#Lianne Le Havas

[neechees]

Gow fancasts part....3!!

Hella Joof as Gryla

Elena Kampouris as Pandora

Michael Vlamis as Helios

Eleftheria Patsouraki as Eos

Diana Tarnovscaia or Carmen Solomons as Aphrodite

Denise Vasi as Rhea

& they aren't seen visually but I'm adding them anyway bc they appear in the GOW 2 novelization: Tatiana Papamoschou as Demeter & Lianne Le Havas as Iris

[semtituloh]

Táan k u’uyik le k'aaynáalo'obo', bey xan táan k uk’ik junp'íit síis cheva wáa...

Listening some singers and drinking a cold beer, or...

Oyendo unos cantantes y acompañando con una cheva fría, o...

La Santa Cecilia; Virgínia Rodrigues; Tonolec; Perotá Chingó & Walter Ferguson; Renato Enoch; Laura Itandehui; José Carlos Schwarz; Loli Molina & Las Migas; Geoffrey Oryema; Simentera; Eneida Marta; Lila Downs; Hugh Masekela; Ismael Lo; Natalia Lafourcade; Super Mama Djombo; Susana Baca; Totó La Momposina; Habib Koité & Bamada; Kevin Johansen; Jaramar; Jussara Silveira; Lianne La Havas; Lluís Lach; Yerba Buena; Silvana Estrada, Kali; Second Imij; Tama; Susheela Raman; Brian Lynch...

[sunny6677]

Okay question—

So Iris is a very mysterious, gentle, wise and traumatized character—but I've never exactly been able to pin down what her voice should be. I always imagined her having an arabic-sounding accent with a ghost-like soft spoken voice. But I've never been able to find an Arabic voice claim with that kinda voice, so I may just have to stick with imagining whatever voice gets picked with a Arabic-sounding accent for now. (The reason she sounds Arabic is because Sumerian was her first language and was a language ancestor of Arabic, and as of now I do know that the language doesn't exist anymore—so I just imagine her having a sumerian accent, but I have no idea what that'd sound like, so I imagine her accent would resemble an Arabic one).

[amatterofpjr]

　 　　　　　　　　　　　　　rojo 　　　　　　　　　　　 colors show 　 　

Los colores son parte de nuestra percepción visual, son producidos por un tono de luz especifico e interpretados por cada uno de nosotros, dependiendo de la longitud de onda que se presente al momento de observar un "objeto". Sin embargo, más allá de la explicación ligeramente científica, los humanos hemos encontrado la forma de relacionar estos también con emociones que derivan de nuestras experiencias colectivas o personales.

Con esto en mente, les daremos una pequeña descripción del color a tratar, así como una frase (o canción) con la que esperamos puedan inspirarse para intentar plasmar su significado personal del mismo.

Siendo el color rojo el elegido para esta ocasión.

Según Ally Condie: "El rojo es el primer color de la primavera. Es el color real del renacimiento. Del inicio." Este se asocia en primera instancia con las emociones como la valentía, el amor y la pasión. Teniendo también una estrecha relación con la fuerza, el crecimiento y la iniciativa para hacer algo que anhelamos. Un ejemplo de esto, podemos encontrarlo en la canción Bittersweet de Lianne La Havas. En donde los sentimientos de amargura le dan también una oportunidad a la renovación, porque no todo lo que alguna vez ardió en rojo, puede volver o debería volver a hacerlo.

　 　 　　EXTRA 　　+ individual 　　+ colocar el ht en la actividad #amof_act #39_cs_rojo

[artcalledtheewhip]

Hey Dad Walkina UR Walk kin ahh Hey Father walking with a close leash & fluorescent shirt Rabia - NonPoint Thayya Thayya - Sukhwinder Singh Viciously try loving exit enter exit walk around Hats Off To The Bull - Chevelle Welcome To This World - Primus Did the wifey wear too much rouge Walk that dad, where’s the dog I only see a cat Undead - Hollywood Undead Shiny Guns - Le Disko On’z parade On’z parade Your daddy took you on trip Walk the Casey’s, if friends were around Look down look down Magic Man - Heart You Spin Me ‘Round - Dope Pulling up in an heep automobile Scratches and damage I never pulled out my phone Never even heard music Dumbshit Dad Double D Just like the fakes On’z parade Hey Dad walking UR Main Titles - Charlie Clouser Tubular Bells - Mike Oldfield Meet UR Master - Nine Inch Nails DumDum It’s a hard day out for a Daddy Hey Dad walking UR Hustle and Flow I watched earlier this morning Flower - Moby Hey dad walking UR You loved the figure of the Mom To close this out!!!! Scared of self, I would be too Such thoughts in your head The Man Comes Around - Johnny Cash .|. Hey dad walkina UR 13 songs Just for you .|. Hey on leash, it wasn’t ever about you! All embarrassing These are dedicated just for you The High Road - Broken Bells Is Your Love Big Enough - Liann La Havas Maybe Tomorrow - Stereophonics Bitch - Meredith Brookes Hang on be strong, those guys just want you like your Father wanted your Mother, and he fears you’ll be used in the wrongs ways, he had time being there, before Momma Neck collared by a leash Crazy Bitch - Buck Cherry It’s old school Daddy after Momma He’s not singing any more he started a marriage and then family, but his infidelities or not, makes his legs shake in this day and age, he’s worried for you! Forget About Dre - Dr Dre (Eminem) 6 songs for the leashed I won’t forget This day, you looked UR Daddy was walking you It wasn’t UR fault, please don’t regret No friends witnessed! On’z Parade Extra Outro Moments In Love - Art Called Noise Are You With Me - Vaux 21 Track Playlist Artcalledmusica WordsbyMM MMybsDroW Artcalledwords I didn’t add Supermassive Black Hole - Muse Hey Dad Walk Kin Ahhhhh! UR?

[psalmsofpsychosis]

Lianne Le Havas - Paper Thin

[sinceileftyoublog]

30 (Technically 34) Albums We Loved That Happened To Come Out in 2020

So much has already been said and written about this cursed past year, but a few good things came out of it, including the music. Album-wise, like many before it and many to come, it was an embarrassment of riches. But even with so much time on our hands to devour new tunes, it was often old favorites, songs of comfort or familiarity that garnered the heaviest rotation. For many artists, too, it was a year ripe for revisiting or reissues of old material, looking at existing songs with fresh and new perspectives. Simply put, with so much to listen to, new and old, the prospect of ranking a finite number of albums felt not only daunting, but frankly a bit stupid. Maybe we were late to the game, but 2020 taught us that music should and can be appreciated in multiple contexts, not limited to but including when it first came out and when it was heard again and again, even if years later. The records below--listed in alphabetical order--happened to be released in some form in 2020, whether never-before-heard or heard before but in a different format. And the only thing I know is that we’ll be listening to them in 2021 and beyond.

Autechre - SIGN & PLUS (Warp)

The legendary British electronic music duo surprise released SIGN a mere month and a half after its announcement and then PLUS 12 days later. The former was a beatific collection of soundscapes that belied the band’s usual harsh noise, while PLUS embraced that noise right back, drawing you in with the clattering chaotic burbles of opener “DekDre Scap B” and lurching forward. -Jordan Mainzer

Against All Logic - 2017-2019 (Other People)

The perennially chill ambient house artist Nicolas Jaar had a busy 2020, as usual, releasing two albums under his name, Cenizas and Telas. But it was 2017-2019, the follow-up to the debut album from his Against All Logic moniker, that came first and throughout the year helped to illustrate Jaar’s penchant for combining inspired samples with club beats and tape hiss. Take the way the lovelorn vocals of “Fantasy” or soulful coos of “If Loving You Is Wrong” war skittering, scratchy percussion and cool arpeggios, respectively: Jaar is coming into his own as a masterful producer almost a decade after he released his first full-length. Oh, and bonus points for including none other than Lydia Lunch on a banger so blunt it would make Death Grips blush. - JM

Bartees Strange - Live Forever (Memory Music)

Like many, my introduction to Bartees Strange was through Say Goodbye to Pretty Boy, his EP of The National covers. Creativity and shifting perspectives shine through each song’s reimaging, like flipping the coarse, almost manic “Mr. November” into something softer, more meditative. It felt like a mere peek into what was to come on Live Forever. Bartees Strange is a world-builder. Each track on his debut unfolds and welcomes you to a wildly engaging tableau, a fully constructed vision. “Jealousy” opens with soft vocals and birdsong. “In a Cab” is the slick soundtrack to racing through a cityscape in the rain, seeing the blurred lights of the high-rises above as you pass by. “Kelly Rowland” warps wistful pop song feelings. “Flagey God” takes you into a dark, pulsing club while only a few songs later, “Fallen For You” wraps you in echoed vocals and romantic, raw acoustic guitar.

It’s an accomplishment to craft an album of individual songs that stand strongly on their own but still feel cohesive. 2020 wasn’t all bad. It gave us Live Forever, a declaration of an artist’s arrival. - Lauren Lederman

Charli XCX - how i’m feeling now (Atlantic)

Back in the spring, many of us wondered who would put out something great in 2020’s quarantine. It was hard to imagine that the intensity of a global pandemic would really allow for artists to embrace creativity. That thought carries the same eye-roll inducing feeling of “We’ll get some great punk music out of a Trump presidency,” but of course, Charli XCX delivered. Through live workshops with fans and longstanding collaborators, she delivered songs to dance alone to in your bubble. Charli embraces the unknown of the moment but clutches onto what’s familiar. Under the glitch-pop veneer of the album, she digs into the anxieties of not just this moment of time but of the bigger questions we all confront: trajectories of relationships with friends, romantic partners, ourselves. Album standouts “forever” and “i finally understand” embrace that feeling of both looking for control and accepting the lack of it. Charli is a master at balancing this. - LL

Christine and the Queens - La Vita Nuova (Because Music)

Named after a Latin text by Dante Alighieri about missing a woman who has died, Chris’ La Vita Nuova is not about mourning a death but instead about loneliness and isolation, post-relationship or otherwise. It doesn’t bang quite like her previous two albums, but it hits harder than ever.

Read our full review here.

Dogleg - Melee (Triple Crown)

Released on March 13th, right as the COVID-19 pandemic hit, Melee was supposed to be supported by three cancelled tours–SXSW, an opening slot for Microwave, and an opening slot for Joyce Manor–and an appearance at this year’s cancelled Pitchfork Music Festival. Listening to the songs on the record, you can only imagine how they translate: the jerky momentum of “Bueno”, build-up of “Prom Hell”, gang vocals of “Fox”, clear-vocal anthem of “Wrist”, and odd groove of “Ender”.

Read “Buckle Up, Motherfucker”, our interview with Dogleg.

Dua Lipa - Future Nostalgia & Dua Lipa/The Blessed Madonna: Club Future Nostalgia (Warner)

Where Dua Lipa’s much-anticipated second album Future Nostalgia succeeded was in its disco anthems and retro, club-ready beats, so who better to bring out the best of the record than The Blessed Madonna? The turntablist masterfully curates a mix of heavy hitters of the charts and the underground that not only offers an essential complement to Future Nostalgia but transcends it. Sending the tracks out to various producers and singers for features and then adding her own samples on top, she invites you to peel back the layers, enter a YouTube rabbit hole of sample searching as much as bopping along.

Read our full review here.

Emma Ruth Rundle & Thou - May Our Chambers Be Full (Sacred Bones)

Roadburn Festival has long been on my bucket list, and since the pandemic showed me how much live music can be taken away in a flash, when it’s safe again to travel and go to a festival, I may just pull the trigger and go--especially considering it’s the springboard for such fruitful and inspired collaborations as the one between Louisville singer-songwriter Emma Ruth Rundle and Baton Rouge sludge dwellers Thou. Rundle embraces the heavier opportunities on the follow-up to her incredible 2018 record On Dark Horses with the ever-flexible Thou backing her up vocally and instrumentally. Slow-burning opener “Killing Floor” offers a familiar introduction to fans of both--sort of what a Rundle/Thou song would sound like--before grunge chugger “Monolith” introduces huge, catchy riffs and “Out of Existence” a True Widow-esque dirge, newfound inspirations for both artists bringing the best out of each other. - JM

Fiona Apple - Fetch the Bolt Cutters (Epic)

What makes Fetch the Bolt Cutters stand out among Apple’s catalog and music in general is the clarity with which Apple seethes at those who have wronged her, whether ex-boyfriends or patriarchal oppressors, and looks to her relationships with other women for peace of mind.

Read our full review here.

HAIM - Women in Music Pt. III (Columbia)

For HAIM, the title Women in Music Pt. III is suggestive that, more than their previous two records, their third centers around the experiences of being an all-female band in a historically white cis male-dominated scene, at least one that wouldn’t call catchy riffs written by a man “simple” or call attention to the faces a man makes while playing. What it doesn’t let on to is how deeply personal the record is, how, by unabashedly embracing genres and styles of music that they love, HAIM have made far and away their best album. Co-produced by the usual suspects, Danielle Haim, Ariel Rechtshaid, and ex-Vampire Weekender Rostam Batmanglij, it’s instrumentally and aesthetically dynamic and diverse, consistently earnest without devolving into cheese.

Read our full review here.

Irreversible Entanglements - Who Sent You? (International Anthem)

I’ve been captivated by Irreversible Entanglements ever since I first saw them at Pitchfork Music Festival 2018. The radical poetry of Camae Ayewa (aka Moor Mother) is the perfect front for a ramshackle mix of Luke Stewart’s spidery bass, Tcheser Holmes’ weighty drums, and a horn section that concocts tones that range from hopeful to desperate. At their best, Who Sent You? is a shining example of celebratory Afrofuturism and metaphysics that makes the urgency of Ayewa’s more concrete and political words all the more necessary. “No Más”, composed by Panamanian-born trumpeter Aquiles Navarro, is a declaration against imperialist oppression, while the stunning title track flips the switch like a Kara Walker painting, as Ayewa’s the one interrogating the police officer terrorizing her community. “Who sent you?” she repeats, never spiraling, grabbing a hold of the power and never letting go. - JM

Jeff Parker - Suite for Max Brown (International Anthem/Nonesuch)

It’s Jeff Parker’s mom’s turn. After 2016′s The New Breed ended up being a tribute to the guitarist’s father, who passed away during the making of it, Parker decided to pay tribute to Maxine while she was still alive. Suite for Max Brown (Brown is his mother’s maiden name; Max is what people call her) is a genre-bending collection of tracks inspired by Parker’s DJing, juxtapositions of sequenced beats with improvisation that certainly sound like the brainchild of one individual. Indeed, Parker plays the majority of the instruments on it and engineered most of it at home or during his 2018 Headlands Center residency in Sausalito, CA; though all of the players and the vocalist (Jeff’s daughter Ruby Parker) on The New Breed show up, plus a couple trumpeters (piccolo player Rob Mazurek and Nate Walcott of Bright Eyes) and cellist Katinka Kleijn, Suite for Max Brown is a distinctly Jeff Parker record.

Read our preview of Jeff Parker & The New Breed’s set at Dorian’s last year.

Jeff Rosenstock - NO DREAM (Polyvinyl)

Jeff Rosenstock throws us right into the spinning, manic energy of NO DREAM, his latest release from a seemingly endless well of music that never lacks urgency. It’s a reminder that though it’s been a strange year, the issues Rosenstock tackles here aren’t new. There’s no interest in making you feel comfortable here. On the album’s title track, Rosenstock sings, lulling you into a false sense of security, “They were separating families carelessly / Under the guise of protecting you and me.” But reality sets in, and the hazy guitars spin out as he spits, “It’s not a dream!” and, “Fuck violence!”

My image of Jeff Rosenstock in the year 2020 is masked up with “Black Lives Matter” scrawled across the fabric of his mask in Sharpie, performing album highlight “Scram!” on Late Night with Seth Meyers as high energy as ever. It felt like watching someone send out a beacon, both a distress signal and a call to arms. - LL

Jessie Ware - What’s Your Pleasure? (PMR/Friends Keep Secrets/Interscope)

I am not someone who goes to clubs. I don’t “go out dancing,” preferring to let loose in the privacy of my own home or a trusted friend’s house party. But Jessie Ware’s What’s Your Pleasure? makes me think I could embrace a night out like that, once the world opens up again, of course. The album is filled with syncopated disco beats that feel fresh and classic all at once. The abundant horns and strings on “Step Into My Life” are decadent, like light bouncing off sequins in a dark room. Ware’s voice is slinky and velvety one moment, windswept like her album cover the next. It’s songs like “Save a Kiss” that embrace both, allowing her to show off her range. - LL

Laura Marling - Song for Our Daughter (Partisan)

With sparse production, mostly from her but with additions from Ethan Johns and Dom Monks, Marling foregoes the comparative maximalism of the Blake Mills-produced Semper Femina, her last proper full-length, and 2018′s LUMP collaboration. The songs aren’t simple, but they’re succinct, and every element, from Marling’s finger-picked guitars, the occasional slide guitar, and that unmistakably calm voice, sometimes alone and sometimes layered, fits. It’s her most universal set of songs yet, centering around the times when we’re apart from one another but reflecting on when we were together and when we might be together again, with no guarantees.

Read the rest of our review here.

Les Amazones d’Afrique - Amazones Power (Real World Records)

The groovy pan-African collective expands upon their debut Republique Amazone and then some with Amazones Power, a tour-de-force statement of female empowerment in the face of oppression against women throughout the African diaspora. Indeed, the album is more than just songs boldly decrying FGM, though those demands ring heavily. Instead, the group goes further, delving into gender power structures in marriage on “Queens” and selectively finding strength in tradition on “Dreams”. And this time, they include men to stand alongside with them. “Together we must stand / Together we must end this,” sings Guinean musician/dancer/artist Niariu on opener “Heavy” in solidarity with features Douranne (Boy) Fall and Magueye Diouk (Jon Grace) of Paris band Nyoko Bokbae. But perhaps it’s her kiss-off on “Smile” that hits hardest: “I shut up for no one.” - JM

Lianne La Havas - Lianne La Havas (Nonesuch)

The British singer-songwriter’s much anticipated follow-up to 2015′s Blood was better than I could have ever imagined. A song cycle about life cycles--of nature, of lives, of a relationship--inspired by an actual breakup, Lianne La Havas is a contemporary neo soul masterpiece. Overview opener “Bittersweet” is an instant earworm, La Havas’ coo-turned-belt filling the space between classic and increasingly emotive slabs of piano and guitar. Funky, lovestruck strut “Read My Mind” is the soundtrack for the unbridled confidence of finding new love. Yes, the doubts begin to sow on the fingerpicked melancholy of “Green Papaya” and “Can’t Fight”, and where the album goes from a simple narrative perspective may be predictable: They break up, they don’t get back together, La Havas enjoys her independence. But the depth of the arrangements and assuredness of La Havas’ singing is a product of an artist starting to really show us what she can do. And how many people can pull off a Radiohead cover like that? - JM

Lomelda - Hannah (Double Double Whammy)

What does it mean to title an album after yourself? Lomelda’s latest album is centered around discovering more about yourself while not always having the answers. Despite the lyrical content, the album is self-assured. Hannah Read’s voice feels as steady as ever as it navigates these twisting questions, like the way the world can shift after a kiss. She finds power in softness and reflection throughout the album, like when she explores the mantra-like words of “Wonder” or through a reminder to do no harm in “Hannah Sun”. In a year that allowed for perhaps more reflection than usual, Hannah makes space for the questions that arise out of figuring yourself out, of making sense of the messiness of it all, wrapped in warm guitar, balanced vocals, and steady drums. - LL

Moses Sumney - Grae (Jagjaguwar)

“Am I vital / If my heart is idle? / Am I doomed?” Moses Sumney famously sang on his stunning 2017 debut Aromanticism, an album that saw him developing his acceptance of being alone. grae, his two-part 2nd full-length, and his first since officially moving from L.A. to the Appalachian Mountains of Asheville, North Carolina, doubles down on themes of heartbreak, but instead of being sure in his seclusion, he embraces the unknown. The album teeters between interludes of platitudes about isolation and ruminations on failed human connection, and maximally arranged clutches of uncertainty. “When my mind’s clouded and filled with doubt / That’s when I feel the most alive,” Sumney coos over horns and piano on slinky soul song “Cut Me”; it’s an effective mantra for the album.

Read the rest of our review here.

Norah Jones - Pick Me Up Off The Floor (Blue Note)

At the time we previewed Norah Jones’ 7th studio album, she had only released a few tracks from it. Turns out the rest was just as powerful. From the blues stomp of “Flame Twin” to the rolling piano stylings of “Hurts to Be Alone”, Pick Me Up Off The Floor is an album full of jazzy orchestrations and soul and gospel-indebted arrangements, Jones’ silky, yearning voice tying together the simple, yet lush and deep instrumentation. And that other Tweedy feature, that closes the album? It’s a heartbreaking portrait of loneliness, one of many on a record that still manages to celebrate being alive all the while. - JM

Phoebe Bridgers - Punisher (Dead Oceans)

Phoebe Bridgers is a master of details. Her lyrics shine when they get specific. They range from the mundane to morbid: A superfan’s ghost-like wandering under a drugstore’s fluorescent lights, a skinhead likely buried under a blooming garden, reckoning with the you in “Moon Song”’s lines, “You are sick, and you’re married / And you might be dying.” Bridgers has always been able to set a scene meticulously, and Punisher arrived with 11 songs that expanded that skill, both lyrically and musically, with her dark humor intact and a fuller sound that includes her boygenuis collaborators’ harmonies. - LL

PJ Harvey - To Bring You My Love: The Demos & Dry - The Demos (Island)

Yes, revisiting Dry’s demos as a separate entity is still worthwhile. Harvey’s powerhouse vocal performance carries the acoustic strummed “Oh My Lover”, while the comparatively minimal arrangement of “Victory” highlights bluesy riffing, call-and-response harmonies, and layered guitar and vocals. The singles, the slinky and sharp “Dress” and propulsive anthem “Sheela-Na-Gig”, hold up to their ultimate studio versions, too. But it’s the To Bring You My Love material that provides novelty because it’s never been released and more so because it encompasses the greatest aesthetic contrast from the album. From the warbling hues and guitar lines of the title track to the tremolo haze of “Teclo” to the crisp snares of “Working With The Man”, the demos show a continuity and level of cohesiveness with the diversity of Dry and Rid of Me not shown on the studio version of Harvey’s more accessible commercial breakout. (Predictably, the album’s most well-known song, “Down by the Water”, is the closest to its eventual version.) “Long Snake Moan” is simultaneously more spacious and more noisy, its garage blues a total contrast to the lurking “I Think I’m A Mother” and swaying shanty “Send His Love To Me”. And “The Dancer” fully embraces its flamenco influences, hand claps and all.

Porridge Radio - Every Bad (Secretly Canadian)

Is there a better opening line than “I’m bored to death, let’s argue”? That kind of duality is found across all of Every Bad as it grapples with the frustrations and anxiety of trying to figure it all out, whatever that might mean for you. “Maybe I was born confused, but I’m not,” vocalist Dana Margolin repeats throughout the opening track, roping in listeners with the dizzying feeling of trying to make sense of yourself. The band’s guitar and synth sound coupled with Margolin’s howl makes for a dance party filled with dread, rendering Margolin’s already strong, repetitive lyrics even more spiraling. And yet, by the time we get to “Lilacs”, a glimmer of something else shines through as the music gets more manic and Margolin’s voice begins to soar: “I don’t want to get bitter / I want us to get better / I want us to be kinder / To ourselves and to each other.” - LL

Sault - Untitled (Rise) & Untitled (Black Is) (Forever Living Originals)

Yes, Black Is still pulls plenty of devastating punches. “Eternal Life”, a segue from the gospel boost of “US”, juxtaposes a deliberate drum beat with zooming synths, both ascending like a chorus of angels, as they sing, “I see sadness in your eye / ‘Cause I know you don’t wanna die,” presenting the oppression of Black life at the hands of white supremacy in inarguable terms. Ultimately, though, it’s the anthemic nature of the songs, resistant of platitudes, that shines through. “Nobody cared / This generation cares,” says Laurette Josiah on “This Generation”. Whether she’s talking about young people in general or the latest generation of young Black leaders, the sentiment is reflected on songs like “Black”, wherein over dynamic, sinewy instrumentation, the singers alternate between encouragement, support, and love of the self and others.

Read our full review here.

Shamir - Shamir (self-released)

Shamir’s voice is a bright beacon in a sea of conventional singers. Shamir captures the effervescence of pop music and weaves it together with elements of country, alt rock, and diary confessional lyrics all supported by the emotion and range of his vocals. There’s something for everyone across the album’s 11 shimmering tracks. Lead single and opener “On My Own” feels like a declaration of self and self-sufficiency, an anthem of a breakup song. The almost pop-punk bounce of “Pretty When I’m Sad”, paired perfectly with lines like the angst-ridden, “Let’s fuck around inside each other’s heads,” feels impossible to not bop along to. The twang of “Other Side” would put a country crooner to shame. That’s the power of Shamir. His voice has the ability to smoothly convey joy, resilience, and humor. He uses elements of several genres, not just the dance-pop of his debut, to build a unique album that gives listeners so much to sift through and, of course, dance to. - LL

Songhoy Blues - Optimisme (Fat Possum)

If Songhoy Blues’ second album Resistance lacked “the grit of its predecessor,” it’s clear from the hard rock stomp of the opening track of Malian band’s third album Optimisme that they rediscovered their mojo. More importantly, they couple this maximal brashness with tributes to those who make their world a better place: fighters for freedom, women, the young. It’s perhaps the first Songhoy Blues record to truly combine the celebratory nature of their desert blues with a balanced mixture of idealism and vigor. - JM

Spanish Love Songs - Brave Faces Everyone (Pure Noise)  

How can you find hope in hopelessness, or optimism when every news story points to cruelty? Is it naïve to keep searching for light in the dark? I don’t think so, and I don’t think Spanish Love Songs does, either. I’d like to think we both believe that’s not naivety, but power. It’s the embers you need to really ignite a flame. After all, this is the band with a song titled “Optimism (As a Radical Life Choice)”. It’s a band whose crunching guitars and earnestness insist that despite death and depression and addiction, the instinct to survive shines brightly above all. That relentless hope resurfaces across Brave Faces Everyone’s 10 tracks even as it works through the bleakness of everyday life. - LL

Tashi Dorji - Stateless (Drag City)

The magnum opus from the Asheville-based picker is a group of evocatively titled, disorderly songs about the desolate hellscape of America for outsiders and immigrants. Enigmatic in its nature, not exactly narrative, Stateless combines Dorji’s urgent strumming with moody motifs, captured beautifully in a studio setting for maximum emotional wallop. - JM

Touche Amore - Lament (Epitaph)

Is this what an almost uplifting Touche Amore album sounds like? It’s cathartic in a newer way for the band, especially after the beautifully rendered grief of Stage Four. Lament loses none of the band’s aggression or urgency. “Come Heroine” thrusts listeners into that urgency and introduces a moment of warmth, Jeremy Bolm’s vocals still rasping and insistent: “You brought me in / You took to me / And reversed the atrophy.” The bounciness of “Reminders” may seem close to optimism, but a sharper look at the lyrics uncovers more than blindly looking to the things that bring joy. “I’ll Be Your Host” is reflective, a few years removed from Touche Amore’s previous album and the immediacy of loss, self-aware and growing, but still raw. The album closer, “A Forecast”, takes a turn, a lone voice and piano acting as a confessional before giving way to thrashing guitars and the realization that growth and reckoning with trauma doesn’t mean minimizing it. It means learning to keep moving forward and to stop for help when you may need it. - LL

Waxahatchee - Saint Cloud (Merge)

The best album yet from Katie Crutchfield is inspired by positive personal change (getting sober, dealing with codependency issues, her blossoming love with singer-songwriter Kevin Morby) and reflections on family and friends. Named after the suburb of Orlando where her father’s from, Saint Cloud is a genre-hopping collection of stories and feelings that doesn’t necessarily follow any semblance of narrative. On opener “Oxbow” and country-tinged ditty “Can’t Do Much”, Crutchfield’s increasingly aware of the need to pick your side and your battles, whether in the relationship between two people or between the allure of the bottle and the next-day hangover. Some of the best songs on the album see her finding commonalities with others as a means towards self-love. Gentle strummer “The Eye” refers to her natural creative relationships with Morby and her sister Allison. “War” she wrote for herself and best friend, who is also sober, the title a metaphor for one’s fight to remain substance-free. “Witches” is an ode to her best friends, including Allison and Snail Mail’s Lindsey Jordan, all equally frustrated by the toxic nature of the music industry and the world at large, ultimately lifting each other up because they simply have each other.

Read our full review here.

[leonardcohenofficial]

i was tagged by the lovely gia @coolramautumn and amazing mia @georgeharrisonspinupappeal to post my top five current fave songs! ✨

sad little girl by les mccann

sour flower by lianne la havas

maria ninguém by joão gilberto

2000 blacks got to be free by fela kuti and roy ayers

still together by mac demarco (but specifically this particular live version)

i’ll tag @herrlichersonnigertag / @goatmilkoatmilk / @xianezone / @columbosunday / @juliebarnes and anyone else who’d like to do this!! 💫

[therhythmismyblanket]

GET TO KNOW ME/ TAG PEOPLE YOU WANT TO GET TO KNOW

favorite color : don’t really have one, espectively it depends what for. But I do like a lot of blue and green tones so petrol colors (I think that’s what they’re called) are something I enjoy, e.g #006269

currently reading : Happiness like water

last song : Green & Gold - Lianne La Havas

last series: that I finished watching would be a league of their own, currently watching extraordinary attorney woo

last movie : watched Hercules for the first time the other day. Mostly for the music and I mean when Lilias White and LaChanze as part of the muses…

sweet/savory/spicy : ooh I’d go with savory, I love me a savory meal or snack. Though I do very much love some good cake or cookies as well

currently working on: decorating my apartment, just bought some new plants and trying to bring the old ones back to a healthy state after they suffered during moving to a new place. Apart from that just trying to get my life together in general

Thank you for tagging me @noxclara 😊

I’m tagging @calliettes-posts @drippling-thoughts @mostlyiwant-tobekind @illgiveyouahint @lucydacusgirl @its-going-les-bien if you feel like sharing or anybody else who’d like to do this and tag me. Hope y’all are doing good :)

[andthesunrisesagain]

Requêtes fermées

Bonjour, bonjour 🌈

Merci pour vos DMs et requêtes, je ferme à nouveau pour pouvoir toutes les réaliser 🌞 Voici les personnes sur lesquelles je vais bosser pour ce mois de juin : 

Diego Luna, Jemaine Clement, Daniel Brühl, Christina Ricci, Shawn Mendes, Lianne La Havas, Sebastian Stan, Kristen Stewart, Joe Cole, Blanca Suarez, Jean-Baptiste Maunier, Charithra Chandran, Zendaya Coleman

Belle fin de mercredi !

[the-weird-poet]

songs that give me dark academia vibes:

Achilles come down~ gang of youths

take me to church~ hozier

writer in the dark~ lorde

Dorian's theme~ charlie mole

love story~ sarah cothran

we fell in love in october~ girl in red

where's my love, acoustic version~ syml

where's my love, french version~ syml, lily kershaw

wisdom cries~ aurora

je te laisserai des mots~ patrick watson

lost with you~ patrick watson

just another ordinary day~ patrick watson

another love~ tom odell

are you with me~ nilu

everybody wants to rule the world~ lorde

goodbye~ apparat

favorite crime~ olivia rodrigo

astronomy~ conan gray

murder song (5, 4, 3, 2, 1), acoustic version~ aurora

the night we met~ lord huron

riverside~ agnes obel

young and beautiful, DH orchestral version~ lana del rey

team~ lorde

dernière dans~ indila

tourner dans le vide~ indila

war of hearts, acoustic version~ ruelle

your power~ billie eilish

safe & sound~ taylor swift, the civil wars

michelle~ sir chloe

little dark age~ mgmt

as the world caves in~ matt maltese

video games~ lana del rey

nobody~ mitski

lights are on~ tom rosenthal

wait~ m83

chosen one~ ella martin

training with mr. schaibel~ carlos rafael rivera

poet~ bastille

in the woods somewhere~ hozier

shelter~ the satellite station

talking to the moon, acoustic version~ bruno mars

starry starry night~ lianne la havas

skyfall~ adele

CLASSIC MUSIC

https://open.spotify.com/playlist/6AzxGF8NfGOIWlrgIKA5Mm?si=OcwqBVhVRjCsMhoQFntcGQ&utm_source=copy-link

[tybaltsjuliet]

nicky’s archetype playlists, 10/11: the artist.

these hands could hold the world, but it'll never be enough.

(listen.)

i. want to change the world? there's nothing to it. and you know i mean it with all of my heart: it's the end if something important doesn't start.

pure imagination (superhuman + quigley) // the light (regina spektor) // guido's song (raul julia; from nine) // desecration rag (felix arndt) // video killed the radio star (the buggles) // downtown (anya taylor-joy; from last night in soho) // anita berber (death in vegas) // all i do is dream of you (the mcguire sisters)

ii. les ailes du moulin protègent les amoureux. i want to throw my body in the river and drown. (i want to love somebody, but i don't know how.)

complainte de la butte (rufus wainwright; from moulin rouge) // i'm in love with a german film star (the passions) // as time goes by (dooley wilson; from casablanca) // uptown blues (jimmie lunceford) // sucker's prayer (the decemberists) // cherry blossom (lana del rey) // we'll meet again (she and him)

iii. who could take exception to you? some people, they call me monster; some people, they call me saint. my talent feeds my darker side, yet no one will complain.

cemetry gates (the smiths) // how fucking romantic (the magnetic fields) // opera singer (cake) // 27 (fall out boy) // gods and monsters (lana del rey) // hammer horror (kate bush) // rimbaud eyes (dum dum girls) // michael who walks by night (strawberry switchblade) // the face of dorian gray (rational youth + johan baeckstroem)

iv. you were famous; your heart was a legend. don't let the sun go down on me: although i search myself, it's always someone else i see.

never enough (kelly clarkson; from the greatest showman) // chelsea hotel no. 2 (leonard cohen) // each man kills the thing he loves (guy xy) // don't let the sun go down on me (taron egerton + celinde schoenmaker; from rocketman) // working for the knife (mitski) // colourless dream (sad lovers and giants) // dying in L.A. (panic! at the disco)

v. was your work of art so heavy that it would not let you live? there's a place i can almost see before us - never if, only when.

starry starry night (lianne la havas) // while my guitar gently weeps (girl in a coma) // start another story (emilie autumn) // the sun is often out (patrick wolf) // another world (antony and the johnsons) // bring on the wonder (susan enan)

vi. and the world will be better for this. and the living room becomes a garden, and the t.v. set becomes a fountain, and the music flows in the garden, and everything grows.

omar sharif (katrina lenk; from the band's visit) // step (vampire weeknd) // northern downpour (panic! at the disco) // it might as well be spring (nina simone) // moon river (audrey hepburn; from breakfast at tiffany's) // the impossible dream (linda eder; from man of la mancha) // lullaby of the bells (edward ward; from phantom of the opera)

+ bonus: and my newly melted heart, now blossoming into a new life. the great comet of 1812 (josh groban; from natasha, pierre, and the great comet of 1812)

[septiembrre]

About me

Thanks for tagging me friends!

Name/nickname: Gabriela / Gaby

Pronouns: she / her

Star Sign: Libra (sun), Taurus (moon), Capricorn (rising (D':))

Height: 5′3

Time: 9:38 pm

Birthday: Sept 27

Favorite Bands & Favorite Solo Artists: I procrastinated on answering this bc these questions always feel impossible. I've been listening to Kali Uchis and Anderson .Paak and Lianne Le Havas this week.

Song Stuck in My Head: Put Me Thru, Anderson .Paak

Last Show: I'm currently watching the US version of The Office. I never watched the show until this year and some parts of it are funny. But, I'm over it at this point. My partner loved the Office when she was in college, and she's really leading the effort to finally watch it all the way through. Pero yo no puedo. :'( I'm answering this questionnaire instead.

Last Movie: Minari

When Did I Create This Blog: over 10 years ago when I was in college

What Do I Post: I used to curate this as an aesthetic~ blog. Now it's pretty heavy on Good Girls content

Last Thing I Googled: the acl line up (bc I wanted to make myself sad)

Other Blogs: This is my primary blog, and I have a few other defunct blogs, too.

Why I Chose My URL: I truly couldn't think of an internet username so why not my birth month?

Do I Get Asks: Sometimes I do :)

Following: 530... but I've had this blog for over a decade now and about 400 of the blogs I follow are defunct. But, I haven't unfollowed because sometimes people come back? I took a three-year break from Tumblr at one point and look at me now.

Followers: 400 (I think about 300 of my followers are in the Good Girls fandom)

Average Hours of Sleep: 8 to 9 hours. I am very relieved to be back to my regular sleep schedule after experiencing disrupted, anxious sleep throughout 2020.

Lucky Number: 3 and 8

Instruments: None! :( I'm not that kind of cool.

What am I Wearing: my jammies

Dream Trip: I'd love to go to places farther away that feels difficult because of the cost of plane ticket + time to travel there. I'd love to go to the Patagonia (South America in general) or Japan to eat all the bomb food.

Favourite Food: Ice cream :)

Nationality: American.

Languages: English, Spanish.

Favourite Song: No! I refuse.

Last Book I Read: I read Real Life by Brandon Taylor last weekend and I loved it. It's a book that centers a queer Black protagonist pursuing a graduate program in biology. I went to a women's college with a dominant queer culture and the read of the intersection of queer culture/academia/race in the book had me gasping.

Top Three Fictional Universes I’d Like to Live In: Kiki's Delivery Service... and I reject any other possible realities. Oh! Maybe the Inheritance Trilogy... but only if I could fuck one of their gods.

Tagging: I think most folks have done it! I really procrastinated this time. So, I'll lean into my shyness and not tag anyone this time.

[ok-ak]

thank you for the tag @holyshit​ ily, you little peach!

ok ok ok. le do it:

picrew can be found here!

✨ screenshots

my lockscreen is: lyrics from fine line (the song) bc WE’LL BE ALRIGHT HOES

the last song i listened to: how much can a heart take-lucky daye/yebba

last photo saved: a song i shazammed at the store lmao. go listen its good

🎶 four songs i’ve heard today:

I love you so- the walters

open doors- trevor hall

someone else- deb never

nothing more than that- the paper kites

🎬 seven comfort films:

um um um. i dont watch very many music but lets see:

how to be single

moana

sex and the city

brown sugar

definitely maybe

any will smith movie ever

spiderman far from home

🖐 get to know me:

name/nickname: ashley/ AK

star sign: aquarius

favourite bands/groups: bon iver, the head and the heart, iron & wine, the fleet foxes, the oh hellos, the temper trap, passion pit,1d obvi

favourite solo artists: ben howard, frank ocean, james blake, lianne la havas, taylor swift, ollie MN, Nao, 1d individually, 1000 other people

song stuck in my head: sign of the times- harry

last movie: Promising Young Woman...it was......wild

last show: Ginny & Georgia

when did i create this blog: 2012 i think..yikes

what do i post about: phew it changes. used to be preppy clothes (lmao), then it was screaming about various shows ive watched (tiva and westallen anyone?), now its quotes/pretty pics/random outbursts of my life/constant longing for louis tomlinson to post a selfie and then propose marriage to me. the usual

other blogs: @blaxploitation which i made for a school project, some joint tumblr i made with my friend that i cant recall the name of, and a private one that i ramble to myself in.

do i get asks: no and when I ask questions to other people they literally never respond, so,,, its lit fam

why did i choose this url: people say ‘sure ok, ak’ to me a lot and i felt *~quirky*~ in 2012 who knows

following: 362 but all of them are gone nowwww

followers: like 1 and a half

average hours of sleep: ?????? 6 maybe

lucky number: 7,10, 23

instruments: i can play the piano, used the play the violin, and REALLY want to learn the guitar

what am i wearing: a oversized aerie sweater and leggings

dream job: the people that get paid to play with harry’s hair for a living. jk, i want to run a multifaceted health center that helps people with their mental health through diff avenues (so like art therapy, reg therapy, exercise, healthy eating, OT, skill building, etc.) all under one roof....or a cute coffee shop owner who is to say

dream trip: im basic but Hawaii, London, Greece, & Tokyo have been on my list forever

favourite food: pasta, mexican food, or CAVA

nationality: tragically american

favorite song: i have a lot but Promise by Ben Howard is up there in top 5

last book i read: 30 Before 30 by Marina Shifrin. i recommend!

three fictional universes you’d like to live in: umm????? 1) the flashverse so i could hang out with cisco 2) bikini bottom....asfljsk 3) whatever fictional world the people from The Bold Type live in that allows them to get to dif parts of NY in 14 seconds 

i tag: anyone who wants to do it! I WANNA LEARN ABOUT YOU OK! I MEAN IT😤❤️💖

[sallytheseamstress]

HAPPIESTPLACEHQ Task 2 - Sally Finkelstein

Playlist you feel best describes your character

Touch In Mine (fingers) - Esperanza Spalding “Touching surfaces every day Feeling no spark of tenderness within” Sally is a very sensitive person, both physically and emotionally: loud sounds, bright lights, strong smells can overwhelm her easily, as well as angry words and open displays of aggression. That is partly why she keeps to herself, to her routines, to her little comfortable bubble; but as she has become older, Sally finds that this existence is now wearing her down, and has come to realize that, even with the friendship of Jack (who is so often locked up in his own world as well) and Zero (who, much like her, keeps to himself), she craves affection and love that, so far, hasn’t experienced neither from family nor friends.

Like Someone In Love - Björk “Each time I look at you, I'm limp as a glove And feeling like someone in love” Just a little love song that very accurately depicts Sally’s sort of clumsiness towards her own feelings, and how she feels she could express them towards a loved one. It is a beautiful, if rather awkward, way to feel for her, one that sticks to her mind and heart and colors her world, filling her with conflicting emotions -giddiness of being lovestruck, fear of being found out, sadness at the inevitability of vulnerability, hopefulness at the chance of being requited.

Your Woman - White Town “Now I know your heart, I know your mind You don't even know you're being unkind So much for all your highbrow Marxist ways Just use me up and then you walk away Boy, you can't play me that way” Even though this is a break up song between a romantic couple, this could very well reflect Sally and her father’s codependent relationship. With no family beyond him, no other place to go and with her low-paying job, Sally is basically dependent on her father for everything; and, similarly, her father, being in a wheelchair and stubbornly determined on never leaving Redwood Hollow, depends on Sally for everything he cannot do himself. Sally does recognize her father’s brilliant mind, his cultured thoughts, his well-read expertise and knowledge, but even though he spouts a philosophy of mutual aid, of small-town solidarity and community that he passed down to his daughter, Sally knows deep down this is pure bull -when he himself seems to regard her as a slave, something he owns and is in his right to mistreat, withholding any sort of affection or praise or kindness, treating her more like a robot than as a child.

Glory Box - Portishead “Sow a little tenderness No matter if you cry Give me a reason to love you Give me a reason to be a woman I just wanna be a woman” Going back to the first song, what Sally wants most is affection, and that means vulnerability both from her part and from whom the affection comes from. Since she was very little she has learned to keep her emotions in check, not asking for much, never be a nuisance. This has also led to her feeling somehow disconnected from her own self, from her gender and age, as well as from society at large. Now that she has arrived to her thirties, Sally feels like she needs to break out of this subservient position she has been chained to, and that means, in part, reclaiming her own self as a person with autonomy, as someone capable of and deserving of love, and as a woman with the capacity to socialize with others, to be nurturing, to be affectionate; and, as well, partly resenting her status as a woman as someone who needs to fulfill that nurturing role, to provide for her father, to cook and clean and do the domestic chores.

Sounds Of Blue - Morcheeba “A sort of stoned silence Sat on that boat floating out The waters left me open All my emotions fog my lenses” Despite acknowledging her own sensitiveness, Sally isn’t very good with emotions; she knows the basics of comforting, to leave her shoulder free for someone else to cry on, to be available and listen to someone in need; but she is awful at managing her own frustrations and despair, choosing instead to bottle it all. Sometimes, it can feel almost asphyxiating, to be so full with words she can’t pronounce, with nowhere to pour them. This often makes Sally feel even more alone, like a boat in the middle of the ocean. As she grows older, though, she has begun to try her best and be mindful of what she feels; instead of simply allowing the emotions to overwhelm her, Sally tries to question them, to dive deeper and find the root cause, even if that means giving in and having to have a good long cry about it.

Walking In The Rain - The Ronettes “When he's near me, I'll kiss him And when he leaves me, woah, oh, oh, I'll miss him Though sometimes we'll fight, I won't really care And I'll know it's gonna be alright 'cause we've got so much we share” Sally would like to think of herself as the practical sort; but, of course, this doesn’t mean she has a romantic side as well. Being raised by her father, homeschooled, with no distraction beyond books and constantly monitored TV watching, she grew up during her teens with a strong idea of what true love is like: it is instant, it is irresistible, it is everlasting, it is passionate, it is destined... As an adult, she knows this isn’t realistic at all (especially having witnessed, from a distance, the romantic troubles of the rest of the town); but a part of her still wishes she could be whisked away by a prince, somewhere far away, to an idyllic world of tenderness and freedom.

Good Morning Heartache - Billie Holiday “Stop haunting me now Can't shake you, no how Just leave me alone I've got those Monday blues Straight through Sunday blues” Kind of a byproduct of her buried-deep-down idealizations of love, and her repressed emotions and expectations, the weight of Sally’s loneliness can sometimes pull her down to periods of depression. As a full-time worker, both as her father’s caretaker and in her work at Jack’s Attic and in the Community Events Committee, Sally often has to put on a happy face to deal with the daily grind; but, once she has some time alone, she either tries to keep herself distracted, or gives in to that despair for as long as she can allow herself to.

Les Fleurs - Minnie Riperton “For all of these simple things and much more, a flower was born It blooms to spread love and joy, faith and hope to people forlorn” Most of all, Sally feels most comfortable in nature: as at home as she is in her own house, it also feels, increasingly so, as a place of repression, lack of change, and constant surveillance. Nature, especially Redwood Park and the surrounding woodland, feels to Sally as the place where change is required, where it is most clear, where it is most, well, natural. Whether it is a rainy day with the air thick with humidity and the tension of a coming thunderstorm, a sunny afternoon having a small picnic at the shade of a tree in full bloom, or a lovely, glittering snow morning, snowflakes falling quietly and magically from a cotton-clouded sky, Sally loves it when she can be outside, forget about her responsabilities and duties, and focus on the sensation of the world, the real world, around her.

Day Dreaming - Aretha Franklin “He's the kind of guy that would say Hey, baby, let's get away Let's go some place, huh Where I don't care” This is also a continuation of her own ongoing matureness and acknowledging of how she tends to idealize the idea of love. Sally tries her best to reject her old teenage conception of a prince coming to sweep her off her feet, but at the same time, especially when she can allow herself some time to doze off and daydream, she still nurses that little hope that, whoever it is that will come along and give her the affection she wants so bad, will wish, just as she does, to explore the world beyond Redwood -it doesn’t matter where, since they would be together, mutually helping each other in their struggles, loving and trusting each other, and that would be everything they would need.

Please Don’t Make Me Cry - Lianne La Havas “I'll try to let it go, my fingers are crossed I show you my pretty scars, they make us whatever we are” Sally knows fully well that she comes with a good deal of issues, and that’s what scares her most when considering pursuing a romantic relationship. She is, however, aware enough of her traumas that she feels she could be honest about it -of course, as long as she manages to not let herself be drowned by them. Honesty is a very important quality for her. The only problem, then, is that while Sally truly wants to confess just how much she feels what has happened to her, she is still afraid to intimidate someone else, to be seen as “high-maintenance”, as someone hard to love. Once more, while love is her goal, vulnerability is her greatest fear.

[chelseafav]

Tagged by precious @cixiglix  

list 10 songs you‘ve been listening to lately:

1.  Masego, Don Toliver - Mystery Lady

2.  Lianne La Havas - He Loves Me (Solo in Paris) 

3. Willow - Wait a Minute! 

4. Santino Le Saint - The Party

5.  Xavier Omar - Afraid 

6. Dua Lipa, Angèle - Fever

7.  Tsew The Kid - Plus d'amour à te donner

8. Squidji - Rose

9.  Jelani Blackman - Hello

10.  ROSALÍA - PIENSO EN TU MIRÁ (Cap.3: Celos)

I am tagging my lovely @victoriassolace and @hvertz