#spotify singer dr b

[thelensofyashunews]

Indian Rap Stars DIVINE and Karan Aujla Share Collaborative Album, 'Street Dreams'

Emerging from poverty off the strength of their formidable rhyming skills, DIVINE and Karan Aujla are on the verge of achieving their wildest fantasies. Today, the two Indian rap superstars connect for their first-ever collaborative album, Street Dreams, a 7-track effort that demonstrates why they are among the most exciting artists in one of the world's fastest-growing rap scenes. 

DIVINE and Karan Aujla hail from the same country, but their contrasting styles are what make the project special. DIVINE is a rapper's rapper, stacking flexes and throwing elbows in dense, syllable-rich verses, taking no prisoners with his gully, Hindi-language rhymes. Singing and rhyming in Punjabi, Karan Aujla, is a master of melody, mixing in the microtonal runs of traditional Indian music with R&B-flavored hooks and imperious verses. Together, the two artists make a historic combo, as they join forces to claim the Indian crown and put the rest of the world on notice.

Out now via Mass Appeal India, Street Dreams is a relentless effort, bringing bilingual bars that express sentiments that need no translation. The album features production from Western heavy-hitters like Boi-1da, WondaGurl, Harry Fraud, Leven Kali, and Trox, who deliver premium productions for Karan and DIVINE to annihilate, along with hip-hop producers from the Indian scene. "Hisaab" finds the two artists counting their myriad accomplishments in 6/8 time, taunting any comer who can't match their quick maths, while "Top Class / Overseas" lays playful strings atop sliding 808s as DIVINE and Karan proclaim their valedictory status. "Yaad," meanwhile displays a softer side of the duo, as they trade off vocals with Indian-Canadian singer Jonita Gandhi.

Stream Street Dreams on: Apple Music, Spotify, Tidal, Deezer & YouTube

Also among the highlights is "100 Million," the tape's lead single and music video, which made waves across the globe. Defined by nostalgic hip-hop production reminiscent of Y2K-era Dr. Dre, in this case produced by American producer Trox (50 Cent, Cordae), “100 Million” is an anthem for those with grand dreams, the two icons reflecting on the enduring habits that propelled them to greatness. The song arrived in mid-January, with a video filmed in Dubai and directed by Karan Aujla’s long-time collaborators Rupan Bal, Dilpreetvfx and Anmol Raina. The song and video immediately became a huge success–the song reached the #1 spot of the YouTube Trending Charts in India, and reached the Top 10 in countries including Canada (#2), New Zealand (#4), UK (#6), Australia (#8) and the UAE (#8). Overall, the song racked up over 20 million YouTube views to date, as well as over 3 million Spotify streams. 

Karan Aujla and DIVINE have individually topped several charts across India with their albums and songs such as Karan's “Softly”, “White Brown Black”, “Mexico,” and “Players,” and DIVINE's “Mirchi”, “359 AM”, “Baazigar” (80 million YouTube views), and “Kaam 25” (65 million YouTube views). Their upcoming collaborative project is the first of its kind in the Indian music space and is poised to be a landmark moment in Indian music history. 

With Street Dreams out now, the dynamic duo prepares to make their presence felt on American shores. Stay tuned for more videos and announcements from DIVINE and Karan Aujla in the near future.

#divine #karan aujla #rapper #artist #music #culture #sound #street dreams #desi hip hop #desi music #desi #punjab hip hop #punjabi music #punjabi hip hop #punjabi #punjab #india rap #indian hip hop #indian rap #india hip hop #india

[singerdrb]

Listen to my new song on Spotify - spotify:album:19ywyS9irowIkFroFvXpad Singer Dr. B... 

Visit website of Singer Dr. B... / www.singerdrb.com

#spotify singer dr b #eastern #disco party #music #facebook singer dr b #singer dr b #www.singerdrb.com #world radio #spotify #deezer #iTunes #Cd-baby #amazone #dico bunny #party bunny #easter bunny mu cu cu #party #color eggs

[celestialdr]

My Script

So I’m posting up my script here if anyone's interested. This is for my main DR in the D:BH Universe.

It’s kinda long.

*WARNING: very self indulgent.*

Intro

My DR is set in the D:BH universe. In Detroit, 2039. I am a young Detective at the DPD.

All events that happened in my play trough of DBH happen in this reality. EG. Markus = Peaceful Revolution. Kara= Her, Alice and Luther all escape to Canada together. Connor = Becomes Deviant.

Hank and Connor become like father and son. Connor moved in with Hank after the events of DBH.

I have been working at the DPD as a detective for about a year now, I was very excited to be working alongside my dear friend Trey Greene (OC), who actually ended up being my partner. We do almost every investigation together.

During my time at the DPD I have become fast friends with Hank and Chris. Gavin is okay, we joke and banter but I wouldn’t say we are buds. I disliked his attitude towards Hank and his dislike of androids. But if he changes, who knows, maybe we can be friends. Idk.

I always supported android rights, even before there where deviants. I always treated androids with kindness and compassion.

I first met Connor on the 6th of November 2038, back before he was deviant. I was always kind to him and had a fondness for him. When Connor first saw me he stopped for a minute in a miniature awe, the stereotypical love at first sight motif. Although he did not know it at the time - him not being deviant yet. A software instability entered his program upon seeing me. In fact, anytime we made eye contact or talked he got a software instability. It baffled him.

The first time he saw me after deviating he was hit with butterflies, it didn’t take too long to realize what it was, he had a huge crush on me. He kept it to himself but Hank knew immediately.

It is now January the 8th 2039, Connor and I have become quite good friends but his feelings for me only continue to grow. We've only known each other for 2- 3 months but Connor is falling in love fast and now he's decided to finally pluck up the courage and admit his feelings to me and ask me out. How will he do this? I don’t know yet.

______

World

 After the events of DBH, Androids start getting rights, relatively quickly.

Laws are implemented to protect androids. Androids are free. They can own property, get paid for working and all of the things Markus was advocating for.

As time goes on Androids fully integrate into our society and we mostly live in peace. Hate crime of any kind is rare.

Android politicians start to pop up. Android Pride day exists. Androids can marry each other and humans. Android/Human relationships are normalised. Androids can adopt. Etc.

_______

Shifting

 1 hour - 1 day

. While I am in my DR my clone is sleeping in my CR.

. I have a Healthy attachment to my DR and I recognise the importance of my CR.

. I remember everything from both realities vividly while I'm in the other unless I script otherwise.

· I can fully trust my clone. My clone acts identical to me.

· When I shift back to my current reality time stops in my DR. The next time I go to my DR everything continues where I left off.

 · I can use the LIFA app in my DR to see what my clone is doing in CR.

· I only shift back to my CR when I want to, I can’t go back on accident.

· My safe phrase for coming back to my CR is “I want to go back to my Current Reality.” or even as simply as I make it my intention, then I can go back.

·  Nothing traumatic happens to me in my DR.

· When I come back to my CR, I will remember everything that happened in my DR.

· When I shift, I wake up in my DR bedroom.

 · When I am shifted I smell cinnamon and my eyes automatically open.

· I cannot die or get very hurt in my DR.

. I am able to fully Integrate Into my DR self’s life. e.g. Rembering my DR self’s past, feeling comfortable and normal talking to and interacting with people in my DR selfs life. Having all the skills and knowledge my DR self has.

. No one from my CR or other realities can enter my DR without my permission.

.My guardian Angel or one of my angels or guides from my DR has decided to help me shift. Whenever I try to shift in this reality the Angel assits me and pulls my CR self into My DR.

_______

About Me

I have the same name, b-day etc but I am 25 Years old.

Childhood and teen years, pretty similar to CR.

Everything is pretty much the same except added skills talents or whatever else I script.

 Physical

·  I Look like myself but 10x prettier.

·  I have my dream body, which always stays perfect and in shape. Similar to my body type only toned and fitter.

·  I have perfect, white straight teeth.

. I always have good breath.

· I always smell great - My sweat doesn’t smell.

· Low, silent gas that doesn’t smell.

· I usually smell like ‘Soap and Glory’ products.

· I have Beautiful hair that is easily maintained. My hair is also a slightly lighter blonde.

· I have my Ideal, natural eyebrows.

·  I have soft, clear skin and I am slightly tanner than in my CR. 

· I am beautiful from all angles.

· I have long eyelashes.

·  I have a straight, cute nose.

·  I always have good hygiene.

·  I never gain weight when I don’t want to, my body is always slim and never bloated.

·  If I ever get pregnant, after having my baby, my body goes quickly back to the way it looked before.

· I don’t have to shave too often.

· If I ever decide have a baby, my pregnancy will be safe and my child will be safe. It will be born happy and healthy.

· I have perfect senses.

·  I can be fully functional with little sleep.

· I have good stamina and am physically fit.

· I still have my accent. 

· I have a naturally beautiful face with and without make up.

· My make-up sits perfectly on my face and stays all day until I take it off.

· My make-up never runs.

· I always have nicely manicured nails.

·  I always look well groomed. 

Health

 · I have high pain tolerance.

· My period only lasts two days and doesn’t hurt too bad.

· I can only get pregnant if actually wanting too.

· I am always safe.

·  I am divinely protected at all times.

· I am well rested and perfectly healthy.

· I can think clearly.

· I have good mental health - maybe went through similar mental health issues when I was younger but now am perfectly healthy and able to cope.

· I do not scar.

· I heal fast.

· 𝖨 𝗐𝗂𝗅𝗅 𝗇𝗈𝗍 𝖻𝖾 too overly 𝖺𝗍𝗍𝖺𝖼𝗁𝖾𝖽 to my DR and I will not get any trauma.

·  I eat healthy, and enjoy healthy foods.

· I drink plenty of water

·  I have balanced chakras, Good intuition and I radiate love and light.

·  I can easily communicate with angels.

Skills

·  I am a skilled detective. I know exactly what to do and I have all required skills.

·  I am an excellent shot.

·  I have excellent fighting and self-defence skills.

· I have high intelligence.

· I'm never badly hurt in the line of duty. Extremely lucky (like domino in dp2.) If I ever get hurt in DR its only minor. No one is suspicious about it.

·  I'm a good writer.

· My art skills are always better in my DR than in CR.

· I have a good memory and deduction skills. Good reasoning skills.

· I am socially confident and charismatic.

· I am an excellent speaker.

· I am good at reading people.

· I give good advice.

· I am a good friend.

· I am a great kisser and fantastic in bed.

· I am hard working and have lots of patience.

· I'm a great singer and can play piano, guitar.  

·  I know French and Irish.

·  I know how to drive.

· I'm really good at make-up.

·  I'm really funny.

·  People easily trust me.

Life

· I have all knowledge my CR self has.

· I had a relatively easy life.

· I come from a wealthy family.

· I am always full of motivation and energy.

·  I have an amazing closet full of clothes, including both new clothes and my CR self's clothes.

· I have all of my current realities belongings. (Well, the stuff that I want with me.)

· I have a ton of art supplies.

· I live in my own house which I can afford with ease.

· I have a cute golden retriever called Bailey who is okay alone in the house while I'm at work.

· Bailey is a year old and is fully trained.

· I have a nice car that is self-driving.

· I have a good phone with the LIFA app

·  I get to travel to cool places on holidays/vacation.

· While I'm in my DR I don’t confuse my CR's past with my DR's.

· All my fave shows, music, movies are also in my DR.

· I have lots of friends and make friends easily.

· I remember my past in the DR and can reference it with ease.

· I never have to kill as a detective, I can always disarm or find another solution.

· I won't get fired from my job.

· I'm good at my job and I know how to do my job well.

· Trey is my partner and our desks are beside each other.

·  I'm also friends with Chris and Hank.

·  My friends are always there for me. My friends care about me.

·  Money comes to me easily and effortlessly.

·  I am a really great at manifesting what I want in my DR.

·  People I don’t want to, won’t die or get very hurt.

·  People from my DR never notice if I'm not there because when I’m not there, my clone takes my place. (Although I probably won't use my clone too often because I plan to pick up where I left off most of the time.)

·  I know all passcodes and important numbers of my DR self's life. E.g. Passwords, phone numbers, etc.

·I have a Spotify/ (or whatever the equivalent to it is in this reality) filled with music that I like. Maybe some of the playlists that I have in CR.

· I'm quick at picking up skills.

· If I ever decide to change career in my DR, I can do so with ease and get whatever job I want.

·   I have nice, tidy handwriting.

Family

I come from a wealthy family. We moved from N.I. to America - Detroit in 2025. (Moved Because dad was offered a great job.) *family all have our green cards.*

Family is friends with Carl Manfred.

A very loving, healthy and supportive family.

* In my actual script I go into more detail about my family. but i’ll give you a brief rundown. I chose to shift to a reality with a different family from my CR family because I thought if I had a different family and friends it will give me more of a reason to come back to my CR. So I can have balance? idk...*  

My DR dads name is Patrick, DR mums name is Mary and my DR brothers name is Lucas.

Family support and are okay with my relationship with Connor because they recognise androids as living beings.

Last but Not least! Bailey!

Bailey is my one year old Golden retriever. She is very well trained and is an absolute angel. She also really loves Connor.

House

I live in a 1 bedroom, 1 bath house with Bailey. *In my actual script I stuck in a bunch of pictures of a house I built in the sims 4.*

Friends

So, I'm not going to go through all the friends I scripted on here but I’ll tell you about my best friend from my DR. My partner from work, Trey Greene. He’s 27, a leo (like me) and gay. (I honestly made my entire friend group LGBTQ+ LOL)

I may have also scripted that jenna marbles is there and shes my friend lol.

Connor

*Okay now to the real reason I'm shifting, the love of my life.*

Connor falls in love with me the moment he sees me. Although he may not understand what it is at first because he hasn’t deviated yet. When he fully deviates he realises his feelings. He's a little shy about it at first but eventually asks me out. We date and fall in love and end up in a loving healthy relationship. We respect each other's boundaries and are completely in love. Like stereotypical soulmates.

 Connor is very romantic and affectionate. Literally like a prince charming.

 When we get together we are in a healthy relationship and both of us are completely faithful. I can trust Connor fully because I know he is trust worthy and always has my best intentions at heart.

 . We have similar love languages.

.  Connor is super-duper romantic and calls me sweet names like "My love."

. Much Like me in this DR, Connor is completely protected and safe with extremely good luck.

After the events of DBH and Connor is deviant. Amanda and cyberlife no longer have any control over him.

 NSFW warning - Skip to Lifa if your not comfy.

Connor's model was created fully equipped with regular male genitalia (which is about 7 inches.)

He is very vocal in bed and is great at dirty talk. He can do loving romantic sex and also kinky rough sex too.

 Lifa

Lifa is an app on my smart phone that only I have access to. Others don’t notice it. (like hidden in plain sight.)

 It can only be noticed by others if I decide I want to show it to someone.

 Lifa allows me to script while in my WR. It also allows me to see myself in CR.

Lifa updates me when its nearly time for me to wake up or reminds me when. As if it's like a timer.

 Lifa doesn’t require internet. It has maps on it. I can look at my money and add to my money if I so wish. (if I add money it doesn’t ruin the economy.) idk magic lol

 I can also access in online on a computer or tablet or any device that carries the internet.

 No one else can use it unless I specifically allow it.

 I will be alerted by this app if my clone wakes up.

 I always have my phone near me. I can never lose it. Its also always fully charged.

 If I get a new phone. Lifa automatically downloads on it and deletes off the old phone.

MISC.

· When androids deviate they are able to feel pleasure, touch, etc.

· Androids actually do have souls and are actually a new life form.

· After revolution CyberLife starts to create things for androids like upgrades. E.G. Taste, ability to do almost everything humans can.

 · Most people are environmentally conscious.

· The earth is healing and people are taking better care of the planet. A lot more environmentally conscious options.

·  The ocean, air, atmosphere and earth are all 70% cleaner than in CR.

·  Racism, homophobia, sexism are quite rare. Ultimately society frowns upon such things.

·   Humans and Androids live in peace

· Shortly after the revolution, Kamski got repointed as CEO of Cyberlife. Cyberlife now focusing on the needs of Androids and helping them adjust into the world.

·  Youtube still exists and is relevant.

·   Bagel Bean and Boojum exist in Detroit and aren't too far from my home. (These are food places back at where I'm from that are bomb.)

·  No crisis with bees.

. The Police and justice system are reformed.

·   No threats of ww3.

·  I don’t live too far from work.

·  All the videogames I like still exist, (except for dbh obvs.)

· We can buy Cadburys and Pujana tea in America. (Things I like in the UK.)

• Food in US is similar to food in UK. e.g. same food laws and food that is actual tasty / healthy. LOL 

(sorry, I've been to America and the food there tastes weird, man.)

Future

Now that the androids have rights, Cyberlife has to free all active Androids. Eventually they get around to RK900. Cyberlife only created one RK900 as a prototype before the revolution.

The RK900 goes by the name Nines. He ends up working in the DPD. (Months later.)  It takes a while for Nines to deviate but he eventually does. Nines is rather stoic but he is nice. Him and Connor have a brotherly bond. Nines becomes friends with me, Connor, Hank and Trey. (Part of our little found family.)

 In the future, when Connor and I are both ready we get married and have kids (either through adoption or sperm donation or maybe they find a way for androids to have kids in the future, idk?)

 In the future me and Connor buy our dream house together.

--

So, Yeah that's what I've scripted so far. I keep one script on my PC and one in a notebook under my bed. 

Feel free to use any ideas or concepts from my script 

#shiftblr #reality shifting

[lunapaper]

Album Review: 'Justice' - Justin Bieber

So did Justin Bieber change direction? Will he do his latest album... justice?

Uh...

Released a mere 13 months after the bland and tiresome Changes, the Canadian singer delivers yet another set of mawkish love ballads and Top 40-baiting pop to remind us all once again that he really, really, truly, madly, deeply loves his wife Hailey Baldwin and of his commitment to God.

On ‘Deserve You,’ he admits: ‘When I'm in my thoughts sometimes/It's hard to believe I'm the person you think I am/The person that you tell me you love.’ He’s even ‘off my face in love with you,’ replacing one vice for another as he finds himself stoned after one touch of Mrs Bieber. On the skittering, soaring ‘Ghost,’ he vows: ‘If I can't be close to you/I'll settle for the ghost of you.’

Bieber also pledges to die for her, to walk through fire ‘even if your kiss would kill me,’ on ‘Somebody,’ be the shoulder for her to cry on, and even calls he ‘the only good thing I’ve ever done’ on ‘Anyone’ as they dance under a sky full of diamonds.

‘Love You Different,’ however, leaves nothing to the imagination: ‘Under covers ain’t no rubbers/ On this planet I’ll treat you like a mother/ Let’s make babies.’

If it was just a couple of love songs dedicated to his wife, it’d be fine, but one after the other, at this level of co-dependency and self-loathing from a now 27-year-old Bieber, is just suffocating and kind of frightening. Then again, Homer did say complete and utter dependence is a ‘wonderous, marvellous thing’...

The breezy ‘Peaches,’ meanwhile (ft. Daniel Caesar and Giveon) is carefully tailored to be a potential Song of the Summer, this time praising Georgia-grown produce and California weed alongside his wife. It’s like a more grown-up version of that ‘you gotta keep your head up, oh-woah’ song, with just a dash of Maroon 5’s ‘Sunday Morning.’

Then there’s previous single ‘Holy’ (ft. fellow wife-lover, Chance the Rapper), a sweeping gospel pop ode sampling, of all things, Elvis’ ‘Can’t Help Falling in Love with You,’ that sees Bieber ‘runnin' to the altar like a track star.’ But this goofy eagerness for The Lord is outmatched by some even goofier lines from Chance, like this one: ‘Life is short with a temper like Joe Pesci.’ As both an Italian and a music lover, I just can’t abide. Then again, Chance really doesn’t like criticism, so that probably explains its first draft-like quality....

Look, I have no problem with religion or spirituality of any kind (Except for Hillsong, ‘cos fuck Hillsong, fuck Morrison and fuck prosperity gospel). I don’t even consider myself an atheist. It can help provide guidance and comfort in troubling times, as it’s done for Bieber. It’s also quite ironic that I post this review on Good Friday... But like a lot of born-again types, he must espouse his religious beliefs at every single turn, in the most preachy and insufferable way possible; there's just no in between.

Justice also sees Bieber attempt to restyle himself as some sort of humanitarian – by sampling the powerful words of Dr Martin Luther King Jr.

But rather than use them to speak out against racial injustice or police brutality, they’re merely used to prop up Bieber’s overwrought declarations of love on piano ballad ‘2 Much’ and on an interlude halfway through the album... which is immediately followed by ‘Die For You’ (ft. Dominic Fike), dedicated yet again to Hailey.

Although he admits that ‘I know that I cannot simply solve injustice by making music, but I do know that if we all do our part by using our gifts to serve this planet, and each other, that we are that much closer to being united,’ Bieber’s social conscience rings hollow, nothing but a gross, vapid, self-indulgent attempt to capture the cultural zeitgeist. It's corporate brand wokeness; the bare minimum when it typically comes to celebrity activism. Or maybe this is some weird way of atoning for the awfulness of ‘Yummy’ and trying to game the Spotify algorithm. That he didn’t anticipate such backlash in the first place is also pretty galling.

Even the album’s title is perplexing: What justice is Bieber fighting for, exactly? The right to bone Hailey Baldwin? The right to dedicate soppy ballads to her?

But, like Changes, there are a few diamonds in the rough.

The hazy, drum-powered atmospherics of ‘Deserve You’ could’ve easily sat alongside Purpose’s biggest hits, like a softer, slower take on Jason Derulo’s ‘Cheyenne.’ ‘Unstable’ (ft. The Kid LAROI) is sparse and ghostly with those ‘Another Day in Paradise’-like vibes.

‘Die For You’s intensity is matched by punchy 80s synths. ‘Somebody’ (produced by Skrillex) is also urgent and feverish, given some extra grit with some power pop riffs and murky percussion, while the glitchy ‘Love You Different’ (ft. BEAM) is as bold and vibrant as ‘Sorry,’ combining garage-inspired beats with dancehall swagger.

If Bieber had just stripped away all the cheesy ballads and stuck with the 80s synthpop, he probably could’ve turned Justice into his very own After Hours (not nearly as good, mind you, but still better than... this).

Justice is not nearly as profound as Justin Bieber thinks it is, his latest album once again let down by cheesy, uninspired lyrics and a lack of focus as he relies on a grab bag of styles: early MTV-style New Wave, tropical pop, RnB, pop rock. Although the acoustic ballads are, thankfully, kept to a minimum and the production is just as slick, with much stronger collaborators for the singer to bounce off (Then again, just about anyone is an improvement on fuckin’ Lil Dicky...)

Like Changes, it’s also about five or six tracks too long. Hell, there’s no less than four deluxe editions of Justice: The Target Exclusive, The Walmart Exclusive, The Alternate Version (featuring one extra track), and The Triple Chucks Deluxe. It’s so fuckin’ shameless, but what do you expect from the guy who released ‘Yummy’?

His quest for TikTok notoriety blew up in his face. His attempt to ‘continue the conversation of what justice looks like’ is hollow and plain tone-deaf. His syrupy, obsessive odes to his wife have more than grown thin at this point. If he doesn’t gain some self-awareness soon, then It’s hard to know just where Bieber goes from here...

- Bianca B.

#music #justin bieber #justice #new #reviews #albums #Bianca B

[ask-the-crimson-king]

Music Shill of the Day

[YOU HAVE BEEN BAMBOOZLED IT’S AN ENTIRE FUCKING ALBUM THAT I’M SHILLING MOTHERFUCKERS.

This album is called Epitaph and it is by Pyramaze and GOOD FUCKING LORD do I love this. 

It was released on November 13th, and I have been listening to it practically non-stop ever since. Since I’ve given it a few days to settle in my brain, I am now doing a full shill for it. 

TL;DR SINCE I’M ADDING A CUT! Album slaps and y’all should go listen to it. It’s power metal (of course), very intense and emotional/uplifting sort. Best songs (in my opinion) are basically all of them. They are all good.

But if I did have to choose a top 3, it’d be:

>Steal My Crown >Final Hour >Particle or Indestructible

BUT ONTO the very rambly and more song-specific shilling.

I’m going to take this song-by-song and also link the full playlist here (youtube link, the album is also on spotify) because you can only have four videos per post and I don’t want to flood people with this thing. 

Also fair disclaimer for people who understand music; I don’t, I just enjoy this shit enough to try and share it with others. So if this sounds like a five year old trying to explain music, I’m sorry. I just am like that.

Also also disclaimer that not all of the songs have lyrics that I can find, so for some (if I posted lyrics) they are what I can decipher.

ANYWAY.

Epitaph on its own is a very beautiful sounding instrumental. It feels quiet, a little somber, but also uplifting. After going through it a few times, I can hear bits and pieces of the other songs on the album, which is a neat touch. And then it ends and smoothly transitions into A Stroke of Magic. Now, I’ve already done a shill for A Stroke of Magic, however the song, even weeks later,

STILL SLAPS. 

I love it. It is definitely a shift from Epitaph with its intensity, but it still carries over some of the instrumental into the song. I love the lyrics, I love the musicality of it, I love everything. It is one of the slower, more... forceful, if that makes any sense, songs on the album. It feels like something is slowly building and building as the song goes on, and this intensity carries into Steal My Crown. 

Steal My Crown is an absolute banger. I love it for so many reasons. I love how it opens, I love its riffs, I love how the lyrics are sung, it just is an absolute BANGER of a song. I love it so very much. It is also a bit of a slower and forceful song, but it still has that more signature intensity I’ve come to associate with these guys. 

The verses contrasting with how the chorus is sung is something I’m a sucker for. Especially with the guitars and synths hyping up the chorus and adding to this wonderful buildup. It makes the chorus sound even more powerful and amazing. I absolutely LOVE THIS SHIT. It is AMAZING.

Also love how the song ends. Just. It’s so good, guys. It’s so fucking good.

And now we come to Knights in Shining Armour.

Or, as I know it, 

“THE D&D SONG!”

Knights in shining armour, On a quest for power, Taking charge of things you'll never know. To raise the name of glory, Is bloody mandatory, If you want to end this puppet show! Knights in shining armour, Embittered by the hour. Taking charge of things you'll never see. But the road is long and torturous, Paved with steady progress, To bring this villain to his knees!

Classic D&D, anyway. It has that jaunty adventurer feel to it, and the chorus is just. It’s D&D. It is simply D&D. It’s fucking great. It is a nice lil jaunt. Don’t have much more to say, it is just a very enjoyable listen.

Bird of Prey is next. It’s maybe the weakest song on the album. I do not hate it, nor do I dislike it greatly. This entire album is amazing and absolutely slaps. However this one just feels like a song I’d hear while watching a trailer for a romcom or some sort of superhero movie with a romance b-plot for the hero. It’s not as particularly amazing as the other songs, but it’s far from horrible. Nice lil song to listen to.

Your Last Call is interesting. It’s intro is a bit different, a bit choppy, but it still definitely works for the song. That choppiness carries over throughout the song and it fits. Very nice to listen to. This one is also a bit weak on the album, but it’s still a nice song. 

AND now we come to Particle.

LET’S TALK ABOUT P A R T I C L E.

I'm chasing every particle of you, I don't wanna fight no more. But I can't believe it, I'm following your shadow's out the door. Calling out your name, but I know, I'm easily deceived and alone!  

First off, love it. Love love love it. It has a similar style and feel to Steal My Crown with that intense opening and then a more subdued verse that begins to lead into a very powerful chorus. Plus it has that little choppiness in it. 

The pre-chorus leading into the chorus just gets you ready for it to just... explode. AND IT FUCKIN DOES.

AND IT SLAPS.

And then it gives you some time to try and catch your breath before it punches you in the face again. But it’s still just... amazing. Wonderful. 

Also the lyrical content is grand and I enjoy it immensely even if it is maybe potentially a love song? Not sure completely. Still love the song anyway. 

I’m gonna be 100 with you okay.

Seeing this next song’s title I thought it may have been a cover.

It is not.

INDESTRUCTIBLE STILL FUCKING SLAPS SO DAMN HARD THOUGH.

I don’t know what we’re fighting for, Why are we trying to die so young? We are in-de, We are in-de. I don’t know what we’re fighting for, Why are we trying to die so young? We are in-de, -structible in life.

It is intense. It has that buildup. It has a great chorus. It has everything I praised the last few songs for. 

Its pacing does feel a bit different to that of Particle or Steal my Crown, but that’s part of why I still think it slaps. It just. Slaps. THE WHOLE ALBUM FUCKING SLAPS OKAY-

Alright so Transcendence.

It has a guest singer! She has a nice voice to listen to. I’m not a fan of femenine singers personally, but I like her voice.

The song itself, it feels... more somber, more like the title track than some of the other songs. Of course it has that signature intensity, but it also feels just...

Can’t really describe it. Slower. Calmer. Like a bit of a breath, for the last leg of the journey. 

Anyway.

Final Hour.

Uh.

Feels.

First of all, it just jumps right into the song. Not much of an intro before the lyrics begin. I like that. And the rythym of it is nice to listen to. 

And then the chorus...

Oh honey.

In our final hour, When the times are rough. We were sworn together, Last chance -- it's now or never! In our final hour, For the greater good. One man, of fifty million, In our sense of brilliance.

(Don’t feel too confident about those last two lines to be honest).

Fuck man. I just. Undescribable love for this song. Its entire feel of it just makes me feel kinda sad. This has a similar feel to Heroes (of Dundee) by Gloryhammer. I can’t catch all of the lyrics, and I can very well be wrong, but it feels like it has a similar theme. Of a sort of inevitability that something huge is about to happen.

Warriors are about to go off and potentially sacrifice themselves to save lives. 

A bit heavy, but I love it. 

Anyway. From something a little heavy, we get to World Forgone.

Aka something even MORE heavy. If I’m reading the lyrics correctly, it’s a song referencing how the world is becoming polluted, and how it’s dying. 

Mournful. Depressing. That somber feeling is back. Still a really good song.

And now.

We come to the end. A 12-minute song called The Time Traveler.

And GOOD FUCK I WOULD LOVE LYRICS BECAUSE THIS SOUNDS LIKE A REALLY COOL STORY IF I AM HEARING THIS CORRECTLY.

May do a Bonus Shill for this song in particular when the lyrics are released. 

This song features two guests in it, and I will say the guest singer kinda reminded me of Fabio Lione. However I haven’t heard much of that guy’s stuff outside of the song he did with Ancient Bards. 

(The guests are Lance & Matt King)

This is a very nice way to end the album. There’s talk of timelines, of maybe a sorcerer or warlock who is gaining power/succumbing to darkness. I say maybe cause THERE ARE NOT LYRICS OUT YET. I would LOVE them. I will do another shill when they come out.

SAME FOR THE OTHER SONGS WITHOUT LYRICS. Damn it. 

Anyway, this is a very good song, of course it is. The pacing of it doesn’t make it feel like you’re listening for eternity, which is something I appreciate. 

But I suppose that’s all I have to say. This post is long enough. 

THIS ALBUM SLAPS. LISTEN TO IT. ITS GOOD.]

#music shill of the day #pyramaze #epitaph #fuck this album is so damn good

[lowbatterypleasecharge]

k-pop preferences: FMA

Ed:��

Monsta X - loud and gaudy, need I say more

Peripherally follows BTS - got to support them short kings

He wasn't a huge fan of Twice, but Al and Winry started playing the Feel Special Album and "Get Loud" is gospel

Stray Kids - "Miroh"... but also "Hellavator" and "DoUbLe KnOt"

Al: 

SNSD are the Amazons we deserve

Of course he follows Taeyeon, you buffoons

Twice in general, but also "TT" - "TT" is his spirit animal

IU is Class™

Seventeen - well-liked by everyone, "Very Nice," how could you go wrong?

Winry:

Really anything she can bop to while working, she's not picky

Made her ringtone on Ed's cell "Pick Up the Phone," because what the hell Ed

"Save Me" saved her many times, during many work shifts

Them Loona girls are pretty cool - "Butterfly" is promising

"Tell me why-y-y I'm so lonely," she absentmindedly sings to herself as she stares, bleary-eyed at the arm plate she has to weld into place before the shipment at 6 AM tomorrow. Today. 2 hours from now.

"Sugar Free" is her workout jam, no judging

Hohenheim:

There are thousands of souls, sometimes at war, in his body. He loves and hates all music equally. Hyukoh hits a certain way, though. There's a silence within himself when he hears "Gondry" that he hasn't known for centuries.

Roy: 

"Back in my day, we had quality music: Epik High."

Stuck in second gen

"Chaser" is his go-to drunk karaoke song - he and Hughes used to go to town on Fridays

(He may or may not have serenaded Hawkeye to "Mirotic" after a bottle of tequila...we don't talk about the scar on the back of his left knee)

Sometimes the young-ins do something right - I'm looking at you, "Shangri-La"

Riza: 

Usually passes the AUX cord to someone else, but objective quality

Dreamcatcher is always a safe bet, style for days

Keeping her eye on BVNDIT because deep female voices are where it's at

SHINEE has her respect - classic, still going strong with "Good Evening"...as long as she never has to look at their debut hair again

(If she Tokyo Drifts to "I'm Sorry," only Black Hayate has to know)

Hughes: 

Though technically unrelated to K-pop, we all know Hughes did a rendition of "Baby Shark" with his wife and daughter and proceeded to curse every military base he was stationed at

Knows most of the same songs Roy does, but also oddly informed on the K-pop landscape as a whole - from g.o.d. to, gods forbid, ITZY

Sings "Lovey Dovey" a lot - whether it's for the memes or because he unironically worships the song, no one can tell

Havoc: 

Got7 ult bias - everyone wants to know why

But also, "Guys, iKON, 'Love Scenario' is where it's at."

Who's he kidding, really any gg could sing and he'd watch

Armstrong: 

Every morning he eats his 5 dozen eggs to "Sixth Sense"

EXO's "Mama" dramatics are goals

Knows the dance to "Again and Again," for some reason

Lust: 

"Bad Boys" by RV, but also "Peek-a-boo" MV is fire

Rip Pristin V, guys

Y'all wished they liked BP

Jennie is living her best life, though. Be hot...that's it, that's all there is to life. It's that easy.

EXID and Hyuna - free the titties, do God's work

Envy:  

There's a vibration under their pillow, which doesn't really bother them. But it happens again. And again. They lift their head slightly, groggily squinting into the darkness of their room. And then...a slightly muffled "A-to-the-G-to-the-U-to-the-STD." "Oh, Lust can go to voicemail."

They wouldn't say they like "Instagram" per say, but it's like the song won't let go of them. It's on every Spotify playlist they have, somehow. It's unsettling.

Greed:

Block B sinner, through-and-through, cultural appropriation be damned - they want it all

"Monster," no explanation needed

"Bang Bang Bang" is now inextricably entwined in their vocabulary because God is dead, and we have killed them

(and "DDU-DU-DDU-DU," but hopefully his crew doesn't know that)

Ling:

"24 Hours" > "Gashina," and he will die on this hill

But also he's been determined to figure out how to Taemin since "Move"

Vape, you say? Be gay, you say?

Lan Fan is in charge of setting up "Trouble Maker" on the boombox before he yeets out the window, or maybe "Sorry Sorry"...it depends

"Young Lord, what is 'jyp's don't leave me,' and why is the dance tutorial in our search history?"

Greed!Ling:

They've made a compromise, it's 2NE1, and it's possible they're both better for it

Perhaps "I Am the Best" is the anthem they deserved, all along

Lan Fan:

Day6 - the existential yearning

"I Smile" she thinks, very much not smiling

Also, scene kid Lan Fan in her black hood, meditating on life's greatest questions and Seungyeon's "Guilty"

(In other news, Lan Fan has learned to suppress many things in life, the lyrics to "Some" are not one of them)

(P.S. "Gashina" > "24 Hours," but the Young Lord doesn't have to know that)

Mei:

Anything Al likes, obviously, though she despairs at gen 2 gg legs

Astro, obviously

I.O.I. - Korean releases only, she's not a heathen

"Just One Day" - romance in a nutshell

Has a weak spot for traditional Korean influences - "Lit" and "Idol" come to mind, though she's pretty sure she wouldn't like the latter under normal circumstances

Scar:

Doesn't normally listen to music outside of religious reasons

Did the military try to make Scar do a PR stunt to RM and Whales' "Change?" Yes, they absolutely tried.

Olivier:

Again, not a huge music person, doesn't really do it for her

A nod in passing to those who don't pander to the masses on Weekly Idol, even if she doesn't know who they are

(Ever since then, Armstrong keeps blithering on about functions? She thinks. She doesn't care to understand how they're connected to red lights or electric shocks, though.)

Dr. Marcoh:

Trot

"Man, the kids really can sing these days," he thinks, biting his bottom lip and bobbing his head to Masked Singer

#the moment pride said his favorite kpop song was arirang they should have cuffed the little f*cker where he stood #'daddy's favorite song' my @ss #fma headcanon #kpop headcanon #i guess? #txt post #long txt post

[jdiep95]

Mariah Carey: Top 10 Remixes

In continuation of celebrating Mariah season, and “All I Want For Christmas Is You” finally becoming a #1 single, I am sharing with you my “Top” lists of MC songs every Monday and Tuesday up until the 25th. After talking about the Top 10 Most Iconic Mariah Carey songs, it’s time to move on to the Top 10 MC Remixes. Come back next Monday for the Top 10 Underrated MC Bops. All songs mentioned these lists can be found on streaming services (e.g. Spotify, Apple Music). That means deeper cuts, but fan favourites, like the “Someday (New 7” Straight)” remix, the “Never Too Far/Hero” medley, and “H.A.T.E.U.” remix ft. OJ da Juiceman, which aren’t available, aren’t included; the aforementioned remixes are, however, available on YouTube, and they definitely deserve a listen.

You’ve listened to remixes where they’ve brought in a guest rapper, something that Mariah popularized in 1995 as you’ll see below. You’ve also listened to remixes where they’ve brought in a featured singer, something that Mariah had also done in 2000, when she re-released the “Against All Odds (Take A Look at Me Now)” single with Westlife. But you’ve never heard a remix until you’ve heard a MC remix. Somehow we’ve gotten the perception that Mariah is lazy because she doesn’t perform the choreo or doesn’t sing the song — point them in this direction. Up until the 2010s, Mariah insisted doing remixes her way. She’s not just pulling in DJs, or rappers, or featured singers to do all the heavy lifting in remixes, Mariah incorporates new elements, sometimes practically changing up the genre of the song. And she re-records, sometimes new vocals, sometimes the entire track.

Is the list TL;DR? No worries. I compiled each list into a respective playlist, starting from No. 10 and ending at No. 1, so you get to listen to the Top 10 MC Remixes while on the go.

https://open.spotify.com/user/jdiep95/playlist/6UfiZPeq4yA1fq4i87CUwq?si=iHpF9-BAThW8m26GKSKyiA

10. A No No ft. Shawni

Year: 2019

“A No No” is an underrated bop off of Mariah’s most recent studio album, Caution. Caution, like many of Mariah’s comeback, is a testament that she’s still got it; however, unlike the couple of albums before it, Mariah ditches most of the post-production, and delivers one of her strongest albums. “A No No” uses a sped-up sample of Lil’ Kim’s "Crush on You”, with the original mix using excerpts of Biggie’s rap. The remix featuring Shawni drops Biggie’s rap. This isn’t the first time Mariah opted for a female rapper for the remix: In 1999 for the “Heartbreaker” remix, MC dropped Jay-Z for Da Brat and Missy Elliot. “A No No” is a feminist song about cutting off liars and cheaters, and enjoying the single life; Shawni’s contributions add to the latter, admitting: “To all my exes need to tell you that I’m sorry/That I didn’t leave you sooner/I settle for less, and that is exactly what I been getting.” This remix isn’t perfect — the melody and the structure remains the same, and Mariah only records a couple of additional inflections. The best part about this remix, that’s absent from the original mix, is the addition of a series of ascending melismatic whistles near the end. You can’t help but feel like something’s missing from the original mix, and MC lets you know it in the remix.

9. Fantasy (Bad Boy Fantasy Remix) ft. O.D.B., Sean “Puffy” Combs

Year: 1995

Why the “Bad Boy Fantasy Remix” is so iconic was already discussed in the Top 10 Most Iconic list: It introduced the featured rapper formula to pop music, and paved the road for its successors like Beyoncé’s “Crazy in Love” or Rihanna’s “Umbrella”, both of which features Jay-Z. The remix features rapper O.D.B., who, by the time the remix was released, had started a solo career separate from the Wu-Tang Clan. The release of the "Fantasy" remix is entrenched in racial politics. Columbia Records and Sony Music feared the inclusion of O.D.B. would jeopardize the squeaky clean, family-friendly, racially-ambiguous image they had built for Mariah. In the remix, a lot of the pop production is stripped away, leaving the bass beat as the foundation of the song; Mariah sings on top of this. "Fantasy" sampled “Genius of Love” by the Tom Tom Club, and in the remix, the sample is echoed in the bass beat. The bridge of the original mix, which also samples “Genius of Love”, became the remix’s chorus. The structure changed, and “Fantasy” itself became slinkier, less saccharine. The producer, Sean Combs, better known as P. Diddy, recalled working with O.D.B. all through the night to record the rap; O.D.B recorded sentences at a time, whenever the inspiration hit, or whenever he was awake. Regardless, Mariah’s insistence to collaborate with O.D.B, and to release the remix was an industry-changing move.

8. Honey (So So Def Remix) ft. Da Brat, Jermaine Dupri

Year: 1997

The “Fantasy” remix, despite it being iconic and timeless, was mostly work in post, especially trying to piece together O.D.B.’s individual recordings to form an actual rap. The So So Def remix of “Honey” was a completely different affair with the song reworked and re-recorded. The bass line of the original mix of “Honey” samples “The Body Rock” by the Treacherous Three, while the tinkling piano line uses a sample of “Hey DJ” by the World’s Famous Supreme Team. The So So Def Remix foregoes “The Body Rock” sample, and also samples a different excerpt from “Hey DJ”. The accompaniment itself sounds like a midi file off of a video game, but it’s actually the hook from the Jackson’s 5 “It’s Great to Be Here”, Mariah’s first time sampling a another pop song. This “Honey” remix is a novelty. As a critic, you would expect another dance remix or something that really leans into the hip-hop, and instead you receive a feat that reduces the original dance track to 8-bit music with MC’s vocals as the main attraction.

7. My All (Classic Club Remix)

Year: 1998

Have you seen Dreamgirls? In the stage performance, Effie sings “One Night Only” and it shifts immediately into the disco version sung by Deena. I imagine the remix of “My All” draws inspiration from that, especially when they chorus starts chanting, “Just one more night.” In the Classic Club Remix, MC sings on top of a dance beat but it’s a slow burn before it becomes that full on club anthem. The remix isn’t completely re-recorded; it’s her original recording that’s fixed on top of the dance track produced by David Morales, but it’s the last five minutes that she adds on new elements, and finishes out with new vocals, a solo for the latin guitars, and a chorus. Sam Smith might be able to sing any dance song as a ballad, but Mariah is the master of rewriting any torch song into an upbeat track. Try not dancing when Mariah starts going off with the “Feel your body”’s.

6. Through the Rain ft. Kelly Price, Joe

Year: 2002

“Through the Rain” is Mariah’s first comeback single. It hails from Charmbracelet, Mariah’s comeback album after the entire Glitter fiasco. It’s Mariah’s first leading single that failed to crack the Top 5, even “Loverboy” off of Glitter peaked at #2. The inspirational track, which encourages the audience that they will “Make it through the rain”, stalled at #81. The original mix is a slow R&B ballad, one that even I rarely listen to since I almost always opt for the live version she performed at MTV Presents. The remix is more upbeat as a result of changes lyrically and melodically, and by infusing gospel elements, there’s more of a sense of hope than in the original mix. “Through the Rain” didn’t chart well, so why does this remix rank so high among the other remixes? A decade and a half before Kanye decided to bring everyone to church, Mariah brought her listeners to church instead of the club with this remix. For a remix, the sound was new and gutsy, especially for a song that didn’t fair too well, granted she did also release a dance remix. With the remix, MC proved that a song didn’t have to be wildly popular for her to breath new life into it.

5. Unforgettable (Acoustic) ft. Mariah Carey, Swae Lee

Year: 2017

You might be quick to catch that "Unforgettable” is actually a French Montana song, but you might be less familiar with this Mariah Carey remix. The inclusion of MC on this track, and the decision to replace the track with a guitar makes it sound more like a R&B-inspired country song with a rap section than it does dancehall; nonetheless, the remix is incredibly cross-genre. Chances are French Montana didn’t re-record his lines, which is standard, but then some very stylistic choices were made that makes the remix sound like a Mariah duet rather than a MC-guest appearance. These decisions, however, may not exactly be MC-mandated, so let’s talk about two things that were within her control: (1) MC sings throughout the entire track. She doesn’t appear for just one verse then disappears; she injects herself throughout the song by harmonizing with French Montana. (2) MC brings her whistle notes. MC fans stan Mariah’s whistle notes for one very good reason: Mariah uses them with much musicality. It’s less of a garnish where MC goes, “Hey, look, I did that!” because we know she can do those whistle notes. In the “Unforgettable” remix, MC uses her whistles as a base, a broth if you may; in this way, her high notes are instrumental, and she strings them together in a series of legato to create the backing track for which French and her sings on. Mariah’s contribution to this song really makes it ever more unforgettable.

4. We Belong Together ft. Jadakiss, Styles P

Year: 2005

Kelefa Sanneh, a former music music critic for The New York Times, called the “We Belong Together” remix “springier”; I had to quote him because there’s no better way of putting it. The original mix is tear-jerking, but the remix has a bounce to it that captures the hip-hop vibe that MC was looking for. The remix gets pretty close to demonstrating what a perfect balance looks like, and inevitably Mariah sometimes misses the mark — remixes sometimes reduce Mariah to the featured artist, despite it being a Mariah song. She sings along while Jadakiss and Styles P trade lines, emphasizing certain phrases. The remix continues to sample Bobby Womack’s “If You Think You’re Lonely Now”, and uses a longer lyric sample from “Two Occasions” by The Deele. On this list, we’ve seen MC skillfully use instrumental samples, but she is masterful in picking lyrical samples as well. The “Two Occasions" sample, “I only think of you on two occasions/That’s day and night”, contributes to the message of yearning in “We Belong Together”, making it fit perfectly with the mood and the scheme of the song. MC finishes the remix in a way only she could, by showcasing a series of vocal acrobats for the last minute-and-a-half of the song.

3. Always Be My Baby (Mr. Dupri Mix) ft. Da Brat, Xscape

Year: 1996

I know diehard fans prefer Mariah’s Butterfly era, where you had songs like “Honey” and “My All”, but my favourite would still have to be the Daydream era, when MC decided to gift the world with “Fantasy” and “Always Be My Baby”. The Daydream era featured prime Mariah vocals, amazing album cuts, and two of Mariah’s coolest remixes to date. Both the “Fantasy” and “Always Be My Baby” remixes are timeless; the former is so stripped down, but it is the latter that we really need to talk about. It’s timeless in such a sophisticated way that’s so rarely seen in pop music. Don’t agree? But Mariah seems to agree. In the Caution World Tour, Mariah’s most recent tour, she performed this remix instead, when “Always Be My Baby” had almost always been performed unaltered in the original mix. The foundation of the Mr. Dupri Mix samples “Tell Me If You Still Care” by the SOS Band, a slow jam itself which gives the remix its sleek, quiet storm sound that was so popular in the 1980s. MC is an understated music genius: She takes a page from TLC, who had just released their critically-acclaimed hip-hop album CrazySexyCool the year before, by recruiting a female rapper, Da Brat for the remix; this marks the first time MC collaborated with a female rapper. And the rap practically merges with the track; it’s neither out of place nor distracting as Mariah riffs while Da Brat raps. She also melds two supposedly conflicting genres, since younger Black audiences had shifted their attention from quiet storm to hip hop since the beginning of the ‘90s. Whereas the “Fantasy” remix had almost no re-recorded vocals, the “Always Be My Baby” remix received an almost complete makeover, save the melody. Mariah really thins out her voice for the remix and introduces her airy whisper, something she’ll really master in her subsequent albums, which gives a new feeling to the happy-go-lucky vibe on the original mix. The remix is more mature, reflecting Mariah’s real-life desire to bridge pop, R&B and hip-hop.

2. All I Want For Christmas Is You (So So Def Remix)

Year: 2000

As we’ve seen in the Top 10 Most Iconic list, Mariah has released several versions of “All I Want For Christmas Is You”. Certainly, the original mix reigns supreme, but the So So Def Remix comes awfully close, and I will argue that none of MC’s other versions or any other cover of this song, ballad, acoustic or otherwise, comes close to this remix. You might have heard the disconnected intro and skipped the rest of the song, which meant you missed Mariah and producer Jermaine Dupri reworking the song in ways no one else can. The So So Def Remix is an extremely smooth R&B and hip-hop remix, and although this is nothing out of the ordinary for MC, it’s such a smart remix because it’s a Christmas song for anyone who’s tired of listening to Christmas songs; essentially it’s an escape from the original mix. This remix has as much spring as the “We Belong Together” remix, but this bounce is a result of sampling “Planet Rock” by Afrika Bambaataa & the Soulsonic Force. The whistle notes that are seen in the main melody of later versions derives from this remix, and arguably, the whistle notes in the remix’s successors are nowhere as melismatic. You can’t beat a Mariah original, but you also can’t beat a Mariah remix.

1. Anytime You Need A Friend (C&C Club Version)

Year: 1994

“Anytime You Need A Friend” is a deeper cut itself off of Mariah's best selling album Music Box. It’s Mariah’s first US single not to enter the Top 10, peaking at #12. It’s equal parts a love song and a song of encouragement, especially the remix. The original mix of “Anytime You Need A Friend” is a slow ballad, at least “My All” had something sexy about it, so you wouldn’t except Mariah, and producers David Cole and Robert Clivillés to be able to work it into a dance track so well. But without a doubt, it is definitively Mariah’s best remix. The 10 minute song is essentially an abridged version of Mariah’s résumé; you get a glimpse at everything from Mariah’s vocal talents to her songwriting abilities to her musicality. “Anytime You Need A Friend” is a torch song that’s been repackaged with a pounding dance beat. Even if it's from 1994, there’s a certain timelessness to it. Another great thing about most of MC’s remixes is that it doesn’t cut the song short; in the C&C Club Version, the entire song is there. Mariah reworks the part of the original melody, but it’s the last six minutes of the remix, when Mariah goes off, where you can really observe how well she knows music. Can you write this down on sheet music? Or was it improv? To me, the last six minutes was literally a playground for MC to do her thing, whatever she wants. There’s no guest singer or featured rapper, just Mariah. But then this allows her to do something she’s almost never done before or since. At the eight minute mark, the remix enters a jazz breakdown, and Mariah scats, dipping into her lows, belting, and hitting those whistle notes. Simply, this remix is remarkable and breathtaking.

Timelessness is the key word here with MC’s remixes. You may think that the incorporation of samples would date these remixes significantly, but personally it does it complete opposite. Mariah’s remixes transcends eras because of the use of samples. Not only are her remixes cross-genre, they’re also cross-generational. Mariah doesn’t just push out remixes and waits to capitalize on them. If you’re looking for a place to find Mariah’s artistry, look no further than her remixes. She adds new elements and new life to the songs, rewrites them, reworks them, re-records them. Who’s done this recently? In the last twenty years, which artist has consistently given their remixes this kind of treatment?

#mariah carey #all i want for christmas is you #merry christmas #spotify #song list #playlist #remixes

[krispyweiss]

Song Review: Preservation Hall Jazz Band & Boyfriend - “You’re a Mean One, Mr. Grinch”

With fingers snappin’, piano tinklin’ and horns a-blazin’, Preservation Hall Jazz Band givess Brother the serious backing she needs to render “You’re a Mean One, Mr. Grinch” with the comedic delivery it demands.

The jazz orchestra and the singer formerly known as Suzannah Powell remade the tune from “Dr. Seuss’ How the Grinch Stole Christmas!” as a 2019 Spotify Single with a deft balancing act of childlike whimsy and adult musicianship.

The only thing missing is the animated images.

Grade card: Preservation Hall Jazz Band & Boyfriend - “You’re a Mean One, Mr. Grinch” - B

12/5/19

#preservation hall jazz band #brother #spotify singles #suzannah powell #how the grinch stole christmas #dr. seuss

[usgunn]

August 25, 2019

CLICK HERE for the August 25, 2019 playlist

1.    Jules and the Polar Bears – “Shadows Break” (1978)

Group led by Jules Shear, who went on to write hits for Cyndi Lauper (“All Through the Night”) and The Bangles (“If She Knew What She Wants”).  This is from their first record, Got No Breeding, a fantastic and smart record from start to finish.

2.    Van Duren – “Grow Yourself Up” (1978)

A Memphis dude and Big Star affiliate.  This is from his first album, which is still not available on Spotify, but luckily it’s also on the soundtrack to an upcoming documentary about Mr. Duren, which _is _on Spotify.

3.    Sneaky Feelings – “Someone Else’s Eyes” (1983)

I honestly don’t know much about this band, just that they’re from New Zealand and were on Flying Nun, but to me they sound more like a UK power pop band than any of the other Flying Nun bands of the time.

4.    Felt – “The Day the Rain Came Down” (1985)

The musical project of “Lawrence,” who said he was going to start a band, release 10 albums and 10 singles, and then break up, and did exactly that.  This is from Felt’s fourth album, Ignite the Seven Cannons and Set Sail for the Sun, when the band still featured the beautiful guitar stylings of Maurice Deebank, on full display on this track.  Also, it really does end that abruptly.

5.    The Three O’Clock – “When Lightning Strikes” (1983)

One of the pillars of LA’s “Paisley Underground” scene in the 80’s (which, in my mind, also inclues The Dream Syndicate, Rain Parade, and the Bangles).  Later, serendipitously, signed to Prince’s Paisley Park record label and gave a young Jason Falkner his start.  This is from their first record.

6.    The Boys – “Baby It’s You” (1979)

Included on Titan: It’s All Pop, a compilation put out by the wonderful Numero Group consisting of music released by the Kansas City regional power-pop label Titan in the late 70’s/early 80’s. Kansas City was actually a step up for The Boys, who hailed from the music mecca of Lincoln, Nebraska.

7.    Magazine – “Rhythm of Cruelty (7” Version)” (1979)

Magazine frontman Howard Devoto was a founding member of the Buzzcocks, but left before they ever released an album (he does have a co-songwriting credit on “Orgasm Addict”—nothing to sneeze at).  For some reason his brief Buzzcocks membership is always one of the first things mentioned about him (and I’m clearly part of the problem), but Magazine put out four really great nervy, new-wavey albums of their own.  Bassist Barry Adamson went on to a stint in Nick Cave and the Bad Seeds, soundtracking David Lynch films, and other cool stuff.

8.    Gong – “Love is How Y Make It” (1973)

For the most part, I’m not sure I can hang with Gong, who are about as goofy as an art/prog-rock band from the 70’s can get.  But I’ve loved this song ever since Four Tet put it on a mix back in 2006. And it serves as a nice palette cleanser here to move out of the power-pop new wave mode of the first songs into some other territory.

9.    Was (Not Was) – “Wheel Me Out (Long Version” (1980)

Before he was producing 90’s career-renaissance albums for The Rolling Stones and Bonnie Raitt, and before he became president of Blue Note Records, Don Was was making weirdo funk-disco music in Detroit.

10. The B-52’s – “Ain’t it a Shame” (1986)

Was turned onto this wonderful song, from the otherwise little-talked-about 1986 album Bouncing Off the Satellites, by my friend and former bandmate Dr. Nathan DeYonker, who always wanted our band Reading to cover it.  I think Sinead O’Connor covered it at one point—but I’ve never heard it.

11. Nite Jewel – “It Goes Through Your Head” (2011)

The recording project of LA-resident Ramona Gonzalez, whose music to me often captures the emotional essence of late-80’s/early 90’s R&B in a more lo-fi package.  All her albums are great, but this was a one-off single from a few years ago.

12. Donna Summer – “Lucky” (1979)

I picked up a copy of Bad Girls recently on the cheap, and this Moroder-produced synth-pop number from Side Four caught my ear.

13. Shura – “religion (you can lay your hands on me) – edit” (2019)

I know next to nothing about Shura, but I heard this song recently and really dug not only the wonderful melodies and production, but also the disarming innocence of the song’s steamy focus on “kissing.”

14. Richenel – “Perfect Stranger” (1982)

Seems like I saved the songs I know the least about for the end.  Music From Memory, a great Dutch record label that I’ve been following for a couple of years, has put out a couple of EP’s worth of stuff by this guy, a Dutch singer who later put out music on 4AD and some major labels.

15. Rare Silk – “Storm” (1985)

I really know nothing about this band, but I was surprised to find out they were from BOULDER, COLORADO.  Given that, to me, this song sounds like it wasn’t even made on this planet, Boulder makes more sense than a lot of places.  A reissue label I love out of the UK, Be With Records, is putting out a 10” of this song later this year.

[2700fstreet]

JAZZ / 2018-2019

CAMILLE THURMAN: THE ORIGIN OF THE BLUES

STUDENT GUIDE

PERFORMANCE / DEMONSTRATION

School show: February 1

So, What’s Going On?

She’s got the blues…

For Camille Thurman, the blues aren’t just singing about your problems—although they can be. For Thurman, the blues are a conversation, an exploration…the language of jazz music.

The blues is the oldest American art form, originally created by enslaved Africans in the Deep South. The blues was sung in the cotton fields and in chain gangs as a way of passing time when experiencing hard physical labor. Its originators used the blues as a way of communicating, sharing stories, and expressing emotions including joy, pain, sorrow, loss, hope, and a longing for freedom. After slavery was abolished, many ex-slaves migrated to the north to escape segregation, racism, and to access better jobs, housing, and opportunities.

New technological innovations, such as the steamboat and train, allowed for masses of people to travel from southern rural areas to the big northern and western cities. As African Americans migrated north, the music evolved, too. These transplanted blues transformed into urban music—with the introduction of drums and electric guitar—resulting in the morphing of the blues into different regional styles, including Mississippi Delta Blues, Chicago Blues, Memphis Blues, Kansas City Blues, St. Louis Blues, Texas Blues, and Piedmont Blues.

Blues was often built off “riffs," also sometimes referred to as “call and response,” and commonly included the voice, hands, feet, guitar, harmonica, and piano (bass and drums were later incorporated). Artists such as Bessie Smith, Joe Williams, W.C. Handy, Louis Armstrong, Big Momma Thornton, Robert Johnson, Muddy Waters, Howlin’ Wolf, B.B. King, Koko Taylor, Count Basie, and Charlie Parker all became known as innovators of the blues and were key to establishing the various types of blues for different regions.

Watch and listen as Camille Thurman introduces and explores the blues:

Cool, huh?

In this event, Camille Thurman will provide an interactive demonstration, explaining the background of the blues and its presence in today’s music. Through her selections, she’ll show how society and culture influence music and how the blues has spread throughout the country.

Ready to hear some blues?

Here’s a list of some of the music you may hear at the performance:

“Got My Mojo Workin’” by Muddy Waters

“St. Louis Blues” by Bessie and W.C. Handy

“Every Day I Have the Blues” by Joe Williams and the Count Basie Orchestra

“You Ain’t Nothin’ But a Hound Dog” by Big Mama Thornton

“Why Am I Treated So Bad” by Robert Johnson

“Cross Road Blues” by Robert Johnson

“Freight Train” by Elizabeth Cotton

“Stormy Monday” by B.B. King

Who’s Who

In the jazz world, Camille Thurman is a triple threat—a soulful singer who has mastered flute and tenor saxophone, and written award-winning compositions. Though her voice is compared to that of jazz legend Ella Fitzgerald, she is equally respected for her technical mastery of jazz saxophone.

A recreational singer since she was small, Thurman was inspired by the music of Stevie Wonder, Marvin Gaye, and Chaka Khan as a child. Though she began playing flute at age 12, she didn’t truly consider herself a musician until a family member gifted her a saxophone at age 15. She would sing and “scat”—improvised singing where the voice imitates an instrument with nonsense syllables—her sax solos to learn them, quickly being recognized for her talent and going on to study music with some of the foremost jazz teachers in the country.

Thurman’s four octave vocal range, a phenomenon among singers, captures audiences. Only a few singers boast such a broad range, the circle including pop singers like Ariana Grande, Mariah Carey, and Christina Aguilera. Meanwhile, her lush, velvety tones on the tenor sax have earned the respect of jazz musicians and audiences alike. Equal parts instrumentalist and singer, Thurman hopes her music helps expand people’s ideas about jazz musicians, especially female instrumentalists. She has performed with musicians from Wynton Marsalis to Alicia Keys to Erykah Badu, and has received countless awards, including the Lincoln Center Award for Outstanding Young Artists.

For this Kennedy Center program, Camille Thurman will perform with The Darrell Green Trio, which includes Green on drums, Devin Starks on bass, and Keith Brown on piano.

Check This Out…

Listen for how Thurman switches between her voice and the sax. What techniques are similar between the two (hint: think improvisation)?

The blues most often take on what is called a 12-bar pattern, referring to the number of “bars” or measures in each phrase of a song. Each 12-bar phrase follows an AAB pattern, with each section containing 4 of the 12 beats, like this: A 1-2-3-4 (Problem - Well I woke up this morning, feeling oh so sad) A 5-6-7-8 (Problem - Well I woke up this morning, feeling oh so sad) B 9-10-11-12 (Statement - But once I started singin’ now I’m feeling really glad) Listen for 12-bar patterns throughout the music, as well as the call and response-style lyrics that are a hallmark of blues.

Watch Thurman sing the 12-bar blues:

Like all blues artists, Thurman brings her own experiences and emotions to her rendition of the blues. Does listening to her sing and play the blues help you feel connected to her?

The Language of Jazz and Blues

Here are some key jazz terms to know and to listen for during the performance:

Articulation: Performance techniques used by musicians that determine the style or sound of the music by specifying how individual notes are to be played within a section or entire piece of music.

Blues: An African American musical art form involving expression and storytelling through “call and response.” The blues is a feeling or way of expressing one’s emotions through sound. The blues is about overcoming adversity—facing a problem in life and overcoming it with a solution.

Call and Response: A musical approach in which a melodic or rhythmic phrase is exchanged between two parts; also called “question/statement” or “answer/solution.”

Harmony: Two or more notes played together that create a compatible or pleasant sound.

Improvisation: Creating music or song spontaneously or embellishing a pre-existing melody; a technique that requires great musical skill and creativity.

Jazz Standards: Popular musical compositions, mostly created between the 1920s and 1960s for Broadway musicals and films. They’re called “standards” because they’re so widely known and performed, they’ve become a permanent part of the jazz music repertoire, also known as the “Great American Songbook.”

Melody: The tune of a piece of music created by a series of notes; most often recognizable as the main tune you hum or sing along with in a musical work.

Rhythm: A strong, repeated pattern of sound.

Riff: A short, repeated musical phrase.

Soloing: When a musician improvises by elaborating on the music’s melody and harmony in their own personal style.

The Great Migration: The movement of six million African Americans from the rural south to urban northeast, mid-west, and west between 1915 and 1960. The majority of African Americans migrated to cities such as Chicago, Detroit, Pittsburgh, New York, Kansas City, and Detroit.

For more on the Great Migration and the Kennedy Center’s production of Blues Journey, check out: http://artsedge.kennedy-center.org/multimedia/series/AudioStories/blues-journey

Think About This…

The blues evolved from spirituals, work songs, chants, and other musical forms that represent the experiences of slaves, ex-slaves, and descendants of slaves. Considering this, how do the blues tell the story of America?

Along similar lines, the blues uses music and lyrics to tell the story of the composer’s deepest sorrows and highest joys. How does the music you listen to or play today represent your life? If it doesn’t, where might you look to find music that does?

Watch the late B.B. King discuss why anyone can sing the blues:

Technology and innovation (like the steamboat and train) changed and evolved the blues, spreading it throughout big cities in America. Consider how technology and innovation have affected modern music in just the last few decades. (Hints: How music can be recorded on your iPhone. Or how music can be delivered via iTunes, Spotify, Pandora, etc.)

Just for fun! Follow the instructions on the graphic below to reveal your “blues” name. Compare names with a classmate, friend, or family member.

Take Action: Singin’ the Blues

Camille Thurman takes elements from her life and carefully incorporates them into jazz/blues to create unique compositions. Here’s a challenge: Think of a personal situation that you’re comfortable writing about and create a blues lyric about it. Here’s the format:

Problem/Statement Problem/Statement Solution

You can use this simple example for inspiration:

My dog ate my ice-cream, feeling really sad today My dog ate my ice-cream, feeling really sad today But my mom brought me another cone, and I’m feeling happy again

You might even try adding a simply melody to your text to make it a complete blues composition. Share your words or even consider taking a video of yourself performing the blues and share it with friends and family.

And here’s some help--a backing track they could sing over:

EXPLORE MORE

Go even deeper with the Camille Thurman Performance Extras.

Alright, you’re ready to hear Camille Thurman.

-

Writer: Tori Friedrich

Content Editor: Lisa Resnick

Logistics Coordination: Katherine Huseman

Producer and Program Manager: Tiffany A. Bryant

-

David M. Rubenstein Chairman

Deborah F. Rutter President

Mario R. Rossero Senior Vice President Education

Discovery Artists in the KC Jazz Club are supported by The Buffy and William Cafritz Family Foundation and The King-White Family Foundation and Dr. J. Douglas White.

Major support for educational programs at the Kennedy Center is provided by David M. Rubenstein through the Rubenstein Arts Access Program.

Kennedy Center education and related artistic programming is made possible through the generosity of the National Committee for the Performing Arts.

© 2019 The John F. Kennedy Center for the Performing Arts

#jazz #blues #camillethurmanat2700f

[meridianrose]

Holiday Songs

In years past I used to post regular holiday song entries to LJ/DWtagged as music recs/holidays and then mostly just links at Tumblr (tagged favourite songs) This year I'm posting this list of 1-2 songs per day from 1st to 26th December to LJ/DW and to Tumblr with a link to the full playlist at Spotify https://open.spotify.com/user/meridian-rose/playlist/4UrPv754SpyE7Z3HtcLr6e?si=U0n4-st6SDisf3LJIsmHHA and Youtube https://www.youtube.com/playlist?list=PLaNMLczMdhM0pxvUaXEYo9J4VmaNWeEx2 They playlists include all the songs on my list I could find though there may be some variations on version/artist between the spotify and youtube playlists. I’ll reblog this list later in the month and try an embedded youtube list inbetween. There's a mix of traditional, instrumental, modern, and comedic. The full list for 2018

1st It's Beginning To Look a Lot Like Christmas – Bing Crosby is my favourite version but there are other versions out there to enjoy 2nd Sleigh Ride – there are many versions, instrumental and with lyrics, I went with The Ronettes 3rd Simply Having A Wonderful Christmastime -Paul McCartney Dos Trocitos De Madera – you can read more about this song at http://meridianrose.tumblr.com/post/154973850441/romibsauce-a-taste-of-christmas-in-my-land-and-my 4th Gaudete – Steeleye Span's version is my favourite but there's a lot of choice here 5th We Singers Make Bold (Merry Christmas) – The Spinners is my favourite version but that's hard to find an online version for but there are some traditional choral versions 6th The Christmas song (As in "chestnuts roasting on an open fire") – Nat King Cole, of course! Silver Bells – Dean Martin, got to have some Dino in here 7th God Rest Ye Merry Gentleman – I went with Nat King Cole here too for preference 8th Stop the Cavalry – Jona Lewis, an anti-war Christmas song not well known outside the UK but featuring some marvellous military style music as a WWII soldier wishes he could go home for Christmas Merry Christmas Everyone -Shakin' Stevens 9th Santa's Beard -Beach Boys 10th Carol Of The Bells – there are many great versions of this again with and without lyrics. Beautifully haunting. 11th Merry Christmas Everybody -Slade I Wish it Could be Christmas Everyday - Wizzard 12th Christmas in Killarney - Bing Crosby O Christmas Tree/O Tannenbaum – a traditional carol and I went with Mario Lanza's version 13th 12 Days of Christmas – traditional, there are many fantastic arrangements of this 14th The Holly and Ivy – another traditional song which you can find with or without lyrics. I've gone with the Mediaeval Babes here. 15th In Dulci Jubilo – Mike Oldfield for preference but you can find some amazing choral performances. There's some nice background on the track here https://www.udiscovermusic.com/stories/mike-oldfields-jubilant-christmas-music/ 16th Ding Dong Merrily On High – another traditional one with a multitude of choices 17th Baby It's Cold Outside - Tom Jones and Cerys Matthews; this is version I first heard and the video makes it clear she's toying with him, revealing herself to be the devilish seducer who turns the tables on him. In recent years this song has come under fire for being "date rapey" but you can read some good counter arguments that look at the original version's social context and show it another light. Here are three examples: http://persephonemagazine.com/2010/12/listening-while-feminist-in-defense-of-baby-its-cold-outside/ https://dailycaller.com/2016/12/05/here-is-why-baby-its-cold-outside-is-not-a-song-about-rape/ https://www.bustle.com/p/a-tumblr-post-about-baby-its-cold-outside-historical-context-explains-that-the-song-may-have-entirely-different-meaning-6617625 18th Mele Kalikimaka – Another Bing Crosby classic but this year I discovered the Seth MacFarlane cover too so that's what I went with on Spotify. I had no idea the creator of The Orville could sing! 19th Winter Wonderland – there are a lot of covers to choose from here and the lyrics vary in places! I went with the Rod Stewart & Michael Buble version for something a bit more contemporary 20th Boar's Head Carol – I've gone with the Westminster Cathedral Choir but again a traditional carol with lots of versions 21st Ring Out Solstice Bells – Jethro Tull Santa Claus is Pagan Too – Emerald Rose (cover version on Spotify, original artist on Youtube) 22nd Deck the Halls – traditional, so take your pick, I went with the Westminster Cathedral Choir again 23rd C'était la veille de Noël (It was the Eve of Christmas Day)– another Spinners song, with French and English lyrics; there are some wholly French performances, mostly by children's choirs and I've included a French version on the Spotify and Youtube playlists Christmas Eve – Kelly Clarkson 24th Grandma Got Run Over By a Reindeer – Dr Elmo Here Comes Santa Claus – Bob B Boxx and the Blue Jeans but there are other covers 25th I Saw Three Ships – traditional carol so plenty of options here Adeste Fideles/Come All Ye Faithful – Nat King Cole though I also like the Bing Crosby version; plenty of choral performances of this traditional carol are available 26th Good King Wenceslas – "went out on the Feast of Stephen" ie the 26th aka Boxing Day in the UK and Canada. Traditional carol.

#holiday songs #favourite songs #christmas songs #solstice songs #comedy songs

[stopreadingthisanddance]

2018 top albums

Okay, so hopefully you read (& enjoyed listening to) my top EPs list, this one is a little longer, and hopefully a little prettier. They’re ranked 10 -> 1, with my honourable mentions up front here. I hope you enjoy at least some of the music I loved this year, and don’t find my writing unbearable. Once again, I’ve included spotify links for each album if and youtube links for my favourite tracks of each album. 

honourable mentions:

alison wonderland - awake/remxies

standouts: good enough & no (umru & kid froopy remix)

This was really tough for me to place, it would have likely made it onto the top 10 list had it not been for how much I loved the remix album that accompanied this album, and including both felt like cheating. Despite her trap banger roots, Alison Wonderland manages to hit that dance/cry sweet spot over and over on this project, from the manic banger Good Enough, with her gorgeous cello backed by an anxiety inducing rising bassline, to the anxious "is it good enough!?" ringing out, to hip-hop influenced High, to the big room trap banger that is Happy Place. It's got all of that and more on the base album, and the collection of remixes that were done afterward by her contemporaries managed to even further diversify the track list, while still keeping enough of the original to be recognizable. Even if you don't like electronic music, listen to No (umru & Kid Froopy Remix) and tell me that xylophone lead isn't catchy as all hell.

ross from friends - family portrait

standout: pale blue dot

A mainstay in the lo-fi house scene, Ross From Friends released his first full length project this year, and it gave everything I had hoped. Lovely, danceable grooves, ace production, and the feeling of being transported, if momentarily, to another plane of existence. If you have even the slightest inclination towards electronic music, check out Pale Blue Dot.

joji - ballads 1

standout: rip

The transition George Miller aka Filthy Frank aka joji has made throughout his young career is pretty spectacular. From absurdist comedy to the angsty, low key R&B on this project is pretty amazing, and while he certainly exhibits a lot of similar traits to the S A D B O Y aesthetic that has taken over mainstream hip-hop the last few years, he does it with enough of his own flavour that it's hard to discount that it is his. RIP and Attention are two of the most overtly sad songs I've heard in a long time, both in lyrical content, as well as production and the slurring and gravely vocal delivery. While tracks like Can't Get Over You throw in some needed dancey beats, while still maintaining that raw emotional delivery and content that defines this project so much.

top 10: 

10

jizue - room

standout: grass

I can't explain this album, I've spent the last 30 minutes attempting it, and I just can't. It's an instrumental album from Japanese group jizue that blends elements of jazz, math-rock and hardcore into...whatever this project is. I love it, but it's just the right side of complex and listenable to serve as the perfect background music, and still manage to stand on it's own. Check it out, maybe someone can explain it to me.

9

anderson .paak - oxnard

standout: brother's keeper

It took a while for Anderson .Paak to hit it big, but even back when I first heard his stuff, it was pretty apparent that it was only a matter of time before he hit it. Not only are his producer chops on display in full effect here, from rattling kicks and afro-soul influenced melodic leads, to the heavy jazz influences, all layered with a touch of 90s hip-hop. Dr. Dre helped with production and executive produced, and the influences of that era shine through heavily. Speaking of, .Paak's vocal performance is entirely different from what I had come to expect, and covers a wide array of topics, from the politically charged 6 Summers, to the sensual The Chase, that feels a lot it needs to be halfway an action scene in an 80s movie, to the savage Pusha-T feature Brother's Keeper. While .Paak himself is more a singer than rapper, his voice and flow fits the aesthetic of this project, and the brilliance of the production variety while still maintaining the feel of a cohesive project. From the all star feature list, to the frequent use of beat change-ups midway through tracks, back to front this project demands your attention.

8

rl grime - nova

standout: ucla

My first listen of this album resulted in me thinking "eh, this is just a bunch of electronic tracks", they weren't bad, but I didn't really feel it until my 3rd or 4th listen. RL Grime's ability as a producer has never been in question, and his live shows the stuff of legends. Throw into that with his yearly, highly anticipated Halloween 7 mixtape, featuring a vocal open by Shaq, he didn't need to come through with a project as diverse as this, and yet here we are. He manages to flow easily from big room trap Feel Free and Pressure, to the more housey Shrine and the emotional Atoms and the manic instrumental Rainer. It was really hard for me to pick just one favourite because of how cohesive this album has ended up feeling for me, like being taken on someone else's emotional roller coaster ride. But I've settled on the trashy, trappy R&B UCLA, where the lyrics manage to come across a little insecure, while the beat makes up for it with astounding bravado, and massive trap drops.

7

chvrches - love is dead

standout: deliverance

I've written before how vital live music events are to my enjoyment of certain genres & music acts, and if I'm being honest,  this album wouldn't be on here if I hadn't had the chance to see CHVRCHES live this year at the Commodore. It's a good album, don't get me wrong, it's got all polish of their previous two albums, and even more varied song selection with the more typical synth-pop bops with Miracle and Heaven/Hell, there's a huge change up with the moodier God's Plan and the incredibly sad and moving instrumental ii. Even Get Out, one of the lead singles from this project is laced with a lot darker subject matter and musical elements. Seeing Lauren Mayberry dance under neon lights to the intro rift of Graffiti will stick in my mind for years to come, and that feeling is what this kind of music is all about.

6

soccer mommy - clean

standout: cool

My musical tastes have been diverse for as long as I can remember, but this style of grungy, lo-fi bedroom pop-rock has never really been on my radar before. That being said, Nashville native Soccer Mommy has a lot of what I look for in music, catchy hooks, lyrics brimming with emotion and someone willing to take risks. While it's undeniable that this is far from a production masterpiece, which I don't understand in 2018 honestly, the great song writing and Sophie Allison's distinctive voice and nonchalant delivery gives me that summer feeling no matter what time of the year it is. Cool is one of my most listened to songs of the year by a long shot, with it's upbeat music and sad lyrics, it sounds like what teenage regret felt like. Scorpio Rising on the other hand, covers a lot of the same topics, but it manages to do to it in a very different way, sort of in a Slow Dance On The Inside by Taking Back Sunday kinda feel.

5

rezz - certain kind of magic

standout: teleportal

Even with my list this year being highly varied, I think this might be the least approachable album on either this or my EP list. Rezz has managed to create a cult of personality around herself in a way very few electronic musicians ever manage through her phenomenal set construction, heavy emphasis on showmanship with lights and video during her live sets, and brilliant production. Add on top of that very few artists are making this style of music anywhere close to this caliber, and you end up with a dominant force of heavy basslines and dark aesthetics. If you have ever had any interest in dubstep, be it the traditional UK variant or the trashy late 2000s-era bedroom-produced bangers, you will likely love this album. It's no surprise that deadmau5 signed her in 2016 given that her style of building up layers and layers of effects and sonic elements, only to cut them all out to isolate a heavy drop or gorgeous orchestral melody is very reminiscent of the house legend himself.

4

hinds - i dont run

standout: tester

Spanish all girl quartet came out of no where for me, but once I was into their vibe, I didn't look back. They sing in English (mostly), but their accents taint all their lyrics with just a little touch exotic flavour, giving their cacophonous musical style one more element to throw into the mix. They sort of sound like a mix of The Velvet Underground, and the Strokes, with a modern pop twist, and the fact they're women making, or more accurately, fighting the transition from care free 20s, to the reality of their 30s comes through in spades. The variety of their voices, and their writing styles gives this album a distinctly personal touch, but not so much it's impossible to relate to. This album is perfect for sitting in the sun on a lazy afternoon and letting the entire project wash over you, if I had to pick just one track though I'd go with Tester, a track about navigating complex, undefined personal relationships, and coping with it however possible.

3

let's eat grandma - im all ears

standout: it's not just me

I knew that PC Music wouldn't stay off my list entirely this year, the entire label seem to be steering pop music on the whole, and the production influences from SOPHIE fly in pretty fast on the glitchy-noisey delicious mess that is Hot Pink, the opening track. They follow that up with my favourite track of the year in It's Not Just Me, with the angsty lyrics, the way they seem to just float over the top of the beat that manages to be both groovy (dig the dance moves in the music video) and still challenge the listener with complexity and a touch of cacophony. While these two 17 year old girls from some random town in the UK might only be releasing their second project, and the lyrical content is for sure written by 17 year old girls, they show a capacity for having a vision for a track and getting it across in a truly astonishing way. They manage to blend genres, topics and feelings seemingly effortlessly, and I can't get enough of it!

2

the midnight - kids

standout: america 2

The nostalgic, synth-pop, retro-wave duo The Midnight came through with an ode to the 80s and 90s, laced with modern sensibilities. Stick these tracks over some 90s action movies, and they won't feel out of place, nor will they as your cruise into the sunset of 2018. With lyrics that are wistful for the past, and aware of the fact it will never come back, they manage to make you want to groove along, while slightly pricking that part of your brain that says "hey, is there where you thought you'd be when you were 12?". The whole project is laced with news clips from the 80s and 90s, talking about how exciting, and how terrifying the future looked. It's easy to forget even in those less connected times, sometimes all you could do was blast the stereo, drive into the night, and hold onto the best parts of your past, and try and be optimistic about the future.

1

brockhampton - iridescence

standout: tonya

Brockhampton is one of those music groups that is such a cultural phenomenon, it'll inspire kids making music in their bedrooms for a long time. No hip-hop group has made such a massive impact since Wu-Tang, and we all know they ain't nuthin' to fuck with. Both the group and each member manages to display astonishing range as they move from emotional ballads like the brilliant Tonya to bangers like New Orleans, they manage to make you want to dance to the driving basslines and clever lyrics, only to snap change to the slow and deeply emotional tracks like San Marcos. From Kevin Abstract's masterminding, to Dom's undeniably amazing bars, to the dreamy Matt Champion and the angst filled bearface, it's easy to see why this album is so diverse. What's harder to understand is how cohesive they manage to blend it all together, trappy vocal effects on top of acoustic guitar, the gospel influences, it's all mashed together into perfection. Tonya was on heavy rotation this year, with it's haunting vocals, brilliant piano melodies, and the change up it's so hard not to feel the heart that went into this project.

annnnnnnnd we’re done! I hope you listened to a shit load of good music this year, and I hope some of this resonates with you. Happy Holidays, have a good New Year, roll on 2019.

#2018 #music #aoty

[singerdrb]

Listen to this funny song in german language of Singer Dr. B... - 

Visit website of “Singer Dr. B...” / www.singerdrb.com 

#SoundCloud #music #Singer Dr. B... #Pop #eastern #easter bunnb #dance #partymusic #party #kids #fun #Spotify #dezzer #itunes #itunesmusic #amazon #bbc london #bbc radio 1 #radio #new york radio #ö3 #rtl2

[dearly]

I don’t know if I’ve misread posts on here or not, but when everyone was discussing what type of contracts solo 1D would sign people were saying a distribution deal was the best and that it was good that Louis had a D.D because he would have more (that’s the keyword) creative control. Is it possible for Louis’ situation to be like Ciara’s, Sky Ferriera, when he has a D.D (w/ the theory that Syco doesn’t like his music)? Or are there examples of artists like him with a D.D I haven’t seen

P.S - I haven’t checked if Ciara or Sky Ferriera signed D.D so if they have, I guess I just answered my own ask, sorry 

this answer is going to be incredibly long and rambly but the TL;DR is:

1. we don’t actually know what any of their contracts or deals look like and what they entail.

2. ‘distribution deals’ are not the saviors of artists and are actually just a step up from 360 deals.

let me start off by saying the stuff i know has come exclusively from researching and reading books about the industry and reading what multiple artists have to say. i don’t work in music. i’m not a lawyer. (i do work in entertainment and while i do think some knowledge is transferable i cannot claim that it is exact.)

i think if you want to understand the types of record deals you should read this article by david byrne of the talking heads, (he actually wrote a book about the industry but i haven’t gotten my hands on it yet). this is how he describes a DD:

2. Next is what I’ll call the standard distribution deal. This is more or less what I lived with for many years as a member of the Talking Heads. The record company bankrolls the recording and handles the manufacturing, distribution, press, and promotion. The artist gets a royalty percentage after all those other costs are repaid. The label, in this scenario, owns the copyright to the recording. Forever.

There’s another catch with this kind of arrangement: The typical pop star often lives in debt to their record company and a host of other entities, and if they hit a dry spell they can go broke. Michael Jackson, MC Hammer, TLC — the danger of debt and overextension is an old story.

Obviously, the cost of these services, along with the record company’s overhead, accounts for a big part of CD prices. You, the buyer, are paying for all those trucks, those CD plants, those warehouses, and all that plastic. Theoretically, as many of these costs go away, they should no longer be charged to the consumer — or the artist.

Sure, many of the services traditionally provided by record labels under the standard deal are now being farmed out. Press and publicity, digital marketing, graphic design — all are often handled by smaller, independent firms. But he who pays the piper calls the tune. If the record company pays the subcontractors, then the record company ultimately decides who or what has priority. If they “don’t hear a single,” they can tell you your record isn’t coming out.

i also just finished reading moses avalon’s book which talks about various contracts and deals, and he highlights how indie labels can sign distribution deals with majors, or vanity labels with majors which is what SZA and her indie label top dawg did with RCA. jimmy iovine discussed this on beats 1, just how much $ sza and her indie label will keep, but there’s not much talk about control. other people were concerned about her involvement with RCA even though she’s still signed to top dawg. from transcending sound:

An indie label will sign a distribution deal for some of the reasons why an artist may sign to a major label: because of the money, influence, and experience that the distribution label has in releasing something on a bigger level compared to the indie label.

Of course, there are positives and negatives to signing a deal like this, such as the ones discussed in the article I mentioned earlier. In the case of SZA, there are more positives than negatives. TDE has done a lot in building her career thus far. However, with her growing (and demanding) fanbase as well as her sound (which can be very different from her TDE label mates), a label like RCA could do wonders in helping her, in conjunction with TDE, become an even bigger and more well-known artist than she already is. Also, TDE sells the physical copies of their artist’s albums – other than the ones distributed via major labels – via their website, which doesn’t do as many numbers compared to the streaming and digital downloads. The backing of RCA would do a lot for her in physical sales and in the mass marketing of the album. Plus, RCA Records is owned by Sony, one of the three major labels, which means they have the manpower and influence to do big things.

But, we also can’t forget about the negatives. The major negative that I have, other than ownership of the artist’s work, is the relationship that an artist has with their label. With the alleged issues that Tinashe has or had with RCA in terms of her music being released, a lack of attention, and control (or ctrl) – which people occasionally mention in reference to SZA’s relationship with TDE – is something that is a cause for concern. This may not be an issue because of the entities involved in the deal, but it’s something that will sit in the back of my mind.

We don’t know what the details are of SZA’s deal. I’m also concerned that there will be a change in direction of her sound and her look. But with the things that she and TDE have done, the deal should enhance all of what they have done in the past.

so far it seems like RCA did well by sza, but as the article above discusses and what jimmy iovine said, she’s in a very unique position. her indie label top dawg has been working on building her up and has been able to negotiate a very beneficial deal. meanwhile, the labels that each 1d man has signed with their respective majors are not actual functioning labels. which suggests that in fact the major they are each signed to is doing all of the work, and does have a lot of say– they just don’t have the copyright to any of their respective music.

billboard had this to say about the new frontier of deals, and with regard to sza’s situation specifically:

Terms range from now-­standard 360 contracts and joint ventures to new types of licensing arrangements. Capitol Music Group this week is ­relaunching hip-hop’s storied Priority Records as a way to bring on acts more quickly using wide-ranging deal options and ­services, from ­promotion to ­marketing. Warner Music Group (WMG) launched U.K. imprint Artists to Watch in March to snag streaming-first hits earlier, after rebooting Giant Records as a singles label in Spotify’s home country, Sweden. Licensing deals, which give artists or their indie labels copyright ­ownership and at least half of the ­streaming ­royalties, are also surging with younger acts: RCA is pushing R&B singer-songwriter SZA’s album Ctrl after temporarily licensing it from TDE in a deal that TDE co-president Terrence “Punch” Henderson called “unheard of.”

to add more confusion, this excerpt suggests she has a licensing deal and not a dd, but we can’t know exactly which it is, can we? and her itunes music profile looks the same as the 1D mens (-zayn) so does that mean they’re also just licensing their music and not having a dd with their majors? i would say no, since this deal is called “unheard of” but you can understand how murky this is right? even when the details of a deal have been discussed a lot we still don’t actually know what’s at stake. all we know is that niall, louis, liam and harry have ‘licensed’ their music to their major label. and that’s barely one piece of the puzzle. the rest has to be deducted from everything around them.

because the uk has public filings for companies we can take a look at the way each of the boys’ “home” labels’ finances look like – 78 productions hasn’t filed anything for 2017 yet so we can’t look at that. but we can compare liam and harry’s filings. on the surface they have the same deal, albeit with different majors. both of their output is under “exclusive license” to their to their major labels. and yet their filings are incredibly different. just take a look at what hampton records (liam’s company) has reported and what erskine records (harry’s company) has reported for 2017. there’s a stark difference there, even though on paper the have they “same” deal. does that make sense? 

i don’t know if this was helpful at all to you or if it just confused you more. but basically i think it’s important to remember that DDs are not somehow liberating them. i do believe louis has some form of creative control, but that doesn’t mean his output can’t be rejected. i don’t think he can be “forced” to record something syco wants but they can keep rejecting what he does record and leave him in limbo for however long they wish.

i still, somehow, have hope that whatever his new management is they’ll be able to give syco/epic a kick and make louis a bigger priority so he can get a chance. 

#okay i hope this is... clear enough... and helpful #and i almost said louis would get a fair chance but LBR that ship has sailed #music industry #contracts #i need to sort out my tags.... #just because i post a lot of fucked up stuff about artists btw #doesn't mean i think each situation applies to louis #i've just become very interested in this #and so few people care #about artists being fucked over #acknowledging them on my little corner of the internet is literally the least i can do #Anonymous #music industry: contracts

[audreysmusicaljourney]

Album #115: Kendrick Lamar “good kid, m.A.A.d. city” (2012)

I remember when this album was released. I do not know if I ever listened to it though. 

The opening track “Sherane a.k.a. Master Splinter’s Daughter” begins with a nice beat and some great rhymes from Lamar. His voice is deeper than I expected it to be. He actually sounds a lot like Childish Gambino. The track “Bitch, Don’t Kill My Vibe” is an intergalactic hip-hop track. It sounds like a slightly more modern version of an Outkast track. There’s an increase in confidence, but not to the point of cockiness, on the track “Backseat Freestyle.” I like Lamar’s flow on this track. The portion of this track with a faster tempo sounds like something by Nelly. I think I love this track. After the beat drops on the track “The Art of Peer Pressure,” the track really gets going. It’s clear that this track is all about the narrative with how deliberate and articulate Lamar is with his rhymes. There is an incredibly soulful vibe to the track “Money Trees.” I have no idea who the female singer is on this track, but I like her sound. There is also a guest emcee who drops rhymes; I think his name is Jay Rock. “Poetic Justice” has an R&B vibe to it with a slower beat and female background vocals. I appreciate Drake’s vocals on this track; how effortless does he sound? 

Pharrell Williams makes a nice appearance on “good kid,” but Lamar’s rhymes are the most impressive part of this track, which has a lot of soul and jazz influences. In contrast to the cool, laidback sound of the preceding track, the first half of “m.A.A.d. city” is frenetic. It has a faster tempo and a more intense beat with vocals that are delivered in a frantic manner. The groove picks up a bit for the second half of the track, but the vocals still seem desperate. I think I have heard “Swimming Pools (Drank)” before. It’s a nice track; Lamar’s rhymes are flawless. Lamar sings well on the track “Sing About Me, I’m Dying of Thirst.” The background instrumentation sounds like lobby muzak. I like the beat over it though. I really like the sound that starts in after the 7:00 mark of this track. The beat reminds me of “Homecoming” by Kanye West and Coldplay. Lamar’s vocals on the track “Real” are incredibly honest and endearing. I like the use of recordings of Lamar’s family members as interludes between some of the tracks. It gives a further emotional depth to the album. I like Dr. Dre’s appearance on “Compton.” This track has an unexpected electronic music sound. It almost sounds like Daft Punk at the end of it. 

Rating: 8.5/10

How I Listened: Spotify

Takeaway: This is a really good album. The beats are steady and the rhymes are solid. I did not do a very good job of tracking a lot of the lyrics on these tracks so I should definitely listen to this album again and be more intentional about the lyrics. 

#rs500albums #nowspinning #nowstreaming

[avaliveradio]

New Fall Music Release Radar with Jacqueline Jax | September 14

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Good morning rise and shine!

New Music Release Radar with Jacqueline Jax . 

New Fall Music Release Radar with Jacqueline Jax | September 14

This is a mixed playlist of brand New Singles just released by indie songwriters who have come together to share the music they’ve been inspired to create. This list is filled with good energy and positive vibes interesting combinations and lots of ear candy to entertain us on a summer day. Enjoy the music and please share it with a friend.

Listen on Podcast

New Fall Indie Music Release radar with Jacqueline Jax : https://open.spotify.com/episode/0Tl9hV1fnbsg925FwF2UXt?si=zHb9jzS6QWeRr-3VLEJU3w&dl_branch=1

Track List

Artist: upsidedownhead featuring Mansionair

Song: ‘twice as tough’ 

Genre: indie pop

https://open.spotify.com/track/5hBrE4VFGczNAPcEYge2lF?si=04dcb0f3261e4dc2

‘twice as tough’ is the luminescent new single from Sydney-based multi-instrumentalist, producer and songwriter upsidedownhead (aka Ross James). The track features the vocals of Mansionair’s Jack Froggatt, who lends his pristine falsetto to the rhythmic, slow-burner.

http://indiemusicspin.com/watch-the-new-video-for-twice-as-tough-luminescent-new-single-from-sydney-based-multi-instrumentalist-upsidedownhead/

Artist: Arkells

Song: Strong

Genre: indie rock

https://open.spotify.com/track/00nnzvRP1Nt3dzkUVFhuIQ?si=ddbcf4c705724d53

Arkells deliver an emotional new ballad, “Strong,” off their highly anticipated album Blink Once due September 22. The Arkells are considered to be one of the most passionate exuberant in demand bands working today. ‘Strong’ is about Dr. Barbara Tatham, a college friend of frontman Max Kerman. She was a doctor who advocated for the needy. She loved music and dancing. A picture of grace and kindness. The song was written while she was sick with cancer, and it’s about the little moments of joy and relief where you can briefly leave behind an impossible situation. It’s also an ode to the bonds and strength of the love she felt from the family, partner, and community of people that knew her. We miss her, and we’ll get to think of her every time we sing this song.”

http://indiemusicspin.com/new-video-for-strong-by-arkells-from-highly-anticipated-album-blink-once/

Artist: Cabela and Schmitt

New Release: Golden

Genre: Indie Rock

Sounds like: : Eagles, Moody Blues, Tom Petty

Located in: : Sidney, Nebraska and Fountain, Colorado https://open.spotify.com/track/2u136kKle57IBzYMloahqC?si=f6ee9029baee4b2c

Cabela and Schmitt 'Golden' celebrates that rare opportunity to connect with old friends. "Golden" by the songwriting team Cabela and Schmitt is about a reunion, a rare opportunity to connect with an old friend and create a new relationship. I was working through the actual process of creating a song, playing around with some chords on an old acoustic guitar, and started to hear a melody I liked. The first version was very rough but as the layers came together, adding chords for the chorus, working out the chord changes, I heard it all come together.  At that point, I worked on transferring the basic song over to the recording software and added my instruments in one at a time. 

Artist: AzemCa and DJ Space

New Release: Tear Drop

Genre: Hip Hop

Sounds like: Trap music : Cardi B, Nicki Minaj, Flo Milli 

Located in: Montreal, Canada

https://open.spotify.com/track/0Sl0ICSKdkk8l2DB7n6vLv?si=e9929da8ec5742a2

The AzemCa and DJ Space Collab 'Tear Drop' is an anthem for young women to accept that life moves on after a relationship ends. www.avaliveradio.info/featured/azemca-and-dj-space-tear-drop

Artist: NEZZINA VIOLA

New Release: Superstar

Genre: Pop

Sounds like:  Lady Gaga, 70s/80s disco singers like Gloria Gaynor

Located in:  Melbourne, Vic Australia

https://open.spotify.com/track/6HBSxOWS85C1HmFZU1Ih16?si=26b2ea520c4846b0

NEZZINA VIOLA 'Superstar' is a very catchy and contagious dance track

Nezzina Viola is an Australian Artist who has just released a very catchy and contagious dance track called ‘Superstar’. Superstar has a very anthemic style which is sure to get the crowd dancing and singing along. It has a cool retro feel to it, and it is a 'feel good song.

Artist: Troy Johnson

Written by : Tom Donald

New Release: One of Those Days

Genre: Country

Sounds like: : Trace Adkins, George Strait, Kenny Chesney, Alan Jackson, Keith Urban

Located in: : Nashville TN

https://open.spotify.com/track/3wb2z4SNHLytk8K726qYbG?si=64789fe098fa4f5e

We wrote “One of Those Days” as a recognition of the fact that while life can present its occasional challenges, it’s also beautiful when you stop to live in the moment. “One of Those Days” releases to major platforms such as Spotify, Amazon, Apple, et al, on Tuesday, Sept. 7.

Artist: Njordlyd

New Release: Subconsciously

Genre: Electronic / Sub-genre: Ambient; Downtempo: Soundscapes: Drone; Meditating; Chill Out; Experimental

https://open.spotify.com/track/4TTLb45mkB1jsRHVQohnkQ?si=60198da549ed4894

Njordlyd 'Subconsciously' is an experience of the senses. . When creating music, I let the sounds, ideas, mood, and current inspiration control me until a certain point, where it all turns, and I naturally take over the control.”

Around 3 minutes into the track, I get the sensation of having to cry or being sad. It sort of builds up “subconsciously” from the beginning of the track. During the course of the track, it only becomes stronger and stronger. 

https://www.avaliveradio.info/featured/njordlyd-subconsciously-soundscape

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