#eleanor tinlin

[idontwikeit]

thanks to @weather-mood, we discovered Interview With the Vampire Season 2 Soundtrack which is yet to be released! The tracklist contains major spoilers so beware! The tracklist details and short samples for free listening is at the end of this post

Imagine Never Being Able To Dream

2. She Could Dream, Thank You

(Synchron Stage Orchestra, Bernhard Melbye Voss)

3. The Whole World Was Ready To Return

(Synchron Stage Orchestra, Bernhard Melbye Voss)

4. Paris Sucks

(Daniel Hart, Evan Smith, Synchron Stage Orchestra, Bernhard Melbye Voss)

5. Who Are The Young Men

(Daniel Hart, Evan Smith, Marc Osterer, Synchron Stage Orchestra, Bernhard Melbye Voss)

6. Armand For You

(Synchron Stage Orchestra, Bernhard Melbye Voss)

7. Raglan James

(Daniel Hart, Damir Orascanin, Synchron Stage Orchestra, Bernhard Melbye Voss)

8. The Fourth Great Law

(Synchron Stage Orchestra, Bernhard Melbye Voss)

9. A Vein Winding Through The Heart Of Paris

(Daniel Hart, Veronika Vitazkova, Anna Frisanova, Synchron Stage Orchestra, Bernhard Melbye Voss)

10. I Don't Like Windows When They're Closed

(Daniel Hart, Alina Cherone, Synchron Stage Orchestra, Bernhard Melbye Voss)

11. Amadeo

(Daniel Hart, Eleanor Tinlin)

12. Madeleine

(Shruti Kumar, Synchron Stage Orchestra, Bernhard Melbye Voss)

13. Abducted

(Synchron Stage Orchestra, Bernhard Melbye Voss)

14. Take As Many With Me As I Could

(Daniel Hart, Bobak Lotfipour, Synchron Stage Orchestra, Bernhard Melbye Voss)

15. Hello Francis, Goodbye Francis

(Daniel Hart, Evan Smith, Synchron Stage Orchestra, Bernhard Melbye Voss)

16. First Time In New Orleans

(Shruti Kumar, Synchron Stage Orchestra, Bernhard Melbye Voss

17. I Didn't Know It Was A Gift

(Synchron Stage Orchestra, Bernhard Melbye Voss)

18. Ladies And Gentlemen

(Daniel Hart, Bobak Lotfipour, Hideaki Aomori)

19. Jardin De Satan

(Daniel Hart, Hideaki Aomori)

20. Come To Me Again

(Daniel Hart, Sam Reid)

21. Annika

(Daniel Hart, Iosua Dascal, Damir Orascanin, Synchron Stage Orchestra, Bernhard Melbye Voss)

22. Le Bucheron

(Daniel Hart, Damir Orascanin, Synchron Stage Orchestra, Bernhard Melbye Voss)

23. Flirty Salesman Shuffle

(Daniel Hart, Bobak Lotfipour, Evan Smith)

24. Woodcutter

25. The Five Great Laws

26. Baby Lu

(Synchron Stage Orchestra, Bernhard Melbye Voss)

27. Je N'Aime Pas Fenêtres Quand Fermée

(Daniel Hart, Alina Cherone)

28. For A Young Violinist Again

29. Love Wronged

30. In Nomine Magni

31. Followed Closely By My Madness

(Synchron Stage Orchestra, Bernhard Melbye Voss)

32. Vien À Moi Encore

(Synchron Stage Orchestra, Bernhard Melbye Voss)

33. Come To Me On Rue Royale

Soundtrack details and samples: https://www.prestomusic.com/classical/products/9625720--interview-with-the-vampire-season-2-original-television-series-soundtrack

[armandslestat]

A lesmand playlist for season three

Tracklist:

Problème d'èmotion - Igorrr

Stalker - IAMX

Nothing to Fear - BURNS, Daughters of the Deep

Vièn a Moi Encore - Daniel Hart

Pray - Soap&Skin

The World is a Savage Garden - Daniel Hart

Abdication - Abel Korzeniowski

Sonata No. 14 "Moonlight" in C-Sharp - Ludwig Van Beethoven, Paul Lewis

Holes in Your Coffin - PHILDEL

Yumeji's Theme - Ester Abrami, The City of Prauge Orchestra

A Vampires Heart - Peter Gundry

Quagmire - Satin Puppets

Les Mèmories Blessèes - Dark Sanctuary

A Beautiful Delusion - Peter Gundry

The kiss - Luigi Rubino

Love Crime, Amuse-Bouche Version - Siouxie

Violate - Bones Domingo

Fight like Gods - Chelsea Wolfe

Amadeo - Daniel Hart, Eleanor Tinlin

Too Late to Say Goodbye - Cage the Elephant

He Xouy - Axius Link, Vavilonec

Doomsday Blue (Intimate Version) - Bambie Thug

The Art of Survival - Ramsey

Slept so Long - Jay Gordon

If - Unloved

[doomedandstoned]

England’s URZAH Charges Out of the Gate with Astonishing Tour de Force

~Doomed & Stoned Debuts~

By Billy Goate

Yes! This is what I needed to get my week revving. An explosion of color, energy, and rage. Pure mayhem. This is URZAH from Bristol. With a mix of post-sludge and metalcore, the band has whipped up a frenzy in 'The Scorching Gaze' (2024), their debut full-length following two brutal EPs in 2020 and 2022.

Drums pound with guitars, bass, and vocals from the team of Ed Fairman, Tom McElveen, Les Grodek, and James Brown. The form a great onslaught of synergistic motion for opener "I, Empyrean." A song of cosmic proportion, Empyrean was said to be the abode of God, higher than the highest heavens, a place of burning glory. "We’ll meet again, two worlds reborn, this scarlet crown, thou shalt adorn," sings frontman Ed Fairman.

"Lacrimare (Misery's Shadow)" hits you with a barrage of incendiary arrows hoisted through the air in unrelenting rhythmic fashion, erupting into a firestorm without mercy. The song speaks of unbearable loneliness ("hollow and numb") borne of chaos and grief. "Lacrima" is the Latin word for "tear," so a lacrimare can only be a life torn apart again and again, both in reality and in heart.

Next up is "Immateria Noir", a 7-minute behemoth, which heralds a "bold sun burning." One can hardly look at the sun, much less stare at it. It is a witness to this world of confusion, hurt, and loss. We will be one with the solar giant when the earth is one day consumed by it in "sunlit obsidian." It is indeed the "essence of omnipresence," as we cannot escape the sun's gaze (explaining why our forebears worshiped it). The song feels like a sanguine messenger of doom, with hints of tragedy and regret along the way in the guitars especially.

After a surreal interlude, dissonant strumming and unrelenting drums bode an ominous warning as "A Storm Is Ever Approaching," a track which speaks of "doomed enterprises" and "divided lives." The guitars are the star of the show here, with head-banging deft and booming low-end.

Reprieve from the ire of the tempest comes with "The Aesthetic," featuring the lovely, reassuring strains of guest singer Eleanor Tinlin. It's short but sweet, with hints of tensions rising in its waning moments.

"Of Decay" is next, with more apocalyptic overtones in the lyrics. "Shadows surround me," Fairman barks, "baptized in ashes, frozen in time." Guitars swirl with grooves, while the rhythm section rumbles forward like the approaching hand of Death itself. "The dream is over," the vocalist declares, as the drums thunder with an air of finality. The downtuned low-end is nothing short of intimidating in the last minute of the song.

The final two songs concern Thera, which may be an allusion to an ancient abandoned settlement which sits atop a limestone hill on the Greek island of Santorini. It was abandoned, I believe, due to volcanic activity in the region. While I may be missing much of the lore behind this, "Thera I: Sea of Flames" catches us up on its symbolic meaning to the band. Guitars wind, wallow, and wisp with damning doom chords, underscoring lyrics that speak of "sacred pillars" that "spire high" and then "fields of fire," "plumes of smoke," and "inferno" that bring about the once proud city's ultimate desolation, promising a "molten rebirth."

The record draws to a close with "Thera II: Embers of Descent," which combines with the previous track to form a 15-minute epic. Guitars meet out buzzing repeated notes that have the feel of a languishing journey through ruins of smoke and brimstone. "Dreams in slow motion," Fairman cries, "Edge of the abyss." Screeching guitars at 3:22 sound like the haunting echoes of some long forgotten human drama, accompanied by chugging guitars and drums that pummel the soil. Bittersweet guitar passages soar above the desolation, but are soon swallowed up by it.

The Scorching Gaze is loud, brash, and in your face, but a great compliment to your speakers and headphones thanks to the work of Josh Gallop in Bath's Stage 2 Studios. Tom McElveen's guitars are captured with crisp clarity and great emotion.

Look for Urzah's new LP on Friday, May 3rd, released by APF Records on a limited run of cassettes, as well as on compact disc (pre-order here). Stick it on a playlist with Cult Leader, Elder, Converge, Gojira, and Cave In.

Give ear...

Urzah · THE SCORCHING GAZE

SOME BUZZ

APF Records' latest signing URZAH deliver a powerful and gargantuan storm of savage riffs on their blistering debut album THE SCORCHING GAZE Post/progressive sludge metal newcomers URZAH present their fiery debut album THE SCORCHING GAZE. After only a few short years of actively recording and gigging, Urzah have set Bristol's stacked heavy underground scene ablaze and captured the attention of Manchester's beloved APF Records, home of Desert Storm, Goblinsmoker, The Hyena Kill, Video Nasties et al. Through a commanding and captivating album of complex and wildly fluctuating songs brimming with sharp melodies, Urzah deliver a barrage of dynamic and intricate riffs boasting influences of post-metal, sludge, metalcore and moments of pure surprise.

From the second you hit play, opening track and leading single 'I, Empyrean' entices the listener and grabs them by the throat, kick starting a sprawling web of chugging guitars, soaring leads, stabbing bass and commanding powerhouse drumming. Progressive and lengthy cuts such as riff workout 'Immateria Noir' sit comfortably alongside the sheer face-melting gut-punch attack 'Of Decay'. The Scorching Gaze isn't without brilliant and daring curveballs, including the sweetly nested ballad 'The Aesthetic', lead by contemplative clean guitars and guest vocalist Eleanor Tinlin's expressive singing.

The Scorching Gaze by Urzah

The Scorching Gaze is a record guided by thought-provoking lyrics and titles, inspired strongly by both the cosmic horror writings of HP Lovecraft and more directly, the late Cormac McCarthy's novel The Crossing. Akin to these works, Urzah's songs channel a narrative of inward cerebral odyssey -- life's cycles through desolation and joy, triumph and pain, violence and beauty, as well as the permanency of choice and consequence. All of this culminates in Urzah's grand finale, the fifteen minute two-part 'Thera' suite, where the quartet go balls to the wall, slowing down to a sensational sludgy pace and confronting us with their heaviest and most crushing onslaught of all.

In order to capture more density, texture and sonic space in their sound, Urzah recorded The Scorching Gaze with producer, engineer and Phoxjaw guitarist Josh Gallop at his own Stage 2 Studios in Bath. This has resulted in a thickened and balanced soundscape across these winding and complex songs that are always evolving and changing.

The quartet have brought in key additional players into the studio space, with Eleanor Tinlin of Choir Noir (who have performed live and recorded with Bring Me The Horizon and Frank Turner) providing dreamy clean vocals, as well as cellist (and bassist of stoner metallers Froglord) Luke Clemenger to lay down sorrowful strings.

Topping everything off is the vibrant cover art by the talented Indonesian gig poster and album cover illustrator Putra Satria Nugraha, expertly evoking the tapestry of layers, depths and mysteries that this album holds. The Scorching Gaze is a brightly ambitious and rewarding listen that reveals new layers and intricacies through repeat listens, boldly striding its maze of blistering riffs, dynamic song structures and flaming intensity.

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Get Their Music

[nofatclips]

Egg and Soldiers by Cosmo Sheldrake from the album The Much Much How How and I - Director/Producer - May Kindred-Boothby

[mirmaar]

Dusty rays and shattered beams, Slippery roads and sunburned dreams, Winter’s loss becomes summers gleam, Come wobbling out of the ocean. Come trickle back to den and roost, Come claw and tooth, And fish and goose. Come fin and tail, And paw and tooth, For life has a passion for living.

Distant thoughts become cluttered mind, What is a drop in the ocean? Far and few but long behind, We’re spun by the heavenly motion. Ring the bell sound made crystalline, Ring out for the cause of all notions, April’s dew becomes Autumn’s wine, Leave everything always unbroken.  

Cosmo Sheldrake: double bass, electric bass, keyboards, percussion, banjo. Eleanor Tinlin : oboe, cor anglais. Ewan Bleach: clarinet. Greg Sinclair: flute. Yusuf Narcin: bass trombone. George Sleightholme: bass clarinet. James Davidson: flugelhorn. Misha Mullov-Abbado: french horn. Jack Steadman: drums. Hale May: backing vocals.

[idontwikeit]

amadeo?

anon do you still like me when I upload it two days later im sorry