#sour diesel songwriting

[ssfoc]

Sour Diesel

Sour Diesel was released on 17 July 2018. It was co-written by Zayn, Robert Cavallo, and James Ho (Malay), and produced by Malay. Cavallo is known for his work with Green Day, but has won multiple Grammys and produced multiple platinum-selling albums and tracks with the Goo Goo Dolls, Fleetwood Mac, Linkin Park, My Chemical Romance, etc. Malay worked with Zayn on Mind of Mine, but has also worked with Lykke Li, Lorde, and Frank Ocean.

Sour Diesel comes fourth in a series of Z2 singles with accompanying cinematic music videos, suggesting a continuous movie plot: Dusk to Dawn (w. Sia, 7 September 2017, produced by Greg Kurstin), Let Me (12 April 2018, produced by MYKL), and Entertainer (23 May 2018, produced by Andrade-Burstyn).

Zayn says of this hypothetical album, in an interview with Zane Lowe on Apple Music’s Beats 1 (16 April 2018):

It’s going to be different than anything anyone has done before... It’s going to be interesting to see how the audience reacts to this kind of release. I wanted to try something different. I think it’s all going to make sense in the end when the album finally drops.

This is quite a vague statement, but I think it’s interesting that Zayn focused on audience reaction, rather than authorial intent. In my reading, Zayn is watching us carefully, and maybe with some worry, to see how we will perceive his music. At the same time, he is setting up the album as theater, rather than a confessional. 

We can see this in the four cinematic music videos. In addition to the videos having plots, heroes, antagonists, conflict, climax, etc., they show an abundance of disguises. The Sour Diesel cover is like the Iron Giant, or the Man in the Iron Mask, or Ironman: all steel, no expression. In Dawn to Dusk, we see his lady with a disguise:

Zayn’s character says this:

In Entertainer, his lady again in disguise, this time symbolic of her betrayal:

And in Sour Diesel, Zayn himself is a disguise within a disguise: a superhero character who is a disguised character of his character in the video. 

Zayn seems to be playing with the idea of perception and reality, and to be hinting at a reality that underlies the fiction. It’s interesting that he chooses to tell it in the form of a superhero story. A superhero story is a archetypal journey, not about the villain, but about the hero. The superhero story is usually a story about the hero overcoming his own flaws, and finding a way to overcome his fatal weakness to defeat the monsters inside and outside. 

The outside monsters in these music videos are portrayed in a cartoonish, outlandish way. They speak in clichés and they look like typical villains. The femme fatale looks like her archetype, of the woman who betrays. 

The hero of Sour Diesel, however, is also a woman. She is a personification of Sour Diesel, the marijuana strain, which is a purportedly unusual strain and has a medicinal use. Sour Diesel has been used to treat anxiety and depression in lieu of traditional anti-depressants. (If there is discourse about Harry’s song Carolina, there is no coyness about Sour Diesel. Zayn makes it easy for us by using the drug as the title. And-- he doesn’t play around with the mere implications of sex. He states it as a matter of fact, up front, using weed as a metaphor for sex and orgasm.)

Zayn also spoke on Beats 1 about his anxiety:

You’re not a musician. You’re just in the limelight, or you’re just doing a job that people don’t necessarily deem acceptable for you to have anxiety or confidence issues. I think it’s very important, you know, that we talk about it... The main thing is just admit it, and overcome it, and speak about it, is the main thing and, once you do it that, it kind of like, diminishes its power.

The song starts from the perspective of the woman:

Walks in the place, hands on her waist Gun on her thigh, big shooter game She did this before, murdered to gain Promised her ma she won't kill again

She got it and she know she got it I'm takin' off like a rocket Spaceship, so high I can't stop it

Hands on waist, gun on her thigh, big shooter game, takin’ off like a rocket-- all part of a phallic metaphor, but also descriptive of the drug. 

Sour Diesel, the weed, is uplifting. Zayn doesn’t pass up on this sex pun. The phallic metaphor continues. Sex is described in a few lines-- and the conflation of Sour Diesel-the weed and Sour Diesel-the woman is unmistakable. 

The look's on her face, back in my place Legs in the air, all dirty again Smokin' some more, I'm in her space She touches me there, then I do it again

She got it and she know she got it I'm takin' off like a rocket Spaceship, so high I can't stop it

Musically, Sour Diesel’s instrumentals are crisp, deep, sparkling-- old school funk rock, with a background of an arching synth wash (like the hum of a rocket as it takes off on its parabolic flight). The keyboard synth with its horns also evoke an old time sharp, funk rhythm. 

The funk rock influence comes from many directions, from Snoop Dogg:

To the Red Hot Chili Peppers:

Prince:

Hendrix covering Sgt Peppers (go to the end, it’s worth it):

In all of these influences, Zayn has absorbed the funk-blues-rock tradition that goes back sixty or more years, and incorporated contemporary synthesizers and engineering. 

If I have a criticism, it’s that the song is too smooth. It’s a song about anxiety and release, and it shouldn’t be pretty, it shouldn’t be cinematic. It should break the fourth wall and be raw and ugly, somewhat. In cinematic terms, it shouldn’t be filmed by a long lens and have a glamor filter. Sour Diesel sounds crisp, and sharp, and focused, and it’s almost there. It just needs that extra little edge. 

[khayymarley]

Blow medullas wit Ruggas explode ah nigga's intelligence Yo bitch up on my dick she know it’s harder den a sediment Finger fuck the Nina, let it hit u wit ah hollow point Burry you inna garden I ain't talkin bout the Olive joint Diesel in a Marley bitch I’m smoking on a sour joint Ball like I’m Wilt Chamberlain cuz I'ma score a lot of points Dis young nigga in beast mode I beat the game no cheat code I touch bricks like rebounding if Shaq was shooting ah free throw I unload den reload my flow Crack and I'm C fo(C4) Like ah blind worker for Marco's u lame niggas don't see doe 35 O's I flip keys I keep green like Cee Lo Smooth criminal like Michael and we Jackson (Jack-Son) like Tito Dat fo fo (44) gon bust fo so open up and deep throat My bad bitch speak Creole and she luv ah Cleveland nigga steelo She really bout it like C-Murder I don't really think u wanna see murder She chop bodies place em in the kitchen in the fuckin freezer she ah preserver Dat Audemar must blind ya shit cuz it's no need for u to see further My hard drive filled with hard lines and dope rhymes on beats murdered Like oooh kill em you the victim datz word from Lil Terrio U can get a box full of holes like Cheerios If it's bout dat action better break fast (breakfast) just like cereal And I ain't just ah Killah mutha fuckah I'ma serial Please u ain't sick my flow disease like venereal Contaminating the game yo material bacterial This simply no subliminal but u niggas so pitiful If u had my seminal u still wouldn't be visible Sayin I ain't lyrical well I'ma make you miserable Miscible my pinnacle and see what type of chemical- reaction you'll get bet the shit ain't typical Turn yo ass invincible David Blaine need a miracle Yo figure left cylindrical break u down like a syllable 🖕🏾what ah nigga say cuz errythang I do original ~#Khayy Marley #KaoticDilemmaz #Dam3Th3D3mon #KaoticMuzik #GwallaBandGang #GBG #FreeStyle #Rap #Rapper #Rappers #HipHop #Lyricist #Trap #Music #RapMonster #RapGod #BarGod #Bars #DefJam #sony #Polydor #RapArtist #TikTok #Song #SongWriter #RecordingEngineer #Producer #Support #YouTube #YouTuber (at Cleveland, Ohio) https://www.instagram.com/p/B4x7CgEBvvd/?igshid=urfvfmr94stn

[drugsinceu]

Cannabis en creativiteit: 3 dingen om te weten!

De Amerikaanse singer-songwriter-rapper Jay Z had moeite om de tekst van zijn lied Izzo te schrijven. Talloze pogingen om het nummer te voltooien mislukten en Jay Z had dringend behoefte aan wat creativiteit. Op een mooie dag (in plaats van de nacht) besloot Jay Z dat hij nog een keer ging zitten, maar alleen na het roken van een joint. Tot zijn verrassing, kwam het schrijven van de song teksten flink op gang na een bevredigende wiet sessie en binnen een paar uur was het nummer Izzo van Jay Z klaar. Niet alleen Jay Z, maar een aantal artiesten hebben cannabis gecrediteerd om hen te helpen bij het vinden van een 'creatieve oplossing' wanneer ze volledig vastzitten. Er is dus genoeg (anekdotisch) bewijs dat cannabis een persoon heel wat creatiever kan maken. In dit artikel gaan we een paar feiten en dingen bekijken met betrekking tot "Cannabis en Creativiteit" - de twee C's in kwestie:

1) Niet Sativa, geen Indica, maar Hybride soorten cannabis werken het beste in termen van creativiteit

Om een hoog niveau van creativiteit te bereiken, moet je een evenwicht, stabiliteit in je gedachten en gemoedstoestand handhaven. Dit kan alleen worden bereikt als je een hybride cannabis soort gebruikt en niet alleen Sativa of Indica. Als je alleen Sativa gebruikt, krijg je energie en word je gemoedstoestand naar een hoger niveau gebracht, terwijl Indica alleen meer een kalmerend middel is. Zo biedt juist een hybride soort je de mogelijkheid om creatiever te zijn.

2) Je stam moet voldoende Limoneen bevatten

Limonene, een terpeen, wordt niet in alle cannabissoorten aangetroffen; het is echter de tweede meest voorkomende terpeen in de stammen waarin het wordt aangetroffen. De terpenen, die stammen een citrusachtige geur zoals citroenen geeft, staat bekend om zijn stressverminderende eigenschappen. Omdat lage stress over het algemeen tot meer creativiteit leidt, is het verstandig om soorten als Super Lemon Haze of Sour Diesel te kiezen, die veel Limonene bevatten.

3) Cannabigerol (CBG) is in verband gebracht met het verbeteren van iemands creativiteit

Het probleem met cannabigerol (CBG) - een van de 80 bevestigde cannabinoïden - is dat het alleen in de vroege stadia van de levenscyclus van een plant in merkbare hoeveelheden wordt aangetroffen. Bovendien is het extraheren van CBG een moeilijk en zeer duur proces. Dus het is moeilijk om het gemakkelijk te bemachtigen voor je creatieve honger!

Conclusie

Een overvloed van alles is niet goed. Zorg er dus voor dat je leven niet in het teken van de softdrugs komt te staan terwijl je probeert creatief te worden. Het onderzoek naar cannabis bevindt zich nog in een puberale fase, dus ga er goed mee om. Zie ook HuffsnPuffs (EN, bron) Read the full article

[ofoatd]

Tomlinson's TV talent, Panic! At The Disco's plight to high heights & Fall Out Boy's 'Thnks Fr Th Mmrs' Llama led rip off

Tomlinson's judging talent, Payne's premiering EP, One Direction's eight year 'History', Fall Out Boy's 'Thnks fr th Mmrs' lama led rip off and Panic! At The Disco's daredevil plight to high heights. One Fall Out At The Disco's fortuitous hiatus has halted, honing in on music happenings from Malik's sonically startling 'Sour Diesel' to Panic! At The Disco's pious 'Pray For The Wicked Tour’ trail. Coming back from a break like Twenty One Pilots' sabbatical suspension over One Direction's cry out for a comeback, One Fall Out At The Disco's reformed and restored, magnifying music most missed matters.

Louis Tomlinson the TV talent X Factor judge

Honing in on unblemished boyband harmonies to tearing up the table as a esteemed musical magistrate of the newly designed panel, Louis Tomlinson's lustrous leverage to the heritage of TV talent The X Factor, has been an burning notion put into motion years heretofore.

The 'Back To You' singer is going back to where his life full and long living career conspired into a spiral of One Direction domination, music mogul imprints, solo success and judging jobs upon cultured acquaintance of the panel position and being a ratings boosting figure boasted by philanthropist and public personality Simon Cowell, utilising the former boyband segments popularity purposefully to revive a dying British singing show which cultivated in collecting the worst ever final ratings in its 14 year stint, prioritising Tomlinson's tactile public marketability moreover that's the northerners notorious charismatic persona was a seamlessly shameful statement surrounding Cowell's integrity and intentions.

Whilst conference communications broke of the 26 year olds artist management role, speckles of scepticism surrounding Louis debut record release unofficially branded as LT1 fretted fans over his prioritisation of music over contest commitments with the solo singer suggesting the shows help not hindering covenant commenting "The album is still definitely my priority it doesn't change any release time me doing the show. Having come from the show it made sense to me to go on, I've always been interested in mentoring that's why I've done things in the past with my imprint label. It's something that has been on my mind".

Rolling up in a Mercedes-Benz company car stepping out from the suburbs of a renewed vintage esque Burberry check craze, the 'Just Like You' lead infiltrated into the SSE Arena Wembley situated adjacent to the worldwide wonder Wembley Stadium who hosted One Direction's three date term ‘Where We Are Tour’ in 2014. Sitting in the cushion stacked hot seat for the discovery arena auditions, cautiously crying over a returning contestant and being timidly confident within his critiques plus the stressful six chair challenge mentoring the boys bracket.

Tomlinson took time to spontaneously meet smiley faced fans fighting to stay in their seats subsequent to staff brutally blacklisting and barbarically banning fans from floor perspectives, reigniting former boyband memory flames and jettisoning James Grant Management Group and moving to Mark Gillespie and Matt Vines WMA Management after a two year time with the initial leading agency providers the Syco spin off label imprint individual is moving on, maximising his music mogul mind nostalgic to Plain White T's and Toms.

8 years of One Direction

Primary vanguards of 21st century boyband unprecedented hysteria, X Factor  graduates One Direction have been masters of pop culture craft for an existing 8 years. Sitting on stairs to selling out stadiums, singing saccharine sugar coated bubblegum pop bops apropos to endless promises of partying all night, making malcontent 'Midnight Memories' stomping upon the streets of centralised London and mulling over fornoon favourite a.m conversations to a cultivation of a dedicated demographic of assured adolescents, placid parents and benevolent boyfriends of fangirl girlfriends growing and grasping mainstream music eminence, eventually evolving as one of the highest earning boyband in history eternity.

"#8YearsOfOneDirection where has the time gone!? Thank you so much to every single person who’s ever supported us. Big love!" tweets Tomlinson the 1/4 of One Direction bio beholder, taking time  aside from audition allegiance alongside Liam Payne addressing the boyband as "Brothers" simultaneously splashing in the oceanic seas from the probably private yacht on Payne's sunny staycation, Niall Horan penning homage to "Amazing memories with the lads" and Harry Styles stating the fan support system saying "Thank you for all the love, thank you for all the support. Thank you for everything" signed off with his signature H dismissal.

Meanwhile the One Direction official outlet monotonously recalled lyricism from the 4 piece's repertoire, fan frenzy was a flurry when supposed superfan speculation sparked an outpouring in overwhelmed apocalypse of panic, pandemonium and perturb as dates for a post hiatus 2020 tour to represent and fly fifth album Made In A.M mellow ambience, the cliffhanger of an album left on the indefinite break of the 'Story Of My Life' singers surfaced upon ticketing sales service Ticketmaster's Australian December dates listings, deflecting the doubt of an unreleased 'Infinity' music video and playlists reputedly lead single 'Lucky' a potential promotional lead for a group reformation of raging proportions.

Fall Out Boy "Bishops Knife Trick" music video

A manic mayhem of memories of peculiar primates to a pity party of chaotic camelids. A lama tinged ode to 'Thnks Fr Th Mmrs' Fall Out Boy's brand new animated animal endeavour 'Bishops Knife Trick' is one of the top rock selling record of this year, its MANIA's answer to Infinity On High's Kim Kardashian cameo curation.  

Ticking off one less task on his comprehensively seventh studio album branded list, Pete Wentz writes off the music video of the Island Records/DCD2 recent record release penultimate track ahead of the Reading and Leeds Festival headline, homecoming Wrigley Field gig, mixing and mastering Lamamania plus renovating Folie à Deux's demo Lake Effect Kid extension, a symptomatic culmination to a MANIA era that has dished up a final frosty serving of demanding director Stump and unbeknownst animal oppression in 'Bishops Knife Trick'.

Trading in a monkey obstructed madhouse for a llama centric landscape, big boss Patrick Stump verbally browbeats working living organisms curious on curating a picture perfect Patrick paradise of fedora furry friend fashionistas and check mate chess games of a talentless wack llama ensemble. Overlaying a spat between the species, chillingly deep dark blues and animal like entrapment elevate writer Wentz' candidly confessional dealing, with dejected depression and evoked emotions of a mental mania battle of a disconnect of the ordinary world brought back to earth by the glow of the city of Chicago.

Getting a grip of reality and breaking out of the domesticated cage of a state of suppressed sadness, Stump soaringly sings subjected to sweeping sounds and climbing chimes of piano melodies amongst mid tempo strikes of the snare reinstall instrumental talent amongst a catalogue of crisis amid MANIA's repository recalling lyricism of "I got a feeling inside that I can't domesticate/It doesn't wanna live in a cage/A feeling that I can't housebreak" hones in on the entertainment exploitation of llamas laundering away over musical instruments, seeking the idealistic project of Patrick's "film school" wonders.

Liam Payne First Time EP

Stripped back sounds, sultry lyric lines and smoothly tamed tones. Liam Payne's album filler EP First Time steps in for the September suspension of an inaugural record and steps up as a tetralogy of tracks, transforming the remixing maestro into a solo singing virtuoso. Post dropping a successful string of singles, collaborating with a cultivation of reputable recording artists in the realms of Migos' Quavo and Columbian crooner J Balvin, for radio friendly feats ‘Strip That Down’ and the flamboyantly bilingual bop 'Familiar'. Surrounding the latter's release, Payne hotly hyped up the anticipation of his fully fledged step out into the solo spotlight LP momentarily dulled by the determined decision to push back the records release, following in the footsteps of Fall Out Boy's belief battle with MANIA a setback suggestive of re-defining songs that feel so differently distanced as false representations of artistry with the 'Bedroom Floor' singer stating "I looked at some of the songs on my album which were done a while ago and they felt from another age. I'm determined for my debut album to truly represent me. In the meantime, this EP is a collection of songs that I'm really proud of" launching into the era of the EP First Time.

Title track 'First Time' fuses fragments of a "Familiar" fiery and fun filled tones picturing a Payne on the prowl to follow his feelings for an elusive female fabricate themselves throughout the thrill of the chase chronicle, a typical songwriting style the 25 year old adheres to. Exploring the realms of relationships over friendships besides production work from Di Genius' repertoire with Latin esque R&B influences simmering their way slowly throughout the monotonous platforms of the lead single, spiked by a pick up of vocal hooks and lyrical lulls of Payne's palatable projections and artist come label institutor French Montanas musky melodies.

Sophomore song 'Home With You' hones in on Liam's leap into the Urban and R&B region of music considerately comparable to fellow former One Direction division Zayn Malik's mellow material, with the sophisticated sleekness of 2010's electronic pulsating drum machine moments and stylistic vocal arrangement introducing the track as a nonchalant number, none the wiser to its upbeat metronome ticking chorus and lyrically expressive 3 liner pre-chorus "Too many cooks in the kitchen/Too many fools here listening/Why don't we find somewhere quiet". Quintessentially embodying the entire archetypal narrative, where spending the night away from "Yelling to you over music" clubs in homely comforts with a newly significant other are free from the eavesdropping ears of unbeknown fools.

Musically minimalistic ballad 'Depend On It' dabbles with a tender provoking genre palette Payne sonically is a solo stranger to, amongst an array of danceable discography destined for the fm radio waves. Worlds apart from the clichéd addictiveness of pop boyband ballads, a pleasant place in unforgotten memories Liam is persistent in revitalising to the present, as the singer was pictured seizing a sentimental embodiment of One Direction artwork adorning the original ensemble apace with Up All Night and Take Me Home songwriter Savan Kotecha esteemed for penning popular pieces by Ariana Grande and Britney Spears. Perpetual piano instrumentation pays homage to 'Home With You' minor chords transformed into a pivoting arrangement of piano melody interludes, lonesome towards the climax of the third track cohesive with the upper register of Payne's vocal expansion, expressing the love hate state of a relationship dialogued rendering "I'm not ready yet, there's still a thread left/If I could just hold on onto unravelling hope/Give it one last go, I don't know why, just need us to try" compromising the succinctly short track, yet the upmost stand out of the upbeat outnumbered EP.

Conclusively 'Slow' signifies a contradicted balance between saddened lyricism and sprightful production with a negative tinged track telling the tale of a cracking and crumbling connection, purposefully moral uplifting via mediums of a selective sense for sniffing out sounds that make 'Slow' electro melodies the core carvings the 'Get Low' vocalist craves to create a chart hit wonder. Recorded in the confines of the West London located Wendy House Production Studio's a place of musical residence One Direction inhabited in their 6 year indefinitely suspended career Liam Payne, levitated by a venerated troup of songwriters including The Ordinary Boys frontman Preston and Sylvester Sivertsen who posted a behind the scenes picture of the pair in 2016. 'Slow' lyricism is the utmost suggestive and scandalous story of breakdowns and breakups throughout the EP's entire narrative elaborating on "Got me pretending' you ain't done with us/It got me runnin' round the obvious" closing simplistically on "Let me down, let me down slow" with First Time featuring a collaboration, conventional characteristics and collection of charmingly cool crusades that lulls the listener on a trip down Payne's publicly pronounced past relationship at the different stages of love, lust, spats and separation, enhancing catchy rhythmic arrangements and an aura of perspectives of Payne's personal anecdotes.

Panic! At The Disco Reading & Leeds Festival 2018

Glistening glows of luminosity embossed with a scintillating showman style, Panic! At The Disco's co-headlining call crafted the shimmer, shine and sophistication of an otherwise damp, drunken and devil-may-care merrymaking weekender. Stemmed from a Saturday of female pop frontiers 'Strangers' singer Sigrid and Brit beauty Dua Lipa, Panic! At The Disco dazzled deftly with a type of timeless sumptuous sentimentality.

"To the old, and to the new/We dedicate this song to you" allures the retro soul sample of 'Silver Lining' as glitzy garmented and gold microphoned Brendon Urie bouncily bursts onto main stage Reading, to the rebellious satisfaction of young adults supposition supported by the bands backing of shifted member swaps, loosing Dallon Weekes who took to The Pit/The Lock Up stage showcasing 80's unearthed endeavour I DON'T KNOW HOW BUT THEY FOUND ME and gaining bassist Nicole Row in March 2018 filling in for the female representation against a 14 year long male amassment.

Sounds of steampunk victorian picturesque imagery illuminated 'The Ballad Of Mona Lisa', with organically engineered vintage instrumentation of sinister patters of the piano and creeping pounds of the percussion, portray a dynamic duo of moral dilemmas in confident company with Urie's dark dingy lower register. Welcoming the colossal crowd to the land of Pretty Odd, a stellar song of festival festivities manifested itself in the fields of Richfield Reading chiming in with charming melodies, feeling so good with out of mind optimism side to side with spiritually earth endearing attitudes.

From the sprightly smiles of frontman Brendon Urie transitioning between latterly acquired additions "Dancing Is Not A Crime" and 'High Hopes' in which a faithful figure displays themselves amongst a sea of singing sinners to lasting setlist staples Queen's 1975 classic covering 'Bohemian Rhapsody' prescriptively performed for heritage act admiration. Transitionally taking on Too Weird Too Live, Too Rare Too Die's! triennial single 'Girls/Girls/Boys', pigmented pops of rainbow refractions, self proclaimed extravagant exclamation points and imposing iridescent sparkles lit the product ionised representation of the outright freedom of fondness for all orientations including + communities, a core creation for the efforts of the Highest Hopes Foundation set up in support for discriminated and disregarded segmentations of society.

Encore items illustrated a bouncing back and forth between the ever evolving dosages of conviction, carefree and ceremonious crusades from wickedly weekend worshipping 'Say Amen (Saturday Night)', sonically unambiguous crowd pleaser 'I Write Sins Not Tragedies' to the confidentially conquering 'Victorious' as Urie confesses his state of euphoria before launching into the high intensity hit, highlighting the brightly belting pulsating vibrato vocals of the 31 year olds articulating "I've never been happier in my life and that's all because of you. You are important, you have an impact” illustrating an important imprint for a Saturday night of the retrieval of reminiscence and the making of matchless memories.

Fall Out Boy Reading & Leeds Festival 2018

Glaring in the glory of double zero’s rock reminiscence Reading and Leeds long timers Fall Out Boy headlined the main stage, showcasing a spectacle of sets reinforcing pop-rocks reputation amongst an evolutionary shift of a festival blurring the genre identity boundaries. From a Friday fronted by American rappers Post Malone and Travis Scott to the publicly prophesied secret set of Bring Me The Horizon, Fall Out Boy waved the white flag in sheer satisfaction far from the symbolism of surrender to be sitting as sixth time servers to the British bank holiday bash.

Smashing through a stellar setlist subjected to an in with the old out with the new Folie à Deux dash down wistful album avenue in affair to the forth records decade duty to the quartets discography, of the madness mantras of messed up romantics in 'Disloyal Order Of Water Buffaloes' to the misery mindset of selfish meanness throughout 'I Don’t Care' flippant middle finger montage deceased video platform Vine would have been pleasantly pleased witnessing.

Upbeat anthems from the post hiatus period 'Centuries' and 'My Songs Know What You Did In The Dark (Light Em Up)' tinged the dark dusk skies in bursts and bangs of a 5th of November celebratory serenade succumbed to the pyro below of Wentz' fire blasting bass, betrayed by its toned down display of 2016's flame eating females, with Wentz wise words of wisdom reflecting penchants of pure honesty rendering to the adolescent audience "They tell you along the way that you need to fit into a certain mould, but be you, do you as loud as you can, stay dangerous!”.

With the dimming down of danger, poised piano ballads 'Save Rock And Roll' alongside MANIA's bright beacon of artistic hope levitated from a lacklustre LP 'The Last Of The Real Ones' shone Stumps soulfully sonic singing before storming into a powerfully propelling galactic gathering of rip roaring bass grooves and glistening electrical guitars.

Long gone the lectures of wolves and dunking the basketball and long live the king of pop culture covers and ones for the mosh pit, Fall Out Boy's headlining slot staged the rightful return of Reading champions and pensive mmrs of a marked musical legacy.

Panic! At The Disco 'High Hopes' music video

Stranger setbacks, scaling skyscrapers and rooftop recitals. Panic! At The Disco's extortionately elevated vast visionary for 'High Hopes' holds back on self sceptical hesitancy and hones in on obtaining a dream like optimistic outlook.

Recently revealing eminently awaited European and UK Spring 2019 dates for the capacious continuation of the 'Pray For The Wicked Tour' that triumphantly teemed with death walks and wayward Amazing Beebo's, the trials and tribulations of Panic! At The Disco touring members dropping have surfaced, after the axing of touring musician Kenneth Harris subsequent to supported allegations of inappropriate misconduct between the 37 year old with of age and underage female fans soared. With speedy removal of Harris post the 'I Write Sins Not Tragedies' songwriters high note hitting IHeartRadio Festival performance, a succinct 13 song set compromising of current core classics 'Say Amen (Saturday Night)' and 'High Hopes'.

Gazing up to the sky high structure situated amongst the neighbouring streets of Downtown Los Angeles, subsequent to a borderline civilian belabour painting battle to the trails, tribulations and setbacks Brendon Urie has unambiguously endeavoured under the Panic! At The Disco music moniker, the self confessed London west end wannabe supernormally sets upon scaling the side of a modernist American sky high complex congregating a confounded crowd on earths gravitational ground.

Pushing on with anew sense of captured power, purpose and perspective Brendon beckons down to the solid surface below, as a building bridge and prompting pre-chorus builds up to spur the singer on into "Stay up on that rise and never come down" simultaneously pushing the Panic! frontman on to prove the fallacious critics untrue chiming "They say it's all been done but they haven't seen the best of me/So I got one more run and it's gonna be a sight to see" speculating the singular ensemble spearheads longevity, concealed by the cohort Panic! At The Disco and comparatively not soloist Brendon Urie, with sixth studio album Pray For The Wicked being the band's "One more run" record.

After a fast flicker and fierce flashback of pedantic belief that Panic! has exhausted entire repertoires of musical material, a moment of dignified realisation of accomplishment, achievement and appreciation is alluded to from the expressions of 'High Hopes' own 'Hey Look Ma, I Made It" moment Brendon and backing band burst into a sonic celebration, categorically evoked out of emotions of opportunity, outlook and optimism.

Watch Panic! At The Disco and Fall Out Boy's Reading and Leeds Festival Sets including the music video for 'Bishops Knife Trick' and ‘High Hopes’ plus listen to First Time by Liam Payne on all major music platforms here:

Fall Out Boy Bishops Knife Trick Music Video - YouTube

Panic! At The Disco Reading and Leeds 2018 - BBC

Fall Out Boy Reading and Leeds 2018 - BBC 

Liam Payne First Time EP - Apple Music/iTunes

Liam Payne First Time EP - Spotify

Liam Payne First Time EP - Amazon

Liam Payne First Time EP - Google Play

Liam Payne First Time EP - Deezer

Liam Payne First Time EP - Tidal

Panic! At The Disc High Hopes Music Video - YouTube

(All photographic content curtesy of One Direction/Columbia Records/The X Factor (Instagram)/Capitol Records/Jake Chams/Panic! At The Disco/Elliott Ingham/Fall Out Boy)

[cannannabis-blog]

Anyone who has ever searched for the right cheese to serve with a classy Pinot Noir or dug into the closet for the rattiest jeans to wear with a flashy new Radiohead concert tee will tell you: The world is full of things that go well together.

It’s also full of selfless and truth-seeking experts who will leave no stone unturned in pursuit of the perfect pairings for your needs. Today, that’s me.

We start things off with Sour Candy, the divine child of Sour Diesel and Bubble Gum. Its grape-y sweetness is impeccably balanced with Diesel’s sharper tang, and its euphoric high is gently offset by a gentle syrupy lull. In other words, it’s the perfect strain to pair with the summer’s more elusive jams – the songs that are just a little too weird to soundtrack a round of beach volleyball, but fun and catchy enough to get stuck in your head during our remaining lazy late-summer evenings.

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Tyler the Creator and A$AP Rocky: Potato Salad

On “Potato Salad,” two of hip-hop’s A-list stars team up for one of the goofiest songs of their respective careers. Riding an old Kanye West beat, the duo shout out the BasedGod, ride spaceships with basketball star Yao Ming, and throw shade on mumble rap. Occasional Dior model A$AP Rocky finds not one, but two opportunities to remind you he’s not wearing a purse, but a satchel. “Potato Salad” is as mesmerizing as it is hilarious, with a delightfully absurd video to match.

Khurangbin: August 10

Even though Khraungbin have made a name for themselves channeling the bygone heyday of Thai psychedelic rock (their name is the Thai word for “airplane”), the trio—originally from Texas—deliver some of the most soulful improvisational jams this side of the Grateful Dead’s Europe ‘72. On “August 10,” from their recent album Con Todo el Mundo, Laura Lee’s dubby bass line provides the perfect backdrop for Mark Speer’s inventive, gorgeous six-string riffs.

Meernaa: Wildest Eyes

The sexiest kiss-off of recent times, Meernaa’s complex and slow-burning “Wildest Eyes” presents a feast of inventive analog synths and drum machines, tied together by Carly Bond’s epic vocal performance. Fans of Solange, rejoice.

Astronauts, etc.: The Border

While Astronauts, etc.’s debut celebrated melodic soft-rock in the vein of Steely Dan, their follow-up Living in Symbol embraces a wider set of influences, including cinematic string arrangements and Roy Orbison’s proto-rock. Lead single “The Border” is fueled by a crisp off-kilter groove, but frontman Anthony Ferraro’s cool vocals steal the show.

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Valee Featuring Jeremih: Womp Womp

The Chicago upstart and Kanye West protege Valle delivers one of the most dizzying songs of the summer with “Womp Womp,” and its delightfully dumb hook, courtesy of go-to crooner Jeremih, guarantees it’ll be stuck in your head until next beach season rolls around.

Superorganism: Something for Your M.I.N.D.

A master class in whimsical chaos, London’s eight-piece Superorganism make a point of keeping us on our toes: twinkles of bells, pitch-shifted vocals and even abrupt dips into complete silence all sneak into dazzling pop collages.

Travis Scott: Stop Trying to Be God

This highlight from Travis Scott’s recent album Astroworld, named after a shuttered Houston amusement park, floats along on lurid waves of synths and trap hi-hats before the utterly surprising—especially if you’ve been consuming—blasts of horns take the song in a whole other direction. Also, if you’ve ever wanted to see Travis Scott conduct a baptism or walk down the street with a flock of farm animals, now’s your chance.

Madeline Kenney: Cut Me Off

Led by a deceptively simple three-note guitar riff, the North Carolina-based singer/songwriter Madeline Kenney’s new single “Cut Me Off” combines Fiona Apple’s virtuosic vocals with a playful groove that undercuts its grittier sentiments.

The post Blaze’n’Plays Playlist: Sour Candy and Late-Summer Singalongs appeared first on CANNANN.

[iamjaysonjohnson]

#TheBeautifulRecovery Part 2: Mental Health, Wellness, Fatherless Fatherhood & 4/20? To live this life without your father figure standing by you is a burden many of us have learned to carried for years, silently. To live this life with a so called father who doesn’t know how to love or be a father is no different than not having one. If it wasn’t church or a cookout where I was performing, they never attended none of my major shows to carry me during my tough times. Anybody can make it to the home game if it’s around the corner, your support system shows when you’re on the road & it was rare. I can count an handful who stayed devoted as others came as time grew. Even as adults, Kids never forget... they keep mental note of these events. So I always kept note of this, I seen kids with their fathers/mothers at shows performances & wondered why i never got that from my stepfather? Once again, an answer I won’t get nor looking to find. I accepted what was & vowed to never let my son/daughter go through the same chapter, when I do have children. It can mess with your psyche, mental state & emotions if you don’t have anyone of great cause, substance in your ear & life telling you when your off. During my isolation period & to those who tried to say hi when I was spaced out or I forgot to say hi to in the streets or have waited for me to say something, put it on my pride... not my heart. I was on a mission to be better than the father figures that didn’t give me the proper love a son should receive growing up & be better than the negatives I displayed to my loved ones. The last thing I wanna do is return to y’all unchanged and remaining the same. Me & My biological is getting there with progress, just pray for us... I got no choice now that I have a new born little brother to look after. Me & My former stepfather... not so much. Truth be told, I rather keep him in prayer at this point than to be next to him. Forgiving takes time & I am honestly not over the pain he put me, my mother, my stepsister & my niece through. 20 yrs+ of false fatherhood, if we’re using analogies... I practically did a marriage bid (Federal time if we’re being technical). I was once told that you spend time with someone for a long period of time you begin to take up their habits, oh little did I know that I was subconsciously. As I begin to walk away from a timeline that dealt with paranoia & being close to the edge on a daily basis, I feel happy but at the same time disappointed because he couldn’t push me to be what he wanted to be all along. I guess that was his way of saying, “it’s too late for me.” FUCK THAT!!!! It’s never too late, don’t ever let the age limit standards of america stop you from achieving your dreams, your passion, your recovery. If you gave into the standards of america before reaching your goals, you failed before saying you gave it all you got. I’m not living by those standards neither should anyone that reads this. My journey to wellness via recovery is a gracious one, yet it came with a painful cost. My reckless behavior cost me to lose touch with a great friend who’s been there since we met in college. We never know why God create these moments in our life but somewhere down the end of that road... a rainbow appears and so does the sunshine. As I learn, study & apply detox to my everyday life... I realize detox isn’t just losing your weight. It entails so much more when you dig deeper into the grand scheme of life. I’ll commend the gate keepers of the world, y’all have a strong hold on the world including America but I won’t stand for being shackled by these circumstances, I plan to be the master of my circumstances & plan to teach my culture to do the same thing. Wellness should be universal & given to all of my people. Our culture would get better with time if we all understood and applied Wellness unto our lives. I wish I could partake in 4/20 as much as my people do honestly because I read & heard so much great benefits that come with marijuana overall. One day when I’m a full time signed songwriter/ghostwriter for major artists. Don’t let these commercials lie to you, I’ve seen people smoke marijuana & knock cancer out their bodies off the proper usage of marijuana... no overdosage. Weed is from the earth, God sent this here for me and U... Okay enough of me playing. Just thought I bring some laughter into this story. Now this potent Sour diesel on 4/20 though... high off contact is just as crazy as 1st hand smoke. I was high and happy out my mind 🤣🤣🤣... Let’s just say that I want to indulge more but for the sake of my employment... I have to keep this enjoyment to a minimum. Got Dammit!!! 😩😩😩

[ssfoc]

Hello, have you ever done any lyrical analysis of the others boys songs/albums? If not, do you happen to know any posts? Thank you.

You can search 1d songwriting on my blog... I don’t even know if Tumblr will let you.

Still Got Time

lUcOzAdE

Sour Diesel

And I think that’s all the solo music so far.