#indiependant

[inhalerupdates]

Inhaler at Indiependence Fest the other day

📸 steffwylde IG

[dailytomlinson]

11 November saw the return of Louis Tomlinson with his long-awaited sophomore album, Faith In The Future, ending a two-year wait that seemed to last an eternity. Everyone has been raving about the deluxe drop’s extended 16 tracks. Faith In The Future follows the hypnotising success of his 2020 debut album, Walls, and serves as the British extraordinaire’s stepping stone into a new era and illustrates an assured step forward, both sonically and artistically. This further solidifies as the 30-year-old Brit-pop musician achieved his first solo Number 1 album after a challenging week-long battle with Bruce Springsteen, thanks to his massive loyal fans who have been inundating him with praise, admiration, and unwavering support since its release.

Speaking to OfficialCharts.com, he said, “My album is Number 1 on the Official Charts – I can’t quite believe I’m saying that. I just want to say a massive, massive thank you for all the incredible support the fans have shown me in the last week and my whole career. This is an absolute honour and not necessarily something I saw coming. Thank you, thank you, thank you!”

Faith in the Future is a genre-spanning album with a diverse soundscape devised for a live setting on an arena tour. For an album written and produced during the pandemic across two years, it feels anything but isolated or withered—thanks to Tomlinson’s multifaceted songwriting strengths, which have endured the test of time while remaining unapologetically true to himself as his confidence shines throughout, bringing a warm sonic embrace. He has meticulously crafted a selection of songs, ingrained in grittier, indie-rock, pop-punk, acoustic ballads, laid-back grunge, and vibrant, danceable pop tunes with mellow undertones, shuffling through varied 90s and 00s influences with a sheer versatility that doesn’t feel redundant.

Louis guarded his artistic vision during his solo debut album by lingering within the Walls, which explored his comfort zone with slick choruses and pop-inclined music, adorned with intimate, evocative lyrics. However, with his sophomore album, he eases up and lets go of the closed mindset, embracing a more abstract style of evocative songwriting and venturing into diverse sonic realms with unwavering confidence while adapting to a learning curve. Even the album’s title Faith in the Future affirms his determination and optimism for his career ahead. To sum up, this album is for everyone who has a sincere passion for music and who deeply appreciates artistic excellence and its roots from the core of their being.

The musically explosive track, “The Greatest,” thrives off the enthusiasm of Louis’ power-packed live performances and serves as a brilliant, anthemic introduction to the album, instilling listeners with tremendous joy. This passionate singalong number, featuring soul-quaking percussions coupled with his velvety vocals over acoustic chords, expands into a blazing tour opener as it crescendos to a resounding chorus giving fans the serotonin rush to chant over the rousing rhythms till the end. But that’s not all; “The Greatest” is a vibrant yet sincere ode to his massive, ardent fan base, aka Louies, which talks a lot about an artist devoting an entire song to their poignant, stronger-than-ever bond, while dispelling the stereotype of “being a fangirl” and reiterating the notion that fans are the core of the music industry.

The full force of pulsating songs such as “Written All Over Your Face,” “Face the Music,” “Out of My System,” and “Silver Tongues,” smack us in the face, exploring the early 2000s modern alt-rock and pop-punk zones with vibrant, foot-tapping beats — something Tomlinson has dabbled with in the past when he first embarked on his solo career in 2016 and delivered club-ready singles like “Miss You,” and dance-pop crossovers with Steve Aoki and Bebe Rexha. These songs are soaking in live performance glow and charting unfamiliar territory of sonic influences with sheer confidence, giving us a fresh taste of his more mature sound through irresistible head-bopping, arena-ready bangers that we can’t stop jamming to.

“Written All Over Your Face” and “Face the Music” delve into the themes of love, denial, passion, and romance, with buoyant, and danceable pop-rock arrangements coupled with his mellifluous singing and chiming in the roaring background vocals, that are sure to put your dancing shoes on and bobbing your head to the beats. With its strong Arctic Monkeys overtones strewn throughout, the swaggering pop-punk “Out Of My System” upends our perceptions and sends us into a tailspin as Tomlinson embraces something more gritty and industrial rock-tinged adorned with thumping bass, drum percussions, departing from the conventional pop. As he belts out, “Gotta get it out of my system / Gotta get it off of my chest. I’ve already lived a good portion of my life, but I still have to complete it,” this instrument-driven masterpiece immediately becomes one of the most sonically ambitious and boisterous compositions by the singer, showcasing his unprecedented skills, halting you in your tracks.

“Out Of My System” accompanies a pulsating, grainy-textured music video with intensely red-hued connotations, featuring the British singer and his band jamming together in a room. With its electrifying ambience, fierce energy, and reflection of Tomlinson’s bold onstage presence, the only element that seemed to miss from the video was his jubilant fans flocking around, which we’ll undoubtedly witness during his forthcoming tour.

The last single off his new album, “Silver Tongues,” prior to the release, opens with hush ballad-esque vocals, giving the audience an impression that it’s going to be a warm track, adorned with lush piano chords. However, merely a few seconds in, it erupts into intensified percussions and enthralling guitar riffs with unflappable, airy vocals with a throbbing chorus. With a sharp contrast to the exhilarating orchestration coupled with Louis’ anthemic vocals, there’s a heavier, more profound and thought-provoking lyrical mix hinting at being a nostalgic ode while looking forward that feels unequivocal to him.

In “Common People,” Louis pays an elegant homage to Doncaster, the town where he grew up, as he chronicles everything from his life, inspiration, desires, and ambitions, with utmost humility and gratitude as he revisits his humble beginnings, synchronised with the acoustic guitar riffs, and bass chords, creating an enthralling, empathic harmony. Louis spoke about the song in his Rolling Stone interview, saying, “I’ve got that place to thank for who I am. I’m very aware of that and I love it. So it was important for me to have a song that honoured that and gave Doncaster its credit. I dressed it up as a love song. But really, the intention was just to give Donny a moment.”

The other groovy numbers include the raucous “She Is Beauty We Are World Class,” festival-heralded “Headline” boasting an impeccable chorus, indie-rock-drenched “All This Time” bathing in the ingenious soundscape, along with “Bigger Than Me,” and “Lucky Again,” that pack, beguiling rhythms with intriguing storytelling and sincere emotionality, probing the themes of self-reflection, choices, chances, struggles with love, fate and relationships. Tomlinson’s heart, however, is in the slow soundscapes that embrace heart-stirring emotional connections with swelling guitars that echo in pop ballads bathing in melancholic undertones like “Chicago,” “Saturdays,” “Angels Fly,” and “Holding On To Heartache.” He’s a master at producing visual imagery with deeply poignant, epic moments, and his confidence soars through his sturdy song writing that perfectly balances the album while navigating his artistry through these mellow tracks. The album concludes with the song, “That’s the Way Love Goes,” a perfect laid-back song that binds the album together and wraps it up on a cherishing optimistic note.

To support his album, Louis Tomlinson will also embark on aq UK and European Arena tour for 2023, with more dates to be announced. Grab your tickets here!

[annoyingheartenthusiast]

CHUCKY CHICKEN: FILMS OF A FEATHER (OFFICIAL TRAILER)

[crowley1990]

Going to musical festivals is just like a hobby for me. I’ve seen soooo many bands over the years because of it.

[thefeminine-urge]

Goodbye Paradise

Have you ever had your heart drop to the floor?

It bounces back into place

Stay there, bloody tenderheartedness

Blinded by a sunstrike on the eyes

Look at me, wet from too much mourning dew

Look at you, fiery from too much fire news

Black and white, guide me through

Growing along with your philosophical food

A cool house sits at the top of the city's lungs, but you still want to run for better sights

I'm on your side

Paradise is getting a hell of punishment from the shady god-like

Goodbye paradise - I'll catch you at gigs when the punks have risen

Have wild senses with truly doll-like

Still yours,

But regardless, I am mine

By - Alina Bleue

[themcst]

      ᴡᴇʟᴄᴏᴍᴇ ʜᴏᴍᴇ!

            ᴛᴇʟʟ ᴍᴇ, ᴡʜᴇʀᴇ ʏᴏᴜ ʙᴇᴇɴ?

                  ᴄᴀᴜsᴇ ʏᴏᴜ’ʀᴇ ᴛʜᴇ ᴍᴏsᴛ,

                        sᴏ ʟᴇᴛ’s ʙᴇɢɪɴ

indiependent & selective WALLY of WELCOME HOME - painted by abyss - 18+ & mutuals only - PERSONALS & MINORS DNI - credit

[purified-zone]

[inhalerupdates]

Inhaler performing at Indiependence Festival in Cork last night!

📸 frost_ie IG

[woomycritiques543]

FYI: Alastor was created by Viv when she was in high school. He's not an attempt to appeal to the Onceler crowd

Bruh thats not even an excuse.

She legit could have redesigned him to not do that, since Lucifer and Charlie and Angel and Husk are a thing. He definitely was after.

She could have choosen to be more creative with it.

But NOOOoooooo crowd appeal is more important apparently. 

Especially nowadays, seeing how the series has become for the past... three or more years. It also makes me miss the 2019 Hazbin days (besides... the toxic as all hell fandom 😬). It just felt like Vivziepop used to be more bright and passionate. Now- she just overworks herself a ton for crowd appeal, and seems a quite miserable if I were to be 100% honest. If she wasnt so rude and weaponizing her trauma like she did a week ago against people who were also traumatized (from generations of discrimination) by the very representation she promised to "improve", (and yet barely does so unless it benefits mostly herself.) I would genuinely feel bad for her. But Hazbin wise- she did this to herself.

Pitching Hazbin and causing herself to no longer 100% own her own ocs- by herself. When she could have made Hazbin indiependent, post poned Helluva Boss, and none of this would happened. Instead, she bit off more than she can chew, and now herself and her freinds are having to suffer for it. Helluva Boss being created while she was in the middle of pitching an entire cartoon? Also, her own fault. She keeps complaining about her workload with HB/H and such, but how can I actuallt feel bad for her if again- she did that to herself. This was supposed to be a passion project, and now its just a overworked stressed out mess that's more about profit and validation above all else. To the point where it's production is filled with artist mistreatment (of multiple people! stop with the "erin frost!" bullshit!), stress venting every few months, constantly trying to appeal to what's "hip" in adult animation (Brandon Rodgers modern family guy "adult comedy" and all) and Vivziepop just stressing the hell out of herself and effecting her own health while all anyone can do is watch as she piles herself with more and more stress.

(more on this down below...)

The series is becoming the very thing Vivziepop herself said that she was against a year or so back- a mainstream, overproduced, fame focused franchise from a big name studio (Spindlehorse) that mistreats the people it promises to help. Does this franchise even need the "indie" title anymore? It has big name actors, thousands of pieces of merchandising, hundreds of artists, and millions of dollars behind it. It might as well just be another big name studio's sellout cartoon. Studio mistreatment, overproduction, constant merchandising, and all. Its gone from " a little passion project that was made to get away from the harsh conditions of large studio production"- to a "bigger is better" capitalistic, sell out of it's former self. Sure, there's passion left, but not enough to where there's actual care for those who produce it. It's come to a point where both Hazbin Hotel and Helluva Boss are now as close to a "capitalism embracing, big name cartoon" that a "indie" franchise can get. A big name, capitalism embracing, money hoarding, big name cartoon. The very thing indie creators go freelance to stay away from, in the first place! Now, it takes advantage of it's "indie" label to trick freelance artists into going back into the very conditions they were trying to avoid. Truly, a depressing case of a indie creator letting both fame, fortune, and validation take control of their intentions, with their treatment of others along with it.

AKA: The Butch Hartman story. Except its being speedrun by a scene girl with a show full of suit wearing sparkledog furries.

(Not that theres anything wrong with the other details (sparkledogs are nice away from animation.) but you get the idea 😞)

[lost-in-books94]

I came across this article just now, which pretty much sums up everything I feel about booktube. The article has been out for a while now, but it's definitely very relevant. And, I just think it's something we need to address more.

[kraftwerk113]

Life´s too short for weird music Tagesempfehlung 02.06.2024

Sunday Album Club

Astral Bakers / The whole story

Track Pretty Scar

Die Astral Bakers habe iht Debütalbum The whole story bereits im Februar 2024 veröffentlicht. Außer dem fabulösen Beautiful everything (Tagestipp 26.04.2024) ist bei mir bisher wenig aus dem Debütalbum hängen geblieben. Bis jetzt Pretty Scar in einer meiner wöchentlichen Empfehlungslisten meiner einschlägigen Streaming Portale erschien. Und die Befassung mit The whole story erwies sich als lohnende Angelegenheit. Aber Sie müssen sich die Zeit geben, um die karge, oft melancholische Schönheit der Tracks auf The whole story zu entdecken (I don´t remember / One more). Ganz groß ist The whole story, wenn sich die Post-Wave Indie und Folksounds zu großartigen Refains hinaufschwingen wie etwa im Opener Shelter oder in dem von mir ausgewählten Pretty Scar (welches starke Referenzen zu zur Musik von Alt J aufweist).

Fazit: mit The whole story ist dem Quartett Astral Bakers eines der eindrucksvollsten Debütalben der Indiependent Szene der letzten Monate gelungen. Passen Sie nur auf und lassen Sie die Astral Bakers nicht dahinfaden, sonst verlieren Sie einen großen musikalischen Schatz des Jahres 2024 aus den Augen.

(7,5 von 10)

[bad-etymology]

Close but no cigar! It’s actually about how, when girls enter their first phases of independence, they start listening to indie music and wearing pendants - hence indiependants, whose spelling evolved since.

oooooh its called being "Independant" because it feels like you are all alone, cut off from the world by the curse

trapped "In De Pendant"

[projectofnapskintprojectofnaps]

Toontrack『SDX Indiependent』は、シアトルの伝説的スタジオAvast! Recording Co.で収録されたビンテージドラム音源。

Superior Drummer 3と連携し、インディーミュージックをはじめ、幅広いジャンルに対応したプロ仕様のドラムサウンドを自宅で再現できます。