROTO, Hoodie Allen - Whatever USA, Hot Chip - A Bath Full of Ecstasy, Ida Mae - Chasing Light, IDER - Emotional Education, IDK - Is He Real?, Iggy Azalea - In My Defense, India.Arie - Worthy, Ingrid Michaelson - Stranger Songs, Injury Reserve - Injury Reserve, Intellexual - Intellexual, Isaac Dunbar - balloons don’t float here, Isabella - 12 Angels, J Balvin & Bad Bunny - OASIS, Jack & Jack - A Good Friend Is Nice, JackLNDN - Thoughts, Jacob Latimore - Connection2, Jacquees - King of R&B, Jacques Greene - Dawn Chorus, Jade Bird - Jade Bird, Jai Wolf - The Cure To Loneliness, Jamie Cullum - Taller, James Blunt - Once Upon A Mind, Jamila Woods - LEGACY! LEGACY!, The Japanese House - Good At Falling, Jax Jones - Snacks, Jay Som - Anak Ko, Jayda G - Significant Changes, Jaden - ERYS, JAY1 - One Wave, Jenny Hval - The Practice of Love, Jenny Lewis - On The Line, J-E-T-S - Zoospa, Jidenna - 85 to Africa, Joell Ortiz - Monday, Johnny Gill - Game Changer II, JOHNNYSWIM - Moonlight, JOHKOY - 404, Jonas Brothers - Happiness Begins, Jordan Rakei - Origin, Joseph - Good Luck, Kid, Josephine Wiggs - We Fall, JPEGMAFIA - All My Heroes Are Cornballs, The Juan MacLean - The Brighter Light, Judah & The Lion - Pep Talks, Juice WRLD - Death Race for Love, Julian - Sydney, Juls - Colour, KAINA - Next to the Sun, Kanye West - JESUS IS KING, Karnaval Blues - You Come With the Rain, Kash Doll - Stacked, Kaskade - Redux 003, KÁRYYN - The Quanta Series, Kayzo - Unleashed, Keane - Cause and Effect, Kelsey Lu - Blood, Kemba - Gilda, Kembe X - I Was Depressed Until I Made This, Kerli - Shadow Works, Kevin Gates - I’m Him, Kevin George - My Darlings a Demon, Kevin Morby - Oh My God, K.Flay - Solutions, Kindness* - Something Like a War, King Princess - Cheap Queen, Kishi Bashi - Omoiyari, Ladytron - Ladytron, Lafawndah - Ancestor Boy, Larry June - Out the Trunk [Mixtape], The Lemonheads - Varshons 2, Lexie Liu - 2030, Liam Gallagher - Why Me? Why Not, LICK - Dark Vibe Order, Lil Skies - Shelby, Lissie - When I’m Alone: The Piano Retrospective, Little Brother - May The Lord Watch, Local Natives - Violet Street, Logic - Confessions of a Dangerous Mind, Lolo Zouaï - High Highs to Low Lows, Lost Frequencies - Alive and Feeling Fine, Louis Futon - Way Back When, Loyle Carner - Not Waving, But Drowning, LSD - Labrinth, Sia & Diplo Presents… LSD, Lucky Daye - Painted, Lucy Rose - No Words Left, Luh Kel - Mixed Emotions, The Lumineers - III, LV - Xcited, Lyfe Jennings - 777, Mac Ayers - Juicebox, Mac DeMarco - Here Comes the Cowboy, Mahalia - Love and Compromise, Malibu Ken (Aesop Rock & TOBACCO) - Malibu Ken, Manatee Commune* - PDA, Mansionair - Shadowboxer, Marc E. Bassy - PMD, Maren Morris - GIRL, Maribou State - Kingdoms in Color Remixed, Marika Hackman - Any Human Friend, MARINA - LOVE + FEAR, MarMar Oso - Oso Different, Marshmello - Joytime III, Matt Maeson - Bank on the Funeral, MED & Guilty Simpson - Child of the Jungle, Meg Mac - Hope, Megan Thee Stallion - Fever, Melii - phAses, Men I Trust - Oncle Jazz, Mereba - The Jungle Is The Only Way Out, Mermaidens - Look Me in the Eye, Michael Kiwanuka - KIWANUKA, MIKA  - My Name Is Michael Holbrook, MIKE - Tears of Joy, Mike Posner - Keep Going [Mixtape], Mike Posner - A Real Good Kid, Milky Chance - Mind the Moon, Mr. Carmack - Demolish [Mixtape], Mr. Carmack - Viista, Mr Hudson - WHEN THE MACHINE STOP, Mndsgn - Snaxx, Moksi - The Return of House Music, Montell Jordan - Masterpiece, Moon Boots - Bimini Road, Moon Duo - Stars Are the Light, Moonchild - Little Ghost, Murs & 9th Wonder - Brighter Daze, Murs, 9th Wonder & The Soul Collective - The Iliad is Dead and the Odyssey is Over, Mustard - Perfect Ten, Nao Yoshioka - Undeniable, Nas - The Lost Tapes 2, Nathan Bajar - playroom, The National - I Am Easy to Find, Necking - Cut Your Teeth, The New Pornographers - In the Morse Code of Brake Lights, NF - The Search, Nick Catchdubs - Ufo, Nicole Bus - Kairos, Nina Nesbitt - The Sun Will Come Up, The Seasons Will Change, Noah Kahan - Busyhead, Norah Jones - Begin Again, Obie Trice - The Fifth, Octavian - Endorphins, Of Monsters and Men - FEVER DREAM, Offset -  Father of Four, Oliver Dion - Exposed, Olivia O’Brien - Was It Even Real?, Panda Bear - Buoys, Patoranking - Wilmer, Pete Tong & HERO - Chilled Classics, Pete Yorn - Caretakers, Petit Biscuit* - We Were Young (The Playlist), P!nk - Hurts 2B Human, Pixies - Beneath the Eyrie, PJ Morton - PAUL, Plaid - Polymer, P-LO - SHINE, PnB Rock - TrapStar Turnt PopStar, Pond - Tasmania, Post Malone - Hollywood’s Bleeding, Priests - The Seduction of Kansas, Prince - Originals, PUP - Morbid Stuff, Quelled Chris - Guns, R.LUM.R. - Surfacing, Ra Ra Riot - Superbloom, The Raconteurs - Help Us Stranger, Raphael Saadiq - Jimmy Lee, Ras Kass - Soul on Ice 2, Rat Boy - International Unknown, Raveena - Lucid, Reese LaFlare - Final Fantasy, The Regrettes - How Do You Love?, Reptaliens - VALIS, Rex Orange County - Pony, Rich Brian - The Sailor, Rich The Kid - The World Is Yours 2, Rico Nasty & Kenny Beats - Anger Management, Rhi - The Pale Queen, Rhye - Spirit, Rockie Fresh - Destination, Rudimental - Test Our Differences, RÜFÜS DU SOL - Solace Remixes, RY X - Unfurl, Sabrina Carpenter - Singular Act II, SAFE - STAY, Said The Whale - Cascadia, SAINt JHN - Ghetto Lenny’s Love Songs, St. Lucia - Remixed, Sammie - Everlasting, Sampa The Great - The Return, San Fermin - The Cormorant I, (Sandy) Alex G - House of Sugar, Santana - Africa Speaks, Santi - Mandy & The Jungle, Sara Bareilles - Amidst the Chaos, SASAMI - SASAMI, ScHoolboy Q - CrasH Talk, Seasons - American Authors, Set It Off - Midnight, Set Mo - Surrender, Shafiq Husayn - The Loop, Shari Marie - Reflection LP, Sharon Van Etten - Remind Me Tomorrow, Sheer Mag - A Distant Call, Shlohmo - The End, Shy Girls - Bird on the Wing, Silversun Pickups - Widow’s Weeds, Sinead Harnett - Lessons in Love, SiR - Chasing Summer, sir Was - Holding On To A Dream, Skepta - Ignorance Is Bliss, The Script - Sunset & Full Moons, Sleater-Kinney - The Center Won’t Hold, Sleeping With Sirens - How It Feels to Be Lost, slowthai - Nothing Great About Britain, Slum Village - The Source, Smif-N-Wessun - The All, Snail Mail - Habit, Snake City - Hurts, SNBRN - Solé, Snoh Aalgra - Ugh, those feels again, Snoop Dogg - I Wanna Thank Me, Snow Patrol - Reworked, SOAK - Grim Town, SOB X RBE & Hit-Boy - Family Not a Group, Solange - When I Get Home, Somos - Prison On A Hill, SonReal - The Aaron LP, StayLoose - The City, Stef Chura - Midnight, Steve Lacy - Apollo XXI, Stirgull Simpson - SOUND & FURY, Styles P - S.P. The Goat: Ghost of All Time, Sudan Archives - Athena, Sui Zhen - Losing Linda, Summer Walker - Over It, SYML - SYML, The Tallest Man On Earth - I Love You, Talos - Far Out Dust, Tank - ELEVATION, Tank and the Bangas - Green Balloon, Tayla Parx - We Need To Talk, Taylor Swift - Lover, Tech N9ne - N9na, Tegan and Sara - Hey, I’m Just Like You, TENDER - Fear of Falling Asleep, Terri Lyne Carrington & Social Science - Waiting Game, Terror Jr - Unfortunately, Terror Jr, Tiësto - Together, Tinashe - Songs For You, Tink - Voicemails, The-Dream - Menage a Trois: Sextape Vol. 1,2&3, Thees Handz (The Grouch & Murs) - Thees Handz, Thom Yorke - ANIMA, T-Pain - 1UP, TOBi - STILL, Tom Walker - What A Time To Be Alive, Tora - Can’t Buy the Mood, Toro y Moi - Outer Peace, Tory Lanez - International Fargo [Mixtape], Tourist - Wild, Tove Lo - Sunshine Kitty, Trae tha Truth - Exhale, Travis Thompson - Reckless Endangerment, Trevor Jackson - Rough Draft 2, Trina - The One, Tritonal - U & Me, Tropical Fuck Storm - Braindrops, Tuxedo - Tuxedo III, Two Door Cinema Club - False Alarm, Tycho - Weather, Tyla Yaweh - Heart Full of Rage, Vagabon - Vagabon, Vancouver Sleep Clinic - Onward to Zion, Various Artists - DEATH STRANDING: Timefall (Original Music from the World of Death Stranding), Various Artists - For The Throne (Music Inspired by the HBO Series Game of Thrones), Various Artists - Music Inspired by the Film Roma, Various Artists - 13 Reasons Why (Season 3) [Music Inspired by the Netflix Series], Velvet Negroni - NEON BROWN, Wale - Wow... That’s Crazy, Walk Off The Earth - HERE WE GO!, Wallows - Nothing Happens, Walshy Fire - Walshy Fire Presents: ABENG, Wand - Laughing Matter, Weezer - Weezer (The Teal Album), Weyes Blood - Titanic Rising, Wilco - Ode to Joy, Wild Belle - Everybody One of a Kind, William Black* - Pages, Willow - Willow, Whitney - Forever Turned Around, Wretch 32 - Upon Reflection, X Ambassadors - ORION, Xavier Omär & Sango - Moments Spent Loving You, YACHT - Chain Tipping, YBN Cordae - The Lost Boy, Yeasayer - Erotic Reruns, Yeek - IDK WHERE, YG - 4REAL 4REAL, Yhung T.O. - On My Momma 2, Yuna - Rouge, Zilo - Gorgeous, Zo! - FourFront, 2 Chainz - Rap or Go to the League, 93PUNX - 93PUNX, !!! - Wallop

Meh: A Boogie wit da Hoodie - Hoodie SZN, Above & Beyond - Flow State, The Avett Brothers - Closer Than Together, Belle & Sebatian - Days of the Bangold, Berner - El Chivo, Birdman & Juvenile - Just Another Gangsta, Blank Mass - Animated Violence Mild, Calboy - Wildboy, Casanova - Behind These Scars, Conway The Machine - Look What I Became, Cousin Stizz - Trying to Find My Next Thrill, DREAMERS - LAUNCH FLY LAND, DJ Muggs & Mach - Hommy: Tuez-Les Tous, Future - Future Hndrexx Presents: The WZRD, G&D - Black Love & War, Ghostface Killah - Ghostface Killahs, Gucci Mane - Delusions of Grandeur, HTRK - Venus in Leo, Jezzy - TM104: The Legend of the Snowman, Kenny Garrett - Hoax, Lighthouse Family - Blue Sky in Your Head, Lil Peep - EVERYBODY’S EVERYTHING, Lillie Mae - Other Girls, Logic - Supermarket, Lower Dens - The Competition, Machine Gun Kelly - Hotel Diablo, Night Lovell - GOODNIGHT LOVELL, Pi’erre Bourne & Cardo Got Wings - Pi’erre & Cardo’s WIld Adventure [Mixtape], Quality Control - Control The Streets Volume 2, Rick Ross - Port of Miami 2, Rod Wave - PTSD, Shy Glizzy - Covered N Blood, Spellling - Mazy Fly, Tee Grizzley - Scriptures, Twin Peaks - Lookout Low, Tyga - Legendary, Wifisfuneral - Ethernet 2, Wiz Khalifa & Curren$y - 2009, 03 Greedo - Still Summer in the Projects

Naw: Black midi - Schlagenheim, KEY! - SO EMOTIONAL, Microwave - Death is a Warm Blanket, Nef The Pharaoh - Mushrooms & Coloring Books, Scarlxrd - INFINITY, Ugly God - Bumps & Bruises, Weezer - Weezer (The Black Album), Westside Gunn - Flygod is an Awesome God, Yung Gravy - Sensational, Zheani - The Line Censored

#Best Albums #Top Albums #2019 #Album List #Labrinth #Nilufer Yanya #ILLENIUM #Big Wild #Khalid #SebastiAn #Tyler The Cretor #Madeon #Nick Murphy #Maggie Roger #Gryffin #BANKS #Becky Hill #G Flip #Gallant #Seven Lions #Lana Del Rey #Mark Ronson #Tory Lanez #Lizzo #Bishop Briggs #Charli XCX #Sigrid #Tei Shi #Denzel Curry #Foals

[cwlsmelbourne]

Why Lap Band Might Be The Right Weight Loss Solution For You?

Lap band, also known as gastric banding or stomach stapling, is a surgical procedure designed to help people lose weight. While there are many different types of weight loss procedures on the market today, lap band surgery is one of the most popular options.

While not for everyone, it can be an effective tool for those who want to lose weight in a safe and healthy way. If you’re considering having this surgery done then here are some reasons why you may want to consider lap band surgery:

Personalised Approach

You have a unique body and health condition, so why not try a personalised approach to weight loss?

Lap band is a minimally invasive procedure that can be adjusted as necessary. It's also reversible, so if you decide to stop losing weight or start gaining again, your doctor can remove the band and all of its effects will disappear within several days.

This makes lap band an excellent long-term solution for those looking for lasting results!

Minimally Invasive Procedure

Lap band is a minimally invasive procedure that can be done in a day and requires no incisions. It's also reversible, meaning if you change your mind and want to lose weight another way, you can have it removed at any time.

And because lap band is adjustable (as opposed to gastric bypass surgery), you'll be able to control how much food you eat based on what works best for your body.

The laparoscopic approach uses small incisions in the abdomen through which cameras are inserted into the stomach cavity so that surgeons have an unobstructed view of their work area during surgical procedures like removing gallstones or performing hysterectomies (removal of uterus).

Reversible and Adjustable

Lap band is reversible. If you decide that lap band surgery isn't for you, the band can be removed. This is not true of gastric bypass surgery or other methods of weight loss surgery that involve stapling or removing parts of the digestive tract.

In addition to being reversible, lap band also allows for adjustments if necessary, so that it can continue working effectively as you lose more weight over time.

Improving Health and Quality of Life

Lap Band is a weight loss solution that can help you improve your quality of life. The band is placed around your stomach and restricts the amount of food that can be eaten. This helps patients lose weight, which improves their health and ability to do things they enjoy.

Lap Band surgery helps people feel better about themselves by improving their appearance, increasing their energy levels, and allowing them to participate in activities such as sports or exercise without feeling tired or out of breath as quickly as before surgery.

Conclusion

In conclusion, we think that lap band surgery is a safe, effective, and reversible method for weight loss. It's important to note that not everyone is suitable for this procedure and it is not intended as a substitute for lifestyle changes or other medical treatment methods.

However, if you are considering lap band surgery as an option please talk with your doctor about the benefits and risks of this procedure before making any decisions about your healthcare

#lap band Melbourne #lap band surgery Melbourne #Gastric Banding Melbourne #lap band surgery

[enz-fan]

‘Split Enz On The Road’ story written for ‘Rip It Up’ magazine by lighting director, Raewyn Turner. Circa 1982.

“SPLIT ENZ – ON THE ROAD STORY

Raewyn Turner has been lighting director for Split Enz since 1975. She painted the cover for Frenzy and last year at Dennis Cohn Gallery exhibited drawings in her show entitled ‘On The Road Again’. Raewyn has written for Rip It Up, about behind-the-scenes- staging the 1982 Time And Tide tour of New Zealand.

Six months in a leaky boat and that story nears its end for the second time in two years, as Split Enz round the bend on their last lap of touring, finishing in New Zealand. The past five months have been a variety show, the star hosts mingle with us, briefly, from their conveyer belts, flanked by the extras who are directed to have walk-on and bit parts for the day. The many famed and fabled buildings and cities roll on the big rollers past the car windows, and lots of people pass us, in a hurry, to and fro, people with different accents, different smiles, clothes, lifestyles. While we sit and stand, walk and work, moving from car to aeroplane, airport to motel to theatre, the big rollers roll in the world’s projection room, on to the screens, which are our windows.

Split Enz, the audience, the judge, in the van with the video sensurround windows. The selection committee. In a chartered plane, seated in rows until a kind man appears and opens the exit door, ushering us into another windows room. We sit there, breathing in the muted greens and browns and admiring the blue sky, until we’re told to get out and into another room, where soft musak whispers that life is a breeze. Water flows from taps, milk is instant non-dairy whitener, food is but a phone call and an hour’s wait away, all-night television to lull to sleep, air comes from an air conditioner.

10.00 am on Monday, August 16 in Melbourne, and the band are making a film clip, ‘Never Ceases To Amaze Me’, that Noel has worked out with the director over long phone calls from Darwin. It doesn’t finish until 6.00 pm. Last night at the same time, the band had just come off stage, completing the last date of their Australian tour, an ‘Under-18s’ show in Melbourne.

TUESDAY, AUGUST 17

Melbourne, 7.00 am. Grant Thomas, the tour manager, dutifully makes wake-up calls and in six homes scattered over Melbourne, the entourage is busily preparing and packing to make the flight, leaving at 10.00 am to Auckland. 9.00 am we’re at the airport, tired and grizzly, only to learn that the plane has been delayed for five and a half hours. Back home for some more sleep, while the road crew opt to stay at the airport and busy themselves making badges to display their membership of an exclusive social club – the crew’s very own ‘Split Enz Sports And Social Club’ – crew only.

The same day, 10.30 pm, ‘arrive Auckland and proceed to Hamilton, going by the itinerary. Oops. Noel has left his bag at the airport, so we have to double back. Check into hotel, and the band settle for some sleep while I go down to the Founders Theatre to set up for the first show of the NZ tour. The stage set, which has some technical peculiarities, has to be explained and put up and the special effects projectors babied out of their case and wheeled around. Although the lighting plot was sent over a month in advance, the rigging, cabling and colouring of lamps takes forever on the first set up, so we do all but focus tonight. 6.00 am we call it quits and go back to the hotel for a few hours’ sleep. Laurie Bell, the production manager works on, there are many details to be taken care of before the stage and sound people begin work at 9.00 am.

WEDNESDAY, AUGUST 18

Sound check is early, everyone expecs the first show to be difficult because of the new, unfamiliar NZ equipment – PA, foldback and lights. The Finn elders arrive, Finn cousins playing with the beach balls backstage.

The dressing room is newly painted and most of the band find they have severe headaches the next day. But battle dress donned, they take the stage with enthusiasm and anticipation, because it’s great to be on home soil. The audience is quiet, polite and serious. It’s been a whole year since Split Enz toured NZ and they’re playing new material, working hard. There are a few technical difficulties, but only minor ones. Back to the hotel for some hot chocolate with friends, before retiring.

THURSDAY, AUGUST 19

1.30 pm. Wake up, and Eddie and I go down to the theatre to work on improving our computer programmes (Eddie’s synthesisers are digitally controlled and store many different sounds in computer memories). Computers and synthesisers are relatively new developments and computers, like humans, were not designed for the rigours of the road. Just as Eddie wanders around his hotel, wondering where he is and what he is doing there, these computers become similarly vacant and he is often to be found in a state of panic, trying to reprogramme his sounds minutes before a show. The lighting desk computer is but 120 channels of memories which can be reprogrammed for particular lighting scenes or progressions of lighting changes. However, it too has a habit of becoming vacant, or worse, storing more than its share, which means it could reveal the total lighting show at the press of one memory button.

The sound crew have been working all day, trying ti iron out the creases in last night’s sound.

Ed and Noel go off for a walk into town, looking for water pistols. The Ed Water Pistol Collection has swelled to number 120 over three years.

Soundcheck, dinner – Noel enthuses over the six veges – back to the paintstricken dressing room an hour before the show, to put on the ‘cossies’ (costumes), paint the faces, discuss song lists, tell a few jokes, wet the whistle (or sip a lemonade), do armstretches and leg raises, eat some peanuts or whatever is offering in snacks. The show goes ‘averagely well’ (probably ‘very good’ in another’s words), but we have our own rating system.

FRIDAY, AUGUST 20

6.00 am, get up and drive to Auckland. The car breaks down on the way, but is fixed by a kind mechanic, free of charge. We feel that this could only happen in NZ. The production crew have been waiting outside the Logan Campbell Centre since 8.00 am, but the truck doesn’t arrive till 10. They begin work frantically and irritably, but still able to make light-hearted jokes, and the stage set slowly appears.

Meanwhile, Noel has gone to visit his folks. Tim and Neil arrive in Auckland with theirs, to spend the day together. Nigel, being the most boring (he is aware of the fact) member of the band, has experienced nothing of any interest whatsoever since arriving in NZ, not on this day, except for a sleepy interview with Colin Hogg. Eddie visits his sister and his friend Paul Crowther and they spend the rest of the day babbling about synths.

Backstage in the dressing room the champagne arrives – a greeting from the record company. The band have another of their ‘average’ performances, the crowd was ecstatic but the band are tired. The sound men aren’t feeling happy, so they make plans to spend all day tomorrow on improvements, to further dampen the echoes.

Back to the White Heron, now affectionately known as the Red Herring (no offence meant), for a few drinks with friends in the Carriage Bar. This is the first piece of glamorous living I’ve experienced for about a month or more – other people might call it just having a drink – but it means a lot being able to have the luxury of changing from work clothes to casual and being with friends.

SATURDAY, AUGUST 21

1.30 pm. Wake up and with Noel and Eddie go to Parnell Village where we have breakfast with Noel’s folks, who are in Auckland for both shows. A flying visit to a friend strapped in traction in hospital and it’s on to soundcheck and an early show.

Nigel has spent the day sleeping, jigging and walking, his three favourite pursuits. Neil and Tim are having dinner with their folks at the table over from us. They bribe the resident pianist into playing ‘Feelings’ as an after-dinner tribute to the band. (This song was on the top of the list for singing at the top of one’s voice while bumping along in a van through North America.)

SUNDAY, AUGUST 22

9.00 am. Depart the hotel for the airport, 9.55 flight departs Auckland for Palmerston North, without breakfast.

Tim feels detached from everything, and so opts for the hair-of-the-dog treatment, which will see him through until the end of the performance. The drinks backstage in the dressing room are there to be a starter motor, to kick a tired man into action. It’s an early show again, and it feels good to commence the performance about an hour after soundcheck. It’s still early enough to relax afterwards over dinner and watching TV.

MONDAY, AUGUST 23

10.30 am. Bags are being loaded into five cars, room bills are being paid, and we’re off to Christchurch. It’s a day off, everyone is anticipating what they’ll do, and probably they’ll do nothing. We’ve taken all the back seats in the plane and Ian Magan’s (tour promoter) Air New Zealand voice (fondly remembering “Ladies and gentleman, have you seen this?” on flights to London) booms from three seats away. Tonight he has promised the entourage a free dinner.

Eddie and I miss the free dinner – we’ve been invited to his brother’s house. This is one of the advantages of this job – seeing family and friends in all corners of the world at least once a year – where distance and fares would normally prohibit this. The visits are, however, usually too short and sweet.

The band enthuse over the selection of old cars in ‘perfect condition’ being driven around Christchurch, reeling off the makes as we drive around. Austin, Morris, Zephyr, Vanguard… Tim’s been after a Studebaker and is delighted to hear that people in the entourage have spotted three so far. Back home the Split Enz Club boasts a green FJ Holden (Neil’s), a black Mark II Zephyr (Tim’s), a pink Morris Major Elite 1963 (Eddie’s), a 1950 Black Triumph Renown (Noel’s) and a brown 1954 Fiat station wagon (Nigel’s).

Today Noel went shopping and got the costumes drycleaned. Nigel went for a five-hour walk along the Avon, Neil joined the road crew for a trip to the snow, there they used big plastic rubbish bags for sliding down hills and threw snow at each other.

Tim stayed in and did an interview, then cruised around, went for a walk, I think. Ed, Clark Flannigan (Polygram Records’ man on tour) and I finally got ourselves away from the hotel and went swimming at the QEII pool. It’s the first day of the school holidays and Ed and Clark get swallowed up in the crowds queuing for the hydrotubes. Clark can do 50m overarm in 35 seconds, he tries out the high diving board, but Ed and I only manage the lowest. End of day off.

TUESDAY, AUGUST 24

7.00 am. Get up, shower and down to the Christchurch Town Hall by 8.00 am. It’s a beautiful day, warm with blue, blue skies, the smell of blossom, cold air and woodsmoke, peculiar to NZ.

The stage set is constructed quickly and looks good. I’d anticipated, with sinking stomach feelings, that as far as equipment and organisation of technical details go, the NZ section would be the worst and most difficult of this six-month tour (probably because it has previously been that). However, there have been vast improvements made in the expertise of the hired technical personnel and in the equipment to be found here since we toured last year. It has taken a lot of hard work to elevate it to this level, and although the equipment is different to the systems currently available in Australia, this in no way makes for a compromise situation.

At 10.30 am, I offer to get the food – three dozen donuts, one dozen cream buns, three dozen filled rolls, a bag of apples. We work on until 4.00 pm and soundcheck is at 4.30. After a while, the band drift into playing their oldies, searching for the perfect replacement for ‘Hard Act’, which they’re sick of.

The band are tired. After five months of constant touring and only two weeks off in the period – no weekends – they are finding it hellish to think clearly and with enthusiasm about their shows. They want to try a new set, a different way of playing particular songs, but the energy somehow keeps being channelled the same way. They shone for the Auckland shows and will probably shine for the rest, but they try to break out of their feelings of exhaustion and automatic gear.

Tonight’s performance is once again good, although lacking the fire that the band are striving hard to produce. The audience is enthusiastic. The band and crew and managers return to the hotel bar, where we tell each other jokes until the small hours, winding down for sleep after a long day.

WEDNESDAY, AUGUST 25

8.00 am. Woken by chainsaws, jackhammers and the noise of concrete being made in a wheelbarrow. These are quite regular occurrences in hotels where we have stayed, so I drift back to sleep. But Eddie has had enough and has decided to move over to the posh hotel, where Tim and Neil have recently moved, to escape the noise. The hotel is twice the price and offers a complimentary morning newspaper, but we prefer the squat NZ motels, having spent too long in high-rise hotels, with Coffee-Mate (powdered non-dairy whitener) for ea milk.

Soundcheck at 4.30, still the search for the perfect song replacement. ‘In The Wars’, ‘Jamboree’, ‘Under The Wheel’ and a few others are fiddled with and discarded.

Tim, Neil, Eddie and I drive off for dinner and discuss our fatigue and the artistic value (or not) of the song produced under pressure of having to be sold by a record company. The issue of touring arises and they talk about giving it up in Australia and NZ for two years, except for the occasional ‘spectacular’ – an alternative that would provide opportunity for lots of ideas to be exercised. Or perhaps they’d like to do a film, taking a year off to make it and write songs, using that period to develop their musical ability as individuals.

Showtime, the crew are lying around on couches drinking coffee and the first band are pounding away. Eddie is in the dressing room playing his other favourite song, ‘Loving You’ by Minnie Ripperton, accompanied by Neil singing. He breaks away into Chopin.

THURSDAY, AUGUST 26

A day off for some, but the three lighting technicians leave Christchurch at 9.00 am and arrive at Invercargill at 7.00 pm. (The truck has a sleep and they take turns at driving.) The rest of the crew fly down at 11.00 am and spend the rest of the day in the hotel’s spa pool. At 8.00 pm, Laurie, Glen (the set and projects man) and three loaders unpack the truck, having first to remove a fleet of five city council vans that were parked across the stage door. Glen gets to work putting up the stage set and is back at the hotel by 11.00 pm.

Tim, Neil, Clark, Eddie and I have made plans to drive to Akaroa for some fish and chips and scenery, but Eddie and I spend until 2.00 pm buying second-hand furniture for future use, by which time Clark isn’t to be found. The free day has just about slipped away. We make rearrangements with the cars and Tim and Neil go to Akaroa. Noel, Eddie and I take a drive that meanders along a peninsula beyond Lyttleton, and we end up driving along a tractor path up a mountainside. The green pastures, trees in blossom, the mountain and valleys, we can’t wait to settle back here and enjoy the countryside. Tim and Neil return with tales of spectacular scenery, quite in awe of the beauty of the countryside. Neil, in surprise, says it’s always so much better than he’s remembered. Of course, all this talk about ‘nature’ crops up in our conversations especially after a few months on the road, staying in orange and purple hotel rooms. At the same time, the touring lifestyle has another advantage – it provides the blinkers and forces a total commitment to work.

FRIDAY, AUGUST 27

9.00 am. Wake up call from Grant, we move quickly and tiredly into the day.

Arrive Invercargill and greeted by an over-officious officer on the sidewalk at the airport. Magan has an argument with him and Neil throws him a coin as we drive away. Later, Magan receives a speeding ticket from the same officer.

Stop off on the way to the hotel, at the art gallery for a typical photo of the band posing next to a huge anchor for the local papers.

I go straight to work. The crew, having become accustomed to the equipment, are working very fast these days and focus is early. The set works well in the Civic Centre, because the tiers of balconies tower over the stage, which is shallow and therefore the sail has a steep incline. I don’t have a good show, getting my fingers jammed in the faders, despite a grand performance by the projector operators, Glen and Keith, who are by now quite skilled.

Noel apparently just about falls backwards off his drums, fatigued and the rest of the band are tired. But there are only 11 more shows to do, so they attack each one with enthusiasm.

After the show, the musos’ club is less than hospitable, hassling the band at the door. Eddie, Tim and Neil leave and end up helping Magan, who is hosting a three-hour radio show.

The road crew have busily packed clean socks for the Saturday soundcheck before heading off to Queenstown in search of the thrillseeker jetboats. Bed.

Part two of this feature will appear in next months ‘R.I.U’.”

#splitenz #live/tour #1982

[lovetheplayers]

Taylor Swift Perth Review: Snakes, glitter and a marriage proposal – this Reputation Stadium Tour show had it all

SNAKES, floating cages, fireworks, a fountain, flashing wristbands, a lot of glitter and sequins and even a marriage proposal – Taylor Swift’s Perth show had it all.

As Joan Jett’s Bad Reputation set the scene at Optus Stadium, more than 40,000 screaming fans waited for the 28-year-old pop star to make her appearance for the first Australian show of her Reputation Stadium Tour.

As the 12m backing screens parted, Swift appeared solo and in silhouette ensuring her fans were …Ready For It?.

In a black sequinned leotard and thigh-high boots, the crowd embraced the opportunity to see the 10-time Grammy Award-winner in her element before she was joined by her entourage of dancers.

Then it was time for the games to begin with I Did Something Bad, with flames and fireworks shooting off the 33m tall stage and Swift making use of the catwalk stages to move out into the crowd.

“Good evening Perth and welcome to the Reputation Stadium Tour,” she said taking a moment to address her fans.

“So here we are on a Friday night and I’ve been to Perth before and I know how beautiful it is and how many things you could be doing and you decided to be here for our first night on the tour in Australia – thank you so much.

“We get to play in his beautiful brand new stadium and I found out today this is the first time a female artist has headlined this stadium.

“We’re so happy to be here with you and back in Australia.

“You guys always set the bar with how crazy fans can be: the outfits I’m already seeing, you guys are screaming the lyrics – it’s all off to an incredible start.”

Swift then segued into her third Reputation track Gorgeous where she introduced the women she had on stage with her before Style from 1989 gave the audience their first look at the band.

Fearless hit Love Story then created the perfect backdrop for one couple in the crowd, with the Romeo getting down on bended knee to propose to his Juliet before the song melded into You Belong With Me marking the end of the first act.

Swift and her dancers returned to the stage through the floor for Look What You Made Me Do, this time atop a throne adorned with snakes – the first prop of the evening and the start of the snake symbolism, which stems from her public fallout with Kanye West and Kim Kardashian resulting in her social media accounts being flooded with snake emojis.

Thus was born the Reputation album that addresses people who “could be spreading things about us that just aren’t accurate”.

Swift has embraced the snake, incorporating it throughout the show including on her microphone, with on-screen projections and in the form giant inflatable serpents.

The Reputation tracks continued with End Game, King of My Heart and Delicate before Swift stepped inside a cage and floated through the crowd to bring hit song Shake It Off to the fans, complete with more fireworks and confetti cannons.

“This is actually my very first all-stadium tour,” she said.

“It’s so exciting to get to play only these massive venues but one thing I knew was that stadiums are really gigantic places to play and I wanted to make sure I could see every person.

“Because of that bracelet on your wrist lighting up all night I can see every single person in this stadium – back row, top section, I can see everybody.”

Things then slowed down for Swift to “take some time just you, me and the guitar” and play an acoustic version of Dancing with Our Hands Tied and a memory from her 2013 tour – the last time she was in Perth – I Knew You Were Trouble.

She remained out in the crowd for Blank Space and Dress before riding in a snake cage back to the stage for Bad Blood and Don’t Blame Me.

She then brought the tempo down again, tinkering on a piano while she took the time to thank her dancers, singers and stage crew.

“Getting to play here is such a dream come true for so many people you see on this stage,” she said.

“Yeah, I’ve been here before but it’s still a dream come true for me to get to come here and play for you.

“But we’re the ones who get to be on stage and look you in the eye and see you and hear you scream which is the coolest, most amazing privilege.

“But we also have hundreds of people who travel with us, who have left their families to help us build the stage or do lighting or sound and make sure the show runs smoothly.

“And on top of that there are thousands of people here in Perth who came and helped us out building the stage and are going to be here tearing it down later.

“They’re here making sure we’re all safe, being security, helping with parking so all the people who have helped us put this show on, they’re the ones I’d like to hear you guys scream for right now.”

She then moved into Long Live and New Year’s Day where she paused mid-song for a moment to smile and take in the adoration of fans – a moment that seemed truly humbling and genuine.

“I love you guys so much,” she said before disappearing off stage while a video introduced Getaway Car and Call It What You Want, which saw a working fountain take centre stage and remain for final songs We Are Never Ever Getting Back Together and This Is Why We Can’t Have Nice Things.

Several bows, a lap of the stage and a kiss goodbye and Swift disappeared through the floor, opting to break tradition with no encore – but plenty of glitter on the floor after the party.

The two-hour stellar performance was the first time Swift had been in Perth since 2013 and proved why she just won the American Music Award for Tour of the Year.

She is expected to stay in Perth for the next few days with her next show not until Friday in Melbourne.

The Reputation Stadium Tour will then hit Sydney, Brisbane and Auckland before heading to Japan.

Link

#perth #perth reviews

[wlstories]

Meet: @movingforwardlookingforward 🇦🇺I hit 243kg and realised I had to do something about my weight. I had lapband surgery in 2010 and 12 months later I had gotten down to 168kg but needed more surgery in 2011 and jumped back up to 211kg 18 months later as I never got back on the wagon. I hovered between 190kg and 200kg for 5 years before I decided in October 2017 that enough is enough. I had to do something so I did. My lap band isn’t functioning at the moment so I’m doing it on my own. I’ve found a new love of fresh food, exercise and running. I enjoy sharing my journey as I know it inspires others and I hope to keep sharing my progress (the good and the bad). It can be done. You just have to believe in yourself. Starting tip: Ask yourself this question before you do anything - ‘how bad do you want it?’ and keep your goal in mind when you make your decision to skip a work out or eat a piece of cake. How bad do you want to get to your goal and will that decision you’re about to make how you get there? And always remember that you’ve got this. Just keep going. ________________ WANT TO BE FEATURED? Check out the link in our bio! Near the bottom is instructions on how to submit!! FYI; it’s 100% FREE!! ________________ Wlstories is a SUPPORT GROUP. Please show love and support to others by leaving a positive message in comments! 👉 No more hashtags for a while. IG is weird. Please help others see this post by mentioning wlstories in your ig stories feed. Thanks! (at Melbourne, Victoria, Australia) https://www.instagram.com/p/BtKKnz2DYP_/?utm_source=ig_tumblr_share&igshid=1dlrr8mylu6js

[winnettspecialist-blog]

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