#sam welch
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moochilatv · 4 months ago
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LEDUC, Bastyan and Sam Welch presents What If We Let Go
Emotional deep house for you
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The artists describe the meaning as follows: “What If We Let Go is a note to a close friend offering them some help during hard times. When life begins to change, sometimes we have to let go of what we know and allow the change to help us develop as a human.”
"This is what making music is all about for me! It’s a real honour when someone approaches me with a story or an idea they want to make into a song. I feel sooo blessed to be making music on a daily basis. Thank you to anyone who has ever streamed/listened or downloaded my music, you are helping to keep my dream alive!", Sam Welch.
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goolden · 1 year ago
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It ain't just secrets that you're keeping... Maybe one day I can forget the past, but I'm already bleeding from the strings attached.
You promised me heaven but you gave me nothing close.
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raisedbyanother · 5 months ago
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Fear Street: 1994 (2021) Dir: Leigh Janiak
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thehate0fmylife · 30 days ago
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sluttyimpala · 4 months ago
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sky full of song by florence + the machine
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billiesbabygirl · 5 months ago
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Fear Street 4 is on its way!
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fraisesdhiver · 3 months ago
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gutting how nick goode became sheriff, lives in an unnecessary big mansion and plays golf as a hobby while ziggy berman ended up as a severely traumatized, grieving, isolated, paranoid alcoholic.
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cigarettesaftersmut · 1 year ago
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missing my cursed cheerleader gfs
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augustsprincess · 1 month ago
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Up to 30% off on all art at my etsy, use 'CYBER2024' at checkout! Ends December 4th
twicksterart.etsy.com
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iconsfinder · 2 years ago
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originalwitchedits · 2 years ago
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DEENA JOHNSON X SAM FRASER (FEAR STREET: 1994)
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theslasherbabe · 9 months ago
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𝙊𝙡𝙞𝙫𝙞𝙖 𝙎𝙘𝙤𝙩𝙩 𝙒𝙚𝙡𝙘𝙝 𝙖𝙨 𝙎𝙖𝙢𝙖𝙣𝙩𝙝𝙖 𝙁𝙧𝙖𝙨𝙚𝙧 𝙞𝙣 𝙁𝙚𝙖𝙧 𝙎𝙩𝙧𝙚𝙚𝙩 (2021)
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pozimek · 1 year ago
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raisedbyanother · 4 months ago
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Fear Street: 1994 (2021) Dir: Leigh Janiak
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marxonculture · 25 days ago
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Albums of the Year 2024
I used to do this every year, but as with everything else in my life, the pandemic and academia got in the way. This is the first year since 2021 where I've made a concerted effort to keep up with (at least to some extent) new music, and I'm feeling the itch to do that typical too-online, self-indulgent thing of writing up a list of my favourite new albums of the year in the vain hope someone might care about it.
Believe it or not, I used to do a full 50-album list, but I'm chilling out a bit with this one and limiting it to 20. These are the records that have gotten me through a hugely transitional year in my life, and my only hope is that if you're reading this, at least one of these records might end up meaning something to you, too.
20. Cunningham Bird by Madison Cunningham and Andrew Bird
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A collaboration, built over the last few years, culminates in a wonderful ode to one of the greatest, most volatile, singer/songwriter collaborations of all time.
19. Understory: Live at the Village Vanguard by Ben Wendel
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One of those great, live jazz recordings that makes you feel as if you're sat in the venue, watching it all unfold. Brought me back to my own, religious experience at the Vanguard from a couple years ago.
18. Woodland by Gillian Welch and David Rawlings
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The neo-old time genre's greatest songwriting duo return with an unapologetically contemporary suite of beautiful new songs. There's a reason Welch is your favourite folk songwriter's favourite songwriter.
17. Nothing by Louis Cole and the Metropole Orkest
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If you're into Louis Cole's whole deal, then the majority of this record will feel pleasantly familiar to you. Just add on a full orchestra to give the oddball's usual brand of jazz/funk/fever dream songwriting some extra depth, as well as provide a new colour palette for some rather daring compositional diversions. Lovely.
16. Eagle's Point by Chris Potter
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Not a huge amount to say about this one other than that it's an immensly entertaining set of new tunes from four of the greatest jazz musicians currently alive. What's not to like?
15. King of the Mischievous South Vol. 2 by Denzel Curry
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Not usually my preferred brand of hip-hop, but at this point, I'll give anything Denzel Curry does a chance, and while this record isn't as much my thing as his last few projects, it's so meticulously made and visceral that I've found myself returning to it over and over again.
14. HIT ME HARD AND SOFT by Billie Eilish
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The first of three absolutely essential pop records from 2024 on this list. Eilish and her brother/producer have designed an imaculate album of queer love (and lust) songs which feel especially mature for such a young artist.
13. Against the Fall of Night by Sungazer
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I'm glad bassist Adam Neely has diverted his attention away from video essays to focus on his metrically-experimental, electronic jazz group, Sungazer, because this band is doing legitimately crazy and fascinating work. Give this a spin if you like the challenge of trying to head bang to music which refuses to be rhythmically predictable.
12. brat by Charli XCX
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Maybe the album of the year in terms of pure cultural dominance. brat is, by my count, second only to one other pop record released in this calendar year (stay tuned). If you could make an audio recording of adrenaline, it'd sound like this. Summer may be over, but I'm not ready to stop bumpin' that.
11. Cowboy Carter by Beyoncé
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She's just unstoppable, okay? This latest record from arguably the most famous woman alive is properly totemic pop Americana. If I had to pick a single song of the year, it might be '16 Carriages', which makes it all the more impressive that the rest of the album is good enough to hold up in comparison. It's also cool getting to see some of my favourite bluegrass musicians being involved in a project this massive.
10. Speak to Me by Julian Lage
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Julian Lage might be the single most impressive jazz guitarist alive. All of his projects are good if not great, but this one was particularly exciting because he made his recorded return to the acoustic guitar - a real treat whenever it happens. Surrounded by a large-ish and very eclectic ensemble of musicians, Lage's compositions and playing sparkle even more than usual.
9. Wall of Eyes by The Smile
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I like Radiohead, okay? I do think Yorke, Greenwood and drummer Tom Skinner have found something special with this new collaboration. The sophomore record is more assured than their debut and has Yorke's best songwriting in years. This stuff is hypnotic!
8. All Now by The Staves
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I was so worried that after the eldest Stavely-Taylor sister left the band, that the sound produced by the two remaining sisters would suffer some. Sometimes it's nice to be emphatically proven wrong. All Now is a sonic extention of The Staves' last record, Good Woman, but this one trades wistful melancholy for relentless optimism, and my goodness does it work for them.
7. Fearless Movement by Kamasi Washington
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There are very few things more satisfying than when an artist you've felt let down by in the past makes an unequivocal return to form. Kamasi Washington has always been compelling, but I've found him liable to get caught up in his own legend at times at the expense of his music. This new record feels a lot more grounded and a lot more substantial. It's also just a ton of fun!
6. Väsen & Hawktail by Väsen and Hawktail
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Two of the most exciting acoustic ensembles in the world, who have been dancing around one another for years now, have finally come together for a full-length record, and it's marvellous! Both bands have lost a member to other projects recently, so given their natural proclivity for each other's music, it made sense for them to collaborate in order to fill those gaps. The sound of these combined groups is nothing short of miraculous. If you like instrumental folk music at all, then this is essential listening.
5. Service Merchandise by Previous Industries
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Often, nostalgia can be a blight on culture, but when employed effectively, it can be a tool for exposing deep truths. My personal favourite rapper, Open Mike Eagle, along with Video Dave and Still Rift, have done just that on their debut album as a trio. Service Merchandise doesn't bemoan the loss of the past, but rather highlights the out-of-placeness of those who cling to it. The themes are sombre but the bars carry Eagle and co.'s signature whimsy.
4. GNX by Kendrick Lamar
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In contrast, the latest release from LA rapper Kendrick Lamar is maybe the least whimsical major release of the year. It's direct, confrontational, and introspective to the point where it comes uncomfortably close to self-indulgence. What is lyrically quite a challenging record is made spectacularly listenable thanks to its absolutely stacked lineup of bangers which are sequenced to perfection. Undoubtedly Kendrick's best since To Pimp a Butterfly.
3. Fly by Michael Mayo
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To my mind, the most deeply underdiscussed and most exciting young voice in jazz right now is Michael Mayo. I'm deeply obsessed with his debut album, Bones, which is a big, dense production. His latest, Fly, is far more intimate by comparison, but no less ambitious. Backed up by virtuosos Shai Maestro (keys), Linda May Han Oh (bass) and Nate Smith (drums), this suite of songs by the vocalist and composer is the most involving jazz record I've heard all year.
2. Only God Was Above Us by Vampire Weekend
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I wanted to put this list out today, because come Monday I will have seen Vampire Weekend tour this album live, and the experience will likely skew my opinion of it.
I cannot think of another mainstream popular music outfit that addresses the modern Jewish experience at all, leta lone this well. Vampire Weekend are truly singular in that way. Every new release of theirs speaks to diaspora Jewishness in new, specific and relevant ways. What makes this particualr record so special though is how aesthetically adventurous it is while being so cogent in the delivery of its themes. This is up there with the band's very best records in a discography without a single dud. P.S. 'Classical' is an all-time great indie rock song.
1. The Golem and Other Tales by Sam Reider and the Human Hands
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Accordionist and pianist Sam Reider's newest project is a manifestation of something I've been personally wishing for for close to a decade now: jazz and progressive instrumental music as a vehicle for explicitly Jewish cultural expression.
When I was in New York working towards the PhD I would ultimately flame out of, I spoke with Sam Reider and his bandmate, saxophonist Eddie Barbash, about the connection between their music and their relationship with Jewishness (not to be confused with Judaism). It was a lovely and eye-opening conversation that I'd like to think was as helpful to them as it was to me.
I'm not arrogant enough to suggest that this album is a result of that conversation, but it's so unbelievably exciting to see Sam, Eddie and the rest of the Human Hands construct a suite of pieces which so perfectly capture what I was searching for during that period of my life.
Reider's compositions are a particularly magical amalgamation of jazz, bluegrass, klezmer and other folk traditions from around the world. Those combined sound worlds feel like natural bedfellows in Reider and co.'s capable hands, and on this record. The result is an instrumental retelling of the 16th century Jewish folk tale, The Golem of Chelm. I can't tell you just how special this album is to me, but I can tell you that it sounds amazing, and that this group of musicians, led by Reider feel like they were cosmically destined to make this music together.
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sluttyimpala · 4 months ago
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and when florence welch wrote:"i used to tell the future, but they cut out my tounge and left me doing laundry to think in what i've done" she was actually talking about post!s4 sam winchester and post!s4 sam winchester only
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