#musicians

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Posting for @bassdropstudios: Custom Video Design 🔥 . . 👇👇👇👇👇👇👇👇 . . . 💥👉Video Design - Starting at $50 customized for you, your brand, #musicians , #producers , djs, vjs, youtubers, twitchers and more . . . . . . . . . . #bassdropstudios #beats #visuals #vj #video #services #videodesign #graphics #djs #edm #edmvisuals #edmlifestyle #edmnation #edmlife #livelife #lovelife #plur #plurvibes #plurlife #raves #ravers #ravebabes #edmgirls #plurbunnies #producer #music

🗣Aye Ju$t00- Niggas With Money VIDEO OUT NOW ON Vickmont Films GO SUBSCRIBE TO HIS YOUTUBE PAGE IF YOU HAVEN'T 💯💪🗣 #musicvideo #music #hiphop #rap #musician #newmusic #love #musicproducer #rapper #song #dj #artist #singer #musicians #musically #producer #soundcloud #beats #musica #rnb #like #instamusic #songwriter #art #trap #hiphopmusic #musicislife #video #instagood #bhfyp

Take me back to the Spanish moss and the warm winds blowing in my face.

Am I tripping or are folks out here straight selling sex? Good lawd what is going on? 😂😂😂 @therealgabriellanicole it's getting crazy out here... . . TNTMICSERIES PRESENT ALUMNI BEST 2.0 PERFORMING LIVE: @YAZMINSOUL APRIL 30 2019 @paperboxnyc 17MEADOW STREET HOST BY @oyay.mayo &  @prettykittydirtyvagabond @mdiddydaboss & SPECIAL GUEST MUSIC BY @shawnjgraphics.  @djtazmadd1  @dj_fade  DOOR OPEN @ 8PM. SHOW START @9M SHARP LADIES FREE BEFORE 9PM $10@ DOOR AFTER 9 $20 Power BY. @officialcrownstore.  @bougie_girl_boutique @uknowgee  @pot.astronaut  @vifigure  @_thebossofallbosses.  @industryhotel #music #musician #musica #musically🎶 #musicvideo #musical #musicislife #musicians #musicproducer #musiclife #yazminsoil #brooklynevent  #brooklynconcert. #bedstuy #singers #music #singer #love #hiphopdance #singersofinstagram #top #instagram #yoga #freestyle #livestream #singer🎤 #songwriting #songwriter #soul #usa

Everybody check out this special live performance video we did as a tribute to @nipseyhussle . S/o to everyone who was apart of this video . My guy @mixedbycaserta on the @ableton push2 and my guy @ryanstockbridge on the bass giving us a funky bass line. And of course me on the @nativeinstruments komplete kontrol s88 mk2 keyboard . Want to give a special shoutout to my guy @altruwest for blessing us 🙏🏾. Click the link in @mixedbycaserta bio to view the whole video!!!!!!! ## #nipseyhussle #positivity #tribute #live #liveperformance #music #livemusic #nativeinstruments #ableton #musicians #piano #keys #beatsmadebyfresh #thebridgestudios #tmc #goodfriday #friday #blessed #love #likelike

Pajama-jam on a very fortunate night off. . 1964 Stratocaster - @lovepedalcustomeffects #doverdrive - @jhspedals #panthercub - #superreverb.

THIS WEEK WAS AWESOME!!! Semanario was such an awesome and uplifting experience and I am so excited to see how we perform next month. Learning and growing with all of you has been so cool and I love you guys so much. I'm so thankful to have learned from some awesome people and to have made some new friends! Thank you Harmony Project for all that you do, you guys are the absolute best! #harmonyproject #musicians #orchestra

Chaun like Sean... Shaun....but with “c” ... like champagne.... chicago.... shee kaa kaa ... 🤔.... Chaun ..... Horton... hears a who 🤷🏽‍♂️😂😂😂🙏🏽 . . . #repost @wikidrummers ・・・ @chaun_d_horton is waiting for you on Wikidrummers.com. Be sure to check the full interview by clicking on the link in bio. . . . #musicians #drums #drummer #soundcheck #funtimes #wikidrummers #rochesterny #bobreynolds #janekgwizdala #ruslansirota #bobreynoldsgroup #ducdeslombards

J.Shul
(@j.shul)

8 Minutes Ago

I made a really cool #edm playlist on @spotify called Dance Fuel I think you should check out! It's sure to keep your feet moving wherever you are. With artists in it like @ofenbachmusic @martingarrix @tiesto @artymusic @arminvanbuuren and many more! You can look it up or check it out in my stories. 🔊🎶🎧

Jangan lupa nanti malam kita ada di @kedaipangkalan , menikmati liburan yang begitu panjang daripada belum ada jadwal, yuk mendingan mampir kita have fun bareng, so ditunggu kedatangannya yess... . . . More info for band / entertainment : Wedding | Birthday party | Gathering | Opening Hotel/Cafe | Reguler Cafe/Hotel | Events | Top40 | etc. Please contact us : 0895330702133 (call or text) . #musicians #musicianslife #musisicikarang #cikarangmusik #cikarangband #top40 #allaround #cikarang #karawang #bekasi #jabodetabek #homeband #wedding #allevent #welcomeapril #bandhotel #bandcikarang #bandbekasi #bandjakarta #bandkarawang #byemarch #kedaipangkalan

This Sunday!!! Catch Season 4 Entourage Expo Artists live at The 6th Annual Easter Day Eggstravaganza featuring Love and Hip Hop Miami's Diamond Princess @trinarockstarr Hosted by Larry Dogg, and more!!!! #entourageexpo2019 #entourageexpomiami #entourageexpo #singers #dancers #rappers #miamirappers #rapmiami #miamirap #floridamusic #futureamericanmusicentertainers #gainsville #evolve #artistdevelopment #international #dancers #rappers #musicians #futureamericanmusicentertainers #miami #newtalent #ny #atl #tampa #broward #dope #miamimusic #musicmiami #miamimusicweek @madys_dance_factory

April 26th @capitallounge 1531 Pennsylvania ave Hosted by @kingrjthesymphony &@devdapree Doors open at 8:30 Show starts at 9 $10 Cypher for all at end Adv Tix Available https://www.eventbrite.com/e/the-artist-showcase-tickets-59782139990?aff=ebdiiginstagram&ig_ix=true 👆🏾 #hiphop #rap #rapper #singer #songwriter #soul #music #artist #lyrics #rapmonster #rapgod #hiphopmusic #hiphopculture #rnb #musicvideo #musically #poet #art #neosoul #itunes #spotify #tidal #apple #soundcloud #musicians #singersongwriterproducers #soul #poetry #artistsoninstagram #love #rapping

SINGLE MODE

Gracias al Ministerio de Adoración de mi Iglesia y gracias a mis amigos, y compañeros de trabajo Omar y Huascar!!! Gracias un montón mi gente!!!! #iglesiatodoesposible #musician #musicians #bassplayer #rejoicedanceministry #worship #viernessanto #worshipsingers #lovegodlovepeople #joel83ks

Feeling cute.. might burn a hair salon to the ground later #bethere

Hey, dudes! Been a while since i put a vid on youtube so here ya go! Gracing the internet with my virtual presence once again, enjoy 😊 don’t be shy to subscribe to my youtube channel! Help me hit 100 subs!! 💯 link for full cover as always will be in my bio🙏🏻🤘🏼🤘🏼🖤🖤🖤 • • • • • • • • • • • • #cover #coversong #collar #full #music #musicvideo #musical #ukulele #ukulelecover #punkrock #indie #hipster #indiemusic #aesthetic #musicians #musician #new #newyork @brendonurie @nicolesrow @lanikaiukes 😘😘😘

Personalized some Jazz cartel cups! Follow this great band for great jazz music : @thejazzcartel #jazz #thejazzcartel #jazzband #musicians #curtisandfizzo #starbuckstumbler #starbucks

Master Fretwell touched his arm. “You have a young child to consider.” Charles slammed the mug onto the table, leaving a permanent scar in the wood. “She is all I think of. A small child I have no means of providing for. I can’t feed her.” He took in a ragged breath, as though he had been drowning and had finally come up for air . . The Perfect Tear Book & Album - Out 2019 All drawings by francesca.baerald . . . #bookishquotes #allthebooks #writersofinstagram #writersnetwork #musicians #originalmusic #newmusic #newmusicalert #yafantasy #its_wow #authorsofinstagram #bookishquotes #allthebooks #writersofinstagram #writersnetwork #musicians #creativelife

Reposted from @xheexho.drippy - Fw My Freestyle Dt Free smoke I'm dropping this💯❤ - #regrann

Do not let this be you, I will stop the show WHILE ON STAGE to correct you 🤣🤣🤣🤣 • ••• Please Visit and Follow @1willcmusic and @thewillcexperience ••• #musician #music #producer #edm #dj #live #liveshow #detroit #losangeles #party #newmusic #band #performance #f4f #musicians #stage #tv #film #thewillcexperience #pop #funk #livemusic #soul #studio #saxophone #detroitmusic #1willcmusic #production #newyork

~ “Akai MPK 249” - Feng Bao OVERKILL 🙀🥴 @Enterphaero @https.life.love @akai_pro

We got a show coming up in a week in mtl. Dont miss it out. More info on our facebook page! #honesthonesty #livemusic #liveshow #music #musicians #bandlife #band #bass #bassists #guitarist #guitar #singing #singer #drum #drums #mtl #mtlscene #photo #photography

Kodak song going viral everywhere TAG some friends who like to smile

.... and she’s off and running... kinda not really... but getting there!! 👻Smile!!! 😁 It’s been a tough ca. 10 weeks but thank you to all who have been there for me through this ‘walk down memory lane’ of injuries... 🤣🤦🏻‍♀️ #grateful to my family and friends... 🙌🏼. Always be thankful for all the blessings In your life... and remember #yougotthis 💪🏼. A Blessed Easter week to you and yours!!😇💐 #fashionbloggers #moda #luxus #musicians #paris #stockholm #dubai #moscow #tech #bossbabe #inspo #positivevibes

~ “Akai MPK 249” - Feng Bao OVERKILL 🙀🥴 @Enterphaero @https.life.love @akai_pro

~ “Akai MPK 249” - Feng Bao OVERKILL 🙀🥴 @Enterphaero @https.life.love @akai_pro

This song has two more versus, but here's the shortened version. Sorry for the page turning, I haven't got it memorized yet. Piano Man - Billy Joel #music #musician #instrumental #instrument #piano #pianocover #pianoman #billyjoel #blackandwhite #song #musicians #musiclovers #pretty #sound #play #hands #fingers

Mi-zion san telmo bs as . . . .. . . . . . . . . .

Mi-zion . . . . . . . .. . . . . .

Mi-zion en san telmo . . . . . . . . . . . . .

I was in a band in 94, we played this

It works on paper. Combine three star musicians whose names make for an eye-catching acronym and whose varied talents seem to have kept half the charts afloat for the last decade, throw in some psychedelic imagery, then watch those streams roll in. There are moments when this streaming era supergroup hit the mark, as in the doo-wop laced Thunderclouds and glitchily absorbing Angel in Your Eyes. Widescreen pop moment Genius, which kicked off the LSD project last May, still packs a big punch, though perhaps not to such an extent that it warrants two inclusions, one in the form of a perfunctory Lil Wayne remix, on a slim volume of whose 10 tracks seven have already been released. Elsewhere LSD underwhelms, even if you accept that three of the world’s most interesting musicians would always struggle to create something greater than the sum of its parts. It would be unkind to think of this as a total vanity project – it’s clearly intended to sell. Mind you, at least vanity projects generally carry a sense of artists finding space to spread their creative wings. Not an entirely bad trip, but not one its makers should be in any hurry to repeat.

Indie music has been snuggling up to all things orchestral for decades. But the textures on Titanic Rising, singer-songwriter Natalie Mering’s fourth studio album under the pseudonym Weyes Blood, are worlds away from Belle & Sebastian’s twee chamber-pop or Arcade Fire’s sweeping bombast. The musical style is anthemic piano pop highly reminiscent ofTapestry-era Carole King, particularly on the stirring tracks “Everyday” and “Something To Believe.” But while comparing anyone’s songwriting to King’s is the highest of compliments, simply evoking the sensibility of Laurel Canyon in the early ’70s is inadequate to describe this musical swan dive into the underwater forest of Mering’s mind. The key term when attempting to put Titanic Rising into words is “layered”; “Wild Time” builds on Mering’s clarion alto with piano, strings, trumpet, and even a full-throated French horn solo. The tape warble that overlays lead single “Andromeda” tacks a smooth yacht-rock sheen onto an already complex arrangement, and even the sparest song on the album, penultimate track “Picture Me Better,” adds an overlay of velvety strings before hitting its one-minute mark. Where traditional orchestration is absent, cascading synths—and, in the case of “Mirror Forever,” electric guitar that blasts through the song like the tractor beam of a UFO—come in. The lyrics on Titanic Rising contribute to the album’s daydream quality: Throughout the first half of the record, Mering makes references to falling down, breaking down, and getting “a case of the empties,” all of which fade into oblivion in the middle section of Titanic Rising before coming back down to the human realm of feelings in the final stretch. Ironically, the bleakest lyrics accompany the perkiest melodies, as when Mering sings, “True love is making a comeback / For only half of us, the rest just feel bad” (“Everyday”). Titanic Rising closes with an orchestral coda that incorporates snippets of Mering’s gently off-kilter melodies from throughout the album, one that bleeds seamlessly into opener “A Lot’s Gonna Change” when you listen to the record on repeat. Like the cycles of despair and hope mapped out in Titanic Rising, it’s endless.

From Venice to Ventura, what you see (and hear) is what you get with Anderson .Paak. Such is the life of a genre-straddler in the modern music world; you can't please everyone. If .Paak goes hard on his hip-hop credentials, the people want to experience more of his softer, soulful side. And vice versa, ad lib to fade. The Dr. Dre-produced Ventura — an ode to the town outside the stomping grounds of his gritty Oxnard hometown that fuelled his more soulful sensibilities — was apparently conceived around the same time as the adequate Oxnard. It functions as the "pretty" to Oxnard's "gritty," as he said in a recent interview. Ventura is clearly fuelled on star power — scooping Pharrell, André 3000 and Nate Dogg on a single record in 2019 is no small feat. "Make It Better"comes through with its Quiet Storm OG co-sign in Smokey Robinson, the always on-point songstress Lalah Hathaway gives her own smoke with the classy "Reachin' 2 Much," as does Jazmine Sullivan, playing the side chick gig for "Good Heels." Much will be made of the Nate Dogg collab "What Can We Do?" but it's not that uplifting, outside of the initial nostalgia feels. The smooth opener "Come Home" offers up a typically strong verse by André 3000, who can toss these A-plus lyrics in his sleep at this point (and probably did). "Winner's Circle" barely suppresses the rawer version of .Paak, but hits the mark and the Sonyae Elisa featured "Chosen One" slaps, its Prince-ly influences displayed on its silky electronic boutonnière. It is just good enough to be good? That's the existential question for .Paak and fans to suss out. Ventura is super but not superb, a statement that could apply to a lot of .Paak's recent output. It's a super-charged R&B record, laced with throwback Motown/Philly grooves, that hits hard but fails to land a knockout blow. It seems to be a case of not being able to fully satisfy the hip-hop heads, the R&B fans and the amorphous genre-less Venn diagram in between.

There’s something about Maggie Rogers: something rare and something wonderful. Not only in her voice, but in the way she pieces together her work and tugs at you. And three years after she was plastered across your friends’ social media feeds and was being talked about in breathy tones on radio programmes and at the back of gigs, Rogers is here with her first major-label album. On first listen, Heard It In A Past Life takes shape before you as a solid debut pop record - but maybe not the one that was expected. If you go in expecting Rogers to give you that rare tingle of a thing you felt in the first few seconds of her music before you’ll likely be a bit disappointed, at least at first. But if you put that to one side it’s perfectly possible to listen on a new plane where the beat rarely relents. A lingering worry grows throughout that first listen – that sometimes the music industry takes that found-sound strewn little pebble and shines it up until it’s bright enough and loud enough to fill a stadium. But actually as you cycle through again and again, as you break it in, and the gleam wears off, you start to see Rogers really come through, standing on the shoulders of Patti Smith, Kim Gordon, and Joni Mitchell, all the while making something entirely new. “The Knife” is a clawing, ravenous track pumping through veins and dancing in corners on its own while “Light On” evokes Adele in both the parochial sense as well as in the lungs full of pain and lost love shouting into a majestic void. “Fallingwater” feels like a natural next step from “Alaska” and is built on the power of Rogers' vocals, which almost get overlooked thanks to the sheer breadth of other ideas present here. While tracks like "Back in My Body," "Overnight" and "Light On" are filled with the gut-wrenching weight of being alive that many of us go through, grounding the many levels of the record in real life. The magic by which we were all spellbound in those early days remains, now augmented by a newfound range of diverse influences. Rogers writes anthems for the modern age, with all the paradoxical feelings of empowerment, anxiety, heartbreak and the growth that entails.

Pablo Saldana
(@psaldana84)

15 Days 8 Hours Ago

When she first emerged in 2016 with her viral Soundcloud hit "Ocean Eyes," the moody, silver-haired Eilish seemed like just another dreamy teenage LA singer/songwriter. The trickle of songs that led to her follow-up EP Don’t Smile At Me, however, proved that Eilish was made of darker stuff. Combining text and Instagram word-speak with bold electropop, she was busily crafting a girl-positive emotional world for the Netflix generation, and she has slowly become an alternative icon. For her long-awaited debut album, 17 year-old Eilish has gone deeper into the weirdo-pop trench. Together with co-collaborator brother and producer Finneas O’Connell, she has drawn on trap and industrial pop to create a darkly humorous record about romance, rejection and addiction. Raised by a family of actor/musicians, Eilish and her brother lace the songs with pop culture references and a sense of drama. "Xanny," for instance, reprises Bacharach’s "Alfie," in a soporific, distorted showtune, while "Wish You Were Gay" links Joan Jett-style glam footstomping to a delicate chorus. “To spare my pride/Don’t say I’m not your type/Just not your preferred sexual orientation,” Eilish sings, with mournful deliberation. "Bury A Friend," the album’s stand-out track, develops the theme of darkly, dysfunctional friendship, with her vocodered voice looped through effects and filters. Just when you think that the clever, lugubrious tone is getting slightly wearisome ("Listen Before I Go"), Eilish breaks out into a track of clear, melodic beauty with "I Love You." Here she links the Lana Del Rey dreaminess of her early songs with the savvy, hip-hop inspired artist that she has become. And this is just the start.

Pablo Saldana
(@psaldana84)

2019-03-19 20:08:03

Whereas last year's MASSEDUCTION was an a Friday night out - all-encompassing, all-consuming, and all-arousing. MassEducation, however, is the complete opposite – despite being constructed of exactly the same songs. Annie Clark. MassEducation is an evening drive, a neon-light in the darkness, a cocktail bar on a Wednesday. It’s the aloof, debonair younger sibling to its bloody-minded, red-blooded sister. MassEducation smokes outside. It prefers white wine to red. It’s an antidote to modernity where the original adhered to all of the rules of ‘now’. There’s no confusion: MassEducation is pure, emphatic. Clark strips all of the excess from MASSEDUCTION and bestows upon the new versions her own, sincere power. Let’s talk about the new versions. “Los Ageless” is the standout on both records. On this record, it’s a dainty, soulful piano ballad that doesn’t mess with that brain-tickling hook. By resisting the urge to change it completely, Clark shows that her instincts have remained just as sharp despite the fact that she’s spent the last year touring the hell out of these songs. The “Savior” here is, surprisingly, sexier than the original. It starts slowly, longing and aching, before building to an incredibly intense crescendo. “Pills” takes on a frazzled, deranged angle that makes you think of the earlier St. Vincent material – specifically the drugged-up Disney of Actor. On the cover of this new version, we see Clark with her back to the camera, seemingly naked: Look a bit deeper and it’s more than that. It’s actually her this time: the legs and ass on the cover of MASSEDUCTION belonged to her friend. This is Annie telling us that this version is closer to the real her, but she’s still keeping something back. She’s nude, but covered. The photo is revealing, but not necessarily erotic. It’s a magnificent cover to a magnificent record. MassEducation hangs together better than its predecessor. It’s precise where MASSEDUCTION was deliciously sloppy. However, they’re both as near to perfect as a record is going to get these days – incredibly perceptive, personal and inviting with clever lyrics sitting on beautifully inventive melodies.

Pablo Saldana
(@psaldana84)

2019-03-19 08:13:01

Listen to Love Is Magic, John Grant’s fourth solo record released exactly three years after the last, and you experience his customary level of brutal honesty, irresistible vulnerability and wit – but with the electronics dialled way up. The sound is razor sharp: deep, rib-shaking synths and tingling sequencers mix with punchy percussion and feather-like melodies. And, as you’d expect, the words don’t take a back seat in this ‘80s-inspired soundscape; it wouldn’t be a John Grant record without his signature storytelling. Little can prepare you for the sonic assault of the first minute of opening track “Metamorphosis." Arcade game meets rap meets ring master showmanship, it’s a surreal and disturbing list of phrases and questions – “earthquakes, forest fires, hot Brazilian boys” and “Who created Isis?” – all delivered in various straight and novelty versions of Grant’s speaking voice. Within seconds, this morphs into a sultry, reflective dream ballad about not having properly mourned the death of a loved one – and then back again. You’re disorientated and intrigued. You’ve been warned. His humour is evident even in the track listings: “Preppy Boy” precedes “Smug Cunt”. The former is a digital disco come-on, complete with seductive funk twang with winks and nudges a-plenty; the chorus begs, "Come on now, pretty boy/ If you’ve got an opening, I am unemployed". The latter is darker – even though it starts off scathingly describing the subject’s obsession with their own chest hair, it turns into a question of control and entitlement: “You don’t want things you cannot own." Towards the end of the album, slower and softer songs “Is He Strange” and “The Common Snipe” sit still and powerful next to the beats and bleeps of neighbouring songs. If Grant’s talking to his younger self in “Is He Strange”, it’s with palpable warmth, openness, and a degree of comfort with who he is now. Somehow stories that are deeply personal and unique to Grant become relatable life lessons. The specificity of the lyrics and the boldness of the electronic orchestration should preclude this – but Grant lets the emotions that drive them show through enough that you can’t help but connect.

Pablo Saldana
(@psaldana84)

2019-03-18 21:10:51

With Us, Empress Of—née Lorely Rodriguez—maintains her distinctive knack for crisp production, unguarded lyricism, and artful melodies. But where the alt-R&B auteur’s 2015 debut, Me, was mired in tricky and at times blinkered introspection, the aptly titled Us‘s scope is decidedly more universal. Even Rodriguez’s posture—sitting spread-eagled, her arms open—on the album cover suggests a less insular stance, a stark contrast to the black-and-white figure posing with one hand shielding her mouth on the cover of Me. What’s striking about Us is how blissful the music is. Cuts like Me‘s “How Do You Do It” and “To Get By” featured charging BPMs and house flourishes, but the synths were so blistering, even menacing, that they scanned as post-apocalyptic. By contrast, the tropical “Just the Same” goes down like frothy root beer float. She imbues a similar wonder to the space-age disco stomp “I’ve Got Love.” For Rodriguez, love is a lot like electricity, transmittable and galvanizing: “I’ve got love running through my fingers and my bones.” Elsewhere, Rodriguez complicates this euphoric depiction of love, turning her attention to more thorny topics. “This love is draining us dry,” she laments on the jittery “All for Nothing,” a chronicle of a relationship in limbo. On the bilingual “Trust Me Baby,” she confronts an insecure lover about his trust issues, recounting a heated fight in a car. Even in the midst of the maelstrom, though, Rodriguez musters up some optimism for love: “We could do each other more love than harm, if you just trust me baby,” she croons earnestly. Us‘s enduring charm lies in its articulation of the giddy uncertainty that comes from fully trusting someone, of having your world depend precariously on the whims of another person. With Us, Rodriguez candidly approaches the barbs of relationships but still manages to come out with a rose-colored vision of pair-bonding in all its reckless thrills. Considerably brighter, both thematically and tonally, than its predecessor, the album ascertains the guileless exhilaration of love.

Pablo Saldana
(@psaldana84)

2019-03-18 13:21:40

Julia Holter isn't prone to small, easy statements. Baroque and oblique in equal measure, her music teases out obscure details and ineffable moods through lush orchestral arrangements and expansive structures. She's a purposeful songwriter whose work demands patience. That's never been more apparent than on her fifth studio album. Clocking in at a whopping 90 minutes, and offering up relatively few hooks before the halfway mark, Aviary doesn't make concessions to passive listeners. But those who stick with it will be treated to Holter's most touching work yet: a lyrical, meticulously composed album that treasures empathy and togetherness amid turbulence and uncertainty. Achieving that harmony isn't simple, though. The first-person narratives that Holter used to great effect on tracks like "World" and "How Long?" are largely absent on Aviary. Instead, she leaves listeners to pick through impressionistic fragments and reconstitute them into something meaningful. "Les Jeux to You" sees her joyously tossing out a mishmash of verbs, while "Words I Heard" refutes chaos with a pure declaration of love. It's a potent fulfillment of "I Shall Love 2," a centrepiece that turns a simple declaration into a triumphant refrain. As exultant as Holter's lyrics can be, the compositions on Aviary lift them even higher. This is her most synthetic album since 2012's Ekstasis, but its electronic flourishes never overwhelm the naturalism of traditional instruments. Synthesizers bob steadily over a bed of strings on "Whether," burble like a creek on "Another Dream," and ring out notes like bells on "Colligere." Everything feels cohesive, even as Holter channels everything from a sombre lament on "In Gardens' Muteness" to a celebratory chant on "I Shall Love 1." Sweeping and intimate all at once, Aviary never settles for comforting platitudes or dour resignation. It's honest, it's hopeful, and it's surely among Holter's finest achievements.

Pablo Saldana
(@psaldana84)

2019-03-17 08:51:16

MASSEDUCTION's opening track “Hang on Me” presents Annie Clark as the restless consumer on a come down, a prologue to the excesses of thought and sex and substance that populate the record. Her voice is uncharacteristically cracked but still hopeful, begging for someone to cling to while everything crashes around her. Her fifth record, MASSEDUCTION is maximalist by definition: Lyrically, aesthetically – the all-caps, the clashing red and pink and leopard of its cover art – and musically; with Clark’s virtuosic guitar playing crashing into layer upon layer of synths and programmed beats. Every song contains sounds or ideas for ten others, as though the record might suddenly burst and multiply like spiders running from a nest. There is a complete sense of Clark at the centre: and she knows from experience that loneliness lives at the core of excess. “Los Ageless” is a near-future fable of eternal youth, its accompanying video a pastel-coloured plastic surgery nightmare. Nestled between the depictions of cage-dancing girls and endless artificial summer is the repeated refrain, “How could anybody have you and lose you and not lose their minds too?”, an explanation or an excuse: People don’t just destroy themselves – or let others destroy them – for nothing, you know. As the song fades out, her usually assured voice laments, “I tried to write you a love song,” a kind of epilogue or correction. Gender and sexuality are presented as experimental, unfixed: On “Sugarboy”, Clark proclaims, “BOYS! I am a lot like you / GIRLS! I am a lot like you,” an update of Prince’s promise that “I’m not a woman / I’m not a man / I am something that you’ll never comprehend.” The title track’s refrain of “I can’t turn off what turns me on,” is Clark embracing the unhinged elements of her sexuality, as one who has shed all the urges of adolescence, and whose control stems from her acting like a man. Instead, Clark prizes adolescent urges as part of her spectrum of sexual experience, wrestling back uninhibited, self-serving female pleasure. MASSEDUCTION defies explanation and critique, rendering the critic a dead weight in the dust of its ever-accelerating sucker-punch of ideas.

Pablo Saldana
(@psaldana84)

2019-03-15 18:32:37

James Blake deduced that "music can't be everything" after the emotional heavy lifting and self-examination of 2016's The Colour In Anything, and the press that followed pointed to an artist more open and in touch with himself. Blake's personal development is the primary driver of fourth LP, Assume Form, a tight 12 tracks that show the artist at his most approachable, romantic and optimistic. These feelings are apparent from the opening verse of the album's title track. "I hope this is the first day / That I connect motion to feeling," Blake sings, adding, in the chorus: "I will be touchable by her, I will be reachable." Further on, they're undeniable. "You waive my fear of self," he expresses on "Can't Believe the Way We Flow." "I've thrown my hat in the ring, I've got nothing to lose with you," he sings on "I'll Come Too," backed by a lovelorn vocal sample and sweeping strings. Major keys aren't new to Blake's repertoire, but he has never expressed joy and feeling so plainly. To suggest he has entirely abandoned the dour moods of his earlier work would be wrong; now he's using them as juxtaposition against the album's uplifting moments. It's best captured in "Don't Miss It," which finds Blake recounting anxious, cyclical thoughts in slight vibrato. Blake's continued openness has also crept further into his creative process, with Assume Form boasting the largest number of credited collaborators to date. On "Mile High," a reserved Travis Scott leaves ASTROWORLD behind for a graceful turn in Blake's world, ceding the rap star power to a wound-up André 3000 on "Where's the Catch?" Moses Sumney pushes his range for a haunting hook on "Tell Them," while Rosalía lends both harmony and Spanish vocals to "Barefoot in the Park." The cover art finds Blake in repose, hands behind his head, staring into the camera. No longer masked by double exposure, deep blues and greys, Assume Form is Blake coming into focus.

Pablo Saldana
(@psaldana84)

2018-08-18 05:32:36

"I just try to keep the dream alive,” Jenny Lewis declares on “Higher”, one of the nine songs on the debut album from Nice as Fuck (NAF). What precisely that dream may be is hard to say, considering the many divergent projects Lewis has contributed to in recent years. From the ashes of Rilo Kiley’s dissolution came a successful solo career, punctuated most recently with 2014’s memorable The Voyager. There was also I’m Having Fun Now, the album she made with guitarist and boyfriend Johnathan Rice, released under the name Jenny and Johnny. A friend to talented musicians, Lewis has stayed busy, guesting on records and touring with the likes of M. Ward, Ryan Adams, and Conor Oberst. In short, it seems that Lewis is often dreaming. Now, her latest dream has come to life. Comprised of Lewis, Au Revoir Simone’s Erika Forster, and The Like’s Tennessee Thomas, NAF borrow liberally from punk, funk, pop, and more, a refreshing shift in sound for Lewis, who in her solo work has primarily focused on lyrical witticisms and melodic rock with the occasional country twang. There is little twang to be found with NAF — or any texture for that matter. Most of the nine tracks that make up their record are built around fast bass lines and simple percussion, relying heavily on harmonies and vocal delivery to stand apart. On “Door”, NAF’s first single, Lewis nearly moans the final word when she sings, “If you believe in peace and love/ And the message above/ Don’t close the door.” As the song continues, harmonies set in over her wordless coos. The effect, not dissimilar from what the Watson Twins provided Lewis on Rabbit Fur Coat, is a subtle reminder that NAF is not Jenny Lewis by another name, but rather a new yet still connected trio. Yes, much of Lewis’ aural aesthetic can be found in NAF’s sound, but the little differences — the tinge of funk on “Cookie Lips” or the bouncing bass on “Angel” — define this record as the work of three people. Whether this surprise offering is the first of many or a one-off effort, NAF justifies its existence as more than a lark or an impulse by having a message and taking a chance.

Pablo Saldana
(@psaldana84)

2018-08-10 07:41:19

She calls it "the hardest one I ever made"; that's Jenny Lewis' assessment of The Voyager, her first solo album since 2008's Acid Tongue. In the ensuing years, Lewis dealt with the break-up of Rilo Kiley, the death of her father, writer's block, and bouts of insomnia. Given the background, you might expect The Voyager to be a downbeat experience and while lyrically it's unflinchingly honest, the music shines with positivity and glorious pop songwriting. This album finds Lewis pulling together something of a "greatest hits" of her sound: a mix of the alt.country of Acid Tongue and Rabbit Fur Coat, the rock and roll of Jenny & Johnny's I'm Having Fun Now and the classic overdriven Fleetwood Mac guitar pop that Rilo Kiley did so fantastically during their headily-brilliant peak moments. "I've been wearing all-black since the day it started" are the first words out of Lewis' mouth on the opening track "Head Underwater," a wonderful burst of sunny pop that belies her tale of insomnia, hints of experimenting with substance abuse and feeling like she's becoming unknown to those around her. These are dark themes, so the "ooh-oohs" and "ba-ba-bas", along with the weighty piano and scratchy guitar riffs provide balance, and it ends up being probably the sprightliest thing Lewis has put her name to thus far. Keeping us on our toes, "Just One of the Guys" is a lolloping country-rock track produced by Beck and featuring his subtly mumbled backing vocals where Lewis sings about feeling unable to fit in and musing on her ticking biological clock: "there's only one difference between you and me / when I look at myself all I can see / I'm just another lady without a baby." Although it's delivered with Lewis' usual wry humour, it's a remarkably honest and affecting snapshot of something that's clearly troubling the singer. The Voyager is where we truly get to see behind the veneer of the singer and sometime actress. A fitting record, which addresses everything that's come before and yet to come - and a crowning, near-perfect album.

Pablo Saldana
(@psaldana84)

2018-08-09 08:32:12

Jenny & Johnny represent a different type of musical coupling. In this couple, the woman is the powerhouse and the man, though forceful in his own ways, rises to her challenges. Jenny Lewis and Johnathan Rice were creatively and romantically involved for nearly a decade; the lady, one of indie music's most successful thinking beauties, is the bigger star. Maybe that's why this project, though lighthearted, has some of the prickliness of a real day-to-day relationship. The title may be "I'm Having Fun Now," but there's room for wisecracks, bitterness and worry amid the lovey-dovey stuff. Ms. Lewis and Mr. Rice josh and harmonize their way through the album. The songs are upbeat, looking back to folk-rock and 1970s California pop. They’re much breezier than “Acid Tongue” or Mr. Rice’s albums, and they make a game of juggling who sings what. Ms. Lewis and Mr. Rice trade off leads (while the other sings ahs and la-las), or they sing close parallel lines, or they overlap and argue with each other. “She’s an artist painting a portrait all over my heart,” he sings in “Scissor Runner,” the album’s opening song; she airily counters, “Colors bleeding, so deceiving.” While the album’s back story is part of its charm, “I’m Having Fun Now” is not a collection of love songs. Amid the guitar strumming, they stay unsentimental; there’s far more banter than romance. Jenny and Johnny volley accusations of professional jealousy over the surf-rock beat of “My Pet Snakes.” “All the best of luck with your career,” Mr. Rice growls at the end. In other songs they sing about travel, gods (Abrahamic and Greek), recreational drugs, promiscuity, even economics. “We save our money in good faith/And we work hard for our living wage,” Ms. Lewis sings in “Big Wave.” “But still the banks got a break.” Yet even in songs about tensions and betrayals Jenny and Johnny sound more sardonic than enraged. On this album the barbs are wrapped in smiles and irrepressible tunes.

Pablo Saldana
(@psaldana84)

2018-08-09 08:31:33

As thematically and sonically scattershot as her previous record (2006’s Rabbit Fur Coat) was deftly unified, Jenny Lewis’ Acid Tongue is a loose and lovely ramshackle update of the indulgent and genre-skipping singer-songwriter solo discs of the ’70s. Just as the Rabbit Fur Coat’s Appalachian twang and blue-eyed, harmonized soul was a heart-cracking revision of ’60s-styled country pop, Tongue pushes Lewis’ sound into the following decade’s take on Southern-stained music: alternately shaggy and slick, harder-edged and tinted with coke spoon reflections on failed romance, drugs, and dangerous women (“It’s a bad man’s world/ And I’m a bad, bad girl”). Sprinting with a sound under which Rilo Kiley’s lock-limbed Under the Blacklight stumbled, Tongue moves from the string-honed lilt of opener “Black Sand” to the nine-minute suite of “The Next Messiah” (complete with rollicking, rave-up blues choruses interspersed with sensuous, funk-sweat breakdowns of Caucasoid soul) to the gorgeous melancholic shimmer of the quietly epic title track, in which Lewis’ crystalline wail is bathed in a chorus of mournful background singers. Although the LP lacks a unifying concept or theme, what does bind the album is her consistently powerful and melodic songwriting and the sheer strength of her howling, playful vocal, which has never sounded better on record. Despite the inclusion of the sweetly skipping ballad “Godspeed” and weary closer “Sing a Song” amid barnburners like the hipgrip, beerhall swagger of “Carpetbaggers” and “Jack Killed Mom,” much of Rabbit Fur Coat’s intimacy has been traded for pure sonic intensity. However, Lewis’ refusal to repeat what made Coat such a success renders Acid Tonguean equally idiosyncratic and distinct record in its own right. The album is boastful, vulnerable and witty, usually within the course of a single song. It may be a bad man’s world, but a bad girl’s record makes it that much more tolerable.

Pablo Saldana
(@psaldana84)

2018-08-06 18:55:08

On her first solo outing, Jenny Lewis writes directly about the twisted fairytale of her childhood, and takes a levelheaded look at the complications of love. The haunting title track of Rabbit Fur Coat is a mostly autobiographical rags-to-riches-to-rags-again fusion of fact, fiction and fantasy sung to a nursery-rhyme melody in waltz-time. Told in a style akin to magic realism, it's the story of a woman whose mother is waitressing and on welfare until her daughter becomes "a hundred-thousand-dollar kid", only to end up back on welfare, "still putting that stuff up [her] nose". The already tumultuous terrain of relationships becomes even more fraught when your lover is also your bandmate, as was once the case with Jenny and Rilo Kiley co-founder Blake Sennett. The messiness of romantic entanglements surfaces on the achingly catchy "You Are What You Love," when Lewis sings: "Every morning upon waking / To you I’m a symbol or a monument / Your rite of passage to fulfillment / But I’m not yours for the taking". Or, from "Melt Your Heart": "When you're kissing someone who's too much like you / It's like kissing on a mirror". A gifted lyricist, Jenny Lewis is also a very fine singer, landing on each note with just the right touch. She can belt it out with a soulful, Neko Case-like clarion call ("Big Guns"), put on a Lucinda Williams drawl ("Rise up with Fists!"), or purr like Margot Timmins ("Happy"). The musical stylings of all of these talented ladies echo throughout the accompaniment on Rabbit Fur Coat, but Lewis takes these elements back to their roots. Without copping a retro sound, Jenny has tapped into a fifty-year-old Americana, finding that sweet spot at the birth of rock ‘n’ roll when folk, country, gospel and vocal pop were all melding together, but before the increasingly heavy backbeat of rock displaced the lilting shuffle of Sun Studios-era rockabilly. The former frontwoman has expertly crafted a record, which allows Lewis her own distinct sound. The indie darling stepped into her own with Rabbit Fur Coat, and the album more than a decade on is still a compelling, complex and captivating achievement.