#joan as policewoman

[nightguide]

SIA: WONDER WOMAN WORLD TOUR (OUOHIM PREMIERE)

ALBUM ANNOUNCED (UPCOMING)

SPECTRE: THIRLWALL’S SPECTRUM

WHITTINGHAM (no sex appeal: get the fuck out of our country if you hate being here (gets agnostic patriotic)

LOTTO (linna has sex with the band she's singing with (no secret (sex education without the dirty parts (you watched people do it by conversation anyway, like if i gaf)

JEALOUS (men get into YA category and it actually works)

DEZEEN (anson's nazar works against the dutch girl he faked to make it (rapper's nazar)

MAYOR MONEYPENNY (bond films now porno (you be the woman this time (ode to Keanu Reeves fans of the rappers guild)

WEEKEND (that last ayah you related to when you heard it, is your life (complete the air cycle to compete with this heartbreak)

RUBBER LUCK (gaslights prisonbreak (tv show in real life: love letter from autism outreach)

WITNESS REDEMPTION (kicks you out of the group chat energy if you hate it)

RYDE HER (lesbians have sex)

MADAM (adele is actually too good to stand alone without her amp (we love her)

THE FINAL SHOW (robbie williams at his greatest: we hate him to love him is that. you know that song)

ARKHAM CITY ROADSHOW (we made batman videogames too real (no troy whatever to a tara strong finale)

THANK YOU (fuck you (from the doctors)

VAPORWAVE (medicines make you do that (early fans are true heroes this universe)

MOTOWN (sexy dirty love (fan letter to demi lovato (we're lovatics who lived long enough to become a band of our own imagination (thank you demi without the k)

WINTER SHOWDOWN (1 v 1 (homelander smut in real life)

ROMEO (wise ass virgo's)

CAST OF PUSHING DAISIES (south park narrative that puts a hog on broadway (taylor's anger)

ACTUAL REALITY (x-factor 2011 contestants get creative: Cowell gets a raise in real time about a cutesie fluffed up realism about judgement (helps his ego)

MR HUGHES (ted hughes to scott moorhead if you know the truth)

WONDER WOMAN (believer of maths making william marston a no mans body for new scientists in Madagascar (freedom to Earth (northwood ceo. thank you letter)

RHONE (joan's pity glare in angst of a new dream (she's Taylor Swift meta-famed for her footprints)

BOYFRIEND (the women in the band shuts you up (the reason why pinball exists)

[vsthepomegranate]

Joanthology (detail, 2019)

by Joan As Policewoman

[dstrachan]

'VIEWS FROM THE EDGE' - w/c 7th October 2024

P!nk ‘Stupid Girls’

Jefferson Airplane ‘Plastic Fantastic Lover’

Siouxsie and the Banshees ‘Israel’

The Weathermen ‘Around the World (Remastered - Mark Lusardi Mix)’

Kev Shutt ‘The Lutine Bell’

King Crimson ‘I Talk To The Wind’

Neneh Cherry ‘I’ve Got U Under My Skin’

Tiger Lilly ‘Walk A Mile’  

Anna Rennae ‘Speaking Her Mind’

Ferre Gola ‘Marathon’

K ‘n’ A ‘Tuck ‘n’ the Gut’

Beyonce ‘Pretty Hurts’

Mariana’s Trench ‘Fix Me’

Amanda Palmer ‘Trout Heart Replica’

Captain Beefheart & His Magic Band ‘When Big Joan Sets Up’

Joan Jett & the Blackhearts ‘I Love Rock ‘n’ Roll’

Joan Armatrading ‘Me Myself I’

Joan As Policewoman ‘Prime Mover’

Sassyhiya ‘Boat Called Predator’

Sassyhiya ‘Kristen Stewart’

Eno ‘Needles In The Camels’s Eye’

The Baby Seals ‘My Labia’s Lop-Sided But I Don’t Mind’

Pamela Means ‘Lately’

The Hot Damn ‘Fizz Buzz Crash’

Juliet’s Not Dead 'Open Fire'

Leftfield & Lydon ‘Open Up’

[parkerbombshell]

Strange Fruit Sept 22

Strange Fruit 10pm EST bombshellradio.com Archival Shows available on bombshellradiopodcasts.com Strange Fruit (10-midnight EST) touches down in three places in the career of an undisputed genius to look at some of the greatest, and some of the strangest sounds that have made him peerless in popular music history. We’ll place him in unfamiliar company; alongside – amongst others - Turkish psychsters, French sonic explorers and some amazing sounds made by young children with percussive instruments. Not yer average radio show, then. Join us: https://bombshellradio.com/ #brianwilson #newmusic #independentradio 1. **Brian Wilson** - Meant for You 2. **Altın Gün** - Gönül Dağı 3. **Marinta Precaria** - Fantasmas 4. **Brian Wilson** - Cabin-Essence 5. **Brian Wilson** - The Child is Father of the Man 6. **Brian Wilson** - Surf’s Up 7. **Joan as Policewoman** - Back Again 8. **Stryper** - Love’s Symphony 9. **America** - People in the Valley 10. **The High Llamas** - Hungriest Man 11. **África Negra** - Vin ca nda cu nganga 12. **Be-Bop Deluxe** - Music in Dreamland 13. **Brian Wilson/The Beach Boys** - Mount Vernon and Fairway 14. **Brian Wilson/The Beach Boys** - I’m the Pied Piper 15. **Brian Wilson/The Beach Boys** - Better Get Back in Bed 16. **Brian Wilson/The Beach Boys** - Magic Transistor Radio 17. **Brian Wilson/The Beach Boys** - Radio King Dom 18. **Deep Purple** - Lazy Sod 19. **Elvis Presley** - I Got a Woman 20. **White Noise** - Firebird 21. **Eat Girls** - Three Omens 22. **Mercury Rev** - Ancient Love 23. **Alice Coltrane** - Shiva-Loka 24. **Focus** - Gaia 25. **Brian Wilson** - Love and Mercy 26. **Brian Wilson** - ‘Til I Die 27. **Keith Christmas** - 21 Days of Rain 28. **Primitive Percussion Youth Orchestra** - Fire and Water 29. **David Crosby** - I’d Swear there was Somebody Here             Read the full article

[ulkaralakbarova]

Beverly is the perfect happy homemaker, along with her doting husband and two children, but this nuclear family just might explode when her fascination with serial killers collides with her ever-so-proper code of ethics. Credits: TheMovieDb. Film Cast: Beverly Sutphin: Kathleen Turner Eugene Sutphin: Sam Waterston Misty Sutphin: Ricki Lake Chip Sutphin: Matthew Lillard Detective Pike: Scott Morgan Detective Gracey: Walt MacPherson Scotty: Justin Whalin Birdie: Patricia Dunnock Carl: Lonnie Horsey Dottie Hinkle: Mink Stole Rosemary Ackerman: Mary Jo Catlett Mr. Stubbins: John Badila Betty Sterner: Kathy Fannon Ralph Sterner: Doug Roberts Carl’s Date: Traci Lords Marvin Pickles: Tim Caggiano Howell Hawkins: Jeff Mandon Father Boyce: Colgate Salsbury Mrs. Jenson: Patsy Grady Abrams Herbie Hebden: Richard Pilcher Timothy Nazlerod: Beau James Judge: Stan Brandorff Luann Hodges: Kim Swann Suzanne Somers: Suzanne Somers Gus: Bus Howard Sloppy: Alan J. Wendl Juror #8: Patricia Hearst Jury Forewoman: Nancy Robinette Rookie Cop: Peter Bucossi Policewoman: Loretto McNally Press A: Wilfred E. Williams Court TV Reporter: Joshua L. Shoemaker Court Groupie A: Rosemary Knower Court Groupie B: Susan Lowe Carl’s Brother: John Calvin Doyle Book Buyer: Mary Vivian Pearce Mean Lady: Brigid Berlin Police Officer: Jordan Brown Vendor: Anthony ‘Chip’ Brienza Flea Market Boy: Jeffrey Pratt Gordon Flea Market Girl: Shelbi Clarke Macho Man: Nat Benchley Dealer: Kyf Brewer Baby’s Mother: Teresa R. Pete Church Baby: Zachary S. Pete Doorman: Richard Pelzman Kid A: Chad Bankerd Kid B: Johnny Alonso Kid C: Robert Roser Joe Flowers: Mike Offenheiser Girl: Lee Hunsaker Burglar A: Michael S. Walter Burglar B: Mojo Gentry Mrs. Taplotter: Gwendolyn Briley-Strand Reporter: Jennifer Mendenhall Joan Rivers: Joan Rivers TV Serial Hag: Catherine Anne Hayes Lady C: Susan Duvall Press: Valerie Yarborough Kid: Jordan Young Camel Lips: Jennifer Finch Camel Lips: Suzi Gardner Camel Lips: Demetra Plakas Camel Lips: Donita Sparks Husband A: John A. Schneider Court Clerk: Lyrica Montague Eugene Sutphin’s Nurse (uncredited): Bess Armstrong Birdie’s Father (uncredited): Greg Coale Video Store Customer (uncredited): David L. Marston Stage Diver (uncredited): Kim McGuire Cop (uncredited): John Poague Club Kid (uncredited): Al Sotto Ted Bundy (voice) (uncredited): John Waters Film Crew: Art Direction: David J. Bomba Sound Re-Recording Mixer: Mark Berger Executive Producer: Joseph M. Caracciolo Jr. Thanks: Paul Reubens Original Music Composer: Basil Poledouris Writer: John Waters Production Design: Vincent Peranio Editor: Janice Hampton Producer: Mark Tarlov Supervising Sound Editor: John Nutt Thanks: Don Knotts Editor: Erica Huggins Director of Photography: Robert M. Stevens Associate Producer: Pat Moran Costume Design: Van Smith First Assistant Director: Robert Rooy Property Master: Brook Yeaton Art Department Production Assistant: Jeffrey Pratt Gordon Carpenter: Thomas Turnbull Thanks: Harry H. Novak Set Decoration: Susan Kessel On Set Dresser: Lianne Williamson Sound Editor: Ernie Fosselius Thanks: Arthur Machen Utility Stunts: G. A. Aguilar Sound Mixer: Rick Angelella First Assistant Director: Mary Ellen Woods Sound Editor: Frank E. Eulner Casting: Paula Herold Set Dresser: Michael Sabo Second Unit Director: Steve M. Davison Sound Editor: Robert Shoup Hairstylist: Kathryn Blondell Sound Re-Recording Mixer: David Parker Stunt Double: Cheryl Wheeler Duncan Assistant Makeup Artist: Janice Kinigopoulos Makeup Artist: Debi Young Makeup Artist: E. Thomas Case Post Production Supervisor: John Currin Assistant Property Master: R. Vincent Smith Music Supervisor: Bones Howe Draughtsman: Rob Simons Additional Hairstylist: Howard ‘Hep’ Preston Assistant Makeup Artist: Barbara Lacy Art Department Coordinator: Sarah Stollman Utility Stunts: Michael Runyard Unit Production Manager: Margaret Hilliard Hairstylist: Ardis Cohen Assistant Production Design: John Lindsey McCormick Makeup Artist: Betty Beebe Sound Recordist: Philip Rogers Producer: John Fiedler Secon...

[uncleweed]

Certainly, no one who passed by that busy stretch of the city during that era could have missed him. Outfitted like a fantasy Viking, complete with a double-horned headdress, a doomy black tunic, an eight-foot spear and a long white beard, Moondog had an imposing presence to say the least. It only magnified the intensity of his appearance that he was blind, a fact he refused to hide behind dark glasses. From his reliable perch, Moondog would pull from his pockets reams of poetry, sheet music, 78rpm recordings and broadsides he had written to sell to curious passersby. Some people thought he was a freak or a vagrant. (He was, in fact, homeless during several short stretches of time.) Others saw him as the ultimate counter-cultural figure, while some major musicians viewed him as a visionary, including the jazz greats Benny Goodman and Charlie Parker and classical artists from Arturo Toscanini to Leonard Bernstein. Janis Joplin covered his existential composition All Is Loneliness, on her first album with Big Brother and the Holding Company, and pop acts from T-Rex to Prefab Sprout referenced him in their lyrics. Moondog was written up in many local and national papers and, in 1969 and 1971, he had two albums on Columbia Records which, at the time, was headquartered on the same block he haunted.

The man who would become Moondog was born Louis Hardin in 1916 in Marysville, Kansas, to a religious family. His father, an Episcopalian minister, moved the family to Wyoming when the boy was young, and it was there that he discovered his first major musical influence, which came from Indigenous American culture. His eureka moment occurred after his father took him to an Arapaho Sun Dance where he met Chief Yellow Calf who showed him how to play a tom-tom made of buffalo skin. A lifelong fascination with rhythm was born. At 16, however, his life changed radically after he came across an object while playing that he didn’t realize was a dynamite cap. The device exploded in his face, blinding him. “Moondog later told me that for almost a year after that he felt as if he couldn’t breathe,” Scotto said. “The life had drained out of him.”

##

Today, it’s mainly musicians and fans of the arcane who have any awareness of Moondog at all – an oversight which inspired the creation of a new tribute album to amplify his legacy, titled Songs and Symphoniques: The Music of Moondog. The project was initiated by the Brooklyn-based jazz-chamber ensemble Ghost Train Orchestra in collaboration with the Kronos Quartet, and also features vocal performances from stars such as Rufus Wainwright, Jarvis Cocker and Joan as Policewoman. “Over the years, I’ve become a kind of evangelist for Moondog,” said Ghost Train Orchestra’s leader, Brian Carpenter. “I want more people to know about the joy and wonder of his music. And, luckily, there’s so much of it.”

[visualgodblog]

LIVE PHOTOS Top Tips from John Lyons

As a concert photographer, the good news is that you don’t have to worry about setting up lighting and, if you’re shooting an established artist at a largeish venue, the chances are that the lighting setup will be professional and tailored to the artist performing. However, lighting that looks spectacular when you’re at the gig can look pretty unflattering in a photograph. And, if you’re shooting at a small venue or club, the lighting might be poor quality and low intensity.

The challenge is to work with the light you are given. Find the style that works for you and then look for the opportunities to capture images in that style. Here are a few thoughts from my experience over the last few years.

Planning the Shot

Key to success is planning your shots. Often concert photographers are limited to shooting the first 3 or 4 songs only, in which case you need to size up the lighting and act quickly. Before the artist comes on stage, check out the position of the lighting and where your subjects are going to be on stage. If you really want the perfect shot, consider going to the show twice, so you know what to expect. You’ll be well prepared to use the short time you have… and you get to enjoy the show twice. I remember a Joan as Policewoman gig last year where I was positioned ready for her to appear centre stage with her guitar… only to find that she was performing from the piano on the first song and that I was in completely the wrong place.

For most of the work I do, I have the luxury of being able to shoot for the whole gig and freedom to move (stealthily) around the room. Look for the images you really want to get and what needs to happen for the lighting to work for you.

For this image of Tony Kofi, I wanted to capture him emerging out of the darkness and into the spotlight. For most of the gig, Tony was stood at the back of stage right, just out of the spotlight, which was setup to highlight the singer. It was almost the end of the second set when I got my chance to capture the shot, as he stepped forward at the start of a solo.

Low Key Lighting

I do most of my photography in jazz clubs where the lighting can be very variable and often quite low. My personal style tends towards ‘low key’, with the subject interacting with both the light and dark to reflect, even exaggerate, the atmosphere of a club and the drama of the music. This image I took of Brazilian jazz singer Luna Cohen when I was just starting out has a little motion blur, but I like the way that the eye is drawn to the curve of her hip as she dances and the viewer is required to fill in the full picture as most of her body is hidden in the darkness.

A favourite technique of mine is to find the moment where the artist turns their face away from the spotlight. Not only does this make for a more interesting composition, if the lighting is relatively low, then the effect is to have one side of the face highlighted and the other side in shadow. If the subject’s face is 45% to the spotlight light, then it’s possible to capture the ‘Rembrandt Effect’, with a soft triangle of light on the cheek that’s facing away from the light.

Rim Lighting

Another lighting style I look for opportunities to exploit is Rim Lighting, where the subject’s hair or outline of their face is highlighted by backlighting. This is great for creating an effect that is both glamorous and dramatic, creating separation of the subject from the background, particularly where the background is dark. This is an effect that concert lighting engineers tend to look for, so is often very achievable.

Here are a few examples including the shot of Joan as Policewoman that I so nearly missed because I was in the wrong place.

Dealing with Multi Coloured Lighting

Personally, I find this one of the most challenging aspects of concert photography. Bright multi coloured lighting is a feature of many concerts and what looks amazing at the show, often looks garish and unflattering on still images.

Take time to observe the lighting changes and pick your moments. I try to avoid moments where the subject’s face is lit with two bright colours as it's very unflattering in still photos. Instead, look for angles and moments where the colour changes are subtle or where the subject is positioned with one colour behind them and one in front. Again, patience is key.

On this image of Chris Hyde-Harrison, the two-colour lighting (which was quite low at a gig in a church) created a nice soft contrast on either side of his face.

Failing that, if you’re stuck with harsh and unflattering multi-coloured lighting, changing to Black and White and adjusting the black and white colour mix in post-processing may enable you to rescue your images.

Finally, when faced with very bright multi-coloured lighting, it’s worth checking the white balance on your camera at the start of the gig. If you’re using auto white balance, you might find your camera makes the wrong adjustments and you end up with images that look very different to the original lighting and too extreme to fix in post-processing.

Find out how to manually set white balance on your camera and adjust until the image in the viewfinder approximately reflects what you can see. It doesn’t need to be perfect as you can do fine adjustments in post-processing.

Dealing with Shadows

Look out for harsh shadows as they can ruin otherwise perfect shots. When photographing singers, shadows cast by the microphone can be particularly problematic. Look for angles that avoid these or moments where the singer moves their face away from the mic.

It’s really important to consciously look out for these. Our brains do a great job of filtering out distracting items in real time that then are painfully apparent in still images.

In this example, I really wanted to capture Noreen Stewart looking so cool as backing singer for Chris Ballin. For most of the gig, she was facing the mic with a harsh shadow across her face. I managed to get a few profile shots to avoid the mic shadow but what I really wanted was to capture her whole face. So, I positioned myself at 45 degrees and waited until this moment where she stepped back and looked to one side towards my camera. As a bonus, the shadow of the mic that was across her face most of the gig creates a pretty dramatic line down her body.

Post Processing

I do all my post processing in Lightroom. As I’ve gained experience, I’ve learned to make my post processing more subtle. Key lighting-related themes from my workflow are:

Refine the colour balance – as mentioned above, I’ve learned through bitter experience to not rely on the camera auto white balance. However, small adjustments in post processing can really help make the image more lifelike, especially where bright colourful lighting has been used

Like most photographers, I tend to increase contrast a little, brighten shadows and darken highlights to increase the dynamic range

I use the AI in Lightroom to select the subject, adjusting manually where required (this manual adjustment can be quite fiddly with brass instruments, which the AI doesn’t tend to pick up!). For low key effects, I tend to brighten shadows and darken blacks on the background. This sounds counterintuitive but it helps create a dark background with hints of what’s in the background, maybe a table with glasses and a wine bottle, or some faces of the audience, but not prominent enough to distract from the subject. I might also reduce overall exposure of the background but this has to be subtle to avoid the subject looking unnaturally disconnected from the background

If there are harsh shadows or colour changes across the subject’s face, often using the healing tool along the line of the shadow can soften it a little

I apply a small amount of noise reduction but again I’ve learned through experience that, in low light situations, it’s better to increase the ISO in camera and accept some graininess. I find even moderate amounts of noise reduction in Lightroom give features an unpleasant waxy look

Finally, if I’ve converted to Black and White, I’ll adjust the black and white colour mix. This can help even tones generally and also reduce the prominence of back lighting if it’s a different colour to the front lighting. It’s also another good way to deal with harsh tones created by multi-coloured lighting

In this image of Toni Robinson and the BASSNote Collective, I wanted the tell the story of the audience on their feet dancing right close up to the performers; Toni’s connection with the singer far right; and the videographer getting in close to capture her performance. All this was visible in the original RAW image but, using subtle adjustments, I’ve tried to highlight the aspects of the image that I wanted to stand out.

And Finally…

My biggest piece of advice is to experiment, take lots of shots and find your own style. I’ve found out what works for me by trial and error, combined with a little bit of theory and best practice. You’ll learn loads about what works and what doesn’t by analysing both the hits and misses and, over time, your hit rate will definitely improve and your personal style will develop.

[kickmag]

Meshell Ndegeocello: The Omnichord Real Book (Album Stream)

Meshell Ndegeocello's Blue Note debut The Omnichord Real Book is officially available. She is joined by collaborators Jason Moran, Cory Henry, Brandee Younger, Joel Ross, Joan As Policewoman, Julius Rodriguez, Thandiswa and more. The album is an epic composed of folk, funk, jazz and soul led by Ndegeocello's philosophical lyrics about emotional rejuvenation. She explained in a press release how the music was informed by the passing of her parents and the memories of them including her mother's ache and the Real Book gifted by her father. TOR has the melancholy of mourning but also stretches of instrumental passages that encourage healing because of the self-reflection that can come in the absence of words. The songs feel more like meditations on rebirth and letting go of the past with Ndegecello keeping a pensive tone throughout. Charged moments like "Vuma" and "Burn Progression" shake off some of the gloom to offer snapshots of new life beginnings. The hourlong odyssey is a soundtrack for shedding old ways of seeing after learning from the pain of loss. 

Tour Dates

June 18: Terrace Theater @ The Kennedy Center – Washington, DC June 20: The Ardmore Music Hall – Ardmore, PA June 21: Blue Note Jazz Festival @ Sony Hall – New York, NY June 23: Wasfest @ Boch Center – Boston, MA July 29: Blue Note Jazz Festival Napa – Napa, CA Aug. 11: We Out Here Festival – Wimborne, UK Nov. 19: City Winery Pittsburgh – Pittsburgh, PA

[femaleknifeclass]

[nightguide]

FEATURING NEW MUSIC FROM LITTLE MIX

ALBUM ANNOUNCED: LM7/8

LITTLE MIX: ALONE 05:15

ACTORS HELL: WINGS (2012)

STUBBORN FT. DEAN LEWIS, JADE LEMAC

SHUT UP FT. TATE MCRAE

MANDY

HOTEL FT. PICTURE THIS

PETTI HUNGRI LITTL BICH FT. PIXIE LOTT

FIRST OFF FT. WE ARE LADY PARTS, (ASHNIKKO REMIX)

HORMONE FT. GLORILLA

FUCKD UP FOR LYF

BUTTON FT. ROYCE DA' 5'9

HIGH-KEY LONELY FT. CAMILA CABELLO

BRUISES FT. JEFF BUCKLEY

RORSCHACH FT. BLUE OCTOBER

1

MOMMY BODY FT. AKON

LANDLINE SEX FT. LANA DEL REY

APPLE

BROTHER

CARTOON INFIDELITY FT. QVEEN HERBY, NELLY FURTADO, JESSIE J (LINNA RIAZ REMIX)

2009 FT. ALLISON PONTHIER

BILLIE FT. JONATHAN GROFF

EYES EVERYWHERE

PINBALL SHOWDOWN FT. GLEE CAST

BOYLESS

STRING THEORY FT. EMPIRE OF THE SUN

PINK KINGDOM

SMARTASS FT. TAYLOR ACORN

BREATHE MY NAME

SWEAT

HOBOKEN FT. DOM DOLLA

DUMB BODY FT. WEST 22ND

DONEHOLLYBOOBOOBYE

TWENTY12

MY MOTHA IS A B-I-T-C-H FT. REBECCA MOORE

CUBE FT. CHAPPELL ROAN, PETE & BAS

HOLLY GOLIGHTLY FT. SARA KAYS

ARIANA FT. T-PAIN

CUIVES FT. LUZ CORRIGAN, LILY MEOLA, ALEC BENJAMIN, JOAN AS POLICEWOMAN, KASEY CAMPBELL, SIERRA CARSON

CHROMOHOPIN FT. SUB-RADIO

JUST YOU W8 FT. FLAGSHIP

YOU KNOW A BITCH FT. ANSON SEABRA

BOTANICAL GARDENS FT. MARIANNE BEAULIEU, ELIZA DOOLITTLE

CHANEL FT. BEYONCE, SABRINA CARPENTER

HATE FAME FT. SIA

BELIEVE FT. CHANCE PENA

NOT YOUR REALITY (IN CUTE) FT. CHARLI XCX

THAT FAT BITCH FT. LIZZO

TECHNICALLY, I GET IT FT. GLASS ANIMALS

GROW UP

UNBROKEN (DEMI LOVATO COVER)

NOT FAIR (LILY ALLEN COVER)

[craigchisholmmusicphotography]

Joan As Policewoman - Lemon Tree, Aberdeen - 25th June 2022

[timelyslapintheface]

Damned. Devotion. https://youtu.be/1Zxyd8yU-oc

[thelastmixedtape]

Joan As Police Woman announces two Dublin shows at Pepper Canister Church

.@JOANPOLICEWOMAN announces two Dublin shows at Pepper Canister Church

Acclaimed songwriter Joan As Police Woman will return to Ireland this year playing a pair of shows at the Pepper Canister Church in Dublin.

Taking place on Saturday, June 13th and Sunday, June 14th, Joan As Police Woman will come to Dublin to perform her upcoming Covers Two album live with Parker Kindred (drums) and Jacob Silver (bass).

Set for release on May 1st, Joan As Police Woman’s Cov…

[lechugafl]

Jesca Hoop’s “Memories Are Now” (selected by @einsteinonthebeach)

For fans of Laura Marling, Laura Veirs, Sharon Van Etten, Andrew Bird, Sam Beam, My Brightest Diamond, Rose Elinor Dougall, Joan as Policewoman.

“’Memories Are Now’ is the breathy, surreal title track to Jesca Hoop's latest. The single thumping bass is like a metronome that signals passing time and the lyrics remind you to show anyone not making that time memorable the door. The harmonies add a chorus of strength to the core message of the song leaving you empowered and not needing any more than that single bass. The minimalism paired with biting lyrics makes ‘Memories Are Now’ the perfect low-key Summer song, played loud on a road trip and sung by all your friends about ex-lovers and former best friends who you showed the door.” - @einsteinonthebeach

sharing is caring.

Track featured on lechuga mix 2017/04.

Available for free to listen and share on Apple Music and Spotify here: http://bit.ly/lechugamix201704