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azuregard · 3 years

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FE7 -- Thoughts on Lyn’s Tale

Just finished Lyn’s tale, so I figured I’d share some thoughts. I’m really enjoying the game so far and can’t wait to continue.

Before starting the game, I lowkey shipped the following pairings: Eliwood/Ninian, Hector/Lyn, Lyn/Florina, Erk/Priscilla, Raven/Lucius, Kent/Fiora, Pent/Louise, Dart/Farina, Harken/Isadora, Jaffar/Nino, and Bartre/Karla. Since I haven’t gotten too far, I can’t say for sure how many will be full-fledged ships (or whether any others will join them), but I think Lyn/Florina’s hella cute so far (though I want to see their supports before I fully board the vessel).

As for ships not on my “lowkey” list, I’m keeping an open mind. I remember back while playing Sacred Stones, there were a few sleeper hits I came across, so I’m fully expecting the same to happen here. In terms of said sleeper hits, Ephraim/Innes was probably the biggest one, as I went in convinced I’d probably go for Innes/Eirika and Ephraim/Tana, but the fact that those supports were littered with such sweet subtext caused me to go a different route than expected.

I managed to unlock the first Gaiden chapter, and since I got Nils up to Level 7 before beating Chapter 10, I’ll hopefully be able to play that obscure chapter in Hector Mode once I get to it.

I almost started crying when Reminiscence came on for the first time (and if I play my cards right wrt supports, that melody’s gonna hurt a hell of a lot worse later on).

I loved that the final chapter allowed you to deploy all the units you’ve acquired. One of the things I struggled with most was deciding who to bench from Chapter 7 onwards (poor Wil got stuck warming said bench a lot).

I actually had to play through the final chapter twice because my dumb ass made the mistake of having Lyn attack Lundgren with an Armorslayer instead of the Lancereaver. While I was annoyed at the time, the fact that Lyn killed his racist ass with a crit pleased me immensely, so I’m not really mad anymore.

As of right now, Mark is my favorite FE avatar, as I find that they play that role better than the ones you see nowadays (not counting New Mystery in this group since I haven’t played it yet). When I think of player avatars, I find the most effective ones are those you can easily project yourself onto. Unfortunately, the modern day avatars tend to have very specific backstories -- Robin is an amnsesiac who was born into a doomsday cult; Corrin is a prince/princess who was taken away from their birth family and raised in a sheltered environment; and Byleth is a merc with a rock shoved into their heart that allows them to wield a legendary weapon; also all three have strong ties to their universe’s dragons. Unlike those three, Mark’s past is currently an open book outside of being a tactician (which, while specific, is relatable due to the player’s role while playing ultimately amounting to just that). That said, I haven’t played far enough to determine whether they’re connected to dragons yet.

Another thing I like about Mark is that they play a relatively minor role in the plot. One thing that bugs me about FE’s avatars nowadays is the need for them to play a major role in the narrative, often to the point of them taking attention away from other characters (or worse, derailing characters for the sake of pandering). In Lyn’s Tale (and hopefully the rest of the game), the focus is on the lord herself, and that’s where I think it should be.

Getting ready to start Eliwood Mode soon. I’ll post my thoughts once I make it far enough.

#fire emblem blazing sword #fire emblem #azuregard plays blazing sword

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tanalogyosc · 1 month

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"Synesthesia Daydream - Live Tonight, Melodic Fifths"

Name: Melody Cadenza Age: 22 Gender: Female Object: Quaver Note

The lead singer of her band, Melodic Fifths, alongside her best friends.

Always dreaming of making it big in the music industry, Melody grew up learning and practicing all sorts of instruments and vocal techniques. Despite not being able to master all of them, her older brother also taught her archery for her physical health.

Joining the TANA competition with her two best friend, Lyre and Cowbell, she goes to a journey of self discovery and ambition. And maybe even love.....

Evolution of Assets

#object show community #object shows #osc oc #object show oc #object oc #osc art #tana #travel around n about #character bio #TANA - Melody

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bag-of-queer-musketeers · 3 years

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Greetings!

Welcome to our blog! This blog focuses on LGBT+/MOGAI/queer content, and we operate on a mostly queue basis (which means most of the things we post are reblogs sent to our queue). Our original post tag is "muskequeer post." We hope you enjoy your stay! Further details under the cut.

We do our best to be as open-minded as possible, and as such we will not tolerate exclusionism of any kind on this blog. Nor do we allow radfems (even trans inclusive ones), harassment/cancel/purity culture supporters, or those who support irl actions of pedophilia or incest (if you struggle with a paraphilia, you are welcome; our issue lies with those who do not see these things as wrong). Proshippers are also discouraged from interaction, although that is due to our personal discomfort with the community. Of course, there may be times that things slip through the cracks or are misunderstood and thus we reblog from someone who goes against these values or someone who has us on their DNI, but we will do our best to moderate the content of this blog to fit our above criteria. In return, we ask that you provide sources if you have concerns over someone we've reblogged from, and respect our decision making on who we interact with.

Here are some of the more active mods on this blog!

Mod Alterisa; she/her. Tag: magic is power and I have plenty

Mod Apollo; he/him, fleur/fleurs. Tag: every violin cover ever is stuck in my head

Mod Chara; they/them. Tag: you are filled with kindness and spite

Mod Daylily; they/them. Tag: resident ambassador of determination

Mod Justin; he/him, dra/drag. Tag: N/A

Mod Melody; he/him. Tag: N/A

Mod Name; app/apple. Tag: summoned for some business

Mod Nacorn; it/its, bee/bees. Tag: blank masks and needle swords

Mod Nicky; they/them, he/him. Tag: take me back to the nature I remember

Mod Tana/Takashi; he/him. Tag: support your local trans guy biker gang and buy me a milkshake

Mod Yu-Yu; she/her. Tag: drumroll please for your local femme

#introduction #muskequeer post

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jennyzint · 3 years

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All About Zeng Keni

Hi everyone, this is @Jennyzint, international fanbase for Zeng Keni, in cooperation with Jenny-Z Official Global Fanclub on Weibo! This post as well as this page will continued to be updated, however, please follow our Twitter, Instagram and YouTube for daily translated updates on Keni! If you have any questions feel free to send us DMs!

Here are some basic facts about Keni and what you need to know about becoming a Keni Rabbit!

Chinese Name: 曾可妮

Birth Name: 曾妮(Zeng Ni)

Birthday: 9th of June, 1993

Zodiac: Gemini + Chicken (Chinese Zodiac)

Height: 174.5cm

Birthplace: Wuhan, Hubei, China

Education: Shanghai Theatre Academy, majoring in folk dance

Company: OACA Entertainment

Fandom Name: 可妮兔 aka Keni Rabbits or Kenitus

Official Color: Pink, #ffced1

Social Media: [See link]

Skills: Dance, singing, acting, drums, guitar,

Variety shows Keni has participated in:

2016 Shanghai Dragon Television《Girls Fighting》(Main cast) 东方卫视《加油美少女》

2020 iQiyi 《Youth With You 2》(Main cast) 爱奇艺《青春有你2》

2020 Hunan TV 《Sing or Spin》(Guest star) 湖南卫视《嗨唱转起来》

2021 Youku 《Shanghai Share Life》(Main cast) 优酷《同一屋檐下》(常驻)

2021 Hunan TV 《Your Face Sounds Familiar》(Guest star) 湖南卫视《百变大咖秀》

2021 Shanghai Dragon Television 《Youth & Melody》(Guest star) 东方卫视《金曲青春》

2021 Youku 《Dunk Of China》Season 4 (Main cast) 优酷《这！就是灌篮4》(常驻)

Filmography:

2018《The Mystical Treasure》(Movie) as Tana 《白门五甲》(电影) 饰演塔娜

2018《Mysterious Raiders》(Movie) as He Miao 《宝塔镇河妖之诡墓龙棺》(电影) 饰演禾苗

2019 《Our Shiny Days》(TV Series) as Huang Yina 《闪光少女》(电视剧) 饰演黄一娜

2019 《To Get Her》(TV Series) as Murong Qianyue 《惹不起的殿下大人》(电视剧) 饰演慕容芊月

2021* 《My Deepest Dream》(TV Series) as Zhuang Yu 《乌云遇皎月》(电视剧)饰演壮鱼

2021* 《Comic Girl Romance》(TV Series) as Zhou Jieyue《月刊少女》(电视剧) 饰演周洁月

2021* 《Lighter & Princess》(TV Series) as Ren Di《打火机与公主裙》(电视剧) 饰演任迪

* Denotes project that has not aired yet 代表待播

Discography:

During Youth With You 2：

- 《Yes! OK!》

- 《The Eve》《破风》

- 《Ambush On All Sides》《十面埋伏》

- 《How Can I Look So Good》《我怎么这么好看》

- 《No Company》《不奉陪》

- 《I’m Not Yours》

- 《A Little Bit》

- 《Promise》

From first EP 《SELF》:

- 《N！》(Her first solo single)

-《Nuh Toys》(Sung together with label mate *note not group mate as they are both solo artists)

- 《Song for Hotpot》《火锅的诗》(Sung together with label mate)

- 《Migratory Bird》《候鸟》(Sung together with label mate)

Notable covers:

- 《Dream of You》by Chungha & R2HAB, dance cover

- 《Trouble Maker》by Trouble Maker, dance with Bailu 白鹿

- 《Butterfly》Digimon Opening Title by Koji Wada, drum cover

- 《2809》by Juni Lee, song cover

- 《Grey》by Shi Baiqi, song cover

- 《more》by KDA, dance cover

From other programs:

- 《眉飞色舞》on 2020 618 Concert as part of limited group 172 Girls

- 《Mountain River Painting》《山河图》on Youth & Melody as part of OACA Family

- 《Chinese》《中国话》on Youth & Melody as part of OACA Family

Titles:

- Makeup Miracle Eyebrown Pencil Spokesperson

- Givenchy 2021 Burning Love ambassador

- Skechers Youth Ambassador

- Under Armour (China) ambassador - cooperation has ended in 2021 due to factors

Feature events Keni has participated in:

- SS2021 Lanvin at Shanghai Fashion Week - model

- SS2022 Skechers at Shanghai Fashion Week - model

Misc:

Fansites: based on Weibo

@升温速率丨曾可妮 @今日上上签丨曾可妮 @可口可爱·曾可妮 @六月巡航丨曾可妮 @RabbitHole丨曾可妮 @phosphenes·曾可妮 @MedicagoSativa·曾可妮 @JumpinJelly0609·曾可妮 @銀河長街·曾可妮 @逆转梦境丨曾可妮 @无题有解丨曾可妮 @EverythingPink丨曾可妮 @JKDCSWJ·曾可妮 @GalacticFall-曾可妮

Keni’s Fashion:

@PinkNi_曾可妮同款博

#Zeng Keni #曾可妮 #JennyZ #Jenny Zeng #jennyzint #Keni Zeng

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snoobins · 3 years

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i was tagged by the amazing @trashlord-007 to do this picrew <33

happy halloween tana!! thank you for the tag! <3

i'll tag @atotsphutian @armstry @0reblogufufu0 @liyazaki @morathicain @readwriteanddraw @rtaeils @pale-blue-melody @myineffableshipsblog @obviouslystillfuschia @exogotmeoncrack & anyone else who would like to!! (only if you want to of course!)

#this was soo fun!!!#thank you for always tagging me in all these games i appreciate it so much and i love doing them even if i'm slow at it! <3 #tag games

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dweemeister · 3 years

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The Stalking Moon (1968)

By the late 1960s, the American Western’s zenith had passed, and the genre was reinventing itself. Bonnie and Clyde (1967) unleashed a wave of films in all genres depicting violence more openly and graphically; meanwhile, the rise of the Revisionist Western (1962’s Ride the High Country, 1966’s The Professionals) led to the deglamorization of the genre’s protagonists and their sense of morality. Released by National General Pictures (NGC), The Stalking Moon reunites producer Alan J. Pakula, director Robert Mulligan, and Gregory Peck – no longer a dashing young man – a six years after To Kill a Mockingbird (1962). Though the team is a throwback, the mindset of The Stalking Moon fits squarely within a Revisionist Western. Mulligan’s dialogue-light film incorporates elements of atmospheric thrillers and, in its tensest moments, seems to resemble a proto-slasher. As a hybrid thriller-Western, The Stalking Moon – once the narrative pieces are in place – is a sharp-edged, gorgeously-shot affair.

On Sam Varner’s (Peck) last day before retiring from the U.S. Cavalry, his regiment surrounds and arrests dozens of Apache warriors. Among the group is a white woman, Sarah Carver (Eva Marie Saint), and her half-Indian son (Noland Clay; Clay’s ethnicity/race is unclear). That afternoon, Sarah pleads for an immediate escort from the Cavalry’s camp instead of waiting for five days for an official military escort. The boy’s father, Salvaje (Nathaniel Narcisco in redface; Narcisco’s ethnicity/race is unclear), is a ruthless assassin and, according to Sarah, almost certainly in pursuit of their son. The Cavalry commander rejects Sarah’s request, but Sam agrees to take them to a remote train station. At the station, disaster strikes, and Sam invites Sarah and her son to stay with him at his rugged, mountainous ranch in New Mexico. Sarah and her son find the personal adjustments to live on Sam’s ranch difficult, but they have help thanks to ranch hands Ned (Russell Thorson) and Nick Tana (Robert Foster, whose character is a half-Indian scout). But even in this ranch, protected on three sides by treacherous rock formations, Sarah and her son have not yet eluded the violence to come.

Mulligan also appears to make comments on how the United States treated the American Indians of the West, but ultimately never does so. The Stalking Moon never highlights indigenous perspectives, declining to even give Sarah’s son a name or expressive space. These perspectives only exist through implication – the wars of the American West are going poorly for the tribes, and white settlers are moving ceaselessly westward and are cementing themselves in these lands. Sarah and Salvaje’s child, being of mixed race and approximately eight or nine years old, would almost certainly be the target of sociopolitical discrimination and the suspicious gazes of many a stranger. Never discussed by any of the characters is the possibility of such behavior towards the child; if Mulligan and screenwriters Wendell Mayes (1959’s Anatomy of a Murder, 1972’s The Poseidon Adventure) and Alvin Sargent (1977’s Julia, 2004’s Spider-Man 2) attempted to insert subtext regarding the child’s treatment, they do so far too subtly.

Salvaje himself is a largely faceless antagonist who never exchanges any dialogue, let alone a grunt, a cry of pain, a primal exclamation. Like numerous American Western movies too numerous to name, this is a reinforcement of stereotypical depictions of American Indians in Hollywood – anonymous, without specific bearing to the lead characters. Is he pursuing his son to reclaim him or the murder him? The movie never says. To Salvaje’s credit, he is a physical menace that could easily overtake an aging Sam Varner. More often than not during the Western’s heyday, indigenous Americans – whether individually or as part of a collective – would be all too easily slaughtered in a hail of protagonists’ gunfire or explosives (in part because of their antagonistic anonymity). Such developments would serve The Stalking Moon, which is partly a thriller, poorly. Thus, Salvaje is an aversion of the too-easily-killed Indian trope, but his complete lack of non-violent interaction with any character and empty characterization beyond his capacity for violence and vengeance uphold the trope of the anonymous indigenous menace. His physicality and obvious threat to the protagonists serve thriller genre; his nature as a blank slate killer is a legacy from American Western narrative traditions (and now largely a relic to that tradition’s contemporary practitioners).

Now in his 50s when he made The Stalking Moon, Gregory Peck – if only because of Hollywood’s obsession over age – was reaching a point in his career where opportunities for lead roles inevitably begin to decline (but not his influence, as Peck was currently serving as the President of the Academy of Motion Picture Arts and Sciences). The Stalking Moon will, on paper, appear to be typical material for Peck. His Sam Varner, when no one else will tend to Sarah and her son’s safety, will take the initiative even though this decision, at best, is an inconvenience or, at worst, might cost him his life. As it is so often with Peck, his screen presence – assuredness of posture, the timbre of his voice, and calming persona – engineers a great performance. Even with a screenplay that avoids providing dialogue-driven details about his character’s life, Peck makes Sam Varner another entry in his long filmography of upstanding heroes.

The screenplay also consigns Eva Marie Saint to playing her character as a trauma survivor whose apprehension is pervasive. If one is seeking a role where Saint is able to display the fullest breadth of her acting range, The Stalking Moon is certainly not that movie. But for how the screenplay portrays her character, this is a capable performance from Saint alongside child star Noland Clay as the boy (this film remains Clay’s only screen credit).

Cinematographer Charles Lang (1947’s The Ghost and Mrs. Muir, 1959’s Some Like It Hot) and editor Aaron Stell (1958’s Touch of Evil, To Kill a Mockingbird) pay lip service to the Western genre with luxurious takes of the mountains and rock formations that mark their landscape photography. With on-location filming in Red Rock Canyon and Valley of Fire State Park in Nevada, the low-to-the-ground, slightly upward-angled camera shots suggest that Sarah and her son, while making Sam Varner’s ranch house their new home, have nowhere to escape to. Dry shrubs line this small, sloped canyon with somewhat steep angles that make even walking without ascending or descending hazardous. Yet Lang and Stell’s collaboration truly impresses during the action setpieces – most notably in a scene where Gregory Peck, in a darkened room, awaits the entrance of the man who has been hunting the people he has been protecting. Before the naming and identification of the slasher subgenre of horror film, The Stalking Moon – noting its selective cinematography and editing in its tensest moments – relies on numerous lighting and staging techniques that the likes of The Texas Chainsaw Massacre (1974) and Friday the 13th (1980) would later adopt. Though shot and edited like a thriller, much of the film has scenes of people-watching: adults observing children, children observing adults, people noticing small behavioral details otherwise glossed over in a less patient movie. These moments of observation substitute for the dialogue and are as important as the most critical pieces of dialogue in the film.

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An unconventional score from composer Fred Karlin (1970’s The Baby Maker, 1973’s Westworld) is a restrained effort, making use of a full orchestra but rarely employing the aural grandiosity that an orchestra is capable of. Repeated often throughout The Stalking Moon is the opening motif whistled in the main titles, with the sparse melodies – usually performed by the whistler or a limited number of woodwinds and/or brass – suggesting the vastness and emptiness of the American West, even in the days of westward expansion. Karlin’s music has an unsettling quality that permeates into The Stalking Moon’s most joyous scenes. When Sarah and her son arrive and Sam’s residence for the first time, the cue “Sarah’s New Home” opens with solo triangle before the entrance of a lone flute. The occasional dissonance from the triangle conflicts with the flute – a subliminal, harmonic message (in addition to the various string harmonics used throughout) that Sarah’s dangers have not passed. So often in modern film composing, a director will relegate the music as background noise or the composer themselves will dispense almost entirely of melody. In the latter, numerous modern film score composers have reasoned that melody cannot serve action films or thrillers, so they will compose a wall of amelodic texture instead. But, as Karlin so ably demonstrates in his score to The Stalking Moon, the juxtaposition of memorable melodies and effective action scoring is more interesting dramatically and musically.

Today, The Stalking Moon’s influence has been limited in part due to NGC’s dissolution and sale to Warner Bros. in 1974. For anyone willing to dive into this relatively undiscovered piece of American Western, few of the film’s immediate contemporaries adapted its thriller-influenced cues for their own purposes. Its depiction of American Indians is not as egregious as other Westerns and it appears to make some sort of attempt at commentary, but many of the damaging preconceptions of indigenous Americans make their way into the film’s screenplay. Yet considering the undemonstrative approach that Robert Mulligan takes for his film, The Stalking Moon is a serviceable Western torn between the passing of eras for the genre.

My rating: 7/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

#The Stalking Moon #Robert Mulligan #Gregory Peck #Eva Marie Saint #Robert Forster #Noland Clay #Russell Thorson #Nathaniel Narcisco #Wendell Mayes #Alvin Sargent #Charles Lang #Aaron Stell #Fred Karlin #TCM #My Movie Odyssey

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evans-maxed-out · 4 years

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I Saw Uncle Stevie Kissing Oliver..(Samara/Mercedes)

Sammie: And the Melody said that Auntie Lauren said a rude cuss word cos Uncle Artie stuck his tongue in Auntie Quinn's mouth in front of her..*confused* I don't think its a very hygienic way to brush teeth..Uncle Stevie told me that's why he stuck his tongue in Oliver's mouth when I jumped out to scare them in the hallway.. Is that why Daddy sticks his tongue in your mouth? Auntie Tana said he puts his tongue someplace else..then she called him Freak McNasty. I didn't know that Daddy had two other names..Does that make me Sammie McNasty?

#Chat mj #samcedes #samcedes rp #ooc this child!

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shemakesmusic-uk · 3 years

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This segment features artists who have submitted their tracks/videos to She Makes Music. If you would like to be featured here then please send an e-mail to [email protected]. We look forward to hearing from you!

Emily Kate

Toronto-based recording artist, Emily Kate perfectly bridges the gap between country and pop with her unique sound and lyrical storytelling. Pulling from real life experiences, her music conveys relatable thoughtful messages weaved with fresh, soulful melodies. Her meaning filled lyrics coupled with her warm sound is often described as Kelsea Ballerini meets a motivational speaker. She has just released her new EP All In. “These songs have taught me how to love myself, feel inspired, chase my dreams, have fun and grow as a person,” says Emily. “They've been my reminder and helped me through heartbreaks, insecurities, and now they get to be yours. All In features a track which I wrote the morning after a fun night out. This upbeat song is about going out with friends and meeting someone who takes your breath away. Its lyrics are a twist on the common saying, you had me at hello, and instead, this song is about someone having you ‘The Whole Time.’” Listen below.

Emily Kate · The Whole Time

Jordana Talsky

Jordana Talsky is a singer-songwriter and vocal looper who fuses multi-genre influences into her own sound. She accompanies herself by voice with a Roland Boss RC505 loop station. Her ethos is to incorporate digital means into live performance in an organic way, and with the loop machine, she creates a choir on the spot with no pre-recorded parts. Her new single ‘Oh Yeah,’ represents a moment of awakening, like when you remember something you had forgotten about a dream that all of a sudden comes back in a flash, a moment to stand outside of yourself and contemplate, embrace, and inquire of your life. “It takes work, all the time, to choose not to look away and to be honest with ourselves,” says Jordana. “These moments, delicate and challenging, are insights into our authentic selves, that may offer a fresh vantage point from which we can choose to heal and evolve. Inspirational, fun and harmony-rich indie-pop, ‘Oh Yeah’ is about listening to your inner voice and taking faith in the spark you uncovered deep within you.” Listen below.

Jordana Talsky · Oh Yeah

Nimkish

To fully immerse in the multitudes of rising queer Indigenous star, Nimkish, is to honour the past, look ahead to the future, and bask in the resplendent present all at once. The Vancouver-based artist is fearless in her lyricism, confronting anti-Indigenous racism and colonial violence alongside other hard subjects like anxiety, grief and heartache. To the great tradition of singer-songwriters healing through their music, Nimkish brings a bright-eyed aim to flourish in all she has experienced. Nimkish’s lyrics give affirmation to past pain while living in the moment. To some it may sound like escapism, to others it may sound like moxie-driven R&B-pop pulsing through the club. What’s certain is her fortitude — she’s on a mission, combining the coolness and creativity of the TikTok generation with the lucidity and confidence of a grown woman. Nimkish’s anthemic new single, ‘YSB,’ features ASCXNSION and is about the need for healing, freedom, and to be heard. "’YSB’ is about the need for healing, freedom, and to be heard,” explains Nimkish. “Are you listening? Do you hear me? Am I screaming out into nothing? This song is about feeling like you can't get ahead, and specific issues that we as Indigenous women work through on a daily basis. Our generation has been left to deal with trauma and we are continually fighting for equity. It can feel exhausting to constantly try to be truly heard. I wanted to go deeper on this project and write about real shit. What we have created is anthemic, resilient, and confrontational, despite the vulnerability that it took to write about our lived experiences. This release is about showcasing Indigenous excellence and the need to amplify our voices. Our time is now – the future is Indigenous.” Listen below.

NIMKISH · YSB (feat. ASCXNSION)

Tana

Tana is an artist, writer and a topliner with charge and a unique flair for lyrics and melody. Her rich and diverse views on gay culture, have strongly influenced her musical and personal journey. Tana’s music is unapologetic, revolutionary, and liberating. At heart, Tana is a true artist, and is inspired by many things around her - people, sexuality, her heritage (being half Italian and Nigerian), the city she grew up in, and the LGBT community. She places diversity at heart and aims to make music that relates to the masses, whilst pushing her creativity at all times. Her array of influences create new ideas and sounds that break traditional boundaries. Think Halsey & The Weekend. She has just released her new single ‘Bad Habits (Keep On Coming)’. Tana says of the track: “I wrote ‘Bad Habits (Keep On Coming)’ over lockdown, and it’s about wanting to grow from a toxic relationship. I found myself holding onto flaws and limitations that really effected my personal growth, and writing about it helped me recognise these issues and learn from this experience.” Listen below.

Love Crumbs

Love Crumbs is a folk-rock and Americana group based in Massachusetts. Known for blending poignant lyrics with evocative vocal storytelling, their nostalgic, timeless, heart-on-sleeve sound harkens to a bygone era. They have just released their new single ‘Ellipses’. “The track is about trying to connect with someone and not being able to despite the best of intentions,” says Mike. “It's about the things that aren't said or are left unsaid. It's about a meaningful relationship that ended kind of suddenly. The person was typing to me (as evidenced by the "...") but I never got to hear their response. Closure isn't something that someone gives us, in the end. It's something that we have to come to on our own. The sonic influences for me on this track, probably in particular the chord changes in the verses are Neil Young, the pre-chorus Tom Waits. I wanted to stack Ali's vocals because it has an unreal sound (not occurring naturally, similar to Royals by Lorde) that can work in the right context.” Listen below.

Love Crumbs · Ellipses

Anniee

Anniee is an electronic artist and theatre composer based in Montclair, NJ just outside NYC. As a vocalist she has performed in a variety of styles and genres. Recently she has turned her attention to producing synthwave and retrowave tracks with modern and minimalist vibes. She has just released her new track 'Lonely Wolves'. "'Lonely Wolves' is moody and driving, with retro vibes and a modern sensibility—an intense journey exploring breakdown in relationship," says Anniee. Listen below.

Anniee · Lonely Wolves

Leah Rose

Emerging pop songwriter and producer Leah Rose has released her debut single ‘Goodnight’. The melancholic hue of ‘Goodnight’ arises from the sentimentality of a writer reflecting on a landscape they no longer exist in. The song was written and recorded in lockdown and is a prime example of how an artists’ time in isolation can result in the inevitable dissection of their past. Sonically, ‘Goodnight’ was inspired by artists such as Lorde, The Weeknd and Charli XCX. Leah Rose is a Cork-born artist who has spent the last 5 years based in Dublin. She spent much of that time honing her craft, finding inspiration in lyricists such as Alex Turner and Lana Del Rey. Strong imagery and colour play a huge role in Leah’s songwriting. Growing up with artists for parents meant that Leah was exposed to a range of visual art forms at a young age. She strives to create art not only through music but through her artwork, photography and overall visual aesthetic. “I see my songwriting style as atmospheric and somewhat abstract,” she says. “I love being able to use music as a tool to materialise the things I see in my mind. So when I write a song I try to place the listener right in the centre of my memories and daydreams”. Listen to ‘Goodnight’ below.

Leah Rose · Goodnight

Felyce

Felyce's alt-pop root influences shine through on her shuffling and atmospheric alternative Pop/R&B new single ‘Skin’. The Paris-based singer-songwriter Felyce shares the struggle she faced accepting the color of her skin while growing in France. Getting away from slow tempos, ‘Skin’ offers an energetic but still dark ambiance. Felyce wrote and performed ‘Skin’ and she worked with professional arranger Nicolas Lassus to make the song what it is now. She said in statement: "I wrote 'Skin' thinking about that beautiful story I heard once. A young black girl wondered why her skin was so dark and her mother told her the reason was because the sun loved her too much. That story really stuck with me". Born and raised in Paris, she spent most of her time between stage performances and school until high school when she put most of her focus on studying while writing her first full songs on the side. Felyce graduated from university in 2016 before starting a short career in HR but she realized that music was the only career for her and began learning production the next year while working on her debut EP Fear which dropped in 2018. She's been steadily releasing singles and crafting her sound since; embracing her formative influences, including British pop music acts like Sam Smith, Robbie Williams, Birdy, and American pop acts such as Lana Del Rey or Banks. Listen to ‘Skin’ below.

Kenzie Webley

Kenzie Webley has been writing songs since she was 13 years old but only started recording last year just before lockdown. Her new single 'Loveable' is out now to coincide with her finishing her A levels. Her debut album is almost finished and she already has the songs written for her second album! 'Loveable' tells the story of a couple arguing in public after a night out. It's from the perspective of someone who recognises their own culpability in the events. Listen below.

URARTA

URARTA’s new EP consists of four tracks centred around the issues of standing up for yourself and others, respecting the planet’s boundaries and looking out for your own. Musically, the band has its heart in punk, but simultaneously flirts with genres such as post punk, alt-rock, noise, Goth and indie. The lyrics are in English and in the dialect of Skåne –the southern part of Sweden where the band also has its geographical base. URARTA consists of Monica Richter (vocals), Ketty Hagmann (bass) and Tove Lorentz (drums). Listen to the song ‘D.I.Y’ below.

Vol 2: Vi Fick Fel Adress by Ursäkta Röran

#submission saturday #emily kate #jordana talsky #nimkish #tana #loe crumbs #anniee #leah rose #felyce #kenzie webley #urarta

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