#Joyful Noise

[meiloorunsmoothie]

i think the reason why i'm losing it today is because while we were watching newsies, my sister kept asking "why isn't jeremy jordan dancing?" and now i can only think of

and here's jack!

[nofatclips]

Our Philosophy Is Fiction by Deerhoof from the album Actually, You Can

[sockie2sock]

I need more Jeremy Jordan content because I'm running out.

Something that's not death note, newsies, the last five years, supergirl, tangled the series, hazbin hotel, bonnie and clyde, the violet hour, the great gatsby, the greatest showman, waitress, heathers workshop version, it's all coming back to me, disney medleys, spinning gold, joyful noise, smash, little shop of horrors, even the livestream he had during quarantine with Ashley and Clara.

I need more, man, I need more.

[mybeautifulchristianjourney]

All Men Exhorted to Praise God. A Psalm of Thanksgiving.

1 Shout joyfully to the Lord, all the earth. 2 Serve the Lord with gladness and delight; Come before His presence with joyful singing. 3 Know and fully recognize with gratitude that the Lord Himself is God; It is He who has made us, [a]not we ourselves [and we are His]. We are His people and the sheep of His pasture.

4 Enter His gates with a song of thanksgiving And His courts with praise. Be thankful to Him, bless and praise His name. 5 For the Lord is good; His mercy and lovingkindness are everlasting, His faithfulness [endures] to all generations. — Psalm 100 | Amplified Bible (AMP) The Amplified Bible Copyright © 2015 by The Lockman Foundation. All rights reserved. Cross References: Deuteronomy 4:35; Deuteronomy 12:11-12; Deuteronomy 28:47; Numbers 10:29; 1 Kings 18:39; 2 Chronicles 29:30; Ezra 3:11; Psalm 42:4; Psalm 92:13; Psalm 106:1

How can we “enter into His gates with thanksgiving” (Psalm 100:4)?

[dustedmagazine]

Oneida — Expensive Air (Joyful Noise)

Two years after their album Success, on which they blended extended out improvisations and taut garage rock songs, Oneida returns with their 17th full length recording, Expensive Air. Once again, the band demonstrates mastery both of crafting hooks and building compelling long form pieces. Success was a favorite among a number of Dusted staff members, myself included. There’s little doubt that the positive vibes will be similar for Expensive Air.

The album is bookended by two extended jams, both loose, raucous, and ebullient. In between are shorter songs, chock-full of distorted guitars, a powerful rhythm section, and yawping vocals. Singer-multi-instrumentalist Bobby Matador (Robertson Thatcher) initially wrote all of the material as two to three minute starting points, developing them with the band into eight tracks clocking in at thirty-three minutes, abundant in variety.

Unlike Success, where a number of songs were muscular and lean, Expensive Air’s often include nearly as much experimentation as the extended material. Take the title track, where a bleeping note is juxtaposed with squalling downward slides, the guitars exploring dissonant intervals and unconventionally voiced barre chords. The rhythm section, guitarist/bassist Hanoi Jane (Francis McDermott) and drummer Kid Millions (John Colpitts) thunder in alt-rock fashion. “Stranger” finds Matador singing in No-Wave style over minimal guitars. “Salt’s” oscillating riff creates a ubiquitous underpinning, as does the intense playing once again of the rhythm section. Layers of electronics alternate with a doomy tune from Showtime (Shahin Motia) on “La Plage.” “Here it Comes” is an uptempo post punk anthem with an organ solo redolent of Manzarek and a great hook. The singing here isn’t by any means tuneful, hollering together into the void is more like it. Its energy may make you want to yell along.

Opening track “Reason to Hide,” clocking in at nearly seven-and-a-half minutes long, has a bass ostinato and ghostly synths that could be outtakes from Amnesiac. Kid Millions keeps up a forceful groove throughout, and clangorous guitars complete the intense atmosphere. A rough half-spoken vocal from Matador arrives a little more than halfway through, imitating the melody of the bassline but slower and with greater flexibility. Kid Millions joins in the singing, which tightens up and takes center stage. A coda brings out elements from the piece’s inception, ending energetically.

The final track, “Gunboats,” is another extended essay, this time eight minutes long. A minimally constructed guitar riff, dovetailing with the bass-line, is accompanied by fill-laden drumming from Millions. Gradually, a second guitar part enhances the texture, and Goth-hued singing begins in octaves. The guitars build screeching solos, accompanied with fervor by the rhythm section, and the proceedings end in collapse. “Gunboats” is a master class in indie rock intensity.

Christian Carey

[slozhnos]

i present you with some joyful noise content i found digging around on youtube

[cozyaliensuperstar7]

Which one do you choose?

#Repost @nostalgic.videos

——

Let's do this again!!

POV: You're a Judge at the Movie Gospel Choir Championship Competition

💯 Out of these movie choirs who would you give 🥇🥈🥉?

[nellarw95]

Happy Birthday Halle 🥳🎂🎈🎁🎉

March 27,2000

Buon Compleanno 🥳🎂🎈🎁🎉

27 Marzo 2000

[mostunderratedawards]

Most Underrated Lead Actress

Marion Cotillard – Rust and Bone

Rashida Jones - Celeste and Jesse Forever

Anna Kendrick - Pitch Perfect

Zoe Kazan - Ruby Sparks

Dakota Fanning - Now is Good

Keke Palmer - Joyful Noise

[johnleedraws]

Split cover album art for Kishi Bashi's 10th Anniversary of 151a, with AD David Woodruff and fellow artist Hsiao-Ron Cheng. Original drawing on Rives BFK, color separations are done on tracing paper, and background is stitched together with running stitches and scanned.

[meiloorunsmoothie]

me trying to do anything today:

my brain:

[motion-of-love]

Joyful Noise

[nazfam610]

Holy Family School - A Decline in Enrollment

In recent times at Holy Family School, our Catholic elementary and middle school in Nazareth, Pennsylvania has experienced a significant shift in its dynamics following the appointment of Mr. Derek Peiffer as the new principal. While every change in leadership brings about a period of adjustment, it's evident that Mr. Peiffer's time with us has left a mixed impact on the school community.

One of the most noticeable challenges has been Mr. Peiffer's communication style, which has been less effective than previous principals at Holy Family. Effective communication is crucial in any educational institution, but the staff, parents, and students have found it lacking under his leadership. This lack of transparent communication has led to uncertainty and frustration among parents and teachers alike.

Furthermore, there are concerns about the accountability of students. It seems that Mr. Peiffer's approach towards discipline and accountability has shifted, causing some to feel that students are not being held to the same standards as before. This shift has altered the positive culture that our small school once enjoyed, as a sense of responsibility and discipline were integral to our community.

The consequences of these changes have been felt deeply within our school. Many dedicated teachers have chosen to leave or are considering doing so, which not only affects the quality of education but also erodes the sense of continuity and stability. Morale among both the faculty and parents is notably low, creating a challenging environment for both teaching and learning.

In the face of declining enrollment and the risk of school closure, it's crucial that the concerns of the school community are heard and addressed. Meaningful dialogue, transparent communication, and a shared vision for the school's future are essential components in rebuilding the positive culture that our school once thrived upon. It's our hope that these issues can be addressed and resolved promptly to ensure the continued success and viability of our beloved Catholic school.

[namalam]

IT’S JOYFUL NOISE.....Lord Only you deserve my Worship Eben

[dustedmagazine]

Marnie Stern — The Comeback Kid (Joyful Noise)

A decade ago, when we last had a Marnie Stern album to consider, she was a beacon of instrumental prowess in a world of “Women who rock” features that largely confined themselves to singers. She was a shredder then and a shredder now, and dare we hope, the world has shifted so that this is no longer so remarkable? In any case, her latest album, The Comeback Kid, is full of shimmering, ultra fanciful castles of guitar-based sound, but it’s also kind of an experimental pop gem, like Deerhoof after a month of Guitar Hero or like OOIOO any time, really.

Stern has spent the last 10 years in ways both unsurprising (she had two kids now) and mildly unusual (she plays guitar on in Late Night’s 8G band). As a result, she sounds both refreshed from the hiatus and in sharp form from the practice. This is, of course, a contradiction, but makes sense when you think about it. Playing other people’s music five nights a week is very different from making your own songs and touring them.

In any case, she is audibly raring to go, in “Believing is Seeing.” She builds a song right in front of us, asking “What if I add this? And then?” and then adding it, big crashing power chords, antic dances of off kilter picking, handclaps, sugar-rush, girl-group shouts and refrains. “Don’t bow down,” she confides before launching the wholly, gloriously excessive “Working Memory” and then DOESN’T BOW DOWN. Instead she launches a Cecil B. DeMille production of an art punk song, with trebly choirs and neck warping firestorms of electric guitar wizardry. It’s the grand finale of all grand finales, but hold on, the album’s not even half over yet.

You’ve still got the stop-start giddy assault of “Earth Eater,” for instance, showcasing rapid-fire bursts of percussion and, again, guitar, as well as fizzy, popping, girl sung choruses that have something very Japanese about them. It’s here that I’m going to pull the Wendy Eisenberg card just because I can think of no other female artist with comparable chops and experimental pop tendencies, but Stern is pure pleasure where Eisenberg can sometimes seem a puzzle maker. You can turn it all off and enjoy The Comeback Kid—or listen in and enjoy the details. (Like that Van Halen solo right at the end of “Earth Eater.”)

Celebrate the comeback, sure, but it sounds like a big bang beginning.

Jennifer Kelly