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doomedandstoned · 7 months

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GÉVAUDAN Unveil Powerful Lovecraftian Journey in ‘Umbra’

~Doomed & Stoned Debuts~

By Billy Goate

Album Art by Erskine Designs

I love it when bands go for epic. With concept firm in hand, four-piece English progressive doomers GÉVAUDAN reveal a one-track 43-minute epic in 'Umbra' (2023), the band's second LP following the well-received 'Iter' (2019).

Some songs are written to get your body moving and your head banging, and so release a lot of energy in a short space of time. Other songs are written for the long-haul, supporting the unfurling narrative of a story old, grand, mysterious, and surprising.

Gévaudan's penchant for storytelling is worthy of the baffling tale of the Beast of Gévaudan itself, a puzzling corner of history three centuries past. This epic tale seems at times to characterize a carousing beast or the sorrowful cries of its victims or the brimming rage of loved ones headed into the forest to hunt the thing that is like a wolf, yet not a wolf.

Some hints of the band's intentions can be gleaned from the album title, umbra being the darkest place in a shadow. The piece begins with the unsettling scratch of dissonant guitar, like a cloud of electrified mist. Then comes the slow, deliberate thump-thump-thump of the drums. The first doom riff and sorrowful verse emerges:

I’m waiting in the dawn light, clawing, tongue like dirt Bleeding wounds that unwind, nails worn through Screaming, wordless prayer

For a voice this plaintive, you'd have to go to Rainbo from Portland, Oregon's Purification or The Wizard from the late, great Pilgrim. There is genuine mourning here, with words reminiscent of the downcast prayers of King David. Like the Psalmist, the eyes of lyricist Adam Pirmohamed seem to lift heavenward, to the invisible, esoteric realms of God and the soul.

And I slumber, in His embrace He cradles me to death And I slumber, in His faith He caresses, within my flesh

You may wonder how to take the words, just reading them at face value, but Adam has a way of convincing you of them on an intuitive level, such is the sincerity and relatability of his singing. Meanwhile, guitarist Bruce Hamilton gives release to the moment with a dazzling heavy metal solo that does some singing of its own.

When Adam returns to the mic, it is with conviction, and the vocal style becomes considerably more bold.

And I slumber, in His embrace! And I slumber, in His faith!

There follows at 12:43 a period of the sublimest peace, with the airy ambience of pleasant dreams, free from the burdens and cares of this life. In a note from the band, they reveal that the song is about battling depression, with strong Lovecraftian themes (see below).

A third section surfaces at 18:32, with the guitar strumming a triumphant theme and the rhythm section of Andy Salt (bass) and David Himbury (drums) supplying a lofty heartbeat. Adam's singing seems to embrace sunlight and blue skies following the sullen clouds of the first act. At 21:51 a whirling, climbing solo from Bruce, charged with grit and determination.

There is something vaguely Medieval about the riff we return to at 23:03, as though it were ruminating on past sins or future worries. Then at 23:40 bliss enters in the form of a psychedelic guitar set against noodling bass and the gentle tapping of drums and cymbals. The stern riff returns, though it seems to be right at home with its jazzier counterpart.

Then at 25:05 the mood shifts back to the depressive air of the start, and it might seem like defeat -- back to the status quo of gloominess and melancholy. But something has changed. There is reflection and a sense of perspective about the state of things, and an optimistic spirit rises above the morass.

I’m waiting in the dawn light Screaming, euphoria Sightless woodland Breathless blood

The presence of the synth gives it an otherworldly flare. Then at 32:52 piano, bass, and voice take us to the water's edge for a beautiful song within a song. It might have ended there, but the full band returns at 35:53 with wailing guitar and damning chords to truly finish the piece.

Standing at my hearth, I am showered with gold Strong foundations, I am king, I am known Growing inside, fearless soul of mine Brightest eyes, reflecting through mirrors

Now, as I mentioned, this is inspired by Lovecraft so there could be something stranger, more sinister afoot than I am aware of. I won't spoil those last four lines of the song (beginning at 38:21), but they may leave you questioning whatever you believed about the whole ordeal to begin with. I love the dark, droning synth that takes us into the void at the record's conclusion.

And with that, Gévaudan have created something unexpected and brilliant in Umbra. The album releases this weekend on vinyl, compact disc, and digital formats (pre-order here). Stick it on a playlist with Neurosis, Serpent Venom, Purification, Age of Taurus, and Pilgrim.

Give ear...

Umbra by Gévaudan

A Letter From The Band

We’re delighted to provide an exclusive stream of our second full-length album, Umbra, in partnership with Doomed & Stoned. This has been a while in the making, and we’re really excited to finally be releasing our most ambitious record to date, seeped in grandiose and epic doom.

Our new album, 'Umbra' (2023), evolved from the depths. Through a single 43-minute concept, it explores depression through the eyes of Eldritch horror, culminating in the unrelenting shadow that’s imparted on its sufferer -- a battle of light, stalked by darkness. As you may have come to expect from Gévaudan, this is monolithic, progressive, and highly emotive doom.

It was late 2020 when the first riffs for Umbra appeared in the studio. We felt we’d really found our niche through our debut, ‘Iter’ (2019), and made a conscious decision that our next record was going to take some of the more epic elements even further. Since our inception in 2013, we’d had a strong desire to write a concept album - something vast and atmospheric. It felt like the appropriate time to embark on the piece and see how our sound would translate onto a 40+ minute canvas for the next album.

Our writing process took on a far more live and collaborative approach. Whilst riff-master-general, Bruce, continued to bring riffs into the studio which we adopted, refined, and worked into fully formed ideas. We also took more time to jam and evolve parts, and created more in the room collaboratively. This helped to fully shape the progression and tonal shifts we wanted to achieve.

Lyricist and vocalist Adam has always taken the lead on the thematics. When thinking of concepts for the album, we wanted to take a different approach than usual. We’ve covered a lot of fantasy, history, and the occult; and whilst we didn’t want to stray too far from that, we wanted to write something with more of a personal and relatable element.

At the time, Adam was managing a bout of depression and kind of fell naturally into writing about how they were feeling -- almost an indescribable and ominous feeling, a sense of something looming. From that feeling it felt instinctive to use themes and ideas of Eldritch Horror as an allegory for depression and distress, and it was rewarding to write about a relatable topic whilst still staying true to our known themes and tones.

An important part of our evolution on this album is the introduction of piano and synth. They have extended the layers and palettes we can play with and have allowed us to explore different textures and writing approaches.

As part of the completely immersive concept approach, the cover art was another key ingredient. The impressive cover artwork has been developed by Erskine Designs. Conceptually and tonally, it’s the perfect accompaniment of the aforementioned themes.

The dynamics of our song writing have always been a key ingredient to our musical approach, and we were fortunate to have the opportunity to work with producer and engineer Mike Exeter in the studio again.

Finally, we’re really excited to be working with Meuse Music Records on this release. They have been incredibly supportive in bringing our vision to life on physical formats, and are a really great team to be collaborating with.

Please sit back, lower the lights, and crank up the volume to indulge in this epic musical journey.

Follow The Band

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#D&S Debuts #Gévaudan #England #UK #doom metal #progressive doom #epic doom #heavy metal #Meuse Music Records #HeavyBest2023 #D&S Reviews #Doomed and Stoned

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goodbysunball · 3 years

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Bring it on home

Comparatively easy listening from the set of records showcased this time around, but there's a world of grief settin' your jaw to grind. You deserve a neck massage and a cocktail; lean into these after you put your misery rectangle aside for a spell.

Astute Palate, s/t (Petty Bunco)

Emily Robb, David Nance, Daniel Provenzano, and Richie Charles got together and hammered out this LP during "48 sleepless hours" in Philadelphia. It's definitely a fairly rough documentation, but if you know the players, that's generally what you'd be gettin' into with 'em anyway. Gotta admit that I'm not a huge fan of what I've heard by David Nance - respect his hustle, though - and the same goes for the tracks he leads here; in particular, the studied classic rock caterwaul employed on "Stall Out" basically rolls my eyes for me. I am, however, fond of David Nance the Guitarist and his heroics on "Stall Out," and "A Little Proof" definitely has me more curious about his recent solo work I've skipped. These are pithy grievances, though: the album rules, as a whole, but it's just hard to stomach some of Nance's lyrics when they're side-by-side with bonafide jammers like "Bring It On Home" and "Treadin' Schuylkill." "Bring It On Home," in particular, with its Velvets-inspired chug and Robb's bleary vocals coolly beckoning you to do as the title says, heats to a boil with the blustery, fried guitar interplay. For me it wipes the floor with anything else on the album, and pretty much anything else I'll hear this year, so let's put all my petty complaints aside and declare this the Summer of Astute Palate, OK? Looks like the secret's out - the LP's sold out from the source, but can be found hiding in various distros and shops. Hunt it down, crack a tallboy, and embrace the sweltering heat of our melting planet with Astute Palate.

Maraudeur, Puissance 4 (self-released)

New and best LP yet from Leipzig's Maraudeur, self-released with some of the best packaging/artwork I've seen in a minute. My memory's usually a bit faulty, but I recall the band being a three-piece on their last, still very good LP from Bruit Direct Disques. I'm inclined to think that the group's ranks have swelled to five anyway, since the sound here is a bit more bright and full, lots of different moving parts zipping and moving around, giving the crisp recording some effervescence. Compared to older songs like "Computer Dreams," Maraudeur sounds sharper, capable of backing up any threats rather than coming across as deflated and listless. Even the slower songs on Puissance 4, such as "Slow Dress," thrive on tension, guitar strings set to snap amidst the robotic/hypnotic vocals. The band seems to have located a sweet spot between the simmering minimalism of Household and the technologically damaged vision of Chrome, and "TWYWYS" basically sounds like a collaboration between the two groups. Guitars are used as window dressing, favoring instead synths and showcasing the chops of the rhythm section. "Face/Figure" and my favorite track "C'est Caché" are the best examples of Maraudeur's rhythmic foundation, but nearly every track causes inadvertent head bobbing. While accessible and familiar on the surface, Maraudeur's dry humor, the carefully camouflaged layers of sound, and whatever is going on in "I Am Here" keep boilerplate post-punk comparisons at bay. Puissance 4 is a refreshing, addictive brew from the not-too distant future, and probably a blast to experience live.

Astrid Øster Mortensen, Gro Mig En Blomst (Förlag För Fri Musik)

New Gothenburg talent alert! Mortensen is apparently a newcomer to the scene, and her debut LP fits in nicely amongst the Förlag För Fri Musik discography. Gro Mig En Blomst features lonely and debased late-night solo explorations with guitar, piano and what sounds like an accordion, accented by electronic manipulations and the found sound that accompanies most FFFM records. It's dreary and stark, and can quickly bring the mood down when it's on. For me the most obvious reference point is Grouper's Ruins, in that both are recordings so intimate that it feels like an interruption to move while it's on. But I also get bits of Picastro's Whore Luck ("Hvor Kommer Mørket Fra?" sounds like it was plucked directly from that album), and there are similarities to Chloe Alison Escott's solo work, on the title track and "Piano i" and "Piano ii." Gro Mig En Blomst is a far cry from more traditional singer-songwriter music, dabbling in Stars of the Lid-like drone on "Brud ii" and jumping into the "Is there a record on or...?" genre on "Solen Er Et Lille Hus" and "Brud i." I can't say I go out looking for records this fragile and surface-level bleak anymore, but Mortensen's work is more often beautiful and calming than hopelessly gray. Another keeper from FFFM, sure to be one of the most sought-after records from the label, and for good reason.

Nightshift, Zöe (Trouble In Mind)

Travel back in time with me, if you will, to a time when "indie rock" was a genre label that had some meaning. After getting rid of the bad taste in my mouth and shaking off the embarrassment at who I was when I largely listened to stuff that'd broadly fall under that label, I'll allow that Nightshift is making a strong argument for some of the music released during the comparative naiveté of the late '00s/early '10s. Across Zöe, you get shades of Broadcast, Lower Dens' Twin-Hand Movement, the UV Race ("Spray Paint the Bridge"), Belle & Sebastian and A Sunny Day In Glasgow ("Power Cut" and "Romantic Mud"). The trick to Zöe is that it folds all these reference points in neatly and places it on a sturdy percussive base. I won't argue that every song here is memorable, but they're all enjoyable, and the songs that hit - "Outta Space," the title track, "Infinity Winner" - send chills down my spine every time. Guitars are plucked and scraped for leading beats, accentuating shuffling drums and giving the bass the spotlight. The vocals are dreamy and lyrics direct, and for the duration of Zöe you're relieved of the pessimistic present and allowed to rigidly dance to Nightshift's hesitant groove. They've charmed their way through my cynicism, and Zöe's been on heavy rotation despite my reluctance. Take it for a spin, and fall under Nightshift's spell.

Hugo Randulv, Radio Arktis: Samlade Ljud Från Den Norra Polcirkeln (Förlag För Fri Musik)

First solo LP from Hugo Randulv, an active presence in the Gothenburg scene with his involvement in Enhet För Fri Musik, Skiftande Enheter and Amateur Hour, among others. Though typically a guitarist, on Radio Arktis, he drops the guitar and instead fills both sides with glacial synths and dusty samples. The label's original write-up for this record called it "grand ambient," though to me it sounds and feels much more personal than something that would soundtrack the Olympics. His use of samples, most notably on "Radio Reykjavik," sounds intimately tied with some fleeting memory, the music serving to enhance or exorcise the feeling tied to it all. It reminds me most of the Fun Years' "God Was Like, No" in that both records used the tools common to ambient/drone music but applied a much more personal touch, that certain nameless attribute that keeps drawing a listener back in. Can't put my finger on it, but both records just sound like they had to be made, rather than serving as a genre exercise or one-off exploration. I don't know that Radio Arktis is going to change anyone's life, but it could, and I've been hypnotized by its wordless, sparkling gray tones for weeks. Even though the "solo musician embraces synths" thing is usually pretty tired and pointless, Hugo Randulv's contribution shows why it's an alluring proposition at all.

Sunhiilow, Beyond the Cycle (Ikuisuus)

More solo synth, this time coming from Valerie Magisson and her Moog Mother-32. Magisson's Sunhiilow project veers into new age/ambient with its bite-sized kosmische explorations. There's something about the combination of the short length of these tracks and the sense of movement present within each that allows Beyond the Cycle to transcend the lifeless drivel that's usually tagged "new age" and "synth." It seems intentional that Magisson was trying to capture the mood of each track title in its corresponding music, and she is largely successful, though its unclear if the title provided direction or was applied afterward. The somewhat jarring introduction of "Wilderness Bloom" and the stoned growth of "Circle Motion" are my top picks, but the album works best as a whole and played very loudly, the overall effect immersing the listener into heady zones traversed by the Nightcrawlers. Leave it to Ikuisuus to release an "ethereal ambient music" record that satisfies, and sounds and looks great to boot. Sunhiilow's a lot more tame than most of what Ikuisuus releases, but it's an accessible, recommended starting point to one of the best active labels. HOWDY.

#Astute Palate #Maraudeur #Astrid Øster Mortensen #Hugo Randulv #Nightshift #Sunhiilow #Petty Bunco #Förlag För Fri Musik #Ikuisuus

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dailyexo · 4 years

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[INTERVIEW] Lay - 200819 Rolling Stone India: “How Lay Zhang Claimed The Throne of M-pop”

"The singer-songwriter and producer offers an in-depth look into his latest record ‘Lit,’ his evolution as an artist and finding the balance between East and West

When I last spoke to Lay Zhang in 2018, he was embarking on an ambitious but daunting journey to bring Mandarin pop aka M-pop to the world. “I hope they think, ‘This artist isn’t bad,’” he had said with some trepidation in his voice. “I hope that they find my music special and maybe… they’ll want to learn more about me and Chinese music.” The singer-songwriter and producer aspired to create a true hybrid of traditional and modern music, a sound that defines our generation’s ability to package the past for the future.

Zhang, more commonly known by his stage name LAY, first debuted in 2012 as a member of world-famous K-pop group, EXO. Although he remains a member of the group, he’s spent the last couple of years in China to focus on a solo career and spotlight his own country’s burgeoning pop scene. It’s a process he kicked off with his second studio album Namanana in 2018, but he was still some time away from realizing his dream of pushing Chinese pop to a global stage.

It’s been nearly two years since our conversation for Rolling Stone India’s November 2018 cover feature, and any signs of trepidation are a thing of the past for LAY. We could chalk it up to him being two years older and wiser, but I’d like to think it’s because he kept his promise to bring M-pop to the world. If Namanana was just a dip in the pool of fusion experimentation, his latest studio album Lit is the deep dive.

“It is the evolution of M-pop for me,” LAY explains. “I wanted to take it to another level. When you hear the Chinese instruments, you know it is a different sound and vibe. The style is more pop, R&B, and hip-hop influenced with the Chinese instruments thoughtfully mixed in.” Comprising a total of 12 songs (all written and co-produced by LAY) Lit was released as two EPs instead of one LP; the first dropped in June while the second made its appearance in July. Nearly every track presents a fresh blend of traditional Chinese instruments like the hulusi, guzheng, flutes and gong with modern genres like trap, R&B, soul, hip-hop, future bass, dubstep and more. It’s a complex, refined and intricate record, utilizing production techniques that clearly outline LAY’s growth as an artist over the past two years. In retrospect, Namanana comes across a slightly more naive record–innocent and optimistic with a hope that international audiences would embrace both M-pop and LAY. Lit however seeks to take a different path and carves out the future LAY envisions with cool confidence and fearless production.

The tracks seesaw smoothly from Mandarin to English and back, with LAY showcasing both his vocal and rap skills. It’s an extremely powerful and expansive album, hair-raising at some moments due to the sheer surprises the artist packs in (at one point I hear what sounds like the tabla on “Call My Name” and it catches me totally off-guard.) Some of the collaborators on the record include big names like hip-hop hitmaker Murda Beatz, Grammy Award-winning producer Scott Storch, composer and producer Mitchell Owens and Grammy-nominated songwriter Mike Daley to name a few. For the title track “Lit,” LAY recruited China-native Anti-General who created a vicious and chilling trap/dubstep beat to complement lyrics that decimate LAY’s haters, gossip-mongers and the media, challenging them to come forward and take him down if they dare. The track sees the singer-songwriter rightfully crown himself a ‘king’ and leader in the music industry.

If that wasn’t enough, the music video for “Lit” is without a doubt one of the best released in 2020. With hundreds of extras, dancers, impeccable CGI and a compelling storyline, it’s more movie than music video, portraying LAY as a warrior king who refuses to be defeated. As executive producer, music director and co-choreographer on the project, LAY pays homage to China’s rich history and culture with tons of historical references and traditional symbolism. I tell him I particularly loved the symbolism of a white lotus emerging untouched and pure from the black ink–representing LAY’s rise in the industry–and he shares that the magnificent dragon that appears at the end was his personal favorite. “It was super important that we added it in,” he says. “It represents my wishes, aspirations and my relentless desire to always pursue perfection in the works that I create. I want my dancing, visuals, and music to be the very best it possibly can be.”

Lit is also thematically more complex and layered than any of LAY’s previous works, exploring concepts that revolve around confidence, love, fame, the media, success and more. “The album continues to explore chasing your dream,” the singer explains. “This time it’s about more personal things in my life. Like hometown, family and self-doubt.” A phonetic play on the word for lotus (莲 / lian) in Mandarin, ‘lit’ is a clever pun used to describe LAY’s similarity to a lotus and his prowess as a musician. He named the album after the lotus because of the symbolism of it growing and blossoming from dirt or mud. The lotus also continues the theme of duality with Lit’s two-part release, and, according to LAY’s team, “represents a new birth plus a new sound in the midst of all his past achievements.”

The album’s success more than speaks for itself– when the pre-order for Lit went live on China’s QQ Music streaming platform, nine certification records were instantly broken as it surpassed 1.5 million pre-orders within seven minutes and 19 seconds. This immediately pushed the EP to Number One on QQ Music’s daily and weekly album sales charts. Lit has also made LAY the best-selling artist in China in 2020, with a whopping 2.5 million records sold. It’s a testament to his drive and determination as an artist, the attention to detail and refusal to back down. The record’s international success was no less, hitting top 10 positions on iTunes charts across 32 countries, bagging 21 Number One spots and firmly cementing LAY’s position as the global megastar that he is.

Some things however, never change; brand deals, TV shows, multiple singles, EPs and collaborations keep his schedule completely booked and– just like back in 2018– it’s extremely tough to pin him down for a conversation. He’s currently in the middle of filming a reality show and has several other projects in the pipeline, but still makes the time to catch up and answer a few questions for Rolling Stone India. In this exclusive interview, LAY details his most successful record yet, the journey of finding the balance between East and West, dealing with the dark side of media attention and why the relationship between an artist and their fans needs to be a two-way street.

Congratulations on the release and tremendous success of Lit! It is an absolutely phenomenal record and I was thrilled to see you explore so many new streams of production. Can you tell me a little bit about the process of making this album and do you feel you met your own expectations for it?

For this album I wanted to mix in Chinese traditional instruments and tell Chinese stories. It is the evolution of M-pop for me. I wanted to take it to another level. When you hear the Chinese instruments you know it is a different sound and vibe. It is hard to say if I met my own expectations. As an artist you never ever feel your work is perfect. You can always find spots where you can improve. But I think what I was able to do with my team in the time we had was great.

You dove deeper into the fusion of tradition and modernity on this album than Namanana—there was a larger variety of Chinese instruments used as well as bilingual wordplay with language in the lyrics. In what ways do you feel you’ve evolved as a producer and songwriter since that album to Lit?

I am still trying to find the right style and combination to share my music and Chinese culture with the world. Lit was an example of my growth. I had this desire to include traditional stories and instruments from Chinese culture. Trying to find the balance with the Western music was challenging. I had to think and spend a lot of time arranging the chords around and fitting everything together. Also with this album I am talking about things in a more personal level and taking time to explain with more of an artistic style. I feel like I am growing up on this journey.

Lit is the first part of a series of EPs which will make a whole LP—why did you want to release it in this format and when did you begin working on the record?

I split it into two parts to give time to people to listen to it. I feel like if I released 12 songs at once, people may not give enough time to listen to each track. But when there are just six tracks each time, then it gives people time to listen more carefully. I started this project maybe early 2019.

The title track “Lit” is about your battle with the media, hateful netizens and malicious comments/rumors. Does it get easier over time to deal with this obsessive analysis of your life or does it never really ebb away?

It will always bother you, but over time you learn to deal with it. You focus on it less and less and back on what you love doing. When I make my music or learn dance or do anything I love, I kind of forget about it. Just focus on your goals and dreams and everything else becomes background noise.

The music for “Lit” is, in my opinion, the best of 2020 so far. Can you tell me a little about your role as the executive producer and music director on this project? How did the concept come about?

I was very involved in the project. I oversaw a lot of things that happened and discussed with almost everyone on the team on how to achieve my vision. When I was making the song I was thinking about how do we share Chinese culture. I thought filming in an ancient palace would catch people’s attention. It took off from there when discussing with the director. We started adding more and more elements of Chinese culture. We were trying to tell the story of Xiang Yu, a warlord who rebelled against the mighty Qin Dynasty but wasn’t able to conquer China. I’m Xiang Yu, but I’m trying to change my fate and succeed in my goal.

You incorporated Chinese Peking Opera in the music video version of the track and visual elements of Peking Opera in the album art for “Jade”–What was the motivation behind that decision and is there a particular story that the opera section references?

I wanted to bring people back in time to ancient China. I reference the traditional Chinese story of Xiang Yu and his love, Concubine Yu, so then I added in select passages from the Peking Opera Farewell My Concubine which tells their tragic story.

You displayed your incredible skills in dancing in this music video and you recently talked about how dancing was a way for you to show the audience who you are. Did you feel a sense of relief that the audience can see you or understand you a bit better after the release of “Lit”? Can the audience ever truly understand an artist?

It feels good to know people can see me and understand me more. I don’t think people can ever understand an artist completely. But they can relate to many things. I think that is a challenge for an artist to see how they can use their music to connect with people. It is a worthy challenge.

How do you hope that the artist you are today crafts the Lay Zhang of tomorrow?

I always believe in working hard and improving. I hope that the Lay Zhang of tomorrow continues to keep looking for ways to improve his art. I hope he never gives up his dreams.

Last time we spoke, we talked about Asian traditions represented in global mainstream pop culture. Now as you’ve grown as a megastar, you are one of the leading names in pop filling that space, bringing your heritage to the stage. Why is it important for our generation to see ourselves and our histories represented on these platforms by artists?

It is important for people to remember where they come from. They should know their own history and how their culture came to be. Also, it lets other people know another culture and have a deeper understanding. It can stop miscommunication and it helps people be closer to each other.

Why do fans need to see themselves in an artist? Does it work the same on the other side, do you as an artist see yourself in your fans?

I want fans to be able to relate with an artist. It is important for a fan to see themselves in artist and an artist to see themselves in a fan. When you can see each other you are able to understand each other better. You can connect with each other and really feel things.

I absolutely love the ‘Re-Reaction’ videos you have been doing for years and it means a lot to your fans that you take the time to do it. Why did you want to do this series and what does it mean to you to be able to connect with your fans like this and see them react to your work?

I am curious to know what fans and people think of my work. I want to know where I can improve. I want to keep growing as an artist. But also I want to let my fans know that I am reading their comments and I see everything they say.

Other than releasing more music, what are the rest of your plans for 2020? Do you have any film projects that you’re looking at taking up or are you planning on doing something completely different?

I am busy filming a TV drama and a few reality TV shows for the rest of 2020. A very busy schedule.”

Photo links: 1, 2, 3, 4

Credit: Rolling Stone India.

#EXO #EXO M #Lay #200819 #exo im #exo m im #lay im #p:news #t:news #fs:rolling stone india #comeback:Obsession

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fyexo · 4 years

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200819 How Lay Zhang Claimed The Throne of M-pop

“’Lit’ continues to explore chasing your dream. This time it’s about more personal things in my life. Like hometown, family and self-doubt.” Photo: Courtesy of Zhang Yixing Studio

“I don’t think people can ever understand an artist completely. But they can relate to many things. I think that is a challenge for an artist to see how they can use their music to connect with people. It is a worthy challenge.” Photo: Courtesy of Zhang Yixing Studio

Lit is the first part of a series of EPs which will make a whole LP—why did you want to release it in this format and when did you begin working on the record?

How do you hope that the artist you are today crafts the Lay Zhang of tomorrow?

I always believe in working hard and improving. I hope that the Lay Zhang of tomorrow continues to keep looking for ways to improve his art. I hope he never gives up his dreams.

“I want to keep growing as an artist. But also I want to let my fans know that I am reading their comments and I see everything they say.” Photo: Courtesy of Zhang Yixing Studio

Why do fans need to see themselves in an artist? Does it work the same on the other side, do you as an artist see yourself in your fans?

I am busy filming a TV drama and a few reality TV shows for the rest of 2020. A very busy schedule.

Riddhi Chakraborty @ Rolling Stone India

#exo #lay #t: interview #album: lit

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happyzyx · 4 years

Link

(...) “It is the evolution of M-pop for me,” LAY explains. “I wanted to take it to another level. When you hear the Chinese instruments, you know it is a different sound and vibe. The style is more pop, R&B, and hip-hop influenced with the Chinese instruments thoughtfully mixed in.” Comprising a total of 12 songs (all written and co-produced by LAY) Lit was released as two EPs instead of one LP; the first dropped in June while the second made its appearance in July. Nearly every track presents a fresh blend of traditional Chinese instruments like the hulusi, guzheng, flutes and gong with modern genres like trap, R&B, soul, hip-hop, future bass, dubstep and more. It’s a complex, refined and intricate record, utilizing production techniques that clearly outline LAY’s growth as an artist over the past two years. In retrospect, Namanana comes across a slightly more naive record–innocent and optimistic with a hope that international audiences would embrace both M-pop and LAY. Lit however seeks to take a different path and carves out the future LAY envisions with cool confidence and fearless production.

FULL

#zhang yixing #yixing #lay #exo #p: article

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thesethingsofours · 4 years

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Nina Simone, Duende & Pastel Blues

Nina Simone’s Pastel Blues is a true embodiment of duende — the rare depth and darkness that impels her work.

1969 © Jack Robinson / Hulton Archive

Her distinctive warble permeates thousands of movie soundtracks, hip hop samples and advertisements, let alone the countless personal moments by which people demarcate their lives. This omnipresence allows us to forget who Nina Simone was, and the outright value of her music. For the streaming generation, knowledge of such an artist is limited to “top hits”; on some Spotify, Sunday Mood playlist. Or worse, the songs will only wriggle into the brain from various attempts to sell Coca-Cola, Seat Atecas, Renault Clios, Volvo XC90s, Fords, Apple Watches, Chanel №5, Warehouse discount clothes, Virgin Flights, HTC Phones, Jockey underwear and Behr Paint.

Most egregious among these is the Muller Light yoghurt advert, inescapable for anyone sentient in early 2000s UK. It uses her 1968 song I Ain’t Got No, I Got Life, but only the second, I Got Life half; carving it off entirely from its I Ain’t Got No essence. In its truncated form, the song sounds like a free-wheeling celebration of life and limb: Got my hair, got my head / Got my brains, got my ears / Got my eyes, got my nose / Got my mouth, I got my smile. Yet the missing section is a lengthy condemnation of segregated American society, where disenfranchised black people had been given nothing to cling to: Ain’t got no mother, ain’t got no culture / Ain’t got no friends, ain’t got no schoolin’ / Ain’t got no love, ain’t got no name /…Ain’t got no god / Hey, what have I got? / Why am I alive, anyway?

Yes, the song contains positivity in tune and verse, but stripping the darkness from Simone’s work also strips away its incandescent light. It would be like taking Rodin’s Gates of Hell and shrouding everything except the seemingly peaceful thinker at the centre; or cutting the lightbulb from the top of Picasso’s Guernica and presenting it as a bright, merry, representative segment. Or a millionaire DJ taking Martin Luther King’s I Have a Dream Speech and turning it into a dance track during race protests and a global pandemic. But surely not even David Guetta would do that.

The reduction of such a deliberate and profound artist to commercialised snippets is saddening. In Simone’s case this is particularly true because of the highly unusual, powerful darkness that clutches her music. She has something rare. In Spanish, it is known as duende.

Duende

Rooted in Iberian cultures, duende derives from “duen de casa”, meaning “possessor of a house”. Originally the superstition of a dark, goblin-like spirit, it is now the concept of impassioned, death-endorsing, creative invention; typically associated with the performative aspects of Flamenco. In that context, poet and playwright Federico García Lorca describes its contemporary meaning (in his 1933 Buenos Aries lecture, Theory and Play of the Duende), as the “buried spirit of saddened Spain”.

As a guitar maestro explained to him, “the duende is not in the throat: the duende surges up, inside, from the soles of the feet”. Lorca quotes others, one, after listening to Paganini’s violin, identified it as, “a mysterious force that everyone feels and no philosopher has explained”; or another, upon hearing Manuel de Falla perform Nocturno, proposed that, “all that has dark sounds has duende”. In Lorca’s own words:

For every man, every artist called Nietzsche or Cézanne, every step that he climbs in the tower of his perfection is at the expense of the struggle that he undergoes with his duende. Not with an angel, as is often said, nor with his Muse…

…With idea, sound, gesture, the duende delights in struggling freely with the creator on the edge of the pit. Angel and Muse flee, with violin and compasses, and the duende wounds, and in trying to heal that wound that never heals, lies the strangeness, the inventiveness of a man’s work.

Nina Simone embodies duende.

1968 © Hulton Archive

It exists not only within her more explicit protest songs, born of the Civil Rights movement, but is present in everything she did — a ferocity, fragility, sadness and authenticity that claws its way up her throat and flings itself from her open mouth. It’s an otherworldly channelling of something very few can access, but which audiences pray to feel. With music so steeped in darkness, using it to gleefully sell products is a comedy — a joke on the shamelessness naivety of consumers and marketeers — as well as a tragedy.

A Brief History

Born Eunice Kathleen Waymon in 1933 and raised in Jim Crow-era North Carolina, Simone was ambitiously desirous of becoming a concert pianist — an uncommon career path for a young black girl at the time. Despite obtaining the ability to do so, she was instead funnelled into performing a mixture of jazz, gospel, soul and folk. And blues, in every shade. Her voice — ostensibly untrained — was burnished in the fire of necessity: if she wanted to earn money in the clubs, she had to sing as well as play piano. She electrified audiences, but remained persistently dissatisfied with how she was received and perceived:

It’s only normal to want acceptance from one’s own country for one’s gifts God has given you. I’m tired of begging for it. It took me 20 years of playing in clubs, in nightclubs, on the concert stage doing all these records to get a decent, real accurate review of my gifts by the New York Times… It was the first time I had been compared to Maria Callas as a diva. All before that I had been labelled a jazz singer, a blues singer, High Priestess of Soul, which… I am not sure what that is. I have studied piano 18 years! So yes I’m tired. I’m too old to keep asking for love from the industry. (Nina Simone, 1984)

Elevated by activists and aficionados alike, yet shunned by the industry at the height of her popularity after vigorously speaking out for black rights (see: Mississippi Goddam), she evolved as an artist in parallel with the revolution of television; first appearing in grainy monochrome and then in saturated technicolour. In the 12-year period between 1959 and 1971, she released 16 studio albums. In the years that followed, before her death in 2003, she released just four more.

Pastel Blues

These days, the idea of albums is virtually defunct, Drakefied to an incoherent heap of songs occasionally “dropped” like laundry, to be worn or discarded at the listeners behest. But as with other great artists, if the extent of Simone’s depth and duende is to be appreciated, it is essential to listen to her albums — the home of her authorship.

Pastel Blues is a nine track, 36-minute LP, mainly of covers and blues standards. It was released in October 1965, eight months after Malcolm X was assassinated, seven months after Bloody Sunday in Selma, and two months after the Voting Rights Act became law. Arguably, it arrived at the height of the movement. Nina Simone was 32. Just imagine.

Although the title suggests something soft and light, underneath the label, the substance is preternatural. As you listen, watch the image on the cover transform from a gentle gaze into a pointed glare; a stare in stereo. Altogether, it is a marvellous enunciation of Nina Simone’s darkness, with which she writhed in body, mind, and soul to give us some of the most memorable artworks of the 20th century. Pastel Blues gives her duende its due.

Listen to Pastel Blues on Apple Music

Listen to Pastel Blues on Spotify (1965 Live Version)

Listen to Pastel Blues on YouTube

Track-By-Track

Be My Husband

It opens with Be My Husband, featuring lyrics incidentally written by Simone’s own husband (and manager), Andrew Stroud. Slightly off-kilter, echoey, four-beat stamping and clapping, heightened by the tight splash of a high-hat, introduces a languid, yet driving pace. With purity of purpose, Simone’s voice drawls intensely into her opening repeated demand: Be my husband and I’ll be your wife / Love and honour you the rest of your life.

It suggests a woman pleading for the hand of her lover, committing to do all he would expect of a wife: If you want me to cook and sew / Outside of you there is no place to go. In return, she asks him only to curb his wandering eye: Stick the promise man you made me / That you stay away from Rosalie, yeah. This is presumably the intended (somewhat biased) perspective of the lyricist. But the way Simone sings it, with improvised shrieks dropping into deep, bassy groans, something quite different is suggested.

Nina Simone & Andrew Stroud, photographer unknown.

At this point, Simone was four years into an emotionally and physically abusive marriage with Stroud. Knowing this, it has far more resonance to picture her in a kitchen, staring down a boorish, unsatisfactory, and unsatisfying man; stomping on a linoleum floor, and throwing him a powerful, sacred ultimatum — give me what you promised. To imagine it otherwise is to imagine how Ed Sheeran might perform it — with the frivolousness of a millennial wedding on a sunny day in Surrey, and all the stamping, clapping vigour of a gaggle of giggling, inebriated aunts.

Furthermore, Be My Husband is effectively a re-worked chain gang song from the segregated south — a version of Rosie by the Inmates of Parchman Farm Penitentiary recorded in 1947 Mississippi by ethnomusicologist, Alan Lomax (and notoriously sampled by… well, well, well… hello again, David Guetta). The original lyrics ring out: Be my woman, gal, I’ll be your man… Stick to the promise girl that you made me / Won’t got married til’ I go free. Even aside from Simone’s interpretation, its genesis as a song of imprisonment immediately gives it a grimmer tone.

Nobody Knows You When You’re Down and Out

As it bows to track two, Nobody Knows You When You’re Down and Out, the heavy opening of the album is extended. A blues standard written in 1923, it was popularised by Bessie Smith’s 1929 recording and re-introduced to a new audience by Eric Clapton, who performed it throughout his career. Sam Cooke, Otis Reading, Janis Joplin, Bobby Womack, John Lennon, Derek and the Dominos and Duane & Gregg Allman all put their spin on it, with wildly varying degrees of quality, duende and notoriety.

It begins deceptively upbeat: Well once I lived the life of a millionaire / spending my money I didn’t care / Taking my friends out for a mighty good time. Simone’s version is no different as she lightly pads major key piano chords, but what immediately sets her rendition apart is the tremble in her voice. It sounds like she is singing through tears, not least when the song reaches its sobering bridge: Nobody wants you / Nobody needs you.

In Simone’s case, the song became painfully prescient. Following her fall from grace within the music industry, she left for Barbados in 1970, where she had an affair with then Prime Minister, Errol Barrow. Her subsequent divorce from Stroud limited access to her income, which he, as her manager, controlled. Also, due to an arrest warrant for taxes she withheld in protest at the Vietnam War, Simone was unable to return to the US, so ended up first in Liberia, then living across Europe. With little money to live from and few relationships to speak of, for a time, she came to epitomise the song.

End of the Line

The first fully original song on the album, End of the Line is initially carried by another deception of positiveness, this time through its melody; romantic and light despite the lyrics: This is the end of the line / I’ve clearly read every sign / The way you glance at me / Indifferently / And take your hand from mine. Such is the flowing nostalgia of the tune, it is plausible to imagine the same song with all words made positive (e.g. The way you glance at me / So happily / And place your hand in mine).

Divisible into two parts, the first has the feel of Simone sipping a martini in a Rogers & Hammerstein bar (perhaps offering some musical theatrical hope of salvation). The second, however, gives way to resigned sorrow, over a steady, rumba beat. Aside from showcasing Simone’s prodigious classical piano-playing ability — albeit only through twinkling, floral runs — the richness of her vocal tone spills forth, smoothly and lusciously, particularly in the second half. While lyrically it lacks the forcefulness of other tracks, its simplicity opens the door to Simone’s abundant musicality.

Trouble in Mind

Written in 1924, Trouble in Mind is another blues standard, but given its title, after three tracks of despair, it surprisingly brings a degree of levity.

The original lyrics (as sung by Dinah Washington, Janis Joplin, Jerry Lee Lewis, Ella Fitzgerald, Marianne Faithful, Johnny Cash and original recording artist Thelma La Vizzo) are far darker than this version. Typically, the singer, wrestling with the irrepressible demons of their psyche, contemplates suicide by train: I’m gonna lay my head / On some lonesome railroad line / Let the 2:19 train / Ease my troubled mind. Yet on Pastel Blues, it never gets that far.

While refrain of the song always concludes: I won’t be blue always / ‘Cause the sun’s gonna shine in my back door someday, Simone’s version leans more heavily on those lyrics than others’ versions; giving it a more hopeful perspective. She also dresses the music with a quicker, cheerier pace. Furthermore, instead of seeking the certainty and finality of a gruesome suicide, she resolves only that: I’m going down to the river / Gonna get me a rocking chair / If the Lord don’t help me / I’m gonna rock away from here.

Given she was be known to perform the full lyrics on other occasions, it is an interesting choice to uplift them on Pastel Blues. In terms of the album’s full narrative, however, it makes sense to offer a moment of optimism, keeping us on an undulating journey of emotion, rather than wallowing solely in melancholy.

Tell Me More and More and Then Some

The dynamic changes once again in Tell Me More and More and Then Some, as Simone hints towards her unapologetic, simmering, sexuality. Sex is known to have often enthralled her — as she wrote in her diary, “My attitude toward sex was that we should be having it all the time.”

Originally recorded in 1940 by Billie Holiday, Simone tweaks the lyrics to make the titular line more demanding, more desirous: I want more, more and then some. Accompanied by quivering, raunchy harmonica and clanging, insistent piano chords, Simone’s phrasing and emphasis draws lustfulness from the lyrics: You know how I love that stuff / Whisper from now on / To doomsday / But I never no no no no, ooh / I never, no I never, will get enough. It’s an erotic elaboration on Holiday’s already sultry interpretation, loading the request for whispered sweet nothings with a throbbing, sexual overtone.

Chilly Winds Don’t Blow

Chilly Winds Don’t Blow acts as a natural, also largely optimistic companion to Trouble in Mind, making Tell Me More and More and Then Some the bawdy, thick-cut meat between two, forward-looking slices of bread. That said, the song was previously released by Simone as single in 1959, as an even more upbeat spiritual, with denser orchestration and less of her signature vocal style.

On Pastel Blues, however, it is likely sung from a position of matured disappointment towards the unending hostility experienced by black Americans. With a sparser arrangement and greater vocal freedom, the new context is pointedly conveyed: There will be red roses round my door / I’m going where they’ll welcome me for sure, oh baby / Where the chilly winds, they don’t blow. Notably, as her piano rumbles, mimicking the sound of a rolling, cold wind, Simone also refers to her own maturity, as a woman. In this new version, she no longer wants to go where her father waits for her. Instead, it’s her daddy who will be waiting.

1968 © David Redfern

Ain’t No Use

Recorded in 1959 by Joe Williams and Count Basie, Ain’t No Use manifested as a break-up song. In that bright, brassy version, Williams croons at the opening: Ain’t no use of hanging round / Ain’t no use I put you down / There’s no love left / In my heart for you. In Simone’s rendition, the subject of the warning is much more ambiguous. When considered alongside Chilly Winds Don’t Blow and the tracks that follow, Simone instead implies a sense of exasperation, perhaps a desire to withdraw from broken American society, or the increasingly hostile music industry. She opens not with fallen love but accusation and fatigue: Ain’t no use baby / I’m leaving the scene / Ain’t no use baby / You’re too doggone mean / Yes I’m tired of paying dues / Having the blues / Hitting bad news.

To this point, Pastel Blues is a solid, often special, blues album, but here it really begins to soar; marking it apart. The underlying anguish of the blues is of course ingrained in the genre, but with Simone, her duende, fraught personal life, and civil rights activism, a dramatic narrative acceleration begins to emerge in the gap between Ain’t No Use and Strange Fruit (and again between Strange Fruit and Sinnerman). Without realising, tracks one to eight have been quietly coaxing you towards the edge of a cliff. The final two rip through you, forcing you over the edge before you can pull back. Amidst the silence between the songs, everything that preceded becomes re-contextualised with a deeper, darker tone. Embrace the fall.

Strange Fruit

The majesty of Strange Fruit is well documented — in 1999, Time named it the best song of the century. It was written by Abel Meeropol — a white, Jewish sometime Communist, and real-life MacGuffin, who intersects with numerous historically important features of 20th century America, but never appears at their forefront.

As a student and then teacher at Dewitt Clinton High School in the Bronx, he crossed paths with a young James Baldwin and numerous other luminaries of American culture. After seeing a photograph of a lynching, he felt compelled to write; originally penning the words as an anti-lynching poem. Published in a teacher’s union publication, it concisely described the horror he had seen through the sinister metaphor of a seemingly innocuous fruit tree. He later set it to music and presented it to Billie Holiday, who recorded her socially and sonically remarkable version in 1937. In 1945, he gave up teaching to become a full-time songwriter under the pen name Lewis Allen (the first names of his two, tragically stillborn sons), most famously writing Frank Sinatra’s Oscar winning, patriotic short film and accompanying song, The House I Live in. Not only that, but in 1953 he adopted the two sons of Julius and Ethel Rosenberg — a Jewish couple famously executed for spying on America for the Soviet Union.

Abel Meeropol with sons Michael and Robert Meeropol in 1954, via Robert Meeropol

As for the song itself, if Holiday’s recording is classical — a regretful, tender jazz lament — Simone’s is something more modern, more openly enraged; a cutting, resonant howl; transcending genre. The arrangement is minimal and masterful at once, with often dissonant piano chords treading like distressed steps through fallen leaves towards the horrifying tree at the agonising conclusion. It climaxes with a literal wail as the end nears: Here is a fruit for the crows to pluck / For the rain to gather, for the wind to suck / For the sun to rot, for the trees to drop / Here is a strange and bitter crop.

Its intensity lent itself perfectly to the sample on Kanye West’s scorching rebuke of destructive celebrity relationships, Blood On the Leaves.

Sinnerman

Simone’s Sinnerman is virtually unrecognisable from the first, folky version recorded by the Les Baxter Orchestra in 1956. Baxter adapted (read: plagiarised) the song from On the Judgement Day, by the Sensational Nightingales, which in turn takes elements from the 1924 No Hiding Place Down Here, by the Old South Quartette. But much like Jeff Buckley’s version of Leonard Cohen’s similarly spiritual Hallelujah, Simone’s version remains, and will forever remain, the definitive iteration; the most copied, covered, celebrated and recognised; never bettered beyond that point.

As her Sinnerman evolves, it reveals the preceding short, eight tracks to have been little more than an (excellent) overture to this — the epic, operatic finale. At ten and a half minutes, it makes up nearly a third of the entire album. Brace yourself.

After the silent gap following Strange Fruit — another inhale between urgent roars — the first few bars are timeless, perhaps some of the most familiar notes ever recorded. Piano keys clamber over one another, skipping like a broken record. A foot taps out a light beat in the background. The percussion joins: a double-time, racing, hi-hat heart rate, yielding only to the occasional heavy, melodious thump of a double bass. Simone enters, Oh, Sinnerman, where you gonna run to? / Sinnerman, where you gonna run to?

1967 © Tony Gale

After Strange Fruit, the question takes on new meaning. Picture Simone in a deep purple Cadillac Deville n hot pursuit of a fleeing lynch mob; hood down, foot down, brow furrowed, engine roaring, steering on the edge of control. This toying with tumbling gives the song its energy. Like running down a steep slope, with the slightest misstep, all would be lost. As the beats impatiently trip over the piano notes, it feels like it’s constantly accelerating; never settling into a regimented pace.

After erupting into a minute-long call and response of: Power!, Sinnerman changes gear. A jangling, twanging guitar breathes heavily in contemplation of the next charge. The music fades, leaving only intimidating clapping, until the piano returns most wonderfully with a couple of pleasingly apparent (yet well-intended) mistakes; three or four notes missed, misplaced, or hesitated over as the tune searches again for its order among the tumult. When found, it resurges with renewed purpose; Simone audibly hyperventilating in anxious anticipation: So I run to the river, it was boiling / I run to the sea, it was boiling / All on that day. Judgement Day has arrived, and the devil is everywhere.

(Should this masterpiece really ever be used to sell hatchbacks?)

It ends with a pleading prayer, agitated piano chords and chaotic drums: Don’t you know, I need you Lord?, Simone cries. Whether the prayer is answered, we’ll never know, but as the percussion takes over and batters us into a final, frenzied submission, it feels too late.

Exhausted and exhilarated, Pastel Blues is at its end. But within it, Nina Simone’s duende forever persists.

#music #women #art #nina simone #album #race #civil rights #duende #1960s music #jazz #soul

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louissever66158-blog · 5 years

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monaedroid · 6 years

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She rose to fame as an endlessly inventive pop android. Now, she's finally revealing the real person waiting inside

Janelle Monáe is crying in her spacesuit. It's early April in Atlanta, and she's in one of the basement studios of her Wondaland Records headquarters, surrounded by computer monitors and TV screens, one of them running a screensaver that displays images of her heroes: Prince, Martin Luther King Jr., Pam Grier, Tina Turner, Lupita Nyong'o, David Bowie. She's about to reveal, for the first time, something the world has long guessed, something her closest friends and family already know, something she's long been loath to say in public. As she sings on a song from her new album, Dirty Computer,"Let the rumors be true." Janelle Monáe is not, she finally admits, the immaculate android, the "alien from outer space/The cybergirl without a face" she's claimed to be over a decade's worth of albums, videos, concerts and even interviews – she is, instead, a flawed, messy, flesh-and-blood 32-year-old human being.

And she has another rumor to confirm. "Being a queer black woman in America," she says, taking a breath as she comes out, "someone who has been in relationships with both men and women – I consider myself to be a free-ass motherfucker." She initially identified as bisexual, she clarifies, "but then later I read about pansexuality and was like, ‘Oh, these are things that I identify with too.' I'm open to learning more about who I am."

It's a lovely spacesuit she's wearing, a form-fitting white NASA artifact complete with a commander patch on one arm and an American flag on the other. She's put it on for no reason at all – there are no cameras in sight – as she lounges around Wondaland. The outfit is a remnant, perhaps, of the android persona, known as Cindi Mayweather, that she fed us all these years: a messianic, revolutionary robot who fell in love with a human and vowed to free the rest of the androids.

Early in her career, Monáe was insecure about living up to impossible showbiz ideals; the persona, the androgynous outfits, the inflexible commitment to the storyline both on- and offstage, served in part as protective armor. "It had to do with the fear of being judged," she says. "All I saw was that I was supposed to look a certain way coming into this industry, and I felt like I [didn't] look like a stereotypical black female artist."

She is also a perfectionist, a tendency that's helped her career and hindered her emotional life; portraying a flawless automaton was also a bit of wish fulfillment. It's one of the many reasons she thought she had a "computer virus" that needed cleaning, which led her to years of therapy, starting before the 2010 release of her debut, The ArchAndroid. "I felt misunderstood," she says. "I was like, ‘Before I self-destruct, before I become a confused person in front of the world, let me seek some help.' I was afraid for anybody to see me not at the top of my game. That obsession was too much for me."

So she overcompensated, as she puts it, leaving fans to puzzle over the sight and sound of a dark-skinned, androgynously dressed black woman creating Afro-futuristic fantasias as trippy as the Parliament-Funkadelic soundscapes she grew up hearing. She became a pop anomaly, a sometimes incongruous interloper in the universes of her earliest supporters, Big Boi and Puff Daddy, the latter having signed her to a partnership with Bad Boy Records in 2008. The ArchAndroidwas a buzzy introduction, and 2013's Electric Lady – certainly the first progged-out concept album in the history of Bad Boy – established her as one of the 21st century's most inventive voices. Years before Frank Ocean, Solange, Beyoncé and SZA pushed arty, alternative R&B to the mainstream, Monáe was already there, bridging the gap between neo-soul and all that was to come, unafraid to fuse rock, funk, hip-hop (when she feels like it, as on her recent single "Django Jane," she's a top-flight rapper), R&B, electronica and campy, drama-kid theatricality.

She always ducked questions about her sexuality ("I only date androids" was a stock response) but embedded the real answers in her music. "If you listen to my albums, it's there," she says. She cites "Mushrooms & Roses" and "Q.U.E.E.N.," two songs that reference a character named Mary as an object of affection. In the 45-minute film accompanying Dirty Computer, "Mary Apple" is the name given to female "dirty computers" taken captive and stripped of their real names, one of whom is played by Tessa Thompson. (The actress has been rumored to be Monáe's girlfriend, though Monáe won't discuss her dating life.) The original title of "Q.U.E.E.N.," she notes, was "Q.U.E.E.R.," and you can still hear the word on the track's background harmonies.

Monáe is the CEO of her own label, a CoverGirl model and a movie star, appearing in the Oscar-winning Moonlight and the Oscar-nominated Hidden Figures, two hits led by black casts. In both films, she tackles black American stories that don't typically get the big-screen treatment. "Our stories are being erased, basically," she says of her attachment to those scripts, which made her "want to tell my story." Monáe does worry that the human behind her masks may not be enough. She has asked aloud, including in therapy, "What if people don't think I'm as interesting as Cindi Mayweather?" She'll miss the freedom of being the android. "I created her, so I got to make her be whatever I wanted her to be. I didn't have to talk about the Janelle Monáe who was in therapy. It's Cindi Mayweather. She is who I aspire to be." On Dirty Computer, the only hints of sci-fi are in the title and the storyline of the accompanying film. The lyrics are flesh-and-blood confessions of both physical and emotional insecurity, punctuated with sexual liberation. They're the unfiltered desires of an overthinker letting herself speak without pause, for once. And she wants to help listeners gain the courage to be dirty computers too. "I want young girls, young boys, nonbinary, gay, straight, queer people who are having a hard time dealing with their sexuality, dealing with feeling ostracized or bullied for just being their unique selves, to know that I see you," she says in a tone befitting the commander patch on her arm. "This album is for you. Be proud."

Monáe grew up in a massive, devoutly Baptist family in Kansas City, Kansas, or as she likes to put it, "I got 50 first cousins!" Not all of them know details of her romantic life, but they have almost certainly seen her wear sheer pants and share a lollipop with Thompson in the "Make Me Feel" video. "I literally do not have time," she says, laughing, "to hold a town-hall meeting with my big-ass family and be like, ‘Hey, news flash!' " She worries that when we visit Kansas City tomorrow, they'll bring it up: "There are people in my life that love me and they have questions, and I guess when I get there, I'll have to answer those questions."

Over the years, she's heard some members of her family, mostly distant ones, say certain upsetting things. "A lot of this album," she says, "is a reaction to the sting of what it means to hear people in my family say, ‘All gay people are going to hell.' "

She began questioning the Bible and her family's Baptist faith early on. Now, she says, "I serve the God of love" – love, she's determined, is the common factor among all religions, an idea Stevie Wonder expanded on in a Dirty Computer interlude.

When we arrive in the flat, industrial Kansas side of Kansas City, her family doesn't actually have any questions – or anything unkind to say, for that matter. There's just a whole lot of love for their homegrown superstar.

Janelle Monáe Robinson was born here on December 1st, 1985, to a mom who worked as a janitor and a dad who was in the middle of a 21-year battle with crack addiction. Her parents separated when Monáe was less than a year old, and her mother later married the father of Janelle's younger sister, Kimmy.

Monáe's loving warnings about the sheer size of her family ring true as soon as we step into her old neighborhood. On one street, her maternal grandmother owned several homes in a row that housed cousins, aunts, uncles and Monáe herself. A few minutes away is her paternal great-grandmother's pastel-coated house. Monáe spent a significant portion of her time there – it was her main connection to her dad and his family as he went in and out of prison; their relationship was rocky until he got sober 13 years ago. Another short car ride away is her maternal Aunt Glo's home, where we meet her mom. "She's my favorite slice of pie," her Auntie Fats says, referring to Monáe's familial nickname of "pun'kin."

Monáe was raised in a working-class community called Quindaro. It started as a settlement established by Native Americans and abolitionists just prior to the Civil War, and became a refuge for black Americans escaping slavery via the Underground Railroad. A few weeks before our visit, vandals painted swastikas and "Hail Satan" on a statue of abolitionist John Brown in the neighborhood. It's since been repainted. "I know nobody in this neighborhood did that," her great-grandmother says, shaking her head. "Outsiders."

On the Missouri side of the bridge, Kansas City is predominately white, but Monáe's community is overwhelmingly black. "I would read about where I was from," she says, "and understand who's really disadvantaged coming from these environments. It sucks. It's like that for brown folks." It's hard to miss her family's religiosity – they hardly get a sentence out without a mention of God's blessings. At 91, Monáe's great-grandma still monitors the halls at the local vacation Bible school with a switch in hand. During our visit, she sits behind a piano to lead a gospel singalong. Monáe, beside an aunt and a cousin, joins in, belting "Call Him Up and Tell Him What You Want" and "Savior, Do Not Pass Me By."

Monáe is never more relaxed during our time together than when she's in Kansas City. Her Midwestern drawl comes back as she screams and sings while running into the arms of her cousins, aunts and uncles, many of whom she gets to see only during the holidays or tour stops nearby. At one point, she curls up into her mom's lap while they look at a homemade poster full of sepia-toned childhood pics. "She was a delightful baby," Auntie Fats recalls.

Monáe's family members all share different versions of the same story: She was born to be a star, and she made that clear as soon as she gained motor skills. There was that time she got escorted out of church for insisting on singing Michael Jackson's "Beat It" in the middle of the service. There were the talent shows for Juneteenth where she covered "The Miseducation of Lauryn Hill" three years in a row and won each time. She was the star of the school musicals, except for The Wiz her senior year, when she lost the role of Dorothy because she had to leave the audition early to pick up her mom at work. She's still a bit miffed about not getting that part.

Monáe soon passed a bigger audition, for the American Musical and Dramatic Academy, and headed to New York. She studied musical theater and shared a small apartment with a cousin where she didn't even have a bed to herself. When she wasn't in class, she was working.

Meanwhile, an old friend was having the college experience Monáe desired, in Atlanta, so she relocated. The rest is well-trod history in the myth-building of Monáe: She was an Afro'd neo-soul singer strumming her guitar on college quads and working at Office Depot. She was fired from that job for using one of the company's computers to respond to a fan's e-mail, an incident that inspired the song "Lettin' Go."

That song caught the attention of Big Boi, who put her on Outkast's Idlewild and helped connect her with Sean Combs. "I'm-a be honest with you," her dad says, recalling an invite to one of Monáe's shows in Atlanta, where Combs was supposed to be in the house. "I was like, ‘Yeah, right.' I didn't think Puff Daddy was coming."

Skepticism aside, Michael Robinson was proud of the invite. He'd recently gotten sober, and the two were repairing their relationship. He spent much of Janelle's childhood hearing about her immense talents from the more-present members of their family. He was honored that they had come far enough for Monáe to want him to be there for such an important concert. But he still didn't believe Puffy would be there.

"I go down there with my two cousins, and she says, ‘Dad, everyone's gonna know you're not from here. Your jeans are creased.' " Fashion faux pas aside – he insists he hasn't creased his jeans since – Robinson was in for a pleasant surprise when one of his cousins spotted Combs and Big Boi in the back. It was the beginning of his daughter's new life, and he was just in time to be along for the journey. "I remember thinking, ‘This is what the big time is like,' " he muses. "They had all the cameras, all the lights. It was all about Janelle."

Wondaland Arts Society's headquarters feels like a utopian synthesis of Monáe's past lives in Kansas City and Manhattan. It sits inconspicuously in the midst of suburban Atlanta and looks like every other neighborhood home, with its two floors and brick exterior. Inside is much more ostentatious, with vintage clocks wallpapering the foyer, pristine white couches in the communal living spaces, and books and records everywhere.

It mimics the close-knit, constant accessibility of her childhood in Kansas City, with all its artists popping in and out of the space throughout each day to record new music, rehearse for shows and present the final product to the rest of the collective. At one point, the singer-rapper Jidenna shows up, having recently returned from a trip to Africa – everyone immediately starts teasing him about his newly buff physique.

Simultaneously, Chuck Lightning, seemingly the more extroverted half of two-man funk act Deep Cotton, who make their own music as well as work with Monáe, grabs a bowl of quinoa from the kitchen as Monáe doles out decisions on which version of the "Pynk" video will be released (they settle on the one without the spoken-word love poem that appears within the song in the film).

Monáe recorded most of Dirty Computer here, in a small studio with Havana-inspired decor. Guests and collaborators ranged from Grimes to Brian Wilson, who added harmonies to the title track. The album's liner notes cite Bible verses and a recent Quincy Jones interview alongside Monica Sjöö's The Great Cosmic Mother and Ryan Coogler's Black Panther.

But she was particularly close to one inspiration. Monáe was good friends with Prince, who personally blessed the album's glossy camp tone and synthed-out hooks. "When Prince heard this particular direction, he was like, ‘That's what y'all need to be doing,' " Lightning says. "He picked out that sound as what was resonating with him." Prince gave highly specific music and equipment recommendations from the era they were drawing on, including Gary Numan, whom he loved. "The most powerful thing he could do was give us the brushes to paint with," Lightning says.

Rumors spread that Prince co-wrote the single "Make Me Feel," which features a "Kiss"-like guitar riff. "Prince did not write that song," says Monáe, who sorely missed his advice during the production process. "It was very difficult writing this album without him." Prince was the first person to get a physical copy of The ArchAndroid – she presented the CD to him with a flower and the titles written out by hand. "As we were writing songs, I was like, ‘What would Prince think?' And I could not call him. It's a difficult thing to lose your mentor in the middle of a journey they had been a part of."

Stevie Wonder was another early fan of Monáe, and a conversation between them – Wonder insisted she record it – appears as an interlude on Dirty Computer. At one point, years ago, her budding friendships with both legends collided: She had to choose between playing with Prince at Madison Square Garden or with Wonder in Los Angeles. Prince encouraged her to pick Stevie.

On election night in 2016, Monáe found herself experiencing an unfamiliar emotion. "For the first time," she says, "I felt scared." Overnight, she went from living in a country whose president loved her music and had her perform on the White House lawn to one where it felt like her right to exist was threatened. "I felt like if I wake up tomorrow," she says, "are people going to feel they have the right to just, like, kill me now?"

Monáe had already been a committed activist. In 2015, with members of Wondaland, she created "Hell You Talmbout," which demands we say the names of black Americans who have been victims of racial violence and police brutality. Before #MeToo and Time's Up, Monáe created an organization, Fem the Future, which stemmed from her frustrations about opportunities for women in the music industry. She was called on to perform at the 2017 Women's March and to speak about Time's Up while introducing Kesha at the Grammys. "We come in peace, but we mean business," she told the cheering crowd.

That sums up Monáe's mindset in the Trump era. She hopes not to destroy the oppressors but to change their minds. "The conversations might not happen with people in the position of power," she says, "but they can happen through a movie, they can happen through a song, they can happen through an album, they can happen through a speech on TV. Most of them will probably turn off their TVs, but . . ."

She's in a New York hotel now, two weeks before the album's release. "There's some anxiety there, but I feel brave," she says, teetering between her typical sternness and a bit of vulnerable shakiness. No tears will be shed today. "My musical heroes did not make the sacrifices they did for me to live in fear." Her activism isn't the focus of Dirty Computer, but it's there, hovering above every note. She ended band rehearsal in Atlanta by asking the musicians to reflect on how American this album is. Monáe's America is the one on the fringes; it accepts the outsiders and the computers with viruses, like the ones she thought she had.

She understands the significance of now making her personal life a bigger, louder part of her art. She cites the conversation around one of her films as an example of how she might use her own story to engage with more-conservative listeners. "When I did Hidden Figures, there were some Republican white men tweeting about it and how they just felt bad. You could feel through their tweets that they were just like, ‘These black women did help us get to space. How could we treat them like that?' "

Meanwhile, she's again anticipating questions from her family back in Kansas. She seems more worried about them than what anyone else has to say. Still, Dirty Computer is meant to be a celebration, and if she loses a few people along the way, Monáe seems OK with that risk.

"Through my experiences, I hope people are seen and heard," she says, sitting at a hotel-room desk, dressed up from a day of promo in a puffy black-and-red jacket, matching red pants and terry-cloth hotel slippers. "I may make some mistakes. I may have to learn on the go, but I'm open to this journey." She sighs, voice confident and stare unfaltering. "I need to go through this. We need to go through this. Together. I'm going to make you empathize with dirty computers all around the world."

https://www.rollingstone.com/music/features/cover-story-janelle-monae-prince-new-lp-her-sexuality-w519523

#long reads #janelle monae #janellemonae #wondaland #wondaland records #rolling stones #rolling stone magazine #cover #coverstory

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insectrecords · 3 years

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Chris McDowell @shieldy_guy ; aka Solar Shield (@austinboogiecrew ) aka Very Rich (@growthindecay ); is now also known as Usedtobe (@insectrecords ) “Usedtobe came from long nights in art school in Georgia. I had finally gotten the Mirage to actually read the floppy discs it came with, sitting on an endless pile of sampled drums from the internet, with the DX7 and Mopho and no plans outside the house. I was digging deep into the question of 'what counts', with file names like 'isThisFunk?' and 'maybeEnough' " His debut long-player consisting of Boom Bap 90s beats, modern funk sketches and soul flips clocking in at 36 songs and 50 minutes. At 32, he’s been making music for over half his life under different monikers; He also owns a synthesizer company called supersynthesis.com @supersynthesis ; a musical instrument design and manufacturing firm based in Austin, TX, where he was born and raised. He plays drums, bass, guitar and is absolutely blessed on the keys. For this record, the equipment he you used: "Yamaha DX7, DSI Mopho, Ensoniq Mirage, Ableton Live, the web at large" As Solar Shield he kicked off the Austin Boogie Crew Records discography with a bang in 2014 with his "Reesis" 45 -- so much so that he had to re-press it THREE times to meet demand. As Usedtobe he recorded this hip-hop/modern funk LP in 2009; this record shows just how ahead of the curve McDowell's sound is. On his Influences he cites: "Everybody's beats. Azymuth, J Dilla, Count Bass D, MF DOOM. Minimal art. Tasty piano people like Vince Guaraldi and Bill Evans." Unique and timeless, this one is a must own! 1st single drops July 16th, 2021 Monsoon Soon “This was one of the first tracks I made with the DSI Mopho. It has a very thorough internal modulation matrix that lets you route the signals in a free and flexible way. After a little spliff / owner's manual session, I jumped in, got some poly-metered modulation on a rubbery sequence, and fell into the zone.” (at Austin, Texas) https://www.instagram.com/p/CQgQL_NJovG/?utm_medium=tumblr

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krispyweiss · 3 years

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Album Review: Dickey Betts & Great Southern - Official Bootleg Vol 1

By the time the early 2000s rolled around, Dickey Betts’ voice was shot. And his Great Southern bandmates did him few favors on co-lead and background vocals.

So while traditionally structured songs with lyrics on Official Bootleg Vol 1 - an expanded version of 2007’s The Official Bootleg - range from rough (“Seven Turns”) to virtually unlistenable (“Ramblin’ Man,” “No One to Run With”), the album is not a loss, owing to Betts and company’s fluid jamming and essential instrumentals such as “High Falls,” which clocks in at 16 minutes, “In Memory of Elizabeth Reed,” (32) and “Jessica,” at 11.

Recorded during the first decade of the 21st century, Great Southern as captured on Vol 1 is a reasonable facsimile of the Allman Brothers Band of the last decade of the 20th century, with keyboardist Mike Kach pitching in on Gregg Allman-soundalike vocals. Throughout the LP, Betts tips his cowboy hat to friends and influences, tacking a taste of the Grateful Dead’s “Franklin’s Tower” on to the “Blue Sky” intro; quoting the Beatles’ “Norwegian Wood (This Bird has Flown)” inside “Nobody Knows (Part II);” and slipping a bit of Jimi Hendrix’s “Third Stone from the Sun” into the coda of “Reed.”

The 15 tracks run near 150 minutes. Which is a good thing because while the singing can be horrific, when Betts and Great Southern shut up and play, terrific things often happened.

The only question is whether Vol 1 is a harbinger of things to come or a fake-out. Given it contains many of the biggies - the aforementioned, plus “Southbound,” “Back Where it All Begins” and a cover of Robert Johnson’s “Steady Rolling Man” - it’s hard to imagine what would make up a second iteration.

Grade card: Dickey Betts & Great Southern - Official Bootleg Vol 1 - B-

5/13/21

#dickey betts & great southern #dickey betts #the allman brothers band #gregg allman #official bootleg vol 1 #robert johnson #grateful dead #the bealtes #jimi hendrix #2021 albums

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kvndeathmusic · 4 years

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THE BEST RECORDS OF THE 2010S PT 2 (THE TOP 10!!!!!!)

if you thought the last post was long, you just wait. ive also decided to actually number this list, but pls keep in mind my opinions change often and drastically so dont think anything is set here.

please read my other post too if you want to know about the records i like a little less than the ones here as well as some honorable mentions

#10: Some Rap Songs - Earl Sweatshirt (2018)

This record is a perfect fusion of rap and lofi hip hop. Nobody makes a beat like Earl, and this record is a perfect example. Earl uses his samples to create layered soundscapes of distorted vocals and sounds, paired with his emotionally blunt flows. It’s short, but it really doesn’t feel that short, and frankly I could re-listen to it a handful of times in a row and probably not care that much. Not to sound like Todd Howard, but it just works dude.

#9: ゼロコンマ、色とりどりの世界 - Mass of the Fermenting Dregs (2010)

According to Google, this record’s title translates to Zero Comma, Multicolored World. Which is interesting. I wish I knew Japanese just to understand this kind of stuff to be honest. But that’s besides the point.

Zero Comma, Multicolored World is a fantastic collection of tracks from my personal favorite J-Rock band, Mass of the Fermenting Dregs. Like for context, I got into this band around the same time as I got into Nirvana. I spent the entire summer of 2016 crying to In Utero, playing Overwatch while listening to MF DOOM, and jamming to Mass of the Fermenting Dregs. I managed to find a copy of their fantastic self-titled EP when I was in Tokyo a few years back. Anyways I’ve gotten off track.

This record is a breathe of fresh air for those tired of American “alt-rock”, incorporating elements of shoegaze, post-hardcore, pop, and more to create a totally unique and explosive record. Every member of this band is playing out of their minds on some of these tracks, and lead singer/bassist Natsuko Miyamoto’s vocals are powerful and blend so well with everything else this record offers. At this point in most paragraphs I’d gush about some specific tracks but I don’t have a Japanese keyboard to write the track titles and I’m lazy, so just trust me and go listen to this record, their self-titled EP, the reunion record No New World from 2018, and their EP World is Yours if anything I’ve said interests you.

#8: Fetch - Melt-Banana (2013)

This record melts my fucking brain dude. Melt-Banana is some of the most eccentric and weird music I’ve ever heard, blending noise, punk, and just plain absurdity to create music that I want to simultaneously describe as cursed and blessed. From the wailing walls of pure volume coming from the guitars to the sporatic and often manic vocals, this record sounds like no other I’ve ever heard. My personal favorite tracks are Hive, Candy Gun, Zero, and Schemes of the Tails. Seriously, if this sounds interesting to you, set aside 32 minutes to just appreciate this record. It’ll be worth your time.

#7: Joy as an Act of Resistance - IDLES (2018)

On Joy as an Act of Resistance, British band IDLES offers up some of the best punk of the decade in a package that is full of hope, anger, and love. From singer Joe Talbot’s cries for unity in tracks like Danny Nedelko and Great, to self love anthems like Television and I’m Scum, Joy offers an alternative to their much angrier and sad 2017 debut record Brutalism, which I now realize I forgot to include on my fucking honorable mentions god damn it. Anyways, this record isn’t all sweet. IDLES tackles some heavier topics on this record as well, with songs like Samaritans dismantling toxic masculinity, Rottweiler tearing into sensationalist news and media, and the introspective June seeing Joe speak bluntly about his experience being the father of a stillborn. It’s also some of the unique punk out there at the moment, with jangly guitar “riffs”, Joe’s accent heavy shouts, and noisey drums. IDLES is definitely a band to pay attention to going into the 20s.

#6: Adults!!!... Smart!!! Shithammered!!! And Excited By Nothing!!!!! - Bomb the Music Industry (2010)

Adults!!! is short, coming in at 21 minutes over the course of 7 tracks. And yet, this EP contains some of the catchiest and refined ska punk of the decade. The record acts almost as a condensed summation of BTMI’s entire career, featuring some of the repeated themes that has defined Jeff’s whole discography. Not only that, but some of BTMI’s best tracks are on this EP, from Jeff’s strained vocals on You Still Believe in Me?, to the peppy and depressing Planning My Death, to the defiant Slumlord and the explosive penultimate track, The First Time I Met Sanawon. I could wish it was longer, but I’ll be honest, with the quality of tracks here, I don’t care. It’s a near flawless EP that represents everything I love about one of my favorite bands ever.

#5: The Money Store - Death Grips (2012)

Like Fetch, The Money Store is similarly mind melting in completely different ways. This record is brutal. MC Ride’s “vocals” are like no other, with some describing them as the shouts of a drugged up homeless man. Paired with ear bursting, stereo busting beats, and esoteric dark flows, the picture this record paints is one of filth and primal violence. And I love every minute of it. And despite the harsh nature of this record, some of these beats fucking slap. This record features some of the weirdest uses of sampling, like seriously who the fuck finds Arabic Nokia ringtones and thinks “yeah let’s sample these in like half the tracks on this record” and make it sound this good. And at times I have no clue how they even managed to make some of the sounds they did. All of this is backed with Zack Hill’s extremely technical and wild drumming. I contemplated putting other Death Grips records in this spot, but The Money Store is the complete DG package. It also has Hacker on it. im in your area

#4: Teens of Denial - Car Seat Headrest (2016)

I’m a fucking moron and I’ll tell you why. When I initially heard the first few tracks from this record when I was 17, I wasn’t that blown away. Like, I added Fill in the Blank, Vincent, and Destroyed by Hippie Powers to my big ass shuffle playlist and didn’t bother digging much deeper. Here I am now, 20 years old, kicking myself in the ASS for overlooking Car Seat Headrest for this long. I only gave this album a proper listen to back in January! And I LOVE it! Teens of Denial is a fantastic record, full of complex, multilayered tracks that are not only incredibly catchy, but full of heart and passion. Lead singer and songwriter Will Toledo has voice that sounds equally uneasy and leaking with confidence, and that confidence spills over into every aspect of this record. While not as emotionally intense as their only other studio LP as of February 2020, Teens of Denial is just track after track of some of the greatest indie rock made this decade. Including the songs I mentioned before, you’ve also got Drunk Drivers/Killer Whales, 1937 State Park, and the powerful Cosmic Hero. And if you like reading, the narrative of this record is interesting to follow. And while I was working on this list they literally just announced a new record so like I’m fucking hyped dude.

#3: To Pimp a Butterfly - Kendrick Lamar (2015)

Ok. Look. I know everybody is putting this at their #1 spot. And they probably have even more to say about this record than I do. There’s probably nothing I can say that hasn’t been said a million times by literally everyone. But that’s just a testament to the quality of this record. This is one of the greatest hip hop records ever made, if not the best depending on who you ask. Some of my favorite rap songs are on this record, Wesley’s Theory, King Kunta, Alright, The Blacker The Berry, and more. TPAB offers detailed glimpses into one of the biggest rappers in the world’s psyche and pain, mixed with profound social and political messages. The beats on this record are beautifully mixed with jazz and gospel influences, starting a trend many artists have since continued. And Kendrick’s signature flow from gkmc are at their absolute finest on TPAB. There is something to enjoy out of this record no matter your background, which would explain this record’s near universal appeal. To Pimp a Butterfly is just full of life, energy, and passion. It’s weird to think this record is only 5 years old, because it feels just as powerful as it did when it came out.

#2: Twin Fantasy - Car Seat Headrest (2018)

Twin Fantasy is a rare kind of record. The emotions expressed on this record are intense and laid flat out for you to hear, dissect, and empathize with. The entire record being structured around the idea of reflection works both as a fun way to organize a diverse and varied track listing, while also playing into a handful of the record’s motifs and themes. Speaking of which, each song on this album has a unique identity, both in terms of sound and feeling, and how it plays into the larger narrative of this record. Some songs have multiple tonal shifts, such as the epic Beach Life-In-Death, split into three distinct parts making it a song that, despite its 13 minute run-time, is a song I never grow tired of listening to. What each track shares, however, is the same fantastic songwriting, with layered instrumentals and some of Will’s greatest vocal performances. It also helps that all the tracks are just flat out catchy, like the fantastic Bodies, the chill Sober to Death, and the energetic Nervous Young Inhumans. While the 2011 original is great, the 2018 rerecording adds so much new complexity and clarity to this record. In addition to the original themes, the 2018 version adds new perspectives and meta commentary to the 2011 original, with Will reflecting on the feelings he was experiences at the time he wrote the original record, 7 years afterwards, adding an additional layer to this record’s larger narrative. The final 22 minutes of this record provides a strong emotional climax to the record, sending off a fantastic and absolutely classic record. There’s a good chance that, in 10 more years or so, I may look back at this record and put it above my #1 record. Hell, while I write this I really question whether or not I should do it. What I’m trying to say is, take that #2 with a grain of salt, because I love this record just as much as my #1 at this point. No record has managed to leave such a profound and strong impression on me this quickly after my first listen a few months ago, besides Twin Fantasy. Because Twin Fantasy is a rare kind of record. It’s a perfect record. And now it’s time for my favorite record of the decade. It’s probably obvious what it is considering some of the things I’ve said on this list, so without any more delay...

#1: WORRY. - Jeff Rosenstock (2016)

WORRY. is my personal favorite record of the decade and of all time. It is an absolutely triumphant record. Every song here is a classic. WORRY. radiates pure, unfiltered energy that I haven’t been able to shake for the nearly 4 years this record has been out. Songs like Festival Song and Wave Goodnight to Me still get me pumped, and the so called “WORRY. medley” that spans the back half of this record rivals the medley of Abbey Road. And the opening track, We Begged 2 Explode, fuck man it’s a hell of an opener. Hell, I know every line spoken on this record. This record is a product of a man who has spent over 20 years perfecting his music, never compromising to trends or demands. Jeff has always been open about what he loves and what he believes in, and it’s no more apparent than on this record. Trying to describe every way in which this record works for me leaves me grasping for the right words to describe the feeling. It’s a record that makes you wanna chant along to it, move your body to it, and tell everyone you love about it. So just listen to it. I don’t care if you don’t like punk, or ska, or ska punk, or just garage/indie rock in general, or if my enthusiasm hasn’t sold you. This is one of the best records out there and you can either realize it now, or regret it later.

I know the record literally says that the perfect sound doesn’t exist. But it does. And it sounds like this.

And that’s it for this list. I’m excited to see what the new decade brings. If my mind ever changes about these records, or I get around to listening to a record that deserves to be on this list, maybe I’ll do an updated version, but like right now? This is how I feel.

#music #top 10 albums #2010s

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theteenagetrickster · 4 years

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The 30 Best R&B Albums of 2019 - Rated R&B

If 2018 was the year of endless R&B releases, 2019 was definitely the year of anticipation for more intriguing R&B LPs to drop.

In the first half of 2019, diverse artists like Chaka Khan, Khalid, Ciara, and Eric Bellinger, grabbed the limelight for their solid projects.

Later in the year, there was a mighty rise in the genre, as even greater albums started to show up on retail and digital fronts.

Among this elite list of artists to flex their R&B muscles were BJ The Chicago Kid, Elle Varner, Raphael Saadiq and Fantasia.

Here are the top 30 R&B albums of 2019, as chosen by our editorial team: Anders, Antwane, Danielle and Keithan.

30. Leven Kali: Low Tide

Where the mellow and hazy “vibes” take president, Leven Kali breathes an energetic spirit into the current music climate. Low Tide is a satisfying offering of musicianship in a little over 30 minutes. Kali displays his musical range from the smooth jazz-inspired “Cassandra” to the warm and funky “Do U Wrong” featuring Syd, while the overlooked gem “1 on 1” pays homage to the art of the ’90s slow jam. For his full-length debut, Kali pieces elements of R&B and some of its subgenres to create a refreshingly bright project. — Danielle

29. Nicole Bus: Kairos

Hailing from the Netherlands, all ears were on Nicole Bus’ Wu-Tang-sampled single “You” before fans knew who she was. Kairos is an assortment of genres spread over R&B and soul with contagious boom-bap drums as the centerpiece. Her smoldering tone adds texture to gleaming tracks like “Rain,” a simple yet hard-hitting number that allows her vocals to cut through. With a radio single under her belt and releasing her first American LP not long after, the timing couldn’t have been any better. — Danielle

28. Shay Lia: Dangerous (Deluxe)

If you’re a fan of KAYTRANADA, then you should be familiar with Shay Lia. Both from Montreal, the pair have collaborated in the past but Lia steps out on her own for her first full-length project Dangerous. The project connects all 11 tracks with a consistent bounce for this airy, ’70s-inspired compilation. Dangerous picks up the energy by track five, “Want You” featuring UK rapper Kojey Radical, a percussion laden song where the two effortlessly feed off each other. Lia closes things out with the smooth retro-leaning “Rock Baby,” allowing her vocals and the stripped-down production to come to the forefront. — Danielle

27. Raheem DeVaughn: The Love Reunion

Anyone familiar with Raheem DeVaughn knows that he has crowned himself as The Love King over the years. The Washington, D.C. native has dedicated his entire discography, which spans over 14 years, to all-things love. On The Love Reunion, DeVaughn brings his signature sound to the forefront on passionate tunes like “Just Right,” “Any Everywhere,” “Ballerina” and the title track, to name a few. There are a couple of moments when DeVaughn taps into other genres. “Kissed By the Sun” hears DeVaughn experimenting with Afrobeat, while the Edley Shine-assisted “Magnet” brings reggae vibes. — Keithan

26. Lion Babe: Cosmic Wind

Cosmic Wind is the appropriate title for Lion Babe’s sophomore LP, a breezy and fluid collection of heavenly jams. Vocalist Jillian Hervey and producer Lucas Goodman combine their talents to create an infectious harmony of electro-soul and dance. Known for producing vibrant energy, the duo’s ability to oscillate between the slinky and rhythmic “Anyway You Want To” to the sexy and jazzy “Never Before” is a testament to their varying, yet solid influences. — Danielle

25. Kyle Dion: Suga

As his alter-ego SUGA, fledgling soulster Kyle Dion takes listeners down a famed-dazed path that involves sultry funk and futuristic soul melodies on his first proper album. Tackling the fast-track rise to stardom, Dion reflects on losing normality and strifes over maintaining a glamorous image in a “Glass House” where everyone is constantly on a stakeout. There are some moments on this groovy burner when Dion recalls Bruno Mars’ and The Weekend’s thunder like on the trend-borrowing “Spend It” and the colorfully warm “Teach Me.” But his own sound highlights creep out on “Not All Your Way,” a mellow speed bump targeted at a revved up partner who he wants to take his time loving. Dion laces “Somethings We Can’t Do,” a breathtaking closer based on personal contentment, with his best wails on this 40-minute set. – Antwane

24. Summer Walker: Over It

While everyone was enjoying their hot girl summer, Summer Walker was gearing up to put the world back in its feels in the fall. The Atlanta-based singer-songwriter had already set off a chain reaction of women being open and honest about their sexuality on her hit song “Girls Need Love.” Now, she was ready to open up to the world in a whole new way on her debut album Over It. Walker’s effort showed the world a more vulnerable side to her, as she added on to a catalog of great melancholic R&B. The London on da Track-helmed project not only received a co-sign from Usher on “Come Thru,” but it debuted at No. 2 the Billboard 200 chart, becoming the highest female R&B debut in nearly 10 years. — Anders

23. Tinashe: Songs For You

Tinashe has been fighting to get her sound heard for nearly half a decade. After leaving RCA Records due to “lack of creative control” earlier this year, the R&B virtuoso finished the most defining year for herself with the release of her super-personal independent album Songs For You. Tinashe’s fourth LP details the highs and lows of the singer’s past relationships on songs like “Save Room For Us” and “So Much Better.” It also reminds listeners of the California native’s incredible talent as a songwriter and record producer, as she wrote and produced nearly every track on this genre-bending set. – Anders

22. Chris Brown: Indigo

How much music does Chris Brown have stored? Seriously. Just two years after dropping his 57-track album Heartbreak on a Full Moon, Brown returned with another extensive project, Indigo, which is packed with 32 tracks. While the album’s singles (“No Guidance” featuring Drake, “Heat” featuring Gunna” and “Undecided”) got a lot of love on the Billboard charts, there are plenty of gems that may go unnoticed if the listener isn’t willing to sit through two hours of music. There is something for every mood on the album: sensual (“Come Together” featuring H.E.R. and “Throw It Back”); dance/party (“Wobble Up” featuring Nicki Minaj and G-Eazy and You Like That”); laid-back/chill (“Don’t Check On Me” featuring Justin Bieber and Ink, “Dear God”); and much more. — Keithan

21. Fantasia: Sketchbook

Nobody knew what to expect from Fantasia’s follow-up to her so-called “garbage” The Definition Of… album in regards to her contrasting pre-album cuts (“PTSD” featuring T-Pain, “Holy Ghost”). But, as one might expect, Sketchbook further adds to her last two experimental album run. Vocally, Tasia is concerned about having more control than oversinging as highlighted on the adult-oriented love ballad “Enough” and the dramatized number “Bad Girl.” Musically, the soul performer continues to explore sonic freedom that gravitates towards her iconic rock influences (“Warning”). While this solid long-player doesn’t include her prematurely-discussed and uncleared collaboration with Brandy and Jazmine Sullivan, Fantasia refuses to stunt her desired artistic growth for fans or critics. – Antwane

20. PJ Morton: Paul

Paul takes listeners on a journey through PJ Morton’s mind as he ponders about his ambitions, his love life and his experience as a Black man in America. It is a solid album that is packed with positive affirmations to comfort anyone who is going through a tough time. If there’s anything to learn from this short-and-sweet project, it’s to never lose sight of who you are and to remain optimistic, period. – Keithan

19. DAWN: New Breed

DAWN is exactly what music needs: a passionate trailblazer who unabashedly resists industry tyranny for the sake of authentically connecting with their listeners. Celebrating her New Orleans origin, New Breed rids the toxic “this is a man’s world” view and hits on all the times women of color, particularly Black women, had to pander men in personal and professional situations. With a strong focus on vivid expressions regarding disappointment, perseverance, and self-acceptance, DAWN ignites a new fire in Black women on empowerment anthems like “Spaces” and “We, Diamonds.” Everything on this amped-up set isn’t so serious, though. The indie superstar samples nightlife on the easy groove “Dreams and Converse” and trolls an Instagram groupie on “Jealousy,” a fluid slow jam. – Antwane

18. Johnny Gill: Game Changer II

When you’re a legend like Johnny Gill, you can play by your own rules. After promoting his Game Changer album for three years — five singles in total — Gill kept the theme going with a sequel. This time around, he switches up his creative approach by gently tapping into other sounds outside of R&B. To help his vision come to light, he teamed with super producers like Jimmy Jam and Terry Lewis, Blac Elvis and Ralph Stacy. Gill doesn’t stray too far from traditional R&B sounds. He quickly delves back into his comfort zone with tender R&B tunes like the album’s lead single “Soul of a Woman,” “Perfect” featuring Ralph Tresvant, “Bed on Fire,” “Home” featuring Kevon Edmonds and more. – Keithan

17. Louis York: American Griots

Mary J. Blige, Rihanna, Bruno Mars and Britney Spears all have something in common: they’ve worked with Louis York — Claude Kelly and Chuck Harmony — to create hits that their fans will continue to play from years out. This year was the year for Louis York. Their debut album American Griots exemplifies Black Excellence. The carefully-curated sonic experience is a celebration of Black people’s influence on music. Although R&B is the essence of Louis York’s music, they consciously decided to incorporate sounds from other genres that Black people had an impact on. American Griots is an ode to Black musicians and artists who pioneered what we refer to today as American music. Although the album contains a mix of different genres, it flows in a way that makes the listening experience seamless. — Keithan

16. Johntá Austin: Love, Sex & Religion

Johnta Austin’s musical resume is full of hits he’s written for artists like Usher, Mariah Carey, Mary J. Blige, and the list goes on. This year, it was all about Johnta Austin the artist. On his debut effort, the Grammy-winning singer/songwriter dabbles into love, sex and religion. There is more emphasis on love and sex, with religious nuances sprinkled in between. “Everyone has their own feeling of love, their own connection to the creator and their own connection to sex,” Austin told Rated R&B in an interview. “As long as it is pure, beautiful and you’re not hurting anybody, then this album is for you.” — Keithan

15. Rahsaan Patterson: Heroes & Gods

After an eight-year hiatus, Rahsaan Patterson made a divine return with Heroes & Gods — and it was well worth the wait. On Heroes & Gods, Patterson explores themes on love, self-empowerment and spirituality. The 13-track offering fuses experimental sounds that effectively showcase Patterson’s well-textured tone and pristine vocal range. Patterson’s signature sound can be heard on songs like “Catch Me When I Fall” and “Sent From Heaven.” He gives listeners a chance to let loose on the dance floor with upbeat songs like “Rock and Roll,” “Soldier” and “Silly, Love, Fool.” Listening to Heroes & Gods is just another reminder that Patterson is criminally-underrated as a vocalist and as an artist. — Keithan

14. Mahalia: Love and Compromise

Mahalia, another promising newcomer from the U.K., makes the best use of her past love situations on her sterling debut set. Having a songwriting credit on each song featured on Love and Compromise, this rising talent has grown into a woman that demonstrates unique power after overcoming interesting romantic experiences far beyond her youth. Original and reminiscent at the same time, this emotionally vulnerable album plays in the street of vibrant twists and turns on tuneful tracks like the pressure-free joint “Good Company” and the in the grey feeler “What Am I?” Her irresistible collaborations with other new acts Ella Mai and Lucky Daye are genuine co-signs. In all, Love and Compromise is a strong indication that R&B’s future is in good hands. – Antwane

13. Elle Varner: Ellevation (EP)

It’s not easy to make a comeback after seven years, but Elle Varner returned like she never left. Although her Ellevation project is labeled as an EP, it feels like an album. Running six minutes shorter than her debut album Perfectly Imperfect, Ellevation is packed with all kinds of feels. In a span of 35 minutes, Varner takes her listeners on an emotional journey as she navigates through her broken heart. The project opens with “Coffee On the Roof” where she catches feelings with a potential love interest. However, things quickly take a turn on the second track “Pour Me (Think bout u)” featuring Wale. She tries to save her relationship on “1 To 10” but is ultimately unsuccessful. While the core of the project is sadness, Varner picks her head up on “Kinda Love” and outlines what she wants in her next relationship. – Keithan

12. Baby Rose: To Myself

A cure for healing a broken heart: any tear-soaked track from Baby Rose’s critically- lauded debut outing, To Myself. Possessing vocal dynamics and nuances of music great Nina Simone, Rose proves that her seasoned sound is as trusting as the touchy lyrical substance she yearns. She factors in a painful narrative of mistaken domesticity on the exhausted opener “Sold Out.” Cuts like the one-sided love affair “Over” and the indecisive highlight “Borderline” are dominated by deep sadness and nocturnally complex arrangements to drive it all home with intense emotional prowess. To Myself should be the album to make it not only to unfledged listeners but those with mature minds, too. – Antwane

11. Gallant: Sweet Insomnia

“I called the album Sweet Insomnia because, lyrically, every song is bittersweet,” Gallant said in a previous press statement. “Nothing is 100% positive and light-hearted. Nothing is 100% brooding and cynical. It’s very balanced and real – like an unretouched photo.” For Sweet Insomnia, the follow-up to his Grammy-nominated debut album Ology, he opted to experiment more with an early 2000s R&B sound. The standout track “Sleep On It,” and arguably one of the best R&B songs to release this year, brings back those contemporary R&B vibes felt on Usher’s 8701 album. The Maryland native doesn’t hold back on his ear-piercing falsetto notes. His vocals soar on songs like “Hurt” and “Crimes. While the subject matter on Sweet Insomnia may be a little dark and emotional, the overall nostalgia brings light to the listening experience for true R&B lovers. — Keithan

10. SiR: Chasing Summer

Switching seasons from November, SiR takes flight into sunny yet turbulent skies on Chasing Summer. Inglewood’s finest takes listeners through the less savory aspects of romance from a true to life perspective. SiR pulls from his earlier works and ties it in with his current sound to form an album that pleases new and old fans alike. Steadily in the mid-tempo pocket, the TDE singer flows with ease on songs like ‘Wires in the Way” and “You Can’t Save Me.” The listening experience of the hazy and melodic body of work feels akin to the favorable season coming to an end, savoring every last moment until it comes to a close. — Danielle

9. Raphael Saadiq: Jimmy Lee

The fifth studio album from Raphael Saadiq may well be one of the year’s most dramatic R&B releases. Most everything on Jimmy Lee, the well-respected musician’s first full-length effort in eight years, tends to be a tribute to his deceased brother’s battle with addiction. Lead single, “Something Keeps Calling,” is a soul-inflected comeback hit that describes his constant fight against a sea of nagging second thoughts. There are only a few songs that don’t address substance abuse in any capacity. While he makes heady drug references on “I’m Feeling Love,” focused on dependency, it’s disguised as a love ode. Sticking to his eccentric, jazz-funk sound, Saadiq mixes in dark nuances and heavy lyrics on Jimmy Lee to showcase boundary-pushing moments. – Antwane

8. BJ The Chicago Kid: 1123

The title of BJ The Chicago Kid’s second album (1123) may appear random to many people but there’s a bigger meaning behind it: It was inspired by his birthday, which is November 23. To celebrate another year of life, BJ gave the world the gift of music. “Most people receive gifts for their birthday but I wanted to give something for my birthday,” he told Rated R&B earlier this year. The something BJ is referring to is an unforgettable experience that comes from listening to the album. He instantly captures the listener’s attention on the opener “Feel The Vibe.” The Anderson .Paak-assisted groove sets the mood for the rest of the album. With lyrics like, “Come on in, close the door and feel the vibe” and “Talkin’ shit with the old heads / Mama dancin’ to some Al Green,” BJ paints a picture of a summertime get together at a Black household. The rest of the album is packed with lush R&B sounds that acts as solid proof as to why the album is up for a Grammy nomination. — Keithan

7. Anderson.Paak: Ventura

It’s a bit unbelievable that Oxnard and Ventura were made at the same time. The softer, more soulful of the two is the perfect example of when Anderson. Paak gives into his R&B side. Instrumentation plays a significant part in his fourth studio album, while the star-studded features (Smokey Robinson, Jazmine Sullivan, Brandy) are a worthy enhancement. Ventura provides a consistent smoothness with a flare that goes far beyond a common groove. — Danielle

6. Solange: When I Get Home

In one of the most richly textured R&B releases of 2019, Solange delivers an intriguing project powered by tight songwriting, lush musical arrangements, and beautiful vocal stylings. Recorded in various parts of the world spectrum, including New Orleans and Jamaica, the “warm, fluid, and more sensual” synesthesia she hinted in The New York Times Style Magazine last fall are rendered in slower numbers like “I’m a Witness” and “Jerrod.” Much of When I Get Home’s sonic appeal comes from Solange’s hometown Houston. The music she sings and vibes to on trippy, screwed solos “Stay Flo” and “Almeda” date back to the trademark DJ Screw era of the early 2000s. By the authentic sound of Home, it is baffling to think that Solange once expressed fear ahead of sending this astonishing Black art into the atmosphere. Of course, this collection of retro musical moods doesn’t repeat the purposeful intent of A Seat at the Table; but it’s a good thing it didn’t. – Antwane

5. Snoh Aalegra: Ugh, Those Feels Again

It has been a long time coming for Swedish soul crooner Snoh Aalegra as she released her first project First Sign under the stage name Sheri in 2010. Nearly 10 years later, Aalegra released one of the most intimate R&B albums of the year, – Ugh, those feels again. A project seemingly sent straight from the heavens, Aalegra’s sophomore LP serves as the sequel to 2016’s FEELS, and it features an introspective look at the tell-tale signs of falling in love, as heard on the album’s lead single “I Want You Around.” As a songwriter, Aalegra shines with her unforgettable hooks and haunting melodies on tracks such as “You” and “Whoa.” While her road to success has been a lengthy one, Aalegra’s breakthrough effort – Ugh, those feels again will remain a marveling stop along the way for R&B fans everywhere. – Anders

4. Jamila Woods: Legacy! Legacy!

Jamila Woods knows how to make a statement. Starting with the album’s track list, each song title is named after a significant person of color. Bridging blues, funk, hip-hop and soul, Woods summons and intertwines their energy on each track, which are individually significant in their own right. Weaving aspects of Blackness and womanhood, LEGACY! LEGACY! embarks on an elegantly expressive journey of finding and accepting yourself in a world where the cards aren’t always in your favor. — Danielle

3. India.Arie: Worthy

The fact that India.Arie continues to be a potent example that evolves the thought-inspiring messages she sings on every album 17 years after her fulfilling debut again lends to her meaningful position in the R&B world. On Worthy, her incredibly polished new album, it’s no different. The soulful veteran is back full force with refreshing, love-longing, and enlightening compositions that strike a chord in listeners. Clearly inspired by the state of the world, Arie evokes lyrical healing with momentous anthems like the funky “Rollercoaster” ride and the spellbinding track “What If?”. “That Magic,” a warm-weather love song, gloats on her masterful songwriting. Among the traditional R&B gems on Worthy is “Steady Love,” her inaugural number one hit on the urban adult-oriented radio format. Thanks to Arie for another mind-stimulating project; it’s just what the world needs. — Antwane

2. Lucky Daye: Painted

Lucky Daye may have seemingly appeared out of nowhere but his presence has been welcomed with open ears. The artistry of this New Orleans native was built in the latter half of his life, providing him with an expansive canvas. Daye balances traditional and innovative R&B stylings to craft his highly anticipated debut album, Painted. Roping listeners in with full-bodied vintage-inspired production, Daye’s official introduction to the world has left a rousing first impression. – Danielle

1. Ari Lennox: Shea Butter Baby

With comparisons to R&B greats such as Erykah Badu and Lauryn Hill, Washington, D.C. native Ari Lennox stole the attention and hearts of R&B fans with her debut album Shea Butter Baby. As the first lady of J. Cole’s Dreamville Records, Lennox became a pillar of the label and helped bring it to the forefront of music this year.

She appeared on Cole’s song “Change” in 2016, but it was the Minnie Riperton-esque “Whipped Cream” where she shined on her own. Lennox brought this tender, yet soulful sound to her album, along with some sticky hooks, heard on tracks like “BMO” and “New Apartment.” Not only that, Shea Butter Baby introduces this generation to a unique voice easily comparable to Badu, as Lennox’s voice is almost instantly recognizable.

Shea Butter Baby’s titular song is certified gold by the RIAA, and the album snagged three Soul Train Award nominations. While the project did not receive many accolades during its run, it remains a staple piece of the late 2010s, sealing Lennox’s status as one of R&B’s reigning princesses. – Anders

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GAY MUSIC CHART – 2017 week 38

Welcome to the Gay Music Chart, the LGBTQA related music videos TOP 50 actuality and most request.

Vote for your favourite LGBTQA related music videos by leaving a comment for this post on :

YOUTUBE (in the comment section of the video of the week) : https://www.youtube.com/channel/UCz7yfp-xq-b08tD6mAWwclA

BLOGGER : http://gaymusicchart.blogspot.fr

FACEBOOK : https://www.facebook.com/GayMusicChart/

TWITTER : https://twitter.com/GayMusicChart with #GayMusicChart

TUMBLR : http://gaymusicchart.tumblr.com

Here is the recap for this week :

OUT : Katy Perry feat. Nicki Minaj - Swish Swish (LW: 02 / WO: 7 / PEAK: 02)

OUT : Jay Arseno - Shine! (DJ Sean Mac Remix) (LW: 14 / WO: 11 / PEAK: 14)

OUT : Lara Fabian - Growing Wings (Offer Nissim Remix) (LW: 22 / WO: 1 / PEAK: 22)

OUT : Cub Sport - O Lord (LW: 23 / WO: 3 / PEAK: 17)

OUT : Goldfrapp - Everything Is Never Enough (LW: 24 / WO: 1 / PEAK: 24)

OUT : Filthy Friends - Despierta (LW: 25 / WO: 1 / PEAK: 25)

OUT : The Hound - Can't Let You Go (LW: 29 / WO: 1 / PEAK: 29)

OUT : Rainbow Riots - Freedom (LW: 35 / WO: 7 / PEAK: 12)

OUT : Ricky Rebel - If You Were My Baby (LW: 36 / WO: 1 / PEAK: 36)

OUT : Arturo Cardelús - Sherwin and Jonathan (In a Heartbeat OST) (LW: 38 / WO: 2 / PEAK: 34)

OUT : Garek - Mr. Kellyanne Conway (LW: 39 / WO: 2 / PEAK: 28)

OUT : The Human - The Uninvited Guest (LW: 40 / WO: 1 / PEAK: 40)

OUT : Lazaro Carrasco - Feliz de mentira (LW: 43 / WO: 4 / PEAK: 42)

OUT : Projekt 100% MENSCH - Wir sind Eins (LW: 46 / WO: 3 / PEAK: 16)

OUT : Bjartmar Thordarson - Hollow (LW: 47 / WO: 1 / PEAK: 47)

OUT : Courtney Barnett & Kurt Vile - Over Everything (LW: 48 / WO: 1 / PEAK: 48)

OUT : BFF - Techno Gym Love Affair (LW: 50 / WO: 2 / PEAK: 44)

01 (+ 43) : Logic feat. Alessia Cara, Khalid - 1-800-273-8255 (LW: 44 / WO: 5 / PEAK: 01 (x1))

This powerful music video, which is also a promotion for the National Suicide Prevention Hotline, follows a gay teen couple and is the incarnation of the "It Get Better" slogan.

02 (+ 3) : Leon Else - What I Won't Do (Lyric Video) (LW: 05 / WO: 14 / PEAK: 02)

The British singer has recently came out on Facebook.

03 (+ 14) : Kevin Chomat - Sens Interdit (LW: 17 / WO: 2 / PEAK: 03)

This new single of the French singer reached the top 10 YouTube trending in France. His first album will be released next September 25, 2017.

04 (+ 5) : Alfie Arcuri - If They Only Knew (LW: 09 / WO: 11 / PEAK: 04)

This is the new music video of the winner of The Voice Australia 2016. What must do a gay man when he's in love with his best male friend, who's dating his best female friend?

05 (+ 25) : P!nk - What About Us (LW: 30 / WO: 4 / PEAK: 05)

The music video includes audio contents from the tragic events in Charlottesville for denouncing the hate speeches from the supremacist movements, and shows several people dancing under the intimidating eye of the authorities, including two men together.

06 (+ 39) : Alvin Point - Il a dit (LW: 45 / WO: 51 / PEAK: 01 (x4))

The first single of the 24 years old singer is talking about a romantic gay love story. The title means "he said".

07 (+ 20) : Wrabel - The Village (LW: 27 / WO: 7 / PEAK: 04)

This engaging song was written the day after US President Trump removed new federal protections for trans students in public schools last February. Trans actor August Aiden plays the role of a young transgender who tries to be himself despite the hostility of his father in the music video.

08 (=) : Eli Lieb - Shangri La (LW: 08 / WO: 8 / PEAK: 03)

Eli Lieb is completely bare in his new music video.

09 (- 5) : Myckael SG - Strong or Best (alternate version) (LW: 04 / WO: 4 / PEAK: 04)

10 (+ 24) : Lizzo - Good As Hell (LW: 34 / WO: 40 / PEAK: 02)

This is taken from the EP "Coconut Oil".

11 (+ 5) : Sam Smith - Too Good At Goodbyes (Official Audio) (LW: 16 / WO: 2 / PEAK: 11)

The British singer is back with a new upcoming album.

12 (- 2) : Kevin Chomat - Un homme à terre (LW: 10 / WO: 32 / PEAK: 01 (x3))

For his third single, the French singer is talking about infidelity, with his boyfriend who cheated on him.

13 (NEW) : Zayn feat. Sia - Dusk Till Dawn (LW: - / WO: 1 / PEAK: 13)

14 (- 3) : La Prohibida - Baloncesto (LW: 11 / WO: 9 / PEAK: 03)

15 (- 12) : Martin Garrix & Troye Sivan - There For You (LW: 03 / WO: 16 / PEAK: 01 (x1))

16 (- 4) : Benny - Boys Will Be Boys (LW: 12 / WO: 37 / PEAK: 02)

It took two years for the 17 years old YouTuber Ben J. Pierce to release a new music video after "Little Game", but the wait was worth it, because it's really good. It talks about toxic masculinity and the effects it can have on a person.

17 (+ 2) : Benny - Never Apart (LW: 19 / WO: 15 / PEAK: 17)

His new single is a tender gay youth love declaration.

18 (- 3) : Paris Bang Bang - Poseída (LW: 15 / WO: 2 / PEAK: 15)

The drag queen is from Mexico City.

19 (- 13) : Michele Bravi - Solo Per Un Po' (LW: 06 / WO: 18 / PEAK: 01 (x1))

The Italian singer has came out earlier this year, just before coming fourth in the San Remo 2017 music festival in the Champion category. This single is the second single of his album "Anime di carta" which reached #1 in the top album in Italy.

20 (NEW) : Marc Devigne - Çà va (LW: - / WO: 1 / PEAK: 20)

From the Canadian TV miniseries "Shadowlands", Marc Devigne and Charlie David play a couple whose time together is cut short. Originaly posted on Vimeo.

21 (- 14) : Harel Skaat - Radio (LW: 07 / WO: 20 / PEAK: 01 (x3))

This is the new single of the Israeli singer, shoot in Paris.

22 (- 1) : PVRIS - What's Wrong (LW: 21 / WO: 13 / PEAK: 01 (x2))

A portion of every ticket sold for their upcoming fall tour will be donated to The Ally Coalition in support of LGBTQ equality.

23 (- 22) : Greyson Chance - Back on the Wall (LW: 01 / WO: 8 / PEAK: 01 (x2))

The 19 years old singer has recently came out on Instagram. He was revealed with his cover of Lady Gaga's "Paparazzi" at a school talent show 7 years ago (almost 60 millions views on YouTube) and is produced by Ellen DeGeneres.

24 (RE-ENTRY) : Neon Trees - Feel Good (LW: - / WO: 5 / PEAK: 17)

After a break for his first solo album "Excommunication", Tyler Glenn goes back with his band for a new song.

25 (NEW) : MRSHLL 마샬 - Circle (visuals) (LW: - / WO: 1 / PEAK: 25)

Sadly, there isn't an entire music video yet for the first solo track of the first openly gay kpop singer.

26 (+ 11) : Beth Ditto - We Could Run (LW: 37 / WO: 5 / PEAK: 10)

This is taken from her first solo album "Fake Sugar."

27 (+ 22) : Tom Bleasby - Where Is The Love (audio) (LW: 49 / WO: 3 / PEAK: 27)

The former contestant of X-Factor UK has recently came out publicly as gay.

28 (RE-ENTRY) : GAREK - Stray (LW: - / WO: 49 / PEAK: 01 (x2))

The single taken from the album "Take the King" is a conversation with his 8-year-old self about accepting who he is, the talk he wishes he had as a child, because he "spent so many years hating [himself] because [he] listened to the voices around [him] saying that people like [him] were disgusting".

29 (- 16) : Autoheart - My Hallelujah (LW: 13 / WO: 11 / PEAK: 11)

30 (NEW) : Superfruit - How You Feeling? (LW: - / WO: 1 / PEAK: 30)

This is the eighth single taken from their first album "Future Friends".

31 (NEW) : George Michael feat. Nile Rodgers - Fantasy (Audio) (LW: - / WO: 1 / PEAK: 31)

This track is taken from "Listen without Prejudice/MTV Unplugged" – out in October 20th.

32 (- 6) : MUNA - I Know A Place (LW: 26 / WO: 32 / PEAK: 01 (x2))

The new song of the L.A. queer trio band is an LGBT anthem which imagines a place where none of them would need to be afraid. This is taken from their first album "About U".

33 (NEW) : Bronski Beat - Smalltown Boy (Arnaud Rebotini Remix) (LW: - / WO: 1 / PEAK: 33)

This classic gay anthem is a remix for the OST of the French movie "120 battements par minute", which depicts a group of HIV/AIDS activists in the early 1990s. The movie won the Grand Prix in the 2017 Cannes Film Festival.

34 (NEW) : Brockhampton - Junky (LW: - / WO: 1 / PEAK: 34)

35 (NEW) : ERASURE - Just A Little Love (Official Lyric Video) (LW: - / WO: 1 / PEAK: 35)

36 (- 8) : Namuel - Yugoslavia (LW: 28 / WO: 3 / PEAK: 16)

The Chilean singer is back, and is playing Adam and Steve in his new music video.

37 (- 4) : Falko - Undercover (Official Lyric Video) (LW: 33 / WO: 3 / PEAK: 33)

It took 5 years to the former contestant of the Flemish version of Idol (he was 16 and out at this time) to release his second single.

38 (- 18) : Mickey Taylor feat. ØMC - In The Night (LW: 20 / WO: 2 / PEAK: 20)

After "All Day", this is the part two of a 7 part series.

39 (+ 2) : Superfruit - Worth it (LW: 41 / WO: 10 / PEAK: 02)

This is the third single of the duo taken from the "Future Friends - Part One" EP. The music video breaks down gender norms with these two young dancers.

40 (RE-ENTRY) : LP - No Witness (A Night at The McKittrick Hotel) (LW: - / WO: 3 / PEAK: 18)

41 (- 9) : Chester Lockhart - Save Me from Myself (LW: 32 / WO: 2 / PEAK: 32)

42 (- 24) : Pabllo Vittar feat. Mateus Carrilho - Corpo Sensual (LW: 18 / WO: 2 / PEAK: 18)

The new song of the famous Brazilian drag queen is with one of the member of Banda Uó. Quente...

43 (RE-ENTRY) : PVRIS - Anyone Else (LW: - / WO: 2 / PEAK: 31)

A portion of every ticket sold for their upcoming fall tour will be donated to The Ally Coalition in support of LGBTQ equality.

44 (NEW) : Detonautas Roque Clube part. Leoni - Dias Assim (LW: - / WO: 1 / PEAK: 44)

This music video is full of straight, gay and lesbian kisses.

45 (- 3) : Germán Díaz - Dentro de tí (LW: 42 / WO: 2 / PEAK: 42)

This is the new track of the Argentinian singer.

46 (RE-ENTRY) : Ria Mae - Bend (LW: - / WO: 5 / PEAK: 07)

This is the new single of the Canadian singer.

47 (RE-ENTRY) : Tuure Boelius - Eikö sua hävetä (LW: - / WO: 2 / PEAK: 43)

This is the first single of the teenage Finnish YouTuber who came out last November 2016 at the age of 15 on YouTube.

48 (NEW) : Tokio Hotel - Something New (LW: - / WO: 1 / PEAK: 48)

49 (NEW) : State of Sound - Heaven (LW: - / WO: 1 / PEAK: 49)

This music video is full of straight, gay and lesbian kisses.

50 (- 19) : Tom Goss - Click (The Interactive Music Video) (LW: 31 / WO: 3 / PEAK: 15)

This ambitious project is an interractive and immersive music video where you will have a total liberty for searching your future boyfriend or girlfriend. You have the choice between 11 love interests !

ALSO NEW THIS WEEK

Giovanni Falchetti - Entonces que somos

This is the new single of the Chilean singer based in Mexico.

Michael Perry - Perfect Love

After "Underwear Model", this is his new single.

Marc Almond - How Can I Be Sure

From the forthcoming album "Shadows & Reflections", out 22nd September.

St. Vincent - New York

NU3L - Ventre

VIZIN - You Make Me Feel (Mighty Real)

This is cover of the classic gay anthem by Sylvester.

Chumina Power - Quiero un Ángel

Taken from the album "No Soy una Señora" from the Spanish drag queen.

Pupi Poisson - Tienes to la cara

Taken from the OST of "Un marido para Pupi".

Sunkee Angel - Slut Walk

This is the new song of the transgender singer, inspired by Amber Rose.

MUNA - In My Way

Taken from the album "About U".

Shamir - 90's Kids

Bonnie McKee - Thorns

Macy Rodman - Born

Michael Resin - Only Human

This is the new track of the Swiss singer.

See you next week and don’t forget to vote for your best LGBTQA music videos ! Here are the rules :

1 ) You can vote for many videos as you want under the videos on YouTube in the comment section. It could be recent or past music videos, which must provide at least one among the following conditions:

- the music video has LGBTQA related content, in the lyrics or the music video

- the artist is LGBTQA, an LGBTQA icon or eventually ally

- LGBTQA medias talked about it.

2 ) You can’t vote more than 3 songs of a same artist per week.

3 ) In case of an artist who receive votes mostly by a fan base, we will count only one song, in a limited time of 10 weeks of presence in the top.

4 ) You can vote with only one account.

5 ) If you make 5 votes or less, your first vote will represent 5 points, your second vote 4 points, etc… until your last vote and following 1 point. If you make 6 to 10 votes, your first vote will represent 10 points, your second vote 9 points, etc… If you make more than 10 votes, your first vote will represent 20 points, your second vote 19 points, etc…

6 ) People who make 1 to 5 votes form the amateur ranking, those who make 6 to 10 votes form the fan ranking, those who make more than 10 votes form the expert ranking. We form the jury ranking. The Gay Music Chart is the addition of the four charts. In case of equality, the number of votes and the dates of votes will count.

7 ) The votes will close on Thursday, 8 PM, European time.

#GayMusicChart #gay #music #chart #top #singles #videos #lgbt #queer #lesbian #transhender #bisexual #drag queen #2017 week 38

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