#QUARTET NIGHT LIVE Evolution

[dannymoney]

Favorite Albums of 2024

2024 was an especially excellent year for music, best in a while. This top ten is pretty stacked. So, without further ado...

I say a prayer and rank 'em.

The Hard Quartet by The Hard Quartet

Absolute Elsewhere by Blood Incantation

Rack by The Jesus Lizard

Giant Beauty by [ahmed]

If I don't make it, I love u by Still House Plants

You Won't Go Before You're Supposed To by Knocked Loose

Cool World by Chat Pile

Passage du Desir by Johnny Blue Skies

The Healer by Sumac

Love Changes Everything by Dirty Three

Flight b741 by King Gizzard and the Lizard Wizard

Death Jokes by Amen Dunes

As It Happened: Horse Lords Live by Horse Lords

Only God Was Above Us by Vampire Weekend

In E by Water Damage

You Never End by Moin

plastic death by glass beach

Free Energy by Dummy

Wild God by Nick Cave & the Bad Seeds

Frog In Boiling Water by DIIV

Total Blue by Total Blue

Antenna by Antenna

SMILE! :D by Porter Robinson

EELS by Being Dead

Bleed by The Necks

Vertigo by Wand

Guided Tour by High Vis

Perceive Its Beauty, Acknowledge Its Grace by Shabaka

Žaltys by Raphael Rogiński

life till bones by oso oso

Hovvdy by Hovvdy

Final Summer by Cloud Nothings

BLUE LIPS by ScHoolboy Q

Norther by Ex-Easter Island Head

A Dream Is All We Know by The Lemon Twigs

What Is Not Strange? by Tashi Wada

Tristwch Y Fenywod by Tristwch Y Fenywod

Ghosted II by Oren Ambarchi, Johan Berthling and Andreas Werliin

Spectral Evolution by Rafael Toral

The New Sound by Geordie Greep

Spot Land by Gnod

Box for Buddy, Box for Star by This is Lorelei

Two Star & The Dream Police by Mk.gee

Wall of Eyes by The Smile

Endlessness by Nala Sinephro

My Anti-Aircraft Friend by julie

The Crying Out of Things by The Body

Night Palace by Mount Eerie

All Life Long by Kali Malone

Queda Livre by Caxtrinho

[lokuhapuarachchi]

The Rhythm of Sri Lankan Music Heard in Liverpool City Centre

Liverpool, a vibrant city on England's northwest coast, has a rich and influential musical history that has left an indelible mark on the world. Renowned for its maritime heritage and dynamic cultural scene, Liverpool's music landscape boasts a diverse range of genres and groundbreaking talent.

On Saturday, May 18th, Liverpool's Britannia Adelphi Hotel hosted the city's most successful concert of the year, "The Invitation." Organized to raise funds for the Liverpool Buddhist Temple, the event provided an engaging evening for Liverpool's Sri Lankan community. The concert featured stunning performances by Falan Andrea, Annesley Malewana, and Gayan Gunawardana, with music by Britain's most popular Sri Lankan band, Exceed.

Despite some attempts to disrupt the show, the strong bond between the organizing committee, the three artists, and the band ensured that the event went ahead as planned. Their efforts brought the concert to life, creating unforgettable memories and marking it as a successful event in Liverpool's vibrant cultural calendar.

Liverpool's musical revival is not limited to its past with The Beatles and the Merseybeat movement. The life of the city is intertwined with a bustling live music scene. Venues such as the Echo Arena, O2 Academy, and Philharmonic Hall host a wide range of concerts, from contemporary pop and rock to classical and orchestral. Grassroots venues such as Zanzibar Club and The Jacaranda provide platforms for emerging artists, ensuring the continued evolution of Liverpool's musical identity.

The Beatles, formed in 1960, are perhaps the most notable contribution to music from Liverpool. The legendary quartet—John Lennon, Paul McCartney, George Harrison, and Ringo Starr—rose to global fame with their innovative sound and timeless hits. Places like The Cavern Club, where the Beatles honed their craft, remain pilgrimage sites for fans around the world. The band's success not only put Liverpool on the map but also inspired countless musicians and bands around the world.

The early 1960s saw the rise of the Merseybeat movement, named after the River Mersey. The genre, characterized by its upbeat sound and catchy melodies, was pioneered by Liverpool bands such as Gerry and the Pacemakers, The Searchers, and The Merseybeats. Merseybeat helped define the British Invasion in the United States, a period in which British music dominated the American charts.

Liverpool's commitment to celebrating music is also evident in its various festivals, including the Liverpool International Music Festival (LIMF) and Africa Oye.

"Aardhana" added a uniquely Sri Lankan note to Liverpool's rich musical background, showcasing the city's embrace of global musical influences and its thriving multicultural community. Taking these personal photographs was unofficial, but I aimed to capture the essence of a night where music strengthened cultural bonds as a gesture of support to the dear organizers.

Photographs and Notes - Anuruddha Lokuhapuarachchi

[chrisryanspeaks]

Steve Miller Steve Miller to release deluxe 50th anniversary Joker album; shares unreleased "Joker Suite"

STEVE MILLER CELEBRATES 50TH ANNIVERSARY OF THE JOKER J50: THE EVOLUTION OF THE JOKER BOX SET RELEASED BY SAILOR/CAPITOL/UME SEPTEMBER 15, 2023 MILLER’S CREATIVE JOURNEY TOWARDS LANDMARK EIGHTH STUDIO ALBUM CHRONICLED WITH 27 NEVER-BEFORE-HEARD RECORDINGS INCLUDING EIGHT PREVIOUSLY UNRELEASED SONGS AND COMMENTARY FROM MILLER HIMSELF “THE JOKER SUITE,” SHOWCASING THE 5X RIAA PLATINUM-CERTIFIED, #1 HIT TITLE TRACK, WITH THE PREVIOUSLY UNRELEASED “LIDI” AND “TRAVELIN’,” PREMIERES TODAY – LISTEN J50: THE EVOLUTION OF THE JOKER  ALBUM TRAILER STREAMING NOW - WATCH PRE-ORDERS AVAILABLE NOW Steve Miller is honoring the 50th anniversary of his chart-topping, Platinum eighth studio album, The Joker, with a new box set chronicling the artistic journey that led to its creation. J50: The Evolution of The Joker showcases Miller’s process as he expands and reimagines his craft, ultimately finding a strikingly original new sound that brought him to a wider audience than ever before and set the stage for even greater successes to come. Curated by Miller himself, J50 dives deep into the creative process of writing and assembling The Jokerand amplifies its enduring magic by chronologically placing the original album tracks alongside 27 previously unreleased recordings from Miller’s personal archive – including songwriting tapes made by Miller on his TEAC 4-track in hotel rooms on the road and at live performances, plus studio outtakes and rehearsals – as well as six audio commentary tracks from Miller and exclusive liner notes from both Miller and legendary journalist Anthony DeCurtis.  J50: The Evolution of The Joker arrives via Universal on 2xCD, 3xLP + 7”, as well as digital download and all DSPs and streaming services on Friday, September 15. The vinyl version includes a reproduction of a vintage The Joker iron-on and a limited-edition lithograph. Pre-orders are available now. J50: The Evolution of The Joker is highlighted by “The Joker Suite,” an extended piece showcasing the musical path to the album’s 5x RIAA Platinum-certified (5 million sales in the US alone), worldwide #1 hit title track, “The Joker,” with the previously unreleased “Lidi” and “Travelin’,” available today at all DSPs and streaming services. Read More: The Joker was originally released worldwide in October 1973 and quickly became a hit in the United States crossing over from FM underground radio to the AM pop radio of the day. Shortly thereafter, the song went to number 1, first in the States and the rest of the world followed. This mainstream breakthrough success was certainly fueled by dramatic shifts in both the lineup and Miller’s own approach to songcraft. J50: The Evolution of The Joker brings together the original album alongside unreleased recordings, thereby illustrating Miller’s creative process. The collection kicks off with beautiful acoustic live renditions of “Children of the Future,” “Brave New World,” and “Space Cowboy,” recorded while on the road in 1972. Miller had long nurtured his still-growing audience with constant touring, routinely visiting hundreds of cities each year. Backed by Dickie Thompson on keyboards, Gerald Johnson on bass, and John King on drums, the lineup marked Steve Miller Band’s first iteration as a quartet. Fueled in part by Thompson’s B3 organ and electric Hohner clavinet, the band developed a distinctive new sound, blending Miller’s signature psychedelic blues with a focused songcraft that expertly merged his many inspirations and influences into something wholly original and all his own. Their lengthy sets were highlighted by covers of R&B gems like Young Jessie’s “Mary Lou” and The Clovers’ “Your Cash Ain’t Nothin’ But Trash,” both of which would be featured on The Joker. Energized by his band’s nightly workouts, Miller spent his late-night hours recording on a TEAC 4-track tape machine in hotel rooms across the nation, working on new songs largely on 12-string guitar. In July 1973, the band hit Capitol Record’s Studio B in Los Angeles and quickly got to work, recording, mixing, and mastering the album in just 17 days with Miller producing. “The most important rule that every kid out there who wants to make a record should remember is: When you go into the studio, be ready to do the whole performance the first time you do it, because that’s going to be the best time you do it,” Miller says. “The whole thing is to capture the first performance. That’s a lot of what The Joker’s about. It was all first takes, and first takes are always better than perfect takes. “To make a hit record, I thought it was best to have five hooks,” he continues. “Not one, not two, not three, not four, but five, if you really wanted to deliver a hit. Like if you take ‘The Joker.’ ‘Some people call me the Space Cowboy.’ What the hell was that? Then it continues and it gets your attention again: the slide guitar, the chorus, the harmony, the wolf whistle. It all adds up. All of these things are just elements of writing. You learn those elements, and you’re always playing with them.” Miller’s new songs, from the album-opening “Sugar Babe” and longtime live favorite “Shu Ba Da Du Ma Ma Ma Ma,” to the easygoing blues shuffle, “The Lovin’ Cup” (extended by a driving, live acoustic version of Robert Johnson’s “Come On In My Kitchen,” with foot-stomping percussive accompaniment) and the devastating, slow-burn “Evil,” the latter recorded on stage at Boston, MA’s Aquarius Theater. “Something To Believe In” closes The Joker on a warm, reassuring romantic pop lullaby. “Like clear water in a mountain stream,” he sings, “l will come to you in your dreams/Like pictures reflected in a mountain lake/I will be with you when you wake.” Released as a single in October 1973, “The Joker” proved, in Miller’s words, “a real, no kidding, non-stop hit,” played on virtually every radio station around the world. “The Joker” rose to #1 on Billboard’s “Hot 100” while also reaching the top 20 in many countries around the world. In September 1990, more than a decade later, "The Joker" made history by returning to the US, UK, and European charts after being featured in a popular TV commercial for Levi’s – the longest-ever gap between transatlantic chart-toppers. With its title track seemingly everywhere (as well as its indelible masked album cover by famed photographer Norman Seeff), The Joker album was quickly certified platinum by the RIAA – Miller’s first up to that time. Not only was The Joker significant in its own artistic right, but it also positioned Miller for the next, vitally important stage of his career, when he would become one of the biggest hitmakers and most definitive artists of the 70s. Today, Steve Miller’s releases combine for more than 75 million in sales as well as five billion streams. He has multiple #1s and five Top 10 Billboard Hot 100 songs which have spent 226 weeks collectively on the chart. Miller also has four Top 10 albums on the Billboard 200, which have collectively spent 528 weeks on that chart. Read the full article

[audiofuzz]

Steve Miller Steve Miller to release deluxe 50th anniversary Joker album; shares unreleased "Joker Suite"

STEVE MILLER CELEBRATES 50TH ANNIVERSARY OF THE JOKER J50: THE EVOLUTION OF THE JOKER BOX SET RELEASED BY SAILOR/CAPITOL/UME SEPTEMBER 15, 2023 MILLER’S CREATIVE JOURNEY TOWARDS LANDMARK EIGHTH STUDIO ALBUM CHRONICLED WITH 27 NEVER-BEFORE-HEARD RECORDINGS INCLUDING EIGHT PREVIOUSLY UNRELEASED SONGS AND COMMENTARY FROM MILLER HIMSELF “THE JOKER SUITE,” SHOWCASING THE 5X RIAA PLATINUM-CERTIFIED, #1 HIT TITLE TRACK, WITH THE PREVIOUSLY UNRELEASED “LIDI” AND “TRAVELIN’,” PREMIERES TODAY – LISTEN J50: THE EVOLUTION OF THE JOKER  ALBUM TRAILER STREAMING NOW - WATCH PRE-ORDERS AVAILABLE NOW Steve Miller is honoring the 50th anniversary of his chart-topping, Platinum eighth studio album, The Joker, with a new box set chronicling the artistic journey that led to its creation. J50: The Evolution of The Joker showcases Miller’s process as he expands and reimagines his craft, ultimately finding a strikingly original new sound that brought him to a wider audience than ever before and set the stage for even greater successes to come. Curated by Miller himself, J50 dives deep into the creative process of writing and assembling The Jokerand amplifies its enduring magic by chronologically placing the original album tracks alongside 27 previously unreleased recordings from Miller’s personal archive – including songwriting tapes made by Miller on his TEAC 4-track in hotel rooms on the road and at live performances, plus studio outtakes and rehearsals – as well as six audio commentary tracks from Miller and exclusive liner notes from both Miller and legendary journalist Anthony DeCurtis.  J50: The Evolution of The Joker arrives via Universal on 2xCD, 3xLP + 7”, as well as digital download and all DSPs and streaming services on Friday, September 15. The vinyl version includes a reproduction of a vintage The Joker iron-on and a limited-edition lithograph. Pre-orders are available now. J50: The Evolution of The Joker is highlighted by “The Joker Suite,” an extended piece showcasing the musical path to the album’s 5x RIAA Platinum-certified (5 million sales in the US alone), worldwide #1 hit title track, “The Joker,” with the previously unreleased “Lidi” and “Travelin’,” available today at all DSPs and streaming services. Read More: The Joker was originally released worldwide in October 1973 and quickly became a hit in the United States crossing over from FM underground radio to the AM pop radio of the day. Shortly thereafter, the song went to number 1, first in the States and the rest of the world followed. This mainstream breakthrough success was certainly fueled by dramatic shifts in both the lineup and Miller’s own approach to songcraft. J50: The Evolution of The Joker brings together the original album alongside unreleased recordings, thereby illustrating Miller’s creative process. The collection kicks off with beautiful acoustic live renditions of “Children of the Future,” “Brave New World,” and “Space Cowboy,” recorded while on the road in 1972. Miller had long nurtured his still-growing audience with constant touring, routinely visiting hundreds of cities each year. Backed by Dickie Thompson on keyboards, Gerald Johnson on bass, and John King on drums, the lineup marked Steve Miller Band’s first iteration as a quartet. Fueled in part by Thompson’s B3 organ and electric Hohner clavinet, the band developed a distinctive new sound, blending Miller’s signature psychedelic blues with a focused songcraft that expertly merged his many inspirations and influences into something wholly original and all his own. Their lengthy sets were highlighted by covers of R&B gems like Young Jessie’s “Mary Lou” and The Clovers’ “Your Cash Ain’t Nothin’ But Trash,” both of which would be featured on The Joker. Energized by his band’s nightly workouts, Miller spent his late-night hours recording on a TEAC 4-track tape machine in hotel rooms across the nation, working on new songs largely on 12-string guitar. In July 1973, the band hit Capitol Record’s Studio B in Los Angeles and quickly got to work, recording, mixing, and mastering the album in just 17 days with Miller producing. “The most important rule that every kid out there who wants to make a record should remember is: When you go into the studio, be ready to do the whole performance the first time you do it, because that’s going to be the best time you do it,” Miller says. “The whole thing is to capture the first performance. That’s a lot of what The Joker’s about. It was all first takes, and first takes are always better than perfect takes. “To make a hit record, I thought it was best to have five hooks,” he continues. “Not one, not two, not three, not four, but five, if you really wanted to deliver a hit. Like if you take ‘The Joker.’ ‘Some people call me the Space Cowboy.’ What the hell was that? Then it continues and it gets your attention again: the slide guitar, the chorus, the harmony, the wolf whistle. It all adds up. All of these things are just elements of writing. You learn those elements, and you’re always playing with them.” Miller’s new songs, from the album-opening “Sugar Babe” and longtime live favorite “Shu Ba Da Du Ma Ma Ma Ma,” to the easygoing blues shuffle, “The Lovin’ Cup” (extended by a driving, live acoustic version of Robert Johnson’s “Come On In My Kitchen,” with foot-stomping percussive accompaniment) and the devastating, slow-burn “Evil,” the latter recorded on stage at Boston, MA’s Aquarius Theater. “Something To Believe In” closes The Joker on a warm, reassuring romantic pop lullaby. “Like clear water in a mountain stream,” he sings, “l will come to you in your dreams/Like pictures reflected in a mountain lake/I will be with you when you wake.” Released as a single in October 1973, “The Joker” proved, in Miller’s words, “a real, no kidding, non-stop hit,” played on virtually every radio station around the world. “The Joker” rose to #1 on Billboard’s “Hot 100” while also reaching the top 20 in many countries around the world. In September 1990, more than a decade later, "The Joker" made history by returning to the US, UK, and European charts after being featured in a popular TV commercial for Levi’s – the longest-ever gap between transatlantic chart-toppers. With its title track seemingly everywhere (as well as its indelible masked album cover by famed photographer Norman Seeff), The Joker album was quickly certified platinum by the RIAA – Miller’s first up to that time. Not only was The Joker significant in its own artistic right, but it also positioned Miller for the next, vitally important stage of his career, when he would become one of the biggest hitmakers and most definitive artists of the 70s. Today, Steve Miller’s releases combine for more than 75 million in sales as well as five billion streams. He has multiple #1s and five Top 10 Billboard Hot 100 songs which have spent 226 weeks collectively on the chart. Miller also has four Top 10 albums on the Billboard 200, which have collectively spent 528 weeks on that chart. Read the full article

[casualpastelgay]

Today on ‘Shoutan GIFs nobody asked for’

[romanasharien]

Happy birthday Aoi Shouta (31) and Taniyama Kishou (43)

[raindrop-writes]

Maji Love Live/Quartet Night Evo

I was asked about my opinion on all the lives so far/that I’ve seen (Maji Love 1-6 and Quartet Night Live Evolution). I was asked a series of questions and decided to compile them here.Your favourite live so far: Either 5th stage or QN Evolution Your favourite costume: QN 5th stage Favourite part of a live: In 6th stage when they had someone hold this random cat but then they did smoke machines and Cecil’s VA (Toriumi Kousuke) popped out. I didnt get why there was a cat at first and I found it amazing and well thought out when I managed to link it (when Cecil appeared) Song most anticipated for: Hurrayx2 Dreamers (QN Evolution) or Synchronism and Grown Empathy (6th stage) Song that was good in one live but not in another: This isnt the song but more of the dance. Innocent Wind. As much as Shouta is my favourite VA and he did amazingly, the dance in 5th stage was better than in the evolution. I only think this because it changed. I dont like when they change dance moves, especially when people use them as a reference to learn. Other than that I think Tsukiakari no Dearest was also better in 5th stage. This is only my personal opinion. Both VAs did an amazing job. Similarly I think that God’s S.T.A.R was better in 6th stage simply because of the atmosphere and how attractive the dance/visual aspects were. (And QN is my bias so I’m not criticising them because I dont like them because I’ve never loved a group more. These songs just came straight to my mind) Song that was better than expected: Subete wo Uta ni!

[ayakashisama]

Evolution of Maeno Tomoaki in UtaPri (2nd stage → 6th stage).

Maenu is trully becoming more and more Camus from one stage to another.

[shoutatsun]

TATSUN DANCING ON BACKSTAGE

Never forget the dance movements Tatsun showed to Shoutan on Backstage~ wwww ♡

-love this ramdom moment-

[tattsunsan]

QUARTET NIGHT intro sequence!

[arellethram]

QUARTET NIGHT Live Evolution 2017 fansub download

It’s done! Go thank these wonderful people for sharing their time and talents with the fandom.

Translators: @janiesj, @kuroorchidnobass

Timers: @elie-df, me

QC: @ryota-kunstranslations, me

Lyrics: Moonlit Sanctuary, Llama Like Sarah

Please support Uta no Prince-sama and Quartet Night by buying the DVD! Purchase links: CDJapan, Animate

Details and download links (Please DO NOT Repost) under Read More:

SOFT SUB (text only) [DOWNLOAD] (aegisub file)

Subtitles are in aegisub (.ass) format to maintain formatting/karaoke effects. Please leave the original team member credits intact if you decide to re-translate (and tag us so we can share).  Thank you!

Note: If there are issues, contact me and I’ll fix/reupload asap.

[freyja-veens]

Tatsu as a noble lol

[fangirls-existencial-problems]

Tatsu I love you!♥o♥

His dancers kills me xD

[yurisaber]

Sad to see my boys cry :’( but proud of them for the success of Quartet Night Live Evolution <3

[elie-df]

Just a few more songsssss.... More like 9 songs to go XD Hopefully it will be done before friday hits 🙏🙏🙏 *whispers* im such a slow poke ... A big big thanks to @janiesj for helping me with the translation . . . ~ELIE

[casualpastelgay]

Today on ‘Shoutan GIFs nobody asked for’