#i will be adding more songs to it as hozier has an ep coming out next week but this is basically the final form

[the-butternut-tree]

love is stored in the spring playlists.

that groundhog was right and spring did come early so here’s this year’s spring playlist about a week early <3

[saynomorefic]

hi!! for the WIP game, im very curious about the future waits for no one! 💜

Hiii Tina, sorry it took me so long to answer you! <3

This is the WIP I have done the most for, and I've posted about it here in the past but I sadly can't find my prev posts. This is an abandoned fic that I realized I need to do faaar more research than I'm capable of doing haha.

(Non-Royal AU) Basically Wille and Simon are former schoolmates / aquaintances. Simon got big as an underground indie artist, and then got signed to a major label. Said label owner ended up marrying him, and then Simon finds out that his soon to be ex-husband (and his label exec) has somewhat intentionally sabotaged his career. Cue Wille, entertainment / copyright lawyer who wants to help Simon get the rights back to his music and career. I need to know far more than I do about the international record label scene and Swedish entertainment / media law. It's one of those where you realize you're a little in over your head lol.

Here's a little snippet on Simon's backstory! <3

At some point in the night, his band took the living room stage. They would throw random chord progressions, beats, melodies, and lyrics together until something stuck. He did his typical act, bouncing around the stage, singing into the other performers faces and throwing himself on the ground at the end of the set. Simon felt Carlo’s eyes on him the whole time, and he liked the surge he felt under his gaze, like someone important finally saw him as one of them. At the time, that was the same thing as love. 

Two weeks later, Simon received an offer to open for Sluttider, an upcoming band that had just signed with Retrograde. The catch was that he had to perform solo. Karim was furious, more with Retrograde than Simon. He understood what it meant before Simon did; Retrograde wanted him, only him, and that likely meant new management, different tours, and most of all new bandmates. Simon was in a frenzy trying to come up with solo material. He didn’t want to steal the band’s songs, even if he had written most of the lyrics, so he holed himself up in his old room in Bjärstad and didn’t talk to anyone, writing furiously for weeks.

The show was a resounding success. Zero named him the best upcoming artist, and people began comparing his songwriting to Vampire Weekend, and his sound somewhere between Hozier, Frank Ocean, and the Pixies. Retrograde hired a new management team, and Simon immediately started getting gigs and studio time booked. Sluttider got their first European tour and invited Simon as their opener, and his solo EP was recorded the sparse days he could return to Stockholm between shows. 

The EP release was complete chaos. His former bandmates came forward with stories about diva behavior, backstabbing, and being a sellout. It only added intrigue to his growing notoriety, and most of all, if got him press. Pitchfork dubbed him the new “Golden Child” of Sweden, putting an indie act on the global stage. Retrograde went all in for a festival circuit, so right after he caught his breath from Sluttider, he was back on the road. 

Carlo sent flowers to his hotel room in Paris. 

The note read, Great work, Golden Child. 

[fyeahhozier]

The Irishman is deeper and darker than he's maybe been given credit for... but the geniality and swoon factor remain high.

Variety: Hozier Proves He’s a Career Artist in Gratifying Greek Show

At Hozier’s sold-out show at L.A.’s Greek Friday night, one of the first things you couldn’t help noticing on stage —because it’s still an anomaly — was that his eight-piece lineup was half-male, half-female. Knowing his penchant for socially conscious songs, his decrial of “the anthems of rape culture” in his lyrics, and a general female-friendliness to his appeal, it’s easy to figure this gender parity is a conscious one and think: That is soooo Hozier. Which it is … and so effective, too, like just about every choice he’s made so far in his short, charmed career. On the most practical level, if you can bring in that much female harmony while also getting ace players in the bargain, why wouldn’t you? But it also makes for a good visual emblem of some of the other dual energies Hozier is playing with in his music: darkness and enlightenment; romantic hero and cad; raw blues dude and slick pop hero. He’s got a lot more going on than just being an earnest do-gooder. (Although he does do good, earnestly.)

During Friday’s hour-and-three-quarters set, Hozier focused largely on material from this year’s sophomore album, “Wasteland, Baby!,” which sounded good enough on record but almost uniformly improved in the live experience. Sometimes the upgrade came from making full use of the multi-instrumentalists on hand. The first album’s “Angel of Small Death and the Codeine Scene” now had Hozier on guitar facing off against violinist Emily Kohavi, trading solos — and if it’s hard to hear an electric guitar/fiddle duel without automatically thinking “The Devil Went Down to Georgia,” it was one of many welcome moments making use of the MVP skills of Kohavi, the newest addition to the band. Other times, the improvements on the album versions just had to do with Hozier allowing himself louder and gutsier guitar tones. He’s a bit like Prince, in that way — someone you’d happily listen to playing a very nasty-sounding six-string all night, although he has so many other stylistic fish to fry, which in this case means a still slightly greater emphasis on acoustic finger-picking.

For somebody who made his name on as forlorn but powerful an anthem as his 2014 breakout smash “Take Me to Church,” and who can milk that melodrama for all it’s worth, Hozier has a lot of other modes he can default to. He treads very lightly into the area of soul with songs like “Almost (Sweet Music),” the lyrics of which consist of either name-checking or alluding to some of the great jazz vocal classics of the 20th century, in an idiom that’s not so much jazzy itself as folk-R&B. You could almost cite it as the subtle kind of Memphis-swing thing Justin Timberlake should aspire to, if the tricky polyrhythm and oddly chopped up meters Hozier adds as wrinkles weren’t so un-replicable. Bringing up Stevie Wonder’s “Living for the City” as the night’s sole cover also established that early ‘70s era and sound as an influences he’d like to make perfectly clear. At the other extreme, this son of a blues musician can hard back to those roots so well, in noisy numbers like “Moment’s Silence (Common Tongue)” and the brand new “Jack Boot Jump,” that he could give the Black Keys a run for their money.

“Jack Boot Jump,” which is scheduled to go on an EP of completely fresh material that Hozier said he plans to put out before Christmas, was possibly the highlight of the night, even though — or because — it stripped his excellent band down to just him and longtime drummer Rory Doyle. Having earlier played the current album’s “Nina Cried Power,” which is maybe more of a tribute to other historic protest songs than one of its own, Hozier gave a lengthy introduction to “Jack Boot” indicating that he’s aware of the traps that come with the territory. “I do have some reservations about the words ‘protest song’ and ‘protest music,’” he admitted. “But if you’re familiar with an artist called Woody Guthrie, he wrote the evergreen anthem ‘Tear the Fascists’ down. I was kind of looking into songs in that sort of tradition, that singing out, and I was worried that this is 2019; it’s a very unsubtle way to approach songwriting.” But, he added, “it was a funny few weeks, with 70 people shot in Hong Kong and arrests obviously in Moscow; Chile now at the moment also. And I was thinking, forget about subtle art — what is not subtle is this murder of protesters, and what is not subtle is the jack boot coming down in Orwell’s picture of the future: ‘If you want to imagine the future, imagine a jack boot stomping on a human face forever,’ that chilling quote from ‘1984.’ Anyway, I was just thinking, yeah, f— it, it’s not subtle, but let’s do it.” His electric guitar proceeded to be a machine that kills fascists, and also just slayed as maybe the most rock ‘n’ roll thing he’s written. (Evidence of the new song on the web is scant, or should be, anyway, since he begged the audience “in good faith” not to film it.)

If there’s a knock people have on Hozier, it tends to be the sincerity thing. He’s a nice guy who’s finishing first, which doesn’t necessarily help him become an indie-rock darling or Pitchfork favorite. (Predictably, “Wasteland, Baby!” got a 4.8 rating there — that’s out of 10, not 5.) At the Greek, there was an almost wholesome feeling that would’ve been an immediate turnoff to anyone who insists on having their rock rough, starting with his graciousness in repeatedly naming the band members and repeatedly thanking his opening act (Madison Ryann Ward, a fetchingly husky-voiced Oklahoman filling in on this part of the tour for a laryngitis-stricken Freya Ridings). That extended to a sense of uplift in many of the songs that doesn’t always match the themes of the material. But then, there was the impossible good cheer and attractiveness of the young players, to match Hozier’s own; this is a group where everyone looks as if they could be in Taylor Swift’s band or actually looks like Taylor Swift. The swoon factor in Hozier’s appeal is undeniably high, and it’s safe to say no one left Griffith Park less smitten.

But ladies (and gentlemen), do be aware that Hozier has some dark-side moments that can almost make Leonard Cohen look like Stephen Bishop. The only time he really overtly accentuated that in concert was in introducing and playing the new album’s “No Plan,” a love song that is also an amiable statement of atheism in which Hozier reminds his beloved that the universe is going to collapse upon itself someday. This may be rather like the gambit in which the ‘50s boy gets the girl to make out with him in a fallout shelter, but in any case, Hozier didn’t stint on the end-of-all-things aspect of it, even putting up on screen behind the band a statement from astrophysicist Dr. Katie Mack pointing out humankind’s and the galaxy’s ultimate fate. (“Honestly I never really imagined I’d end up being name-checked in a song for talking about how the universe is eventually going to fade out and die so this is all very exciting for me,” Mack tweeted in replay earlier in the year.) Suffice it to say that with that soulful a vintage ‘70s groove and that fuzz-tastic a guitar line, many babies will be conceived to the tune of “No Plan,” whether it foresees generational lines ending in a godless black hole or not.

Other Hozier songs reveal darker gets more estimable the more you dig into it. With its bird talk, “Shrike” sounds sweet enough, till you realize that a shrike is a kind of bird that impales its prey on thorns, which does add a rather bloody metaphoric undertone to what sounds like a reasonably pacifist breakup song. “Dinner & Diatribes,” meanwhile, is just deeply horny, not thorny. The most brooding song of the set, “Talk,” has verses where Hozier sings in lofty, literary terms about the romantic myth of Orpheus and Eurydice, only to reveal in the chorus that he’s talking to this woman in such high-minded terms because he just wants to charm her into the sack. As a piece of writing, it’s hilarious, establishing a devilish side of Hozier it’s good to hear. As a piece of performance, it’s just sexy.

But as enriching as it is to realize Hozier has a healthy sense of humor in his writing, bad-boy wit is never going to be what you’re going to come away from a Hozier album or show with. The main part of Friday’s concert ended, as expected, with “Take Me to Church,” his outraged take on abuse and homophobia in the scandalized Catholic church — which just happens to be easily taken as a lusty hymn to sexuality. Following that, the large band returned to a stage that had now been decked out in some kind of ivy, as Hozier talked about his love for the late Irish poet Seamus Heaney (whose last words he has tattooed on his arm) and, “since I’ve come this far,” went ahead and recited his poem “Mint,” sharing his hero’s affection for the plant and its “tenacity for life.”

Tenacity is likely to be a buzzword, too, for Hozier, given his leaps and gains as a writer-performer and seeming level head atop his tree-top shoulders. Taller still of voice, musical dexterity and good will — and still just 29 —  he’s somebody the swooners and even some cynics should feel good about settling in with for a very long Irish ride.

[nikatyler]

♂ │ € ß

♂ : Do you make male sims more than female sims (Vise Versa)

I think I’ve overall made more female sims, but I feel like now I might be creating more male sims...then again, lately I don’t create new sims at all, I just mess with the old ones :D

│ : Do you listen to music when you play? If so, what songs?

Only when I’m building or doing something in CAS, if I’m playing in live mode, I have to listen to the sounds of the game or else it feels weird.

As for what I listen...a lot of things, really. Usually it’s my big spotify playlist, which currently consists of 199 songs. It goes from symphonic metal to 80s rock to the cringiest pop because I can’t commit to just one thing haha. Recently I’ve added a lot of songs by Mika because a few days ago a post about him blessed my dash and I decided to look him up on spotify and now I feel bad that for all these years he was the “Grace Kelly guy” in my head, his music is great and really catchy. (Similar to how I feel really bad that for a long time Hozier was the “Take Me To Church guy” in my head, but now we’re getting off topic :D)

€: Have you tried making a celebrity sim?

Nope, I’m bad at creating real people in the sims. If my sim ends up looking like someone famous, it’s a coincidence. Someone once said that Eden reminds them of Michael Jackson...I don’t really see it but okay :D

ß : Least favorite expansion/Most favorite expansion?

I’m not sure which one I’d pick as my least favourite in TS3...maybe Into the Future. It’s not bad, I like the concept, I just never use it. My most favourite would be Seasons because 1) I’m basic and 2) it just adds a lot to the game.

As for TS4, my least favourite EP...Get Famous. Similar to my TS3 pick, I just never really use it. I haven’t even played the Actor career yet and it’s been out for how long? Also, I feel like Get To Work lacks a lot compared to the later EPs...but it has aliens and I’ve used them a lot unlike what comes with GF, so...yeah :D No, it’s probably a tie for these two though. As for my most favourite one, Seasons again. For me that’s just the essential EP.

Thanks for asking! ♥

[shemakesmusic-uk]

INTERVIEW: Nuela Charles.

Nuela Charles, alternative-soul powerhouse, who takes influence from the likes of Alanis Morrissette, Marvin Gaye and more, delivers a style of potent vocals amid sassy instrumentation and percussion.

The third single off her new Distant Danger EP – out now – ‘Danger’ stridently follows in the success of her second album, The Grand Hustle. Produced by Ryan Worsely, it arrives in hot pursuit of snappy first single of the EP ‘Do It Right’ – co-written and produced by Grammy Nominated Rob Kleiner and sophisticated spirited number ‘Troublemaker’, second single of the EP, co-written and produced by production duo Towers and herself.

Nuela revamps ‘Danger’ with ritzy, scandalous visuals. Again, she captivates us with her swanky, cinematic soul-pop fusion, shared with continuous pizzazz. The addictive tones of the single start from the outset – marriages of guitars dart around the mix under Nuela’s silky notes, and a slinky strut of a pre-chorus, where on-beat bass pedals and lyricism, simply scream “sass”. Vocal effects are used tastefully during parts of the track, adding an extra alternative dynamic to the composition, making for a sumptuous sound.

The video has a certain nostalgic, nineties Casper The Friendly Ghost-Halloween Party feel to it; a classic fancy-dress party in a huge mansion. View it below.

We had a chat with the Kenya-born, Canada-based artist all about the new EP and more. Read the interview below.

Hello Nuela! You recently released your new EP Distant Danger. Who or what was it that influenced this body of work?

"This group of songs were influenced, as cliché as it sounds, by my life and those around me. I’m more of a visual person, and tend to be more observant so I take in a lot of what’s around me."

What do you hope fans will take away from Distant Danger?

"I hope that fans will come away with a desire for “something more.” Whether that be more excitement, more adventure, more kindness – whatever it is, I hope it gets them to think about what it is they want out of life. Things can seem so scary before you go through with them, it’s only after you accomplish something that do you look back and think; “that wasn’t so bad afterall…”

How does the new record compare to your previous efforts, The Grand Hustle and Aware?

"With this project, I had more of a hand in the production, and was able to guide where the songs went, giving me full control to make sure the final product stayed true to who I was in that moment."

What was your favourite part recording Distant Danger and have you learned anything new during the creation process?

"For the first time, I was able to record live strings and horns, and that will stay with me for a very long time. The previous two records did have orchestral elements but they were all electronically produced, so being able to get the real thing recorded live was magical."

You've worked with some great writers and producers on this latest release. What have you gained from the experience?

"With every session, I try to go in open and honest, and it was amazing being able to get that back from my co-writers as well. I think, if anything, I’ve allowed myself to be more vocal about the production of the songs, and not be afraid to voice my opinion because at the end of the day, I’m the one singing the songs and I have to be confident about them 100%."

Which new artists/producers are you into at the moment? Is there anyone one you would love to collaborate with in the future?

"I’m always really late when it comes to new artists, but I really love the new Hozier, Sam Fender, and Jordan Rakei. And with regards to future collaborations, I’m always available for John Mayer and Beyonce."

Finally, what's next for Nuela Charles?

"The rest of the year is pretty quiet as I’m putting plans together for more festivals, live shows and music next year."

Distant Danger is available now.

[vinylbay777]

New Albums to Watch for in March 2019

So far, March has been a very impactful month for music releases. We’re not even a full week into the month and already we’ve seen some of the most anticipated new releases of the year hit shelves, including titles from the likes of Weezer, Gary Clark, Jr., Hozier, In Flames, Queensryche, Solange and Bryan Adams.

Those titles are just the beginning. With the month not even half-way over yet, there is still a wealth of highly anticipated titles on the horizon set to drop in March.

Vinyl Bay 777, Long Island’s music outlet, is taking a look at the new albums still to come in March 2019. From rock and pop to metal and beyond, here are six albums you’ll want to watch out for this month.

1.       Buckcherry, ‘Warpaint’: ‘Warpaint’ sees hard rock band Buckcherry return to the more radio-ready songs of their early years. For the album, the band reunited with producer Mike Plotnikoff, who also worked on the band’s breakthrough 2005 album ‘15.’ As much as it is familiar, the band also looks to be expanding their sound and exploring new influences on the album, with a handful of tracks adding a bit of a country-tinge to their hard rock sound. (3/8)

2.       The Picturebooks, ‘The Hands of Time’: A friend told me about The Picturebooks the other day, and I have to say, I’m really excited to hear more. The band mixes heavy alt-rock with folk and blues to create this high-energy, hoedown-ready sound that will have you up and dancing in no time. Check out the title track from their upcoming album and hear what I mean. (3/8)

3.       Karen O and Danger Mouse, ‘Lux Prima’: Yeah Yeah Yeah’s frontwoman Karen O and producer / musician Danger Mouse are finally releasing their first collaboration, ‘Lux Prima,’ this month. A mix of soul and psych-rock, the sound of songs like “Woman” are a bit of a departure from Karen O’s punk roots, but not unwelcome. (3/15)

4.       Billie Eilish, ‘When We All Fall Asleep, Where Do We Go’: Billie Eilish has been having a breakout year so far. The low sung, kind of creepy “bury a friend” and latest single  “Wish You Were Gay” have been doing exceedingly well on alternative radio, propelling the 17-year-old singer to selling out shows in large venues across the country. All that and her debut album doesn’t even come out for another couple of weeks. (3/29)

5.       Simple Creatures, ‘Strange Love’ EP: Blink-182’s Mark Hoppus and All Time Low’s Alex Gaskarth set aside the pop-punk sound both bands are known for with their new collaboration Simple Creatures, instead going for a more pop-rock one. So far, the duo has released two very different tracks, the fast-paced electronic tinged “Drug” and the more 80s pop-inspired title track. Hoppus and Gaskarth seem to have a great cooperative relationship, so I’d be interested to hear what comes out. (3/29)

6.       Ben Platt, ‘Sing To Me Instead’: Best known as the originator of Evan Hansen in Broadway’s ‘Dear Evan Hansen,’ Ben Platt makes the transition over to pop singer with his debut album, ‘Sing To Me Instead.’ From the first few singles, there is a chance the album will end up sounding a bit show tune-y, though you never know. Perhaps the album will be more like his last single “Grow As We Go,” showing off a more singer-songwriter pop-vibe. (3/29)

March 2019 is shaping up to be a great month for new music with a plethora of hot new albums still to come. Check out some of our picks above and let us know which albums you can’t wait hear in the comments below.

                                                             ---

Discover music new and old at Vinyl Bay 777. As Long Island’s top new independent record shop, we have thousands of titles to choose from in a variety of genres to suit most music fans. Browse our wide selection of new and used vinyl records, CDs, cassettes, music DVDs, memorabilia and more in store at our Plainview location or online at vinylbay777.com. Whether you’re looking to find something new to listen to or to rediscover the classics, we have you covered. And with more titles being added to our selection all the time, you never know what you might find at Vinyl Bay 777.

[middleeyt]

Latin Headliners, International Billings... and Idris Elba?

The lineup is finally out in much anticipation and with a better build-up than past years. Coachella teased on the afternoon of January 2nd a handful of artists over their social media and at 8:25pm released the full list of artists heading to the Coachella Valley this April. This will be the 20th year of the festivals running (technically 19th) and so to many of us, the hype was real to find out how the heck Goldenvoice was planning to top last years roundup.

So About This Lineup:

Now first thing is first though, let’s address the elephant in the room. According to a number of sources Kanye West was actually supposed to make appearance at the Coachella venue this year, but allegedly dropped off the lineup due to disagreements with Goldenvoice over his stage setup. Kanye, according to some publications, apparently claimed the current Coachella Stage design to be “artistically restrictive”. (Beyonce added bleachers and a long ass strip... now I'm just wondering what the hell he was trying to turn the stage into?)

This year will mark my 6th attendance to the Coachella Valley (shit, just did the math… that’s a fuck ton of money) so to be quite honest, a large number of these artists I have already seen perform in past years. To any newcomers this lineup offers just the right balance and touchpoint for a variety of genres, but to me it just seems... well... “ok”. Every year Goldenvoice makes a point to grab at least one headliner that will cause some conversation, this year… they’re all just….”ok”. Although Ariana Grande has an amazing voice, and this past album has offered a number of bangers, I just don’t see her as a headliner... just yet (She did just get dubbed as the youngest person to headline Coachella though… dammit thought that was going to be me). Childish Gambino is one that I am actually kinda stoked about, he’s an artists who dedicates great thought into his craft, and this being his last runthrough with the “Childish” stage name, it might make for an epic performance.  Tame Impala… well, that one once again… is just “ok”.

A number of the second tier artists were also a little predictable. It seems that year after year Coachella has swayed in the direction of radio and streaming trends, as more and more “mainstream” artists make their way into the lineup… I’m afraid soon enough the festival might turn into a 97.7 radio artist roundup (shoutout to my 760 locals...wow that came out lame as hell) People like Khalid, Ella Mai, Mac DeMarco, and Billie Eilish I am juiced to see, don’t get me wrong… but they were lowkey guaranteed to be there due to the popularity they've recently gained, and that’s the problem. The one thing that I have always enjoyed about Coachella is the opportunity it offers to catch a large number of underrated artists who you can bank will make some moves in the years to come, or who you might not have heard of and end up loving. This year it just seems like I have heard a good number of these people in some shape or form.

The one thing I will say this lineup does well, is in giving homage to a lot of indie, R&B, Latin, Asian and female artists for the first time in a long while (Ok, now I see where the hype is at!) This line up includes a couple Latin headlining artists (J Balvin, Rosalia, and Bad Bunny) and not one, not two, but THREE international Asian billings (BLACKPINK, Hyukoh, and Perfume) The lineup is also stacked with a good number of women, and I am sure this list is going to give me plenty of opportunities to get in my feels with the number of lyricists in attendance. 

As a friend put it this year is going to be a “chill ass year”. I’m not mad about the lineup but neither am I super excited about it, I am... indifferent. As I have always said, the people make the music, as long as you’re vibing with a good crowd Coachella is going to be a great time come this April.

My Top Picks for 2019:

Now most of us tend to sleep on a good number of artists, like literally… a ton of y’all don’t even head to the venue until like 4pm (wtf). So to help you find some will to hit the venue bright and early, here's a list of my top (tiny name) artists to go give a listen to this year:

Friday:

Tierra Whack- She is nothing but “whack”, the Philadelphia native offers a totally unique and theatrical vibe to her contemporary rap and R&B, if you fuck with 6LACK you'll totally dig Tierra.

JPEGMAFIA- A villain or satirist who knows where he's at. JPEGMAFIA’s music is uncomfortable not going to lie, his lyrics are dark and humours at the same time, but the amount of power each of his songs carry is heavy. Give him a listen and try to figure out where you stand, it's tough and that’s kinda what’s dope about his sound.

RAT BOY- Reflecting millennial fears, Jordan Cardy better known as RAT BOY sings about what everyone my age feels, from fucking around to the prevalent political and socio-economic topics we often think about but don't speak for.

88GLAM- The newly created duo comprised of Derek Wise and 88 Camino gives me Migos and NAV birth child vibes… if you know what I mean.  

Bakar- The cyclical nature of the music scene, and Bakar’s smooth sound help put indie back on the map. Straight out of Virgil Abloh’s debut runway show as Men’s Artistic Director of Louis Vuitton, Bakar brings such a dope blend of rap and indie melodies.

Dvsn, Jaden Smith, SG Lewis- I put these all in one cuz if you haven't heard of them I don't know what the fuck you’ve been doing, and if you have this is just a reminder that I’ll see you at their tent!  

Los Tucanes De Tijuana- Now if you're Mexican… you know this shit is about to be lit. You’re going to be singing all the songs your mom used to make you do Saturday chores with, and y’all already know your non-mexican friends are going to vibe hella hard when “La Chona” comes on.  

Saturday:

Mr. Eazi- Y’all know I love my Afrobeats, if you're ready to get down to some fucking vibes join me for some booty-swaying club smashes with Mr. Eazi.

Sabrina Claudio- R&B songstress Sabrina Claudio is why my Saturday word of choice “VIBES”. Her 2016 EP Confidently Lost released over SoundCloud gained her a ton of momentum with over 3 million plays before it was even commercially released. 2018 became the release of her 8 track album No Rain, No Flowers, and I'm just saying y'all best not sleep on her!

Smino- If 2018 was the year where you went through a lot of “adult shit” well then Smino is the guy for you. His most recent project NOIR reflects on what it means to take experiences as growth and that growth as our reward.  

FKJ- Image what French Kiwi Juice (FKJ) would sound like. Now that’s not only what Vincent Fenton goes by but it legit is what he sounds like (y’all think I’m crazy hu?) With a blend of mellow electronic and R&B this is what Coachella is about right here.

SiR- Can something be soulful and mellow at the same time? It sure can. If you fuck with Frank Ocean (and I mean who doesn't) SiR is the guy to watch.

Soulection-  Independent music platform, radio show, and artist collective with an incredible fucking roster, Soulection is bound to serve us a damn good show!

Sunday:

Clairo- Lo-fi singer/ songwriter Claire Cottrill gives us some intimate and dreamy vocals, if you're ready to get down to the carryover of Saturday’s vibes, come join me.

Shallou- I got to see this guy and his incredible drummer a few months ago, he is one of the few people that I am super juiced to see again. His sad lyrics combined with happy beats make for a dope sound. If you were ever in the car with me within the past 4 months you probably heard his song “Lie” a good 30 times.  

Emily King - Pop-soul singer Emily King is total goals. A year ago she stepped out of her comfort zone by moving from her hometown and taking the NYC scene, that change and chance gave birth to the album that made her career: Scenery. Her story and lyrics tell it all.

Dennis Lloyd- You’ve probably heard his song “Nevermind” somewhere. This guy gives me Hozier vibes, if Hozier was a producer, singer, songwriter, and multi-intrumalist… I mean he might be, but I fuck with Dennis more.

You’ve made it to end! As a gift check out this playlist I made with all the need to know songs by the artists on this list! See ya at Coachella! 

Also checkout the all encompassing Coachella 2019 collaborative playlist and add your picks for the year! https://spoti.fi/2FUWzHz (playlist cover art by @madebyjuhie)