#diamonds & dancefloors era

[stressedjuice]

tagged by @reptilia2003 to list 4 albums i've been listening to a lot lately. thanks molly!

heard it in a past life - maggie rogers: light on was on a playlist i was listening to recently and i loved it. after sabs recc'd her in tcol, i listened to the rest of the album and haven't been able to stop listening since

lonesome dreams - lord huron: i recently got re-obsessed with a movie i loved many years ago and the vibes of this album fit in so well with that universe and i've been really digging it

so much (for) stardust - fall out boy: yeah this one's very easily my aoty

chemistry - kelly clarkson: i've alwasy loved kelly and this album is beautiful and not your typical divorce album. it tells the entire story of a relationship and just. whew.

tagging @shinybrandon @justlikeadagger and @ecouter-bien if y'all want!

[mitjalovse]

The 90's of some veteran musicians did not follow a set of rules they have actually established with their own work from that period, so what went wrong? I mean, Prince had the right path, but he didn't follow that through completely. Still, Diamonds And Pearls can be seen as him understanding the 90's more than some of his peers. I mean, sure, the disc is way overproduced – this is not a record, this is a military plan –, yet you notice he observed the scene at the time. Still, Prince makes the sounds of the era his own. The tune on the link, for instance? I understand why the song climbed the charts, this is a certified dancefloor piece. However, Prince couldn't hold still, which sadly meant this was one of his last hurrahs.

[scnkissed]

𝐓𝐀𝐒𝐊 𝐎𝐍𝐄: 𝐒𝐏𝐎𝐓𝐈𝐅𝐘 𝐖𝐑𝐀𝐏𝐏𝐄𝐃

quite the eclectic taste in music, lana del rey and arctic monkeys have made it on to her wrapped for the last few years. i imagine her having a sort of tumblr girl era as a teenager because every hot girl had one. if a full wrapped playlist was to be created i'm sure you'd fine some more artists from that era scattered throughout, from the neighbourhood to marina and the diamonds. late teens into her twenties she began to branch out more, exploring and embracing new artists and genres. she really just loves something that she can sing along to or dance to, from the kitchen to the dancefloor. these tunes will follow her everywhere, lipgloss being applied in front of her mirror, serenading dulce who'd much rather a scrap from whatever she is cooking rather than her singing into the end of a wooden spoon. stretched out on a beach towel, eyes closed while she soaks up the sun, these artists have followed her everywhere. in her pursuit of a hot girl summer and new year's resolutions, carmen is on a mission to enrich her mind. so when you catch her not listening to music but she still has her headphones on, she's diving back into subjects she left behind and exploring new realms of knowledge. for her, podcasts and audiobooks are not just entertainment, they're educational experiences.

@santainspohq

[sunnydaleherald]

The Sunnydale Herald Newsletter, Sunday, March 10

Darla: Are you sure this is a good idea? Boy: It's a great idea, now come on.

~~Welcome to the Hellmouth~~

[Drabbles & Short Fiction]

Consuming by veronyxk84 (Buffy/Spike, R)

Fall to Pieces by veronyxk84 (Buffy/Spike, PG-13)

out of the gutter by ripslayer (Buffy/Faith, M)

Riley Doesn't Know by all_choseny (Buffy/Spike, M)

The Ship We Build by InMyOwnHeadItGoesLikeThis (Firefly crossover, Scoobies, T)

The Big Bad by Passion4Spike (Buffy/Spike, G)

Lightening On the Wind by DragonsPhoenix (Willow, G)

A Ripper era Giles/Ethan fic snippet by alexsrousseau (not rated - worksafe, posted as an image)

Harder, Better, Faster, Stronger by fortes775 (Buffy/Spike, NC-17)

Murder On the Dancefloor, Ch. 1-4 (COMPLETE!) by Maxine Eden (Buffy/Spike, NC-17)

The Rise Of The Hydra by Joan963z (Buffy/Spike, R)

Spuffy vs The Creature from the Black Lagoon by satinsafe (Buffy/Spike, PG-13)

Doll-Baby by ClowniestLivEver (Buffy/Spike, PG-13)

The Curse of Jamie Lloyd by ClowniestLivEver (Buffy/Spike, NC-17)

Reaping by CheekyKitten (Buffy/Spike, PG)

Creature Feature by mcgnagallsarmy (Buffy/Spike, PG-13)

Deadly Diamonds by Maxine Eden (Buffy/Spike, R)

Buffy needs a vacation by To Be Hers (Buffy/Spike, NC-17)

Let Me Love You by scratchmeout (Buffy/Spike, NC-17)

Buffy vs the Creature by cawthraven (Buffy/Spike, PG-13)

Manifest by EllieRose101 (Buffy/Spike, R)

Afforded by DarkVoid116 (Buffy/Spike, PG-13)

Love's Eternal Curse by Spikelover4ever (Buffy/Spike, PG-13)

Wake-Up Call by simmony (Buffy/Spike, R)

X.X, part 9-10 by Rea (Buffy, R, character death)

30 Ways to Say I Love You, part 10: With a Show by Maxine Eden (Buffy/Spike, NC-17)

Crossing Over, part 8 by Julikobold (Veronica Mars crossover, Buffy/Spike, G)

Forever and Always? by scratchmeout (Buffy/Spike, R)

I love you. Ch. 10-11 by Lilacsandorangeblossoms (Buffy/Spike, NC-17)

The Big Bad by Passion4Spike (Buffy/Spike, G)

[Chaptered Fiction]

Surviving Together, Ch. 16 by ionlylikebadboys (Buffy/Spike, Adult Only)

Early One Morning, Ch. 22 by all choseny (Buffy/Spike, NC-17)

Not Just a Boy and a Girl (It's Just the End of the World), Ch. 9 by noctilucent (Buffy/Spike, NC-17)

Afterburn, Ch. 23 by Melme1325 (Buffy/Spike, NC-17)

A Little Poet in Her Monster, Ch. 8 by Desicat (Buffy/Spike, R)

Bizarre Double Life, Ch. 10-11 by violettathepiratequeen (Buffy/Spike, PG-13)

Glimpses of the Cellar Dweller, Ch. 10 by Maldorana (Buffy/Spike, PG-13)

The Dawnster Drabbles, Ch. 11 by Passion4Spike (Buffy/Spike, PG)

Tales of the Sea, Ch. 3 by DeamonQueen (Buffy/Spike, PG-13)

Something Blue, Ch. 2 by Violette-Milka (NC-17, in French)

Cavalry, Ch. 1-2 (COMPLETE!) by Holly (Buffy/Spike, NC-17)

Me Without You, Ch. 1-12 (COMPLETE!) by DeamonQueen (Buffy/Spike, R)

Africa, Ch. 1-6 (COMPLETE!) by the_big_bad (Buffy/Spike, PG-13)

The Magic of Sunnydale, Ch. 6 by Buffyworldbuilder (Harry Potter crossover, Buffy, FR15)

Love Lives Here, Ch. 34 by Passion4Spike (Buffy/Spike, NC-17)

Coming Through, Ch. 51 by hulettwyo (Buffy/Spike, Adult Only)

To All We Guard, Ch. 8 by simmony (Buffy/Spike, NC-17)

Service Unit, Ch. 6 by hulettwyo (Buffy/Spike, Adult Only)

Enemies to Ghost Hunters, Ch. 10-11 by ClowniestLivEver (Buffy/Spike, PG-13)

Bizarre Double Life, Ch. 10 by violettathepiratequeen (Buffy/Spike, PG-13)

The Balance, Ch. 10-11 by ClowniestLivEver (Buffy/Spike, NC-17)

Triangles, Ch. 10-11 by ClowniestLivEver (Buffy/Spike/multiple others, NC-17)

Embrace, Ch. 10-11 by Harlow Turner (Buffy/Spike, R)

Tag, You're It! Ch. 10 by VeroNyxK84 (Buffy/Spike, PG-13)

Conversations in the Dark, Ch. 9-10 by Tessa (Buffy/Spike, R)

The Dreaded Lurgi, Ch. 10 by SomeKindOfADeviant (Buffy/Spike, PG)

Accidental Casualties, Ch. 7 by Julikobold (Buffy/Spike, PG-13, character death)

Dead End, Ch. 10 by all choseny (Buffy/Spike, PG-13)

Pick Me Up, Ch. 9 by Dusty (Buffy/Spike, PG-13)

The Dawnster Drabbles, Ch. 10 by Passion4Spike (Buffy/Spike, PG)

Left on Read, Ch. 9-10 by ashcrashed (Buffy/Spike, PG-13)

Out of the Wasteland, Ch. 9-11 by Harlow Turner (Buffy/Spike, R)

Bad Idea, Right? Ch. 1-7 by scratchmeout (Buffy/Spike, R)

[Images, Audio & Video]

buffy summers i’m in love with you!!! by belleandsaintsebastian (Buffy, worksafe)

If you didn’t know, you can play Buffy in VLC player and go to effects and enable waves by breezybeej (Angel, worksafe)

Meme: Spike and Spuffy screenshots with text posts added as captions by littlenastieswewhispered (somewhat nsfw text)

sleepy mornin selfie 💤💕 by sundayroadkill (Buffy/Spike, worksafe)

i've only had tara for one day but if anything... by mistyintherivers (Tara, worksafe)

A gifset based on MCorey1317’s The Reunion Trilogy by mycatismyfriend (ensemble, worksafe)

Manip: Comfort (Keep Your Enemies Closer part 6) by disco-tea (Buffy/Spike, PG-13)

Artwork: Wanna Bone Like a Skeleton by ClowniestLivEver (Buffy/Spike, R)

Hand in Flightless Hand - Artwork by tragic (Buffy, Spike, OC, PG-13)

Artwork: Hell of the Ball by ClowniestLivEver (Buffy/Spike, G)

Finally completed my Lego Buffy cast! by StarSkates (Scoobies, worksafe)

[Reviews & Recaps]

Sooo... Um. "Fool for love" huh. by raven--stag

The Freshman is a very very good episode by coraniaid

[Recs & In Search Of]

“The Reunion Trilogy” by MCorey1317 recced by mycatismyfriend

[Fandom Discussions]

Still very striking to me both that (1) Angel gives Buffy the “you’re not like other girls” speech twice... by coraniaid

Wacky idea. The reason magic in season 6 of Buffy took on a drug thing... by confusedguytoo

Seeley Booth meets Angel one day. by enigmatist17

Buffy is so weird about Spike in season 7 by horsegirlhob

spike is the closest thing to death that buffy can still get her arms around by gingerteaonthetardis

it is so fucking funny to me that when angel realizes buffy is being hunted by the order of taraka he's like... by jennycalendar and others (further discussion in the replies)

real talk though how many students do u think have inadvertently pinged buffy’s startle reflex? by jenny-calendar

there better be a damn good reason why Angel did the memory thing in season 4 finale by b3_k1nd_rw1nd

Question: A Hole in the World by zombiehoosier

Which breakup makes you the saddest? by Johnnystation

How would Buffy and Faith interact in season six? by sadhungryandvirgin

What is something you wish you could say to Buffy and why? hosted by Haru_Mayfly

In 2024 do you think Giles still thinks "books are better than technology? by jdpm1991

Sam Zabuto - Kendras watcher... by primal_slayer

[Articles, Interviews, and Other News]

Mark Lutz will be at Whispers from the Hellmouth Apr 20-21 - via jamiemarsters

James Marsters Lexington Comic & Toy Con 2024 Reports, Pics & Videos via jamie_marsters

James Marsters' next scheduled con appearance is Comic Con Aberdeen Mar 23-24 - via jamie-marsters

Submit a link to be included in the newsletter!

Join the editor team :)

[radioeuroextasis]

MARC MYSTERIO

"THE DANCEFLOOR" de MARC MYSTERIO x FLO RIDA ¡LA FECHA DE IMPACTO ES ESTA SEMANA! ¡LLÉVALO A TU PRÓXIMA REUNIÓN DE MÚSICA! Marc Mysterio desafía al legendario Evander Holyfield a una pelea de exhibición por el 'Cinturón de Campeonato de la Paz Universal' honorífico después de que Jake Paul se retirara de la pelea vacante por el título intercontinental de la IBA "Marc Mysterio es una fuerza en el mundo de la música y el ring de boxeo. Es un amigo cercano del WBC y está afiliado a WBC Cares, el brazo benéfico del WBC. Apoyamos los esfuerzos de Marc en el boxeo", afirma Jill Diamond, Secretaria Internacional del CMB. El héroe irlandés, boxeador invicto y artista multiplatino de las listas de Billboard de EE. UU. y compositor / compositor Marc Mysterio recibió la bendición de IBA Boxing para pelear por su título vacante intercontinental de peso súper crucero (200-220 libras) contra Jake Paul (no clasificado). Sin embargo, a pesar de las afirmaciones públicas de Paul de que quiere convertirse en campeón, y de que Marc Mysterio lo llamó respaldado por la IBA y el CMB para un campeonato vacante, en su lugar optó por un peleador retirado -o 'jabroni', como Marc se refiere al nativo de Dakota del Norte afirmando que 'no es Brock Lesnar', sin ninguna victoria notable. "No me sorprende. A pesar de que Jake Paul tiene una asociación honoraria con nosotros, las acciones hablan más que las palabras, se le dio una oportunidad de campeonato en bandeja de plata con Marc dispuesto a viajar a Puerto Rico, en lugar de Irlanda, en la cartelera de Serrano el 8 de marzo por el Campeonato Intercontinental de Peso Súper Crucero de la IBA con la condición de que Marc estaría en 205, y estaba en 203 cuando la propuesta fue hecha tanto por la IBA como por el equipo Marc! Nikisa, la mánager de Jake, rechazó la idea de plano. Nuestra opinión es que Jake conoce sus límites y el boxeo es su forma de continuar con sus bromistas de Vine y YouTube. No veo que su carrera dure mucho más dado su hábito de fumar y salir de fiesta.", señala el entrenador de Marc desde hace mucho tiempo, el Oficial de Nivel 3 del Equipo de EE. UU., Greg Leschishin, quien ahora oficiará los Clasificatorios Olímpicos el 16 de marzo en Albuquerque. Pero, cuando una puerta se cierra, ¡otra podría abrirse! "A los 12 años, el entrenador Greg me preguntó cuál era mi objetivo en el boxeo, y le dije: 'Quiero ser el próximo Evander Holyfield' y luego me enseñó a vendarme las manos y nos pusimos a trabajar. Estaba bien encaminado antes de romperme el tendón de Aquiles jugando un partido de baloncesto en UCONN. Ese revés me abrió la puerta a la música, que fue y es una bendición, pero nunca dejé de entrenar. Todos vimos la última pelea con Holyfield, y tengo mis sospechas personales sobre su oponente, así como los golpes ilegales de conejo con los que golpeó a Evander. Ninguna leyenda debería salir así. Me importa un bledo si tiene 61 años, ¡ese sigue siendo el "verdadero negocio"! Jake es una pelea fácil estilísticamente. Evander es un oponente mucho más difícil, ya que su estilo neutraliza muchos de mis puntos fuertes, y viceversa. ¡Espero que llegue hasta el final como Rocky Balboa vs. Mason "The Line" Dixon! Es una historia infernal: ¿Saldrá el único 4 veces campeón de peso pesado a la cima, o pasaré la antorcha a mí que estoy luchando por toda Irlanda? Sin embargo, Marc Mysterio, similar a su compañera heroína irlandesa Katie Taylor, se mudó de Irlanda a Connecticut para asistir a UCONN como estudiante-atleta. "Siempre he creído en Marc Mysterio. Explosivo poder de nocaut a dos manos, hábil juego de pies/defensa, ¡sin mencionar la mejor conciencia del ring que he visto en mis 50 años en el deporte! Su currículum habla por sí mismo, tanto en el deporte como en la música, y es muy buenoEs un honor trabajar con él desde los 12 años hasta ahora". señala el entrenador Greg, también profesor de Historia del Rock N' Roll en UMASS Boston y retirado de la USAF. Sin embargo, a pesar de las afirmaciones públicas de Paul de que quiere convertirse en campeón, y de que Marc Mysterio lo llamó respaldado por la IBA y el CMB para un campeonato vacante, optó por un peleador retirado sin victorias notables. "No me sorprende. A pesar de que Jake Paul tiene una asociación honoraria con nosotros, las acciones hablan más que las palabras, se le dio una oportunidad de campeonato en bandeja de plata con Marc dispuesto a viajar a Puerto Rico, en lugar de Irlanda, en la cartelera de Serrano el 8 de marzo para el Peso Súper Crucero Intercontinental de la IBAEl campeonato con la condición de que Marc estaría en 205, ¡y ahora mismo está en 203! Nikisa, la mánager de Jake, rechazó la idea de plano. Nuestra opinión es que Jake conoce sus límites y el boxeo es su forma de continuar con sus bromistas de Vine y YouTube", señala el entrenador de Marc desde hace mucho tiempo, el oficial de nivel 3 del equipo de EE. UU., Greg Leschishin, quien ahora oficiará los Clasificatorios Olímpicos el 16 de marzo en Albuquerque. Pero, cuando una puerta se cierra, ¡otra podría abrirse! "He estado en contacto tanto con Ahmed del equipo Holyfield como con la IBA para organizar una llamada para finales de esta semana, estoy seguro de que lograremos que Marc Mysterio vs. Evander Holyfield cruce la línea de meta, ya que su equipo son profesionales totales con los que esperamos trabajar en un evento mutuamente beneficioso para beneficiar a WBC Cares", afirma Kyle Kennedy, Asistente ejecutiva de Marc Mysterio. "Tenemos 2 advertencias para la pelea de Holyfield en nombre de la seguridad de los luchadores: Pruebas completas de nivel olímpico o de la USADA, ¡sin 'Whizzinator'! Los análisis de sangre estándar son VIH y hepatitis B. Exigimos que se agreguen las pruebas de hepatitis C y esperamos que otras comisiones hagan lo mismo con Evander y Marc a la cabeza.", concluye el entrenador del equipo de EE. UU., Greg, un defensor desde hace mucho tiempo de la seguridad de los luchadores. La pelea se disputará como una exhibición, oficialmente, pero será juzgada y el ganador recibirá el primer "Campeonato Universal de la Paz", en caso de que Holyfiend acepte el desafío del irlandés. "Evander se llama a sí mismo un guerrero, sin embargo, ¡mis líneas de sangre directas son las de los guerreros celtas! De cualquier manera, somos humanitarios, pero en el cuadrilátero seremos gladiadores, ¡exhibición o no!". afirma un confiado Marc. Con respecto a WBC Cares, Marc afirma: "Ayudamos a niños desfavorecidos en más de 170 países en todo el mundo. El regalo más importante en la vida es una segunda oportunidad, sin embargo, ¡algunas personas no reciben una primera! Mi misión es educar a nuestros más jóvenes y vulnerables sobre la importancia de aprovechar una primera oportunidad y la importancia de la superación personal. Incluso si solo puede ahorrar $ 1, ¡es el pensamiento lo que cuenta! Por favor, acércate https://wbcboxingcares.com/ para ayudar a dar esa primera oportunidad a alguien que podría convertirse en el próximo Marc Mysterio, el próximo Jake Paul o incluso la próxima Katie Taylor". El concurso propuesto se llevaría a cabo a un máximo de 220 libras. Evander Holyfield pesó 224 en su último combate en el que fue detenido por un ex luchador de MMA en el primer asalto: "Ninguna leyenda debería salir así. Dado el cambio de sede de última hora, dudo que hayan tenido tiempo de probar a su oponente para detectar PED. Ese no era el verdadero Evander. Quiero ver al verdadero Evander Holyfield una vez más y permitirme volver a presentarme al mundo y pasar a Blondie, también conocido como Jake Paul por el vacante Campeonato Intercontinental de Peso Súper Crucero de la IBA, en Europa, alrededor de Halloween", concluye Marc. En caso de que Marc gane, ¿sigue abierta la puerta para Jake Paul? "Dile a Jake que deje de fumar mientras golpea la bolsa para las cámaras, tómate esto en serio y sé un modelo a seguir, no un bromista, ¡crece joven!", lo que implica su política de puertas abiertas. "Jake, prepárate para Halloween, será un caos para ti y esperemos que esos cinturones aún estén vacíos. Pero, lo primero es lo primero, tengo que retirar a una leyenda, de una vez por todas, ¡pero con respeto y dignidad! Sin embargo, veo que esto va a un lugar al que nunca he ido antes: la distancia. Hablaré con Larry Holmes para obtener consejos sobre su(s) experiencia(s) con Evander de forma inminente", concluye el irlandés-canadiense que está haciendo su tarea, mientras que simultáneamente el éxito de Marc "The Dancefloor" con Flo Rida recientemente encabezó las listas de Amazon tanto en EE. UU. como en el Reino Unido, sin mencionar que llegó a la lista Billboard Hot Dance de EE. UU. Rick Derringer, mejor conocido por 'Real American' utilizado por Hulk Hogan como su música de entrada a la WWE, interpretaría la canción de entrada de Mysterio, "Zombie" de The Cranberries, una canción escrita para detener la violencia en Irlanda del Norte y ayudar a la reunificación, "Nuestro deporte promueve la inclusión para todos. Para mí, 'Zombie' fue un grito de guerra para evitar que hermanos y hermanas se pelearan entre sí y nos diéramos cuenta de que ambos somos irlandeses blancos y pálidos que no nos bronceamos bien". dice Marc en línea con su cuarto bisabuelo, Pádraig Dillon, un luchador a puño limpio en Dublín en la década de 1840 y florista de renombre mundial. ¿Aceptará Evander y tendrá su momento 'Rocky Balboa', o Marc cumplirá su sueño de la infancia contra su héroe... PARA MÁS INFORMACIÓN: Kyle Kennedy ecard@tuukkastracks.com Read the full article

[dailyavamax]

[tameila]

April Week Two Albums.

April 11th: Ma Fleur, The Cinematic Orchestra

familiarity: Was in the mood for some orchestral flourishes on this fine Monday and went, “You know what always sounded right up my alley but I only ever listened to one of their songs? The Cinematic Orchestra”. So, anyway, here we are!

favorite(s) before listen: To Build a Home

favorite(s) after listen: To Build a Home, That Home, Music Box, Time and Space

April 12th: London Calling, The Clash

familiarity: I would say that I know all of The Clash’s hits  but I have never sat down and actually listened to one of their albums. recommended by @jabletown​ 

favorite(s) before listen: London Calling, Lost in the Supermarket

favorite(s) after listen: London Calling, Lost in the Supermarket, Hateful, Wrong ‘Em Boyo

April 13th: Wet Leg, Wet Leg

familiarity: This album popped up in my Spotify recommendations and, after also having them pushed to me through my tiktok algorithms, it felt like a good time to check ‘em out

favorite(s) before listen: N/A

favorite(s) after listen: Chaise Longue, Angelica, Wet Dream, Ur Mom, Too Late Now

standout lyric: that part in “Ur Mom” where she’s like,”I’ve been working on my loudest and longest scream”? cathartic. wish that were me.

April 14th: ¡Viva la Cobra!, Cobra Starship

familiarity: Foreseeing a rough end to the week, I decided to revisit another old pop punk haunt that was also recommended to me by my best friend. Cobra Starship was never amongst my “favorites” of their era, but I saw them open for FoB once and their songs that I did love I loved very much, so it felt only natural that I should give them the “lemme see if I was missing something” treatment. Also, I meant to start with their first album but only realized halfway through this one that I’d chosen the wrong one. I was just eager to hear “Kiss My Sass”. That’s their best song.

favorite(s) before listen: The City Is at War, Guilty Pleasure, Kiss My Sass**, Damn You Look Good and I’m Drunk

favorite(s) after listen: The City Is at War, Guilty Pleasure, Kiss My Sass**, Angie, Prostitution Is the World’s Oldest Profession, My Moves Are White (White Hot, That Is)

additional notes: I love “Damn You Look Good and I’m Drunk”. I do. That “S-C-A-N-D to the A to the L-O-U-S” chant? iconic. but it has been forcibly removed from my favorites because I just can’t stomach the transphobia of the “VIP party boys” interlude these days

April 15th: While the City Sleeps, We Rule the Streets; Cobra Starship

familiarity: Cobra Starship’s New Jersey energy is so strong that, even though I never knew that they were from New Jersey...I knew.

favorite(s) before listen: Send My Love to the Dancefloor, Bring It (Snakes on a Plane)

favorite(s) after listen: Send My Love to the Dancefloor, Bring It (Snakes on a Plane), The Kids Are All Fucked Up, Keep It Simple

additional notes: I feel like this first album was very run-of-the-mill, standard pop punk. Like, if I didn’t know it was a Cobra Starship album, nothing about the lyrics or sound would have stood out to me as being their style. Their personality as a group really jumped out in their next two albums.

April 16th: Hot Mess, Cobra Starship

favorite(s) before listen: Good Girls Go Bad, Hot Mess

favorite(s) after listen: Good Girls Go Bad, Hot Mess, Nice Guys Finish Last, Pete Wentz is the Only Reason We’re Famous, Living in the Sky with Diamonds

April 17th: Night Shades, Cobra Starship

favorite(s) before listen: You Make Me Feel...

favorite(s) after listen: You Make Me Feel..., Anything for Love, Don’t Blame the World It’s the DJ’s Fault, Fucked in Love

additional notes: I never really got into this album and, if I had to guess, it’s because this album felt like a more matured version of their first and let go of the more campy, playful style that they embraced with their two middle albums. I just feel like this album had nothing to offer that I couldn’t get from any other pop punk album. A decent listen, but it’s a shame that this is the album that they finished off on.

[mooosicaldreamz]

please do a song by song review of lover i beg u

oh......u didn’t have to beg!!!! i’ll give it to you 4 FREE.

I FORGOT THAT YOU EXISTED: what i enjoy about this song is that it is fun and not especially mean, just like, shrug emoji. i think sometimes when ur in a relationship that is not especially amazing and you reach the point where you forget that you dated someone is the funniest thing and its such a strange moment. it’s a good tonesetter for the album, bc its so fun and chill and like, whatever. it has the same energy that i think we are never getting back together wanted to have. i LOVE the “i just forget what they were” breakdown. what a fun, bouncy song. easy listening to start the album. calvin harris rip.

CRUEL SUMMER: i love jack antanoff vERY much and have liked his work with fun. and as bleachers, and i think his production on lorde and taylor’s albums has been so wonderful. this song just reeks of him and it’s so like, ascendent, how it builds up and up into the chorus. i think it’s interesting that she reaches so high on the chorus. “summer’s a knife/i’m always waiting for you to cut to the bone/devils roll the dice/angels roll their eyes.” the breakdown is once again wonderful abt crying in the back of the cab on the way back from the bar - i feel like this album and its concept brings a much more natural version of taylor that i think has largely (and perhaps rightfully, considering the evolution of her fame and craft) been in hiding since probably red but maybe even since speak now. “I LOVE YOU AIN’T THAT THE WORST THING YOU EVER HEARD // HE LOOKS SO PRETTY LIKE A DEVIL” while she’s screaming it is more exuberant than ANYTHING on 1989 or rep (and i love both of those albums). 

LOVER: i love how sleepy soft this song is, i love how simple it is, and it’s made me cry like, six times. the wedding band sound is just, so fun and beautiful. it really makes me feel like i’m drunk, happy, and dancing really slow on an emptying dancefloor. i’m going to assume that was the vibe. it’s so soft. god it feels like a cloud. i enjoy how simple the lyrics are in this song, and how the words get to breathe and simmer. they take on a lot of meaning bc of how much space they’re given by the echo and by pacing. it’s so nice. i’ve gone back and forth on whether i like the wedding vows thing, but i think it might be nice. i love “swear to be overdramatic AND TRUE! to my lover”

THE MAN: the bumpy sound of the bass beat is really fun, and i think the song is a good bop, but it doesn’t say anything i don’t already know - but i think taylor bringing up the back end on the Woke train, trying to reach all those people who still aren’t totally sure about the gays or feminism but also think trump is terrible and are now reconsidering their life choices is a fine enough goal for her social justice initiatives. also i just realized she says “getting bitches and models” which she already does, you don’t have to pretend taylor

THE ARCHER: this song is sonic perfection the rolling synths the dreamy voice, the awful awful breakdown at the end of “they see right thru me / can you see right thru me / i see right thru me” “help me hold onto you” i just ... can’t handle this song. it’s perfect. i like the implication throughout this album that taylor is in Love, the big real kind, and i support her and joe bc i think it’s obvious their relationship has totally like, taken her to a new and good emotional space. anyway i like the implication that taylor fell in real, big Love and realized that love is still a fucking mess, like it doesn’t solve all the problems. “ALL OF MY HEROES DIE ALL ALONE” i mean come on. i hate her

I THINK HE KNOWS: this song is a bop “i think he knows his hands around a cold glass make me wanna know that body like it’s mine” is a stn move. the rumbly noise in the chorus and the synthy breakdown is a beast, it owns itself. there’s a real comfortable self-confidence that i, once again, maintain has been missing from taylor’s music up until now. also that moaning noise distracts me every time. “hand on my thigh/we can follow the sparks/i’ll drive” tAYLOR! inappropriate. i’ve seen some takes on this song that it’s not a fave, but it’s a fun song and people are wrong. there’s not one song on this album that i’m like this is bad in the way that i DO NOT like some songs on rep

MISS AMERICANA AND THE HEARTBREAK PRINCE: the first thing i thought when i heard this song is that it sounds like lana del rey. give it a re-listen, it does. sounds just like idk, “high by the beach” but it also rings a bell for me of electra heart era marina and the diamonds (like “teen idle”). i like this song a lot, even though it’s relatively oblique in my opinion on what it’s.....actually about. “you play stupid games / you win stupid prizes” is a great lyric in masterful taylor swift fashion bc it looks stupid when u write it on paper. i like the shouting breakdown thing that happens on the back end of the song with go/fight/win (OH I JUST GOT that, it’s like cheerleaders shouting). i’m a fan of it, but it’s an oddball on the tracklist.

PAPER RINGS: this song rings with a lot of red’s chaotic energies but with the adult sensibilities that she’s rolling with on this album. i love the sort of down-home shouty stuff happening on the verses, and the “kiss me once / kiss me twice / three times” bridge. it’s a good one. “i hate accidents/except when we went from friends to this” is a fun and good lyric. i LOVE the key change i LOVE the “wrap your arms around me baby boy” for some reason very much. 

CORNELIA STREET: i mean obviously this song is wonderful. i’ve seen much Discourse about this song being related to Kaylor which seems plausible. it’s clear that taylor wrote some of these songs in the present tense when they’re in the past, which i think is really interesting. i LOVE “jacket ‘round my shoulder is yours” what a good inversion of the phrase. i love the way that the phrase cornelia street breaks up the lines in a really weird way, because of how its syllables run. it’s a good song. it’s a soft boi

DEATH BY A THOUSAND CUTS: early frontrunner for my fave song!!!!! love the opening repeating noise, and the simple guitar plucks initially. taylor’s voice takes up front and center bc it isn’t especially altered/layered/echoed like it is in some other spots on the album. it has an amazing rolling pace on its verses that’s followed by the slower pace on the chorus. “i ask the traffic lights if it’ll be okay and they say i don’t know” i am certain that this song is about karlie kloss and i will not accept any other possibilities i know she said it was about a movie but i don’t care. “my hips my heart my body my love / tryna find a part of me you didn’t touch” wow taylor god what a gifted lyricist i hate her

LONDON BOY: this song is fun. “i saw the dimples first / then i heard the accent” i love the rising effect on “walking on the afternoon” resetting with the horns. it’s just a song that makes you bob your head. she does sound like she’s throwing out as many english references as she possibly can which is amusing and i don’t know what the legs are on this song bc of that - it could come across as somewhat kitschy. but! also i’d like to start some discourse bc i think it’s CLEAR that taylor isn’t afraid of using pronouns or even very direct references to who she’s with (this song is basically an I LOVE JOE ALWYN shirt), and it makes it even more clear when she’s avoiding using pronouns or direct description. the two songs before this don’t do that in the same way that this song does. 1989 barely uses pronouns at all. i’m just saying. taylor is bi is what i’m saying.

SOON YOU’LL GET BETTER: obviously this song is sad and it makes me cry i have no further commentary except that it’s a wonderful, simple song that has an excessively odd placement on this album following after london boy

FALSE GOD: this song is sexy! and interesting. the horns come back again, which is good and her voice is lower. honestly the line “the altar is my hips” is just..........a lot for me to compute. “i’m golden when you touch me / hell is when i fight with you” the bridges are really fun, sexy, soft. this song is like when lover ends and a song with a little more of a sultry feel comes on but ur still drunk so its a little sloppy.

YOU NEED TO CALM DOWN: obviously this song ruined my life. it sent me to the heights of elation and then i sort of had a hangover on it but i’m back around on it guys! it’s a fun, fun, summery song. that chorus with the oh-oh is just .... pop perfection. the bumpy synth noise that goes ba-duh-duh-duh like it’s reverberating is absolutely perfect for the pacing of the song. it’s excessively well-crafted to the point of slickness. it should have been the lead single but what do i know about anything

AFTERGLOW: i know that i wasn’t supposed to be into i pinned your hands behind your back but i was so. this is a continuation of the theme of like, i’m in love but i’m still a mess!!! sorry :) i like this song but it does not inspire me. 

ME!: i don’t know why the exclamation point is there and it sounds much more like a brendon urie song than a taylor song, but it’s fun! i don’t hate it! i can see why it was picked as a lead single - to really illustrate the tonal change from rep to here, but still. spelling is fun, tho.

IT’S NICE TO HAVE A FRIEND: this song is simple and so, so so sweet. i love the childhood friends to lovers narrative, and i just. like it. so much. it’s so sweet. and then obviously the horns come back for this one, but don’t overwhelm. this song is a good palette cleanser after the bombast of me!

DAYLIGHT: i tweeted about this but this song reminds me of clean and long live (particularly long live, it for some reason really sounds like that in my head). but i like that it really relates a feeling that i feel sometimes of like, my life was a mess and sometimes still is a mess but bc i’m in a stable and good relationship, things feel approachable, like, if everything goes wrong again, i’ll at least know for sure i have this, and i think this song sort of shows that off with the  “I don’t want to think about anything else.” it’s nice. it’s calm. i read an oral history today about the kanye storming the stage moment at the vma’s because it’s been 10 years since it happened - and i feel like this album and this song, in many ways, are a plateau on the meteoric catapult of taylor’s relationship with fame that really had started to run before that moment but certainly started rolling after that. i think this song is a demonstration of the growth that she’s gone through over the last ten years that we’ve all watched with such close attention. it makes me feel happy for her. i hope she gets to keep this the way it is. i’ve read that she thought for the longest time that this album would be called daylight and i’m honestly? not sure it shouldn’t be. but the vocal note at the end sort of draws it back thru.

it’s a good album. i think the back half of it doesn’t hang as tough all the way thru as the first half, but overall, i think it’s overall quality is better than reputation even though i think reputation, as a concept album, works very well. it’s a great evolution and a real, authentic thing. very impressive that she’s managed to produce four very different albums successively where as many artists don’t change that much from album to album. but i think that’s evidence of the work that’s gone into them, to be honest. death by a thousand cuts is my early fave. 

[thesinglesjukebox]

DUA LIPA - PHYSICAL

[7.50]

It's okay! Move that boogie body!

Leah Isobel: It is a dark and stormy night. In a sinister science lab located somewhere in Carmen Sandiego's plush pomo lair, a pop singer plugs in a neon light, shrugs into a next-season Gaultier lab coat and gets to work. In the reflection of her gold-tinted goggles we see her add one (1) part Extract of "Into You," one (1) part Juice of Newton-John, and four (4) drops of Synthesizer Spice into a contoured beaker. She turns on the flame of a Bunsen burner; stream gushes from her concoction like a geyser, emitting a high, keening refrain. She whispers a few luscious words into the steam -- "diamond," "sssimulation," "adrenaline" -- but her experiment still lacks a certain something. Then -- BOOM! -- in a thundercrash of lightning, it hits her. Eureka! She turns and sees her reflection illuminated in the glass of an emergency axe container, kept onsite in case of fire. "Well," she chuckles to herself as she breaks the glass with a four-inch stiletto heel, "I am creating something... hot." Axe in hand, she chops the neon light into pieces and stuffs the shards, now glittering like a million sequined dancefloors, into the beaker. With the addition of this Decoction of Disco, her potion bubbles... it burbles... then KABOOM: it explodes the entire building and half of the surrounding city! She stands in the wreckage as thunder splits the sky above and sirens wail in the distance. We see Dua's eyes glow green before she throws her head back to the sky and screams: "GAY RIIIIIGHTS!" [9]

William John: Probably the best example of what parts of the Internet's stan culture would facetiously refer to as "gay rights" from a mainstream musical artist since... the last Dua Lipa single, or, failing that, "Into You." Like those precedents, "Physical" is camp but magisterial; playful but extremely melodramatic; sweeping, dance floor ready, and dripping with an exultant swagger. Her reminder to "hold on, just a little tighter" at the bridge is, truthfully, a hollow gesture; at that stage, the listener is so deeply embroiled in her glorious disco caprice as to not really be capable of gripping anything at all. [10]

Jackie Powell: It couldn't be clearer that Dua Lipa had something to prove not only to herself, but to the pop music intelligentsia on her sophomore offering. What has struck me most about the Future Nostalgia cycle is how Dua is executing every facet of it with confidence. On this track, she's not afraid of hitting notes that eclipse the breadth of her previous singles, especially on the bridge. "Physical" is a representative offering of exactly what she's aiming to prove. Each track we've heard so far reflects a different decade accompanied with a modern polish. I don't think I'm the only one who believes Olivia Newton-John's '80s exercise sexual metaphor smash "Physical" deserves the tribute it's getting here. There's a clear homage paid to her and to Patti LaBelle on Lipa's own "Physical." I'm going to interpret her lyric "We created something phenomenal" as a bit of a double-entendre. Not only is it about sex in the narrative of the track, but it's a comment on Lipa's approach to this era and her confidence on every single part of it. The sexual symbolism isn't just in the lyrics, but also in the track's composition and the narrative communicated in the visual treatment. The vocal highs that she hits on the bridge represent a climax musically and sexually. She has so much confidence in the visual treatment, she spends most of it braless. That takes guts. [9]

Tobi Tella: Dua Lipa's perceived lack of personality has turned out to actually be lack of a schtick preventing her from artistically evolving, something many of her peers are plagued with. Also, I've died and gone to gay heaven. [9]

Alfred Soto: The way Dua Lipa's unexpected bon mots and smoky sultriness ride the beat and compete with the strings compensate for a production too dressed up in leg warmers and headbands for my taste -- I mean, her exhortations are more fearsome than erotic. [7]

Julian Axelrod: Pop's '80s revival arms race has escalated to its natural endpoint: the accidental exhumation of Olivia Newton-John. I wish Dua Lipa had used "let's get physical" in a more literal iteration; singing it over hyperdrive synths guarantees it'll be never played in its intended setting, especially when she has half the energy of ONJ. But she hit the mark where it counts: This is going to rule spin classes for the rest of the year. [6]

Brad Shoup: A throwback training-montage track that suggests sex but is really about dancing and Olivia Newton-John erasure. This is Stranger Things pop. [5]

Thomas Inskeep: Sex is natural, sex is fun, sex is best when soundtracked by throbbing '80s synths. [6]

Ashley Bardhan: Okay, fine, I enjoy horny music. Sue me! This song is what would happen if ABBA was brought back to life as a bunch of hot 20-year-olds in little shirts from Fashion Nova. The "let's get physical" chorus feels a little lazy since it's a direct lift from Olivia Newton-John's 1981 hit, but this is a great song to listen to while thinking about that video of Charli XCX holding poppers. No complaints here. [7]

Alex Clifton: I've underestimated Dua Lipa. Her first album had some hits and misses, but Future Nostalgia is shaping up to be one of the best pop releases of 2020 based on the strength of its singles. "Physical" is a cascade of rainbow lights in a roller rink and makes me long to go out to a club, one where I can get down in a huge crowd of people and dance my white-girl ass off poorly. I'm an extreme introvert, so anything that makes me want to leave the house and be around strangers is powerful stuff indeed. It's a little cheesy, but who cares? It's a love letter to the '80s with all the campiness a song citing Olivia Newton-John should have. I'm desperately in love with Dua Lipa after hearing this, and I have a feeling "Physical" will be one of my favourite songs of the year. [9]

Stephen Eisermann: Dua Lipa has quietly become the pop superstar that so many of us wanted Carly Rae to be. Both women make incredible music, but it is Dua who has found commercial success; after hearing "Physical," it seems pretty obvious why. It's a retro-laden, power-pop track that is extraordinary only in the way Dua delivers it. What should be pedestrian instead is hypnotic, infectious, and oh so delicious. [8]

Lauren Gilbert: I promised a friend I'd blurb this song, and now that I've sat down to write it, I have nothing to say. It is a perfect pop song -- Dua knocks it out of the park on this record. I keep getting distracted from writing jamming to the track. I'm dancing while lying down on my couch. She created something phenomenal; we are left with no choice but to stan. [10]

Joshua Minsoo Kim: I've justified Dua Lipa's dearth of personality in years past, but this is where things don't add up: her dead-eyed singing makes no sense during the chorus, whose synths lack the fervor to make up for clinical vocal melodies. Around this time last year, we had Lizzo's "Juice"; now we have "Physical" as an example of '80s pastiche that only feels like it exudes energy and passion and charm. [2]

Will Adams: It's neat to have a single that's its own Initial Talk remix, but the synthpop revivalism is a bit too literal, to the point of putting all its chips on an Olivia Newton-John quote. It's not until the bridge -- "keep on DANCING!" -- where the drama locks in and starts, but only starts, to feel real. [6]

Kylo Nocom: Dua Lipa, determined more than ever to win the Popjustice £20 Music Prize, accidentally transforms into Alice Chater in the process. [5]

Katherine St Asaph: If "Physical" being by Dua Lipa wasn't hypertargeted enough to the Popjustice set, is that the synth progression from Saint Etienne's "No Cure for the Common Christmas" in the intro and beneath the chorus? It's certainly the same height of drama. The track attached isn't quite so charged: a little too Lady Gaga circa "Applause" and a little too Peloton instructor quoting Olivia Newton-John for absolutely no reason besides the culture deciding at some point to make the phrase a permanent, meaningless meme. (The song doesn't even sound particularly '80s; the disco strings are the decade prior, and the vocal squiggles on the verse are so specifically 2016 a time traveler's on their way to erase them.) Dua Lipa only betrays a personality on the spoken-word bridge; ironic how that and the vaporous intro, the least physical things on this track, are the most thrilling. [7]

Vikram Joseph: The intro feels like a prickling at the back of your neck, the one-line pre-chorus feels like plummeting six floors in a broken elevator, and the chorus is such a headrush you can practically smell the poppers: "Physical"'s thrills might be straightforward, but they're visceral as fuck. There are vintage Lady Gaga vibes, the "come on!"s are surely a nod to "We Are Your Friends," and the whole thing reminds me, inexplicably, of Bon Jovi's "It's My Life." But Dua Lipa is starting to make this all seem effortless, and the panache with which she delivers "Physical" easily pulls it clear of the gravitational field of its forebears. [9]

Wayne Weizhen Zhang: "Physical" dares us to be the boldest versions of ourselves. It finds itself at the perfect intersection of confidence and lust. Dua Lipa is flirting with you with a playfulness she can only possess because she already knows you're going home together -- and she won't let you leave until the dancing is done. Dancing here is instinct, it's synths that sound as sweet as they do sinister, it's salty like the sweat that rolls down your forehead after you've been, well, physical. Dua Lipa is crushing the Confessions on a Dance Floor album that I've long been waiting for Lady Gaga to make. Dance floor music has long been my site of refuge and catharsis, so it's refreshing to be reminded that it can still sound so immediately, eminently thrilling. [9]

Kayla Beardslee: This doesn't quite reach the heights of "Don't Start Now," but damn it comes close. "Physical" should, in theory, be a cookie-cutter pop girl release, but Dua proves once again that she is the most important element in her music. The producers are doing everything right too, but who else could pull off her endearing smirk in "common love isn't for us" or that wonderful growl in "follow the noise"? And Dua takes us through a transcendental bridge that highlights the best qualities of her voice: singing simple lyrics that say everything they need to, she's breathless yet confident, desperate for touch yet satisfied with the musical world she's helped to create. Something phenomenal, indeed: this rollout has been a joy to follow. [9]

Jacob Sujin Kuppermann: "Physical" takes the opposite approach to "Don't Start Now" -- while that song's studio version swallows up its singer in a beautifully constructed, sterile disco pastiche (the live versions and remixes are much better), turning her into just one more retro cog, "Physical" makes her the center of attention. The production around her is good enough (the synth preset change right before the chorus starts is especially nice), but not particularly coherent or hooky on its own. In the vacuum left, Dua gets to have more fun, charismatically switching between vocal styles and walking around like she owns the place. [8]

Jibril Yassin: A powerhouse vocal colliding headfirst with production that's neither plodding nor limp. It's a song that's meant to feel like a blockbuster and after a few failed tries, it's thrilling to hear Dua Lipa finally nail the landing and sound like the superstar she wants to be. [7]

Michael Hong: "Physical" is magnetic. Its pulse is unrelenting, its atmosphere is shadowy and captivating, and Dua Lipa gives possibly her best vocal performance. There's no sense of the up-and-coming performer who delivered everything with stolid execution, instead, "Physical" is a sly wink of a pre-chorus leading to a forceful command: "baby, keep on dancing like you ain't got a choice." Dua Lipa is at the helm, all thoughts and any other desires are out the window, and the night is neverending. [7]

Joshua Lu: Several of Dua Lipa's past hit songs have relied on a marketable veneer of cool: "New Rules" works because she's the straight-talker friend giving advice, "Don't Start Now" necessitates a stoic character who can't be bothered to fret about her ex, and even on collaborations like "One Kiss" does Dua employ a rather unemotional voice, like she's a blank canvas for Calvin Harris' more playful and engaging production. "Physical" feels like such a departure for Dua not just because of its obvious throwback sound, but because this veneer of cool is completely torn down when the song reaches its rushing chorus. She sounds more and more desperate as her voice climbs and the synths soar above her, and her cries of "come on" ring as desperate instead of dominant. The song is indebted to pop titans of yesteryears (Olivia Newton-John obviously inspired the title, but the theatrics of the song feel more indebted to Bonnie Tyler or Patti Labelle) to the point of it not really feeling like a Dua song, but she sells it all so convincingly that it feels like a natural fit. It's part pop song, part epic showdown, and I look forward to Dua continuing to push herself to the forefront of mainstream pop music greatness. [9]

Scott Mildenhall: Little wonder that Lipa's so keen to get physical, given that she's "dreaming in a simulation" -- her focus seems to be on the former, since the latter exemplifies the aimlessness of the verses in comparison to the locked-and-loaded chorus. That has its thrills, yet never feels as loose as seems intended. "Physical" comes across too in love with the idea of being a kind of Perfect Pop to actually be it; an anthem for kinetics developed via science textbook. [7]

[Read, comment and vote on The Singles Jukebox]

[thesunlounge]

Reviews 262: Nick J. Smith  / Bonnie & Klein / Mirage

Having just visited the enchanting balearica of Blair French’s Patio Pastels , NuNorthern Soul now sets its sights on Summer Selections One, a 12” sampler previewing some of the incredible releases the label has lined up for this summer. First up is Nick J. Smith with “Waves Take Hold,” which is from his upcoming Waves Take Control EP. Smith is no stranger to Italian dream house, with the sound featuring prominently in his esoteric rave and psychedelic dancefloor explorations alongside Joe Morris and Iain McBeath in Clandestino. But even given that fact, “Waves Take Hold” is a surprisingly authentic, masterfully constructed, and endlessly intoxicating tribute to this magical era of house music’s history, with jacking rhythms, ascendent acid basslines, tropical idiophonics, and aqueous synth hazes evoking dream house legends such as Leo Anibaldi, Dreamatic, Deep Choice, and Agua Re. 

Bonnie & Klein’s “Ocean Leap,” coming from an EP of the same name, is yet another surprise, as the duo deliver a muscular expanse of dub disco bliss colored through with shades of Greek folk exotica and mystical ocean magic, one that diverts slightly from their recent horizontal offerings on Balearic Social and past outings on Music for Dreams, instead aligning closely with the Singularity / Ergosphere 12” on Leng, the digital only No Escape , and their second EP on Über. Closing out Summer Selections One is Mirage, the new project from the ever amazing Plastic Fantastic. “Endless Ocean”, taken from their Reflections of the Sun EP, inhabits some perfect intersection of spiritual world music, seaside new age, and chill-out trance and moves effortlessly between tribal ambient dreamscapes and climactic passages of slow motion ecstasy sequencing, downbeat drum hypnotics, and piano chord brilliance.

Nick J. Smith / Bonnie & Klein / Mirage - Summer Selections One (NuNorthern Soul, 2019) In Nick J. Smith’s “Waves Take Hold,” the titular waves crash to shore as crystalline drops of liquid swim through hazy house pads. Bass pulses and tapped cymbals hint at a groove while streaks of synthesis glow in the sky…like dolphin dreamwaves bending through sonic prisms. A jacking bassline develops alongside shining cowbell patterns and a four-to-the-floor kick stomp while claps crack over stuttering hat patterns. And once the snare drops and the slamming house jam assumes full power, futuristic ocean tones, percussive panpipes, and cosmic mallet instruments dance through a mediterranean nightscape while synths imitate dreamhouse pianos. Rimshots, guiro scrapes, and timbale fills flash through the spectrum while seemingly infinite webs of idiophonic synth exotica bounce on sunbeams and there’s so much forward motion and physical energy behind the rhythms, especially as the basslines continue chugging towards a sunburst sky. Sometimes the aqueous atmospherics pull away, giving space for percussive panoramas to enchant the mind and angel voices to oscillate before fading into ether while elsewhere, basslines drop out as the kick smashes through squelching riff-outs and layers of ocean ambiance. Then everything breaks apart, fractures, disperses…leaving only dubwise fills rocketing over rimshot cascades and rattling snares. But the delirious club rhythms and gliding basslines soon build back up as rainbow synth hazes surround a joyous dance of virtual marimbas and percussive flutes, with layer after layer coalescing into Italo fantasy club perfection before it all gives way to the peaceful sounds of the sea.

“Ocean Leap” by Bonnie & Klein sees kick drums charging though ecstasy hazes and mermaid space breaths. Mallet sequences are tracked by infectious dub basslines and snare rolls launch the groove into full form, wherein sci-fi noise cymbals cut through the air alongside the duo’s typically perfect ethnological hand drumming. It’s an immersive world of folk infused dancefloor power with synthesized feathers floating on echowaves, brass textures bubbling, and layered idiophones locked into a polyrhythmic ritual. As the beats cut away, swirling phasers and aquatic synth hazes dominate the spectrum while Berlin school sequences are filtered into a cosmic haze. Piano chords bring vibes of ocean melancholia, which are then intensified by deeply romantic acoustic guitar runs, with the song momentarily developing into one of Bonnie & Klein’s classical sundown drifts. But soon, the galloping beats and hypno-basslines resume their exotic dance, with the body swaying back and forth of its own volition within a radiant utopia of island idophonics. And the vibe is pushed even further into romantic euphoria as the bleary piano chords from the ambient midsection reappear…the effect not unlike The Project Club’s transformative rework of Giulio DJ’s “Inner Life”, especially as heavenly orchestrations flow down from a swirling sky. Best of all, mystical pan-pipes start playing ancient hymns to the sun…as if an ocean spirit has risen above the surface with an unknown woodwind constructed from coral while sea creatures weave minimalist webs from seashell vibraphones, driftwood balafons, and marimbas constructed from radiant gemstones. 

For Mirage’s “Endless Ocean,” wind blows across the galactic void, with swirling vortices setting the stage for one of the most heartwarming and spiritual expanses of new age ambiance I have ever heard…as if electronic birds are singing out over a paradise savanna bathed in hues of an impossible sunrise while world music hand drums dance with a joyous tribal energy (imagine Phil Collins gone full balearic). Shakers and deep four-four kicks join the panoramic ethno-percussion and piano chords swell the heart further, with the tracking achieving a similar sort of transportive power as another NuNorthern Soul classic: José Manuel’s “Lusaka.” Huge bass bursts then sweep everything away, setting the stage for hovering space atmospheres and neon sequences. Shakers and hand drums enter as we glide in a beatless wonderland of downtempo trance and once the kicks return, the vibe turns majestic and anthemic...a sort of slow motion stomp through cosmic fantasy worlds, with arps glimmering like celestial diamonds and glowing string orchestrations floating the soul. Mirage then transition us back to the introductory ambiance, where the dreamwave pads now modulate through psychedelic resonances alongside the calming sounds of running water, until it all starts building again towards the heart of 90s chill-out. Everything is kissed by a touch of ecstasy and layers of world percussion float above four-four kicks and infinitely decaying chords of ivory. And as we explode once more into ambient trance euphoria, cascading dub synths surround sky seeking arpeggios and heavenly pianos as they play themes for meadows aglow in golden light and oceans shimmering eternally beneath a newly risen sun.

(images from my personal copy)

[notyourmothersplaylist]

Spandau Ballet is the Best Band You’re Not Listening To

I think my new Karaoke song is “True” by Spandau Ballet; not because it’s their best song, but because it really gets the crowd going.

(Also, I’ve been working on my Tony Hadley impression. It’s getting quite good).

Before last month I don’t think I’d given any thought to Spandau Ballet more than the average person. Sure, I’d heard “True” enough times to know the melody well enough, and sure, I could pick out Tony Hadley’s debonair coif from the “Do They Know It’s Christmas?” lineup and sure, one time when I was way too old for a Neopets account I may have registered a pet named SpandauBallet and then got hacked, never to see her again…

But other than that, yeah, hadn’t really thought of them much.

I got around to watching the fabulous Spandau documentary Soul Boys of the Western World on a whim; I kinda needed something new to put my energy towards (my year of following English nu-glam outfit the Struts on tour had just come to a Christmas halt), so I put it on.

I highly recommend this documentary; it’s a captivating narrative produced and narrated by the band itself, and they tell their stories over the sweetest unseen footage (see: a shirtless Spandau jaunting on a yacht in Australia, drinking champagne to a ragtime version of “True”, played by someone on a piano offscreen). 

I also learned they have some serious bops.

...and they may have singlehandedly made businessman-chic a thing.

1980s America, how could you pass them up and chalk them up as a one-hit-wonder??!?! THEY HAD MORE HITS!

I’m pretty bitter it took me this long to discover the joys of Spandau, but to celebrate my newest musical discovery, here are some of my top Spandau Ballet tunes that aren’t “True”:

“Chant No. 1 (I Don’t Need This Pressure Off)”

I chose this 1981 hit from their second record to kick off the list because it’s got a bit more rhythm and soul than most Americans associate Spandau with, and it’s the first song I heard that compelled me to dive deeper into their catalogue. “Chant No 1.” gives us groovy, move-out-of-the-way-I’m-coming-to-the-dancefloor disco vibes, further burying the dying UK punk movement and jiving on its grave. The drums and rousing chorus really drive this one, setting it apart from much of the band’s catalogue, and it seems to perfectly capture the ‘Blitz Kid’ scene in England in the early 80’s, where they got their start.

  “To Cut A Long Story Short”

This was the first song, off Spandau’s first record Journeys to Glory, and, you guessed correctly; their first hit in 1980. Whereas “Chant” may have felt like a languid groove, this dirty synth-driven hit feels tight and gritty, and it packs in everything I love about the (very) early 80s, before the New Romantic era really grew into itself: avante garde fashion choices that inevitably came from the women’s section at the thrift shop, low-budget gothiness, cropped haircuts (this was before they got too long, remember!), and yes…that early synth sound! Tony’s vocals really bring the power in this, which will come to be a distinguishing part of their sound, although they deviated from this darker vibe after this record.

“Instinction”

"Instinction” starts out with a bang (sorry, headphone users), and it really only gets better from there, trust me. It’s got horns, it’s got synth, it’s got brown leather trousers, it’s got call-and-response vocals, it’s got a John Keeble drum solo…and I think this video is the first sighting of Tony’s tiny microphone, which would become part of his signature look later on! Hooray! We’re still pre-suits at this point, as far as styling goes, but it’s definitely getting there (Kemp brother hat game: strong). “Instinction” was released as a follow-up to “Chant”, and it peaked at #10 in the UK. We’re getting there, boys.

“She Loved Like Diamond” 

We’re taking it down a bit here with this one, but that’s not to say it doesn’t bring the Spandau drama we all know and love. This was a…single? Album cut? Not sure, but there’s a video, and Tony Hadley looks positively dashing in his long coat, roaming through one of those castles that every English artist in the 80’s seemed to film their videos at, bringing flowers to his…dead lover, I guess. Is it a metaphor? Perhaps, but this song showcases just how strong and unique his vocals are, and I’m absolutely here for it.

“Highly Strung”

“Highly Strung” is the third single off True’s successor album, 1984’s Parade. The song did fairly well on various foreign charts (except here in America, because why would we ever get anything nice), and this is where you can undoubtedly see their departure from their earlier productions. Probably hoping to break MTV like their rivals Duran Duran did, “Highly Strung” is to Hong Kong as "Rio” is to Antigua; it’s decadent, it’s lavish, it’s sexy, it’s dramatic…it’s vaguely politically incorrect, and, perhaps most importantly, it’s an excellent chronicle of Martin Kemp’s fabulous mullet. (Oh, and Tony Hadley dons an incredible eyeshadow look towards the end, which is always a plus.) “Highly Strung” boasts a shoulder-shaking groove with fantastic saxophone solos courtesy of Steve Norman (their saxophone player--I know, they have a sax player in the band!), and also, it gives us my favorite Spandau lyric: “she used to be a diplomat and now she’s down the laundromat”. Nice use of rhyming, Gary!  

Anyway, there you have it; some of my favorite Spandau Ballet songs that aren’t "True”. Now, go ahead, dust off that three-piece suit—we’ve got some Spandau karaoke to do.  

Honorable Mentions: “Reformation”, “Paint Me Down”, “Musclebound”, “Only When You Leave”

[avamaxchile]

(ES) “Diamonds & Dancefloors” uno de los álbums del 2023 más esperado según la revista Uproxx:

“Ava Max, que ya había anunciado sus primeros singles, "Weapons" y "Million Dollar Baby", se enfrenta a 2023 con fuerza. Su álbum de enero es tan brillante como sugiere el título. "Es como una nueva ola de música pop, y era necesario. Me encanta", dijo a Uproxx el año pasado sobre su sonido de inspiración disco”

——

(EN) "Diamonds & Dancefloors" one of the most anticipated albums of 2023 according to the Uproxx magazine:

“Teased with early singles “Weapons” and “Million Dollar Baby,” Ava Max is taking on 2023 with a vengeance. Her January album is just as shimmery as the title suggests. “It’s like a new wave of pop music, and it was needed. I love it,” she told Uproxx last year about her distinct disco-inspired sound”.

[jondeacon]

All of the While the City Sleeps asks!

being from new jersey means never having to say you’re sorry: what’s one stereotype of where you come from that actually fits?:

that the majority of us likes spicy and greasy food, the fact that we are pessimistic

send my love to the dancefloor, i’ll see you in hell (hey mister dj): favourite dance song?:

new rules by dua lipa counts?

the church of hot addiction: which of gabe’s haircuts was the best?:

hot mess era, but the one in good girls go bad

the kids are all fucked up: who’re your best friends on here?:

@scarletlizzies and honestly a few others, but consider all my mutuals friends and i love them so much <333

it’s warmer in the basement: most fucked up fanfic you’ve read?:

m*lk fic

keep it simple: how well does your star sign fit you?:

about 85-90% accurate

it’s amateur night at the apollo creed!: thoughts on midtown?bring it (snakes on a plane): gabilliam?:

yes god

the ballad of big poppa and diamond girl: what’s the most expensive thing you’ve bought in the past year?:

the white album vinyl probably?

pop-punk is sooooo ‘05: what were you doing in 2005?:

being an emo kid

you can’t be missed if you never go away: which eye colour do you find prettiest?:

brown/blue

thank you dear <333

[freersounds]

Stardust - Music Sounds Better With You

A Disco Cut-up that has stood the test of time. Music Sounds Better With You is one of the most well known and commercially successful records of the whole ‘French Touch’ era. Stardust wasn’t even a real band. It was a one off studio project consisting of Thomas Bangalter of Daft Punk fame, fellow disco cut up specialist Alan Braxe and vocalist Benjamin ‘Diamond’ Cohen. Bangalter was at the height of his underground notoriety when the record came out. This was one year after Homework had made the duo darlings of the French House/Techno scene and three years before Daft Punk went stratospheric with Discovery and started to drift into irrelevance in terms of cutting edge electronic music. Music Sounds Better With You was released as a single sided vinyl 12” in 1998 on Bangalter’s own Roulé imprint and licensed as a CD single to Virgin. Roulé had already put out a few impressive records. Bangalter’s fantastic Trax On Da Rocks EP was released in 1995, his chaotic Spinal Scratch in 1996 and Alan Braxe’s similarly banging Vertigo in 1997. All of these were powerful club records, but they were unlikely to generate much interest outside of nightclubs or specialist dance music charts.  Music Sounds Better With You was something else. It was a dancefloor record with enough commercial appeal for the pop charts and mainstream radio. The track has only two key elements. The first being a deft sample looped from Chaka Khan’s Fate. This was filtered, echoed and effected to perfection by Bangalter and Braxe. The second element is the distinctive vocals. Sung in English with a heavy French accent, what makes them special is the almost sneering self confident charm of Cohen’s vocal delivery. He sings that love ‘might’ bring us back together, but there seems to be no doubt in his voice. There are only six vocal lines. But they work in combination with the Chaka Khan sample. Stupidly simple. Stupidly good. Like all the best records. Why Because Music have chosen to reissue it now on vinyl is anyone’s guess. But the vinyl reissue is certainly welcome. More than twenty years on, Music Sounds Better With You has aged better than most of the other Disco cut-up records of that era. It is a modern French classic.   

BUY

[dailyavamax]

avamax: 🌞 the sun is shining, the weather is sweet 💋

[watchilove]

Zenith embarks on the debut edition of LVMH Watch Week with a new kind of innovation in its DEFY collection with DEFY Midnight, a uniquely conceived line of women’s watches with a dreamy, cosmic touch. In addition, the new Elite collection redefines the codes of 21st-century watchmaking for the ultimate in contemporary elegance.

“I’m very grateful that Zenith is in Dubai for the first edition of LVMH Watch Week – DUBAI 2020, which I believe is the new international destination for the world of watchmaking. Glamorous and forward-thinking at the same time, Dubai is the perfect place to present an innovative collection of feminine watches. We are placing women’s watches at the forefront of the brand’s creative endeavors. But we weren’t content with making yet another ladies’ watch. With our newest models, it is the first time that Zenith has conceived women’s watches from the ground up”, revealed Zenith CEO Julien Tornare.

EXPLORING TWO SIDES OF FEMININITY

With its new creations dedicated entirely to women, Zenith is elevating both ends of the spectrum of women’s watches. On one side, the resolutely contemporary DEFY Midnight and on the other, the timelessly elegant Elite collection.

 There is dreamer in each of us, gazing at the starry night sky and taking in the infinite potential that lies ahead. For its first purely feminine watch, Zenith sought inspiration from the cosmos when creating the DEFY Midnight, a versatile sporty-chic timepiece with a uniquely celestial dial, conceived with free-spirited women in mind. As much a jewel as it is a watch, the DEFY Midnight is the perfect companion for the independent women of today: confident, expressive and with a style of their own. Living by their own rules and assertive in their choices, DEFY Midnight women are never afraid to stand out and project their dreams.

Housed in a 36mm stainless steel case embellished with brilliant-cut diamonds, the dial of the DEFY Midnight gives Zenith’s “time to reach your star” philosophy a literal, visual manifestation. Available in deep blue or grey colors, the dial features a glossy finish with a vertical gradient effect for an unprecedented depth. Portraying the night sky above the endless horizon, where the dark vastness of space gives way to the glimmer of starlight, the dial at once enchants and enlightens the wearer. Evoking the Zenith starry sky, the brand’s faceted star emblem is the highest, brightest point in the depicted night sky. Completing the celestial landscape are stars of different sizes – some of which glow in the dark. A third dial made of white mother-pearl with a vertical gradient effect evokes moonlight on a cloudy night. White diamonds are applied on every hour marker, except at 3 o’clock where the date window is placed. Equipped with the automatic Elite in-house movement, the DEFY Midnight provides dependable precision and autonomy of 50 hours. A star-shaped oscillating weight brings a galactic element to the case-back view.

The DEFY Midnight features an assortment of bracelets and straps that can easily be swapped by the wearer, allowing the DEFY Midnight to adapt itself to different looks and situations. The integrated stainless steel bracelet as well as a selection of colored satin and leather straps with rubber backing can be swapped by means of a quick strap-change mechanism integrated directly onto the back of the straps, and requiring no tools or special skills for the owner to do on her own, be it for a change of seasons or just a change of outfit. Each DEFY Midnight will come in a special box that includes 3 additional colored straps and an interchangeable folding clasp.

Zenith revisits its own past from the vantage point of today, with the newly revamped Elite collection of unisex watches. Sleeker, more minimalistic, yet strong in its graphic identity and confident in its timeless lines and proportions, the Elite collection doesn’t repeat the past, but rather rejuvenates the codes of mid-20th century watchmaking. Through two models available in two sizes and a number of case and dial combinations, the Elite Classic and Moonphase models set the tone for Zenith’s vision of contemporary elegance. The line caters to the desires of those who value the aesthetics and enduring appeal of watches from bygone eras, with just enough modern accents to ensure it never feels antiquated.

Like rays of light darting out from the sun, the radiant sunburst pattern of the Elite Classic dial creates a spectacle of highlights and shadows. To enhance the visual depth, the dial is set with tapered hour markers that are faceted and polished. The minutes and seconds track lend the dial a scientific touch, while slightly larger applied hour markers break up the track and highlight the four cardinal points of the dial. Floating above the lively dial are sharp and slim “Dauphine” shaped hands, a nostalgic nod to Zenith timepieces from mid-20th century.

The Elite Moonphase, majestic in its tones and whimsical in its harmonious asymmetry, uncovers the veil of night to bring out the enchanting beauty of the moon. A midnight blue circle on the lower half of the sunburst pattern dial takes on the same tone as the moonphase disk, giving the impression of an oversized display of the golden moon and stars. In juxtaposition, a small running seconds hand at 9 o’clock recalls the fleeting nature of time.

Carefully reapplying the same elegant proportions across the collection, the Elite Classic and Elite Moonphase models are available in 40.5mm and 36mm case diameters, in stainless steel or rose gold. Besides the choice of dial colors, the wearer can give his or her Elite a more personal touch with a wide choice of straps in numerous materials and colors, available from Zenith boutiques and authorized retailers.

DEFY 21 LAND ROVER EDITION Reference: 97.9000.9004/01.R787

NEW CREATIONS FOR LVMH WATCH WEEK – DUBAI 2020

When two partners who are pioneers in their respective fields come together the results can be unexpected and exciting. Coinciding with the release of the next-generation Land Rover Defender, a total redesign of the emblematic, all-terrain vehicle with its most significant evolution to date, Zenith and the famed British carmaker are reinforcing their partnership with their most original collaborative watch to date: the DEFY 21 Land Rover Edition. This edition is a rugged and stealthy reinterpretation of the 21st century El Primero high-frequency chronograph, embodying the resilient spirit of the new Land Rover Defender that combines the ultimate in ruggedness and comfort. A limited edition of 250 pieces, it represents a complete makeover of the 1/100th of a second chronograph with a raw and minimalistic look. Crafted in microblasted titanium, the case absorbs light from all angles to better accentuate its faceted surfaces. Paired with a matching closed grey dial, the redesigned display features for the first time in a DEFY 21 a linear power reserve window, with the slightest touches of color for legibility. Gerry McGovern, Land Rover Chief Creative Officer, said: “For the next chapter in our partnership with Zenith we wanted a timepiece that captured the essence of the new Land Rover Defender: modern, durable and highly desirable. With subtle details that capture the character of the new Defender, this for me is the best timepiece we have created with Zenith”.

DEFY 21 CARL COX EDITION Reference: 10.9001.9004/99.R941

With respect to exceptional collaborations, Zenith is proud to introduce its newest Friend of the Brand, world-renowned DJ and producer Carl Cox. An undisputed living legend in electronic music and specifically “techno”, Carl Cox is credited with bringing his craft to new heights and his unique sound to a global audience. From underground rave parties in the 80s to main stage performances at festivals and his own stage at Burning Man as well as his pioneering record label, Carl Cox lives the “time to reach your star” philosophy to the fullest. His perseverance and undeniable talent have propelled him from his humble beginnings to becoming one of the most revered and influential personalities in the world of electronic music. For his first eponymous special edition watch, the DEFY 21 Carl Cox, limited to 200 pieces, Zenith turned up the tempo with a special execution of its futuristic 1/100th of a second chronograph, with a carbon fiber bezel and strap stitching that glow in the dark. For a very personal touch by Carl Cox, the open dial keeps the beat pumping with a rotating disk shaped like a vinyl record at 9 o’clock, serving as a running seconds indicator. “I am very lucky that I am able to share my love of music all over the world. All of us have the power within us to feel the beat and dance – my job is to bring that energy out and to unite everyone on the dancefloor. In a similar way, Zenith is about elevating the art of watchmaking and sharing its innovations with the world, so collaborating with them on a watch with a high-frequency beat felt very natural”, said Carl Cox.

EL PRIMERO A384 REVIVAL Reference: 03.A384.400/21.M384

There are not many movements that can claim the kind of pedigree enjoyed by the El Primero, which celebrated its 50th anniversary last year. For the first model to be equipped with the groundbreaking movement in 1969, the A384, the brand worked on a new and daring case design. For the bracelet, they sought the expertise of the famed Gay Frères specialist company to create an original and exclusive bracelet that would match the watch’s avant-garde design. The result was the so-called “ladder” bracelet, which featured an unusual open design that boasted superior comfort and a dressier look compared to other sporty steel bracelets of the time. Now, the coveted Ladder bracelet makes its grand return in the A384 Revival, completing the retro look and feel of the revived chronograph icon.

PILOT TYPE 20 RESCUE Reference: 03.2434.679/20.I010

On the subject of icons, Zenith’s line of Pilot watches – specifically the Type 20 collection – is an airborne legend in its own right. Based on the earliest Zenith dashboard instruments that accompanied pioneers like Louis Blériot during the dawn of aviation, the Pilot Type 20 revisits the archetypical Pilot’s Watch design, with a strong vintage accent. Yet until now, the collection has been heavily influenced by the aesthetic of such historical instruments, using a combination of aged case materials and textured colored dials to emulate an early 20th century look. Today, Zenith has revisited its iconic Pilot’s Watch to offer the utility of a modern instrument with all the analog charm of the past. The Pilot Type 20 Rescue and Pilot Type 20 Chronograph Rescue are offered in a stainless steel case with a slate-grey sunray dial, with the signature oversized Arabic numerals entirely made out of Super-LumiNova®.

From the tarmac to the cockpit, yellow is a recurring color in the world of aircrafts that grabs the attention for vital controls and information. Securing this rugged model firmly to the wrist is an aged black calfskin leather strap recalling the classic shearling leather flight jacket, with rivets and a titanium pin buckle as well as a distinctive tab recalling those seen on vintage pilot helmets.

ZENITH: TIME TO REACH YOUR STAR.

Zenith exists to inspire individuals to pursue their dreams and make them come true – against all odds. Since its establishment in 1865, Zenith became the first watch manufacture in the modern sense of the term, and its watches have accompanied extraordinary figures that dreamt big and strived to achieve the impossible – from Louis Blériot’s history-making flight across the English Channel to Felix Baumgartner’s record-setting stratospheric free-fall jump.

With innovation as its guiding star, Zenith features exceptional in-house developed and manufactured movements in all its watches. From the first automatic chronograph, the El Primero, to the fastest chronograph with a 1/100th of a second precision, the El Primero 21, as well as the Inventor that reinvents the regulating organ by replacing the 30+ components with a single monolithic element, the manufacture is always pushing the boundaries of what’s possible. Zenith has been shaping the future of Swiss watchmaking since 1865, accompanying those who dare to challenge themselves and break barriers. The time to reach your star is now.

  DEFY 21 LAND ROVER EDITION Reference: 97.9000.9004/01.R787

DEFY 21 LAND ROVER EDITION Reference: 97.9000.9004/01.R787

Key points: Tribute to the legendary Defender. 1/100th of a second chronograph movement. Exclusive dynamic signature of one rotation per second. 1 escapement for the Watch (36,000 VpH – 5 Hz); 1 escapement for the Chronograph (360,000 VpH – 50 Hz). Special linear power reserve indicator. TIME LAB Chronometer certified. Limited edition of 250 units

Movement: El Primero 9004 automatic

Frequency 36,000 VpH (5 Hz)

Power reserve approx. 50 hours

Functions : 1/100th of a second chronograph functions. Chronograph power-reserve indication at 12 o’clock. Hours and minutes in the centre. Small seconds at 9 o’clock, Central chronograph hand, 30-minute counter at 3 o’clock, 60-second counter at 6 o’clock

Price 13900 CHF

Material: Microblasted Titanium

Water resistance: 10 ATM

Dial: Special matt grey dial with special power reserve indicator

Hour markers: transferred and coated with Super-LumiNova®SLN C3

Hands Special anthracite hands, faceted and coated with Super-LumiNova®SLN C3

Bracelet & Buckle: Grey Rubber “Adventure”. Comes with an additional “Country” fabric effect strap. Microblasted titanium double folding buckle

  DEFY 21 CARL COX EDITION Reference: 10.9001.9004/99.R941

DEFY 21 CARL COX EDITION Reference: 10.9001.9004/99.R941

Key points: Full carbon model: case, pushers, crown and buckle head

Carbon bezel with SuperLuminova. 1/100th of a second chronograph movement. Exclusive dynamic signature of one rotation per second for the Chrono hand. 1 escapement for the Watch (36,000 VpH – 5 Hz);1 escapement for the Chronograph (360,000 VpH – 50 Hz). TIME LAB Chronometer certified. Limited edition of 200 units

Movement : El Primero 9004 automatic

Frequency 36,000 VpH (5 Hz)

Power reserve approx. 50 hours

Black colored main plate on movement

Functions: Hours and minutes in the centre. Special rotating small second disc at 9 o’clock. 1/100th of a second chronograph : Central chronograph hand – one turn per second, 30-minute counter at 3 o’clock,  60-second counter at 6 o’clock, Chronograph power-reserve indication at 12 o’clock

Price 19500 CHF

Material: Black carbon

Water resistance: 10 ATM

Dial: Matt black

Hour markers: Black ruthenium-plated, faceted and coated with Super-LumiNova Black SLN

Hands: Rhodium-plated, faceted and coated with Super-LumiNova Black SLN

Bracelet & Buckle: Black Rubber with red “Cordura effect” & Super-LumiNova stitchings. Titanium double folding buckle with black carbon head.

  EL PRIMERO A384 REVIVAL Reference: 03.A384.400/21.M384

EL PRIMERO A384 REVIVAL Reference: 03.A384.400/21.M384

Key points: Revival of the 1969 Reference A384. Original case with 37 mm diameter

Automatic El Primero column-wheel chronograph. Original Revival of the “Gay Frères” ladder bracelet

Movement: El Primero 400 Automatic

Frequency: 36,000 VpH (5 Hz)

Power-reserve.: min. 50 hours

Functions: Hours and minutes in the centre. Small seconds at 9 o’clock

Chronograph: Central chronograph hand, 12-hour counter at 6 o’clock, 30-minute counter at 3 o’clock. Tachymetric scale. Date indication at 4:30

Price 8400 CHF

Material: Stainless steel Water-resistance: 5 ATM Dial: White-lacquered dial with black-coloured counters Hour-markers: Rhodium-plated, faceted and coated with Super-LumiNova®SLN C3 Hands: Rhodium-plated, faceted and coated with Super-LumiNova®SLN C3

Bracelet & Buckle: “Ladder” bracelet with double folding clasp

  PILOT TYPE 20 RESCUE Reference: 03.2434.679/20.I010

PILOT TYPE 20 RESCUE Reference: 03.2434.679/20.I010

Key points: New 45-MM Brushed steel case. Case-back engraved with Zenith flying instruments logo. Inspired by the legendary Zenith aviation watches. Arabic numerals entirely made of SuperLuminova

Movement: Elite 679 automatic

Frequency: 28,800 VpH (4Hz)

Power-reserve: min. 50 hours

Functions Hours and minutes in the centre. Central second hand

Price 7400 CHF

Case-back: Stainless steel case-back engraved with the Zenith flying instruments logo

Material: Stainless steel

Water-resistance: 10 ATM

Dial: Slate-grey-toned sunray-patterned

Hour-markers:  Arabic numerals in Super-LumiNova SLN C1

Hands:  Rhodium-plated, faceted and coated with Super-LumiNova SLN C1

Bracelet & Buckle: Black vintage calfskin leather strap with rivets. Titanium pin buckle.

  PILOT TYPE 20 RESCUE CHRONOGRAPH Reference: 03.2434.4069/20.I010

PILOT TYPE 20 RESCUE CHRONOGRAPH Reference: 03.2434.4069/20.I010

Key points: New 45-MM Brushed steel case, Automatic El Primero column-wheel chronograph, Case-back engraved with Zenith flying instruments logo, Inspired by the legendary Zenith aviation watches, Arabic numerals entirely made of Super-LumiNova

Movement: Movement El Primero 4069, Automatic

Frequency: 36,000 VpH (5Hz)

Power-reserve: min. 50 hours

Functions: Hours and minutes in the centre. Small seconds at 9 o’clock.: Chronograph: Central chronograph hand, 30-minute counter at 3 o’clock

Price  7900 CHF

Case-back: Stainless steel case-back engraved with the Zenith flying instruments logo

Material: Stainless steel

Water-resistance: 10 ATM

Dial: Slate-grey-toned sunray-patterned

Hour-markers:  Arabic numerals in Super-LumiNova SLN®C1

Hands:  Rhodium-plated, faceted and coated with SuperLuminova SLN®C1

Bracelet & Buckle: Black vintage calfskin leather strap with rivets. Titanium pin buckle.

  DEFY MIDNIGHT Reference: 03.9200.670/02.MI001

DEFY MIDNIGHT Reference: 03.9200.67/02.MI001

Key points: New 36-MM case dedicated for Women. Gradient dial with starry sky pattern. New Interchangeable strap system. Strap box included : 3 different colors straps + a interchangeable folding buckle

Movement: Elite 670 SK, Automatic

Frequency: 28,800 VpH (4Hz)

Power-reserve: min. 48 hours

Finishing: New star-shaped oscillating weight with satined finishings

Functions: Hours and minutes in the centre. Central seconds hand. Date indication at 3 o’clock

Price 8900 CHF

Material: Stainless steel

Water-resistance: 10 ATM

Dial: Gradient grey

Gemsetting: Carats 0.1 cts, Dial 11 VS brilliant-cut diamonds

Hour-markers: Diamond hour-markers

Hands: Rhodium-plated and faceted, coated with Super-Luminova SLN

Bracelet & Buckle: Stainless steel with interchangeable strap system. Comes with 3 different colored straps.

  DEFY MIDNIGHT Reference: 03.9200.670/01.MI001

DEFY MIDNIGHT Reference: 03.9200.670/01.MI001

Key points: New 36-MM case dedicated for Women. Gradient dial with starry sky pattern. New Interchangeable strap system. Strap box included : 3 different colors straps + an interchangeable folding buckle

Movement: Elite 670 SK, Automatic

Frequency: 28,800 VpH (4Hz)

Power-reserve: min. 48 hours

Functions: Hours and minutes in the centre. Central seconds hand. Date indication at 3 o’clock

Price 8900 CHF

Gemsetting: Carats 0.1 cts, Dial 11 VS brilliant-cut diamonds

Material: Stainless steel

Water-resistance: 10 ATM

Dial: Gradient blue

Gemsetting: Carats 0.1 cts, Dial 11 VS brilliant-cut diamonds

Hour-markers: Diamond hour-markers

Hands: Rhodium-plated and faceted, coated with Super-Luminova SLN

Bracelet & Buckle: Stainless steel with interchangeable strap system. Comes with 3 different colored straps.

  DEFY MIDNIGHT Reference: 03.9200.670/03.MI001

DEFY MIDNIGHT Reference: 03.9200.670/03.MI001

Key points: New 36-MM case dedicated for Women. Gradient dial with starry sky pattern. New Interchangeable strap system. Strap box included : 3 different colors straps + an interchangeable folding buckle

Movement: Elite 670 SK, Automatic

Frequency: 28,800 VpH (4Hz)

Power-reserve: min. 48 hours

Functions: Hours and minutes in the centre. Central seconds hand. Date indication at 3 o’clock

Price 8900 CHF

Material: Stainless steel

Water-resistance: 10 ATM

Dial: Gradient mother of pearl

Gemsetting: Carats 0.1 cts, Dial 11 VS brilliant-cut diamonds

Hour-markers: Diamond hour-markers

Hands: Rhodium-plated and faceted gold, coated with Super-Luminova SLN

Bracelet & Buckle: Stainless steel with interchangeable strap system. Comes with 3 different colored straps.

  DEFY MIDNIGHT Reference: 16.9200.670/01.MI001

DEFY MIDNIGHT Reference: 16.9200.670/01.MI001

Key points: New 36-MM case dedicated for Women. Gradient dial with starry sky pattern. New. Interchangeable strap system. Strap box included : 3 different colors straps + an interchangeable folding buckle

Movement: Elite 670 SK, Automatic

Frequency: 28,800 VpH (4Hz)

Power-reserve: min. 48 hours

Functions: Hours and minutes in the centre. Central seconds hand. Date indication at 3 o’clock

Price 10900 CHF

Gemsetting: Carats 1.48 cts, Bezel 44 VS brilliant-cut diamonds, Dial 11 VS brilliant-cut diamonds

Material: Stainless steel with diamond-set bezel

Water-resistance: 10 ATM

Dial: Gradient blue

Hour-markers: Diamond hour-markers

Hands: Rhodium-plated and faceted, coated with Super-Luminova SLN

Bracelet & Buckle: Stainless steel with interchangeable strap system. Comes with 3 different colored straps.

  DEFY MIDNIGHT Reference: 16.9200.670/02.MI001

DEFY MIDNIGHT Reference: 16.9200.670/02.MI001

Key points: New 36-MM case dedicated for Women. Gradient dial with starry sky pattern. New Interchangeable strap system. Strap box included : 3 different colors straps + an interchangeable folding buckle

Movement: Elite 670 SK, Automatic

Frequency: 28,800 VpH (4Hz)

Power-reserve: min. 48 hours

Functions: Hours and minutes in the centre, Central seconds hand, Date indication at 3 o’clock

Price 10900 CHF

Gemsetting: Carats 1.48 cts, Bezel 44 VS brilliant-cut diamonds, Dial 11 VS brilliant-cut diamonds

Material: Stainless steel with diamond-set bezel

Water-resistance: 10 ATM

Dial: Gradient grey

Hour-markers: Diamond hour-markers. Comes with 3 different colored straps.

Hands: Rhodium-plated and faceted, coated with Super-Luminova SLN

Bracelet & Buckle: Stainless steel with interchangeable strap system. Comes with 3 different colored straps.

  DEFY MIDNIGHT Reference: 16.9200.670/03.MI001

DEFY MIDNIGHT Reference: 16.9200.670/03.MI001

Key points: New 36-MM case dedicated for Women. Gradient dial with starry sky pattern. New Interchangeable strap system. Strap box included : 3 different colors straps + an interchangeable folding buckle

Movement: Elite 670 SK, Automatic

Frequency: 28,800 VpH (4Hz)

Power-reserve: min. 48 hours

Functions: Hours and minutes in the centre. Central seconds hand. Date indication at 3 o’clock

Price 10900 CHF

Gemsetting: Carats 1.48 cts, Bezel 44 VS brilliant-cut diamonds, Dial 11 VS brilliant-cut diamonds

Material: Stainless steel with diamond-set bezel

Water-resistance: 10 ATM

Dial: Gradient mother of pearl

Hour-markers: Diamond hour-markers

Hands: Rhodium-plated and faceted, coated with Super-Luminova SLN

Bracelet & Buckle: Stainless steel with interchangeable strap system. Comes with 3 different colored straps.

  ELITE CLASSIC – 36MM Reference: 16.3200.670/02.C832

ELITE CLASSIC – 36MM Reference: 16.3200.670/02.C832

Key points: Entirely restyled case & dial : Redefine the codes of Elegance. Automatic Elite calibre beating at 28,800 VpH. Date indication at 6 o’clock. Stop second mechanism

Movement: Elite 670 SK, Automatic

Frequency: 28,800 VpH (4Hz)

Power-reserve: min. 48 hours

Functions: Hours and minutes in the centre. Central seconds hand. Date indication at 6 o’clock

Price 7900 CHF

Gemsetting: Carats 0.60 cts, Bezel 75 VS brilliant-cut diamonds

Material: Stainless steel with diamond-set bezel

Water-resistance: 5 ATM

Dial: Blue-toned sunray-patterned

Hour-markers: Rhodium-plated and faceted

Hands: Rhodium-plated and faceted

Bracelet & Buckle: Blue jean alligator leather with protective rubber lining. Stainless steel pin buckle

  ELITE CLASSIC – 36MM Reference: 22.3200.670/01.C831

ELITE CLASSIC – 36MM Reference: 22.3200.670/01.C831

Key points: Entirely restyled case & dial : Redefine the codes of Elegance. Automatic Elite calibre beating at 28,800 VpH. Date indication at 6 o’clock. Stop second mechanism

Movement: Elite 670 SK, Automatic

Frequency: 28,800 VpH (4Hz)

Power-reserve: min. 48 hours

Functions: Hours and minutes in the centre. Central seconds hand. Date indication at 6 o’clock

Price 14900 CHF

Gemsetting: Carats 0.60 cts, Bezel 75 VS brilliant-cut diamonds

Material: 18-ct rose gold with diamond-set bezel

Water-resistance: 5 ATM

Dial: Silver-toned sunray-patterned

Hour-markers: Gold-plated and faceted

Hands: Gold-plated and faceted

Bracelet & Buckle: Burgundy alligator leather with protective rubber lining. Rose gold pin buckle

  ELITE CLASSIC – 40.5MM Reference: 03.3100.670/02.C922

ELITE CLASSIC – 40.5MM Reference: 03.3100.670/02.C922

Key points: Entirely restyled case & dial : Redefine the codes of Elegance. Automatic Elite calibre beating at 28,800 VpH. Date indication at 6 o’clock. Stop second mechanism

Movement Elite 670 SK, Automatic

Frequency: 28,800 VpH (4Hz)

Power-reserve: min. 48 hours

Functions: Hours and minutes in the centre. Central seconds hand. Date indication at 6 o’clock

Price 5900 CHF

Material: Stainless steel

Water-resistance: 5 ATM

Dial: Blue-toned sunray-patterned

Hour-markers: Rhodium-plated and faceted

Hands: Rhodium-plated and faceted

Bracelet & Buckle: Blue alligator leather with protective rubber lining. Steel double folding clasp

  ELITE CLASSIC – 40.5MM  Reference: 18.3100.670/01.C920

ELITE CLASSIC – 40.5MM  Reference: 18.3100.670/01.C920

Key points: Entirely restyled case & dial : Redefine the codes of Elegance. Automatic Elite calibre beating at 28,800 VpH. Date indication at 6 o’clock. Stop second mechanism

Movement: Elite 670 SK, Automatic

Frequency: 28,800 VpH (4Hz)

Power-reserve: min. 48 hours

Functions: Hours and minutes in the centre. Central seconds hand. Date indication at 6 o’clock

Price 12900 CHF

Material: 18-ct Rose gold

Water-resistance: 5 ATM

Dial: Silver-toned sunray-patterned

Hour-markers: Gold-plated and faceted

Hands: Gold-plated and faceted

Bracelet & Buckle: Brown alligator leather with protective rubber lining. Rose gold pin buckle.

  ELITE MOONPHASE – 36MM Reference: 16.3200.692/03.C833

ELITE MOONPHASE – 36MM Reference: 16.3200.692/03.C833

Key points: Entirely restyled case & dial : Redefine the codes of Elegance. Elite Calibre 692: ultra-thin movement powering a moonphase indication. Crown-adjusted moonphase indication. Stop second mechanism

Movement: Elite 692

Frequency: 28,800 VpH (4Hz)

Power-reserve: min. 48 hours

Functions: Hours and minutes in the centre. Small second at 9 o’clock.

Moonphase indication at 6 o’clock

Price: 8900 CHF

Gemsetting: Carats 0.60 cts, Bezel 75 VS brilliant-cut diamonds

Material: Stainless steel with diamond-set bezel

Water-resistance: 5 ATM

Dial: Slate-grey-toned sunray-patterned

Hour-markers: Rhodium-plated and faceted

Hands: Rhodium-plated and faceted

Bracelet & Buckle: Grey alligator leather with protective rubber lining. Stainless steel pin buckle

  ELITE MOONPHASE – 36MM  Reference: 22.3200.692/01.C832

ELITE MOONPHASE – 36MM  Reference: 22.3200.692/01.C832

Key points : Entirely restyled case & dial : Redefine the codes of Elegance. Elite Calibre 692: ultra-thin movement powering a moonphase indication. Crown-adjusted moonphase indication. Stop second mechanism

Movement: Elite 692

Frequency: 28,800 VpH (4Hz)

Power-reserve: min. 48 hours

Functions: Hours and minutes in the centre. Small second at 9 o’clock.

Moonphase indication at 6 o’clock

Price 15900 CHF

Gemsetting: Carats 0.60 cts, Bezel 75 VS brilliant-cut diamonds

Material: Rose gold with diamond-set bezel

Water-resistance: 5 ATM

Dial: Silver-toned sunray-patterned

Hour-markers: Gold-plated and faceted

Hands: Gold-plated and faceted

Bracelet & Buckle: Blue jean alligator leather with protective rubber lining. Rose gold pin buckle

  ELITE MOONPHASE – 40.5MM  Reference: 18.3100.692/01.C922

ELITE MOONPHASE – 40.5MM  Reference: 18.3100.692/01.C922

Key points: Entirely restyled case & dial : Redefine the codes of Elegance. Elite Calibre 692: ultra-thin movement powering a moonphase indication. Crown-adjusted moonphase indication. Stop second mechanism.

Movement: Elite 692

Frequency: 28,800 VpH (4Hz)

Power-reserve: min. 48 hours

Functions: Hours and minutes in the centre. Small second at 9 o’clock.

Moonphase indication at 6 o’clock

Price: 13900 CHF

Material: 18-ct Rose gold

Water-resistance: 5 ATM

Dial: Silver-toned sunray-patterned

Hour-markers: Gold-plated and faceted

Hands: Gold-plated and faceted

Bracelet & buckle: Blue alligator leather with protective rubber lining. Rose gold pin buckle

  ELITE MOONPHASE – 40.5MM Reference: 03.3100.692/03.C923

ELITE MOONPHASE – 40.5MM Reference: 03.3100.692/03.C923

Key points: Entirely restyled case & dial : Redefine the codes of Elegance. Elite Calibre 692: ultra-thin movement powering a moonphase indication. Crown-adjusted moonphase indication. Stop second mechanism

Movement: Elite 692

Frequency: 28,800 VpH (4Hz)

Power-reserve: min. 48 hours

Functions: Hours and minutes in the centre. Small second at 9 o’clock.

Moonphase indication at 6 o’clock

Price:  6900 CHF

Material: Stainless steel

Water-resistance: 5 ATM

Dial: Slate-grey-toned sunray-patterned

Hour-markers: Rhodium-plated and faceted

Hands: Rhodium-plated and faceted

Bracelet & buckle: Grey alligator leather with protective rubber lining. Stainless steel pin buckle

  DEFY 21 LAND ROVER EDITION Reference: 97.9000.9004/01.R787

DEFY 21 CARL COX EDITION Reference: 10.9001.9004/99.R941

EL PRIMERO A384 REVIVAL Reference: 03.A384.400/21.M384

PILOT TYPE 20 RESCUE Reference: 03.2434.679/20.I010

PILOT TYPE 20 RESCUE Reference: 03.2434.679/20.I010

PILOT TYPE 20 RESCUE CHRONOGRAPH Reference: 03.2434.4069/20.I010

DEFY 21 CARL COX EDITION Reference: 10.9001.9004/99.R941

EL PRIMERO A384 REVIVAL Reference: 03.A384.400/21.M384

DEFY 21 LAND ROVER EDITION Reference: 97.9000.9004/01.R787

ELITE MOONPHASE – 40.5MM Reference: 03.3100.692/03.C923

ELITE MOONPHASE – 40.5MM  Reference: 18.3100.692/01.C922

ELITE MOONPHASE – 36MM  Reference: 22.3200.692/01.C832

ELITE MOONPHASE – 36MM Reference: 16.3200.692/03.C833

ELITE CLASSIC – 40.5MM  Reference: 18.3100.670/01.C920

ELITE CLASSIC – 40.5MM Reference: 03.3100.670/02.C922

ELITE CLASSIC – 36MM Reference: 22.3200.670/01.C831

ELITE CLASSIC – 36MM Reference: 16.3200.670/02.C832

DEFY MIDNIGHT Reference: 16.9200.670/03.MI001

DEFY MIDNIGHT Reference: 16.9200.670/02.MI001

DEFY MIDNIGHT Reference: 16.9200.670/01.MI001

DEFY MIDNIGHT Reference: 03.9200.670/03.MI001

DEFY MIDNIGHT Reference: 03.9200.670/01.MI001

DEFY MIDNIGHT Reference: 03.9200.670/02.MI001

Zenith places women in the spotlight in Dubai at the inaugural edition of LVMH Watch Week – Dubai 2020 Zenith embarks on the debut edition of LVMH Watch Week with a new kind of innovation in its DEFY collection with DEFY Midnight, a uniquely conceived line of women’s watches with a dreamy, cosmic touch.