#conscious reggae | Explore Tumblr Posts and Blogs

Visit Blog

Explore Tumblr blogs with no restrictions, modern design and the best experience.

Fun Fact

Tumblr.com rank in the US is 25.

elywananda · 8 months

Video

youtube

Akae Beka Ft Kabaka Pyramid - Glory (2023)

#reggae #conscious music #kabaka pyramid #akae beka #midnite #haile selassie #roots and culture #black history #africanphilosophy

6 notes · View notes

culturedub · 1 year

Photo

🔥🔥🔥 Alpha Steppa & Awa Fall – What a Joy – Un double LP pour les amoureux du Dub, du Reggae, de la culture Sound System et de la Vie ! 🔥🔥🔥 Voilà une rencontre que l’on apprécie tout particulièrement à Culture Dub ! Tout d’abord pour la musique évidemment, mais aussi pour la positivité et la lumière qui jaillissent de ces deux talentueux artistes au grand coeur, n’oubliant jamais de défendre un message conscient avec justesse… Et c’est bien le cas tout au long des 12 titres chantés, suivis des versions Dub, que délivrent ensemble Alpha Steppa et AWA fall sur « What A Joy » , une perle musicale mêlant le Reggae et le Dub à l’Amour, produit par le label Steppas Records et à découvrir inna Culture Dub : https://culturedub.com/blog/alpha-steppa-awa-fall-what-a-joy/ "Un superbe et essentiel objet d’art militant, bien plus que du Dub, de la belle musique tout simplement, la grande classe !" Large Up... Alex Dub #reggae #dub #DubUK #ukdub #Steppa #stepper #singer #voice #chanteuse #conscious #militant #love #whatajoy #culture #music #Version #riddim #combinaison #complices #meeting #chronique #review #culturedub #vinyle #vinylcollection #LP #album @alphasteppa @awafall.official @naijah_official @aftrwrk.prod @culturedub https://www.instagram.com/p/CnTbPnsN0De/?igshid=NGJjMDIxMWI=

5 notes · View notes

radiophd · 1 year

Video

youtube

the conscious minds -- peace treaty

#1970s #reggae #the conscious minds

1 note · View note

evilthotiana · 30 days

Text

I hate Abstract Hip Hop African Music Afrobeats Alt-Country Alté Alternative Dance Alternative R&B Alternative Rock Alt-Pop Ambient Ambient Dub Ambient Pop Ambient Techno Americana Art Pop Art Punk Art Rock Avant-Garde Jazz Ballroom Baltimore Club Bedroom Pop Blues Boom Bap Brazilian Music Breakbeat Breakbeat Hardcore Bubblegum Bass Caribbean Music Central African Music Chamber Folk Chamber Pop Chicago Drill Chillout Chillwave Classical Music Cloud Rap Conscious Hip Hop Contemporary Folk Contemporary R&B Country Country Soul Dance Dancehall Dance-Pop Deconstructed Club Deep House Detroit Techno Disco Downtempo Dream Pop Drill Drill and Bass Drone Drum and Bass Drumless Dubstep Dub Techno East Coast Club East Coast Hip Hop Electro Electroacoustic Electronic Electronic Dance Music Electropop Emo Emo Rap Experimental Experimental Hip Hop Experimental Rock Film Soundtrack Folk Folk Rock Footwork French Hip Hop Funk Funk brasileiro Funk Rock Future Garage Gangsta Rap Garage Punk Garage Rock Ghetto House Ghettotech Glitch Glitch Hop Glitch Pop Grime Hard Bop Hardcore [EDM] Hardcore Hip Hop Hardcore [Punk] Hardcore Punk Hip Hop Hip Hop Soul Hip House Hispanic American Music Hispanic Music Horrorcore House Hyperpop Hypnagogic Pop IDM Indie Folk Indie Pop Indie Rock Indietronica Industrial Industrial & Noise Industrial Hip Hop Industrial Techno Instrumental Hip Hop Jamaican Music Jangle Pop Jazz Jazz-Funk Jazz Fusion Jazz Rap Juke Jungle Krautrock Math Pop Math Rock Memphis Rap Microhouse Midwest Emo Minimal Synth Minimal Techno Minimal Wave Modern Classical MPB Neo-Psychedelia Neo-Soul New Wave Noise Pop Noise Rock Northern American Music Nu Jazz Outsider House Plugg PluggnB Plunderphonics Political Hip Hop Pop Pop Rap Pop Rock Pop Soul Post-Bop Post-Hardcore Post-Industrial Post-Punk Post-Punk Revival Post-Rock Power Pop Progressive Breaks Progressive Electronic Progressive Pop Psychedelia Psychedelic Folk Psychedelic Pop Psychedelic Rock Psychedelic Soul Punk Punk Rock R&B Reggae Regional Music Rock Shoegaze Singer-Songwriter Slacker Rock Slowcore Smooth Soul Sophisti-Pop Soul Soul Jazz Sound Collage Soundtrack South American Music Southern African Music Southern Hip Hop Southern Soul Spiritual Jazz Spoken Word Synth Funk Synthpop Tech House Techno Traditional Folk Music Trap Trap Soul Trip Hop UK Bass UK Funky UK Garage UK Hip Hop West African Music West Coast Hip Hop Western Classical Music Wonky

79 notes · View notes

90363462 · 23 days

Text

This Moment to Arise: The Revisionary Genius of Beyoncé’s ‘Blackbird’

By Rob SheffieldMarch 29, 2024

'Cowboy Carter' highlight brings the White Album classic full circle

Beyoncé has so many audacious culture-clash triumphs all over Cowboy Carter. But one of the most stunning moments is also one of the simplest: her version of the Beatles classic “Blackbird.” Paul McCartney wrote the song in the summer of 1968, inspired by the American civil rights movement. All that history is right there in Beyoncé’s version. She keeps the folkie Paul guitar, complete with the squeaks, but adds her heavenly gospel-soul harmonies. What she does with the word “arise” is incredible in itself.

It’s a stroke of Beyoncé’s revisionary genius that brings the story of “Blackbird” full circle. She claims the song as if Paul McCartney wrote it for her. Because, in so many ways, he did.

Paul tells the story of writing it in his 2021 book The Lyrics. “At the time in 1968 when I was writing ‘Blackbird,’” he recalls, “I was very conscious of the terrible racial tensions in the U.S. The year before, 1967, had been a particularly bad year, but 1968 was even worse. The song was written only a few weeks after the assassination of Martin Luther King Jr. That imagery of the broken wings and the sunken eyes and the general longing for freedom is very much of its moment.”

Paul wrote this song as a dialogue with Black America; Bey’s “Blackbird” is part of that call-and-response, proof that the song always meant exactly what McCartney hoped it would mean. It’s one of the most profound and powerful Beatles covers ever, right up there with Aretha Franklin’s “The Long and Winding Road.”

Popular on Rolling Stone

“I had in mind a Black woman, rather than a bird,” Paul says of the song in the 1997 book Many Years From Now, by Barry Miles. “Those were the days of the civil rights movement, which all of us cared passionately about, so this was really a song from me to a Black woman, experiencing these problems in the States: ‘Let me encourage you to keep trying, to keep your faith, there is hope.’”

Editor’s picks

Paul was especially moved by the Little Rock Nine — a group of teenagers, the same age as so many Beatlemaniac fans, who caused a nationwide racist outrage in 1957 when they tried to enroll in an all-white high school in Little Rock, Arkansas. Gov. Orval Faubus called out the National Guard to block the kids from setting foot in the school. Writing “Blackbird” in the summer of 1968, with high-profile anti-Black violence in both the U.S. and the U.K., he turned that into the song. “As is often the case with my things, a veiling took place so rather than say ‘Black woman living in Little Rock’ and be very specific, she became a bird, became symbolic, so you could apply it to your particular problem.”

“Blackbird” is a song with a long history in Black music, from reggae (the Paragons’ gorgeous version from 1973) to jazz legends including Ramsey Lewis, Sarah Vaughn, and Cassandra Wilson. No song has a deeper dialogue between the Beatles and the Black America that gave them their voices. Anderson .Paak put his spin on “Blackbird” in 2013, years before he ended up contributing to Paul’s album McCartney 3 Imagined, with his funk remix of “When Winter Comes.” The Beatles’ sidekick Billy Preston, who plays with them all over the Get Back movie, gospelized it in 1972, as the flip side of his Number One hit “Will It Go Round in Circles.” His version is on the superb Ace Records anthology Come Together: Black America Sings the Beatles.

Beyoncé brings all that history to her version. There’s also a Paul-like playful humor in the way she makes a horse the star of her album cover. (Could Chardonneigh be the new Martha?) In other words, she is Macca Fierce.

But most of all, Bey’s version ties in mostdirectly to Sylvester’s disco version of “Blackbird” from 1979, the most outrageous and radical version ever. She evokes this song’s history in queer Black disco culture— connecting it to her whole Renaissance project. Sylvester was the first gay Black pop star who was out of the closet, as far as the public knew. Tragically, he also become one of the first stars to pass in the Eighties AIDs epidemic. But in 1979 he was back in San Francisco as a hometown hero, after breaking big nationwide. “Blackbird” is his falsetto-disco celebration from Living Proof, one of the Seventies’ greatest live albums. He was on top of the world: There was an official “Sylvester Day” in San Francisco, where he received the key to the city from the mayor, who happened to be Diane Feinstein. That night he headlined the War Memorial Opera House, and did the most beautiful “Blackbird” ever heard — until now.

Sylvester claims “Blackbird” for himself and his community. He trades call-and-response vocals (“Y’all ready, girls?”) with his backup singers, eternal disco legends Martha Wash and Izora Rhodes, the Two Tons o’ Fun. (They later blew up as the Weather Girls, belting their classic “It’s Raining Men.”) When they sing “You were only waiting for this moment to arise,” you can feel the whole crowd rise to join them. They’re not hiding out in the shadows anymore. They’re spreading their wings. It’s their night to fly. This is their song, and their moment.

Hearing Beyoncé sing this song now evokes her Uncle Johnny, a member of the queer Black dance culture that Sylvester epitomized, and the guiding spirit of her love letter to that culture, Renaissance. (He died tragically in the same epidemic as Sylvester, 10 years later.) You can hear her “arise” connect with Sylvester’s “arise.” And you can hear her Uncle Johnny in both of them.

Beyoncé has always loved reclaiming rock & roll as Black female performance. It’s one of her artistic passions — check her mind-blowing versions of the Doors’ “Five to One,” Alanis Morissette’s “You Oughta Know,” and even Kings of Leon’s “Sex on Fire.” She turned the Yeah Yeah Yeahs into “Hold Up.” Long before Stevie Nicks had her grand 2010s comeback, Destiny’s Child got her back on MTV with “Bootylicious.” Most spectacularly, the Lemonade classic “Don’t Hurt Yourself” is Beyoncé channeling Memphis Minnie’s “When the Levee Breaks” through Led Zeppelin, with Jack White wailing on guitar. But “Blackbird” is different, because McCartney wrote the song explicitly about Southern Black women and their struggle through American racism in the 1960s.

The Bey/Paul connections go deep. Bey and Paul were spotted hanging out at Coachella a decade ago; they also worked out together at an L.A. gym. He was visibly having a great time at her 2011 New York residency. He saw the Renaissance World Tour in London last summer — a clip of his dancing went viral — and posed for a memorable photo with Jay-Z, lifting their champagne glasses to toast the Queen. On tour, Bey wore a custom Stella McCartney silver dress and leggings. As Stella said, “It is a life moment to dress someone as iconic and inspiring as Beyoncé — a visionary pioneer, disruptor, and artist who has worked tirelessly to make the world a better place.”

Paul haters might have questioned his sincerity about “Blackbird,” but that just means they weren’t listening. Because this song didn’t happen in a vacuum — it’s part of his lifelong engagement with Black music and Black culture. “Blackbird” was hardly his the only explicitly anti-racist statement on the White Album. “Ob-La-Di, Ob-La Da” is a ska ode to West Indian immigrant family life in England (“Desmond is a very Caribbean name,” he says in the Anthology book) at a time when the right-wing politician Enoch Powell was whipping up racist and anti-immigrant hysteria with his notorious “Rivers of Blood” speech in April 1968. That summer, with high-profile anti-Black violence in both the U.S. and the U.K., “Ob-La-Di, Ob-La Da” was a consciously provocative statement.

He lashed out at Powell even more directly months later in “Commonwealth Song,” which turned into “Get Back.” But in “Ob-La-Di, Ob-La-Da,” he made these Caribbean immigrants his embodiment of family values — and turned it into an unimpeachably wholesome kiddie singalong. The title phrase came from a Nigerian musician friend in London, the conga player Jimmy Scott. (He later died in suspicious circumstances after being imprisoned by U.K. customs officials.)

When Paul performed in Little Rock in 2016, he met for the first time with Thelma Mothershed Wair and Elizabeth Eckford, two of the Black women who incited so much racist controversy by trying to enter an all-white high school. Meeting these two heroes had a profound impact on him. “Incredible to meet two prisoners of the civil rights movement and inspiration for ‘Blackbird,’” Paul said at the time. “Way back in the Sixties, there was a lot of trouble going on over civil rights, particularly in Little Rock,” he told the crowd that night, introducing the song. “We would notice this on the news back in England. So it’s a really important place for us, because to me, this is where civil rights started.”

But “Blackbird” is also in the tradition of his songs about everyday women and their unseen struggles— “Eleanor Rigby” and “Lady Madonna” with the Beatles, “Another Day” and “Jennie Wren” and “Little Willow” solo. (His empathy for his female characters was always radically different from other male songwriters of his generation, to say the least.)

Bettye LaVette did one of the most emotionally cathartic versions in 2020, a gritty old-school R&B performance at 74, singing the lyrics in the first person. She felt a deep connection as soon as she heard it, saying, ‘‘I wonder if people know he’s talking about a Black woman?’” She made it the centerpiece of her 2020 album, Blackbirds,where all the other songs were popularized by Black women singers — Nina Simone, Billie Holiday, Ruth Brown. “It is about the road that I came across on,” she told the crowd at Farm Aid 2021. “This song was written by Mr. Paul McCartney. But it is about me, and them.”

The whole Cowboy Carter is Beyoncé using music as a map of American pop culture, from Willie and Dolly and Linda Martell to the Nancy Sinatra bass line, right up to the great moment when she starts singing the Beach Boys’ “Good Vibrations.” Since she knows absolutely everything, she might even be consciously evoking the short-lived 1970s sitcomCarter Country, about a Black sheriff coming to a redneck small town in Georgia, from the creators of “What’s Happening!!” and “Sanford & Son.” Never put anything past her. She takes the details seriously.

But as Bey knows full well, the Beatles’ biggest inspiration was always American R&B. As kids in Liverpool, they heard the blues and soul records brought over by U.S. sailors. As John said, “We’d been hearing funky Black music all our lives, while people across Britain and Europe had never heard of it.” But Liverpool had its own racist history. “I was very conscious Liverpool was a slave port,” Paul says in The Lyrics. “And also that it had the first Carribean community in England. So we met a lot of Black guys, particularly in the music world.”

From their earliest days, they played songs by Ray Charles, Smokey Robinson, the Shirelles, Little Willie John, the Marvelettes — always aspiring to live up to that spirit. On their early U.S. tours, they refused to allow segregation at their shows in the South. (McCartney, 1964: “There’s no segregation at concerts at England, and in fact if there was, we wouldn’t play ‘em, you know?”) “Rock & roll is Black,” John told Jet magazine in 1972. “I’ll never stop acknowledging it: Black music is my life.” For both Paul and Ringo, that connection remains at the heart of their music. When Ringo turned 80 a few years ago, he hosted his Big Birthday Special livestream to raise funds for Black Lives Matter. He sat at his drums and told the worldwide audience, “Let’s say it again: Black lives matter! Stand up and make your voice heard!”

Trending

That’s why it meant so much to McCartney — more than any of them — to hear how his African American peers responded. Aretha’s versions of his songs always meant the most to him, because she heard that same Black history in these songs. When he wrote “Let It Be,” he sent her a demo in hopes she’d record it, even though he knew she would sing rings around him. (Her “Let It Be” came out in January 1970 — months before the Beatles version.) She did “The Fool on the Hill,” another song inspired by the civil rights struggle — for years, when Paul did it live, he added a sample of Dr. King’s “I Have a Dream” speech. Most of all, Aretha claimed “The Long and Winding Road,” leaving all other versions (including McCartney’s) in the dust.

For Paul, as with the other Beatles, the connection to Black American music was deep, but it was especially important for him that it to be a two-way dialogue. Beyoncé’s “Blackbird” is one that really completes the song — a profound moment in her history, the Beatles’ history, and this timeless song’s history. In so many ways, “Blackbird” has always been waiting for this moment to arise. And Beyoncé makes the song rise higher than ever before.

Sent from my iPhone

6 notes · View notes

lovereggaemusic · 6 months

Text

5 Remarkable East African Reggae Artists to Know

5 Remarkable East African Reggae Artists to Know Reggae music, with its iconic rhythm and socially conscious lyrics, has been embraced worldwide. While it has strong roots in the Caribbean, reggae has found its way to different corners of the globe, including East Africa. We explore the dynamic world of East African reggae and introduce you to five remarkable artists who are making waves with…

View On WordPress

#East Africa #Eric Wainaina #Gilad Millo #Jah Prayzah #Nigeria #Nneka Egbuna #Redsan #Zimbabwe

14 notes · View notes

deez-nut-free-zone · 1 year

Note

What's deep dubstep? recs?

ooooHoho FUCK yes. You have stepped into my wheelhouse, here we go:

To understand deep dub, you gotta understand the roots of dubstep. Dubbing a song was an art form invented in Jamaica in the 60s and 70s, where you would make a B side for a single by taking the vocal out, spacing the other tracks out with various effects boxes, and playing the mixing desk like its own instrument. It was the art of seeing how much you can remove and still have a great track

(if you recognize the beat but can't place it, it's the stalag riddim; the basis for Sister Nancy's hit single Bam Bam and many others)

In the late 90s in the UK, reggae influences in electronic music were strong. This is the peak of OG jungle, the origin of drum n bass. So lots of ppl were sampling reggae records, and the windrush generation had created a flourishing soundsystem party scene. Producers began to slow things down, and embraceing the halftime grooves, skanking, and subbass pressure from dub reggae. Mala, DMZ, Deep Medi Music, Benga, Skream, Caspa, Loefah, Code 9, all of these artists (even though some would go on to make more tear out, raging dubstep, it started like this) were making music for clubs with this laid-back, bassweight focused feel

Now, back at the time, they had tracks called 'tear out' dubstep, which is the style developed by the likes of Rusko, Coki, and Caspa (and later cribbed by Skrillex, Excision, and his ilk). These tracks were crazier, more midrange synth heavy, and more focused on heavy womps than subbass grooves. Here's a couple examples of early tear out:

In the 2010s, with the explosion of tear out sounds in Brostep and eventually Riddim, Deep Dubstep evolved as a conscious response to this saccharine maximalism. It brings back the focus on heavy subs to make soundsystems flex, spaced out effects experiments, and the minimalism from early Dub. It's groovy, it's trippy, it's dark, and it breathed new life into the culture of exclusive dubplates and vinyl only releases. It's beautiful. And only makes true sense on a heavyweight soundsystem

#theres a limit on song links in a post; deep dub artist and track reccs coming in a reblog

78 notes · View notes

thebonesofhoudini · 7 months

Text

Rap sales are down 40%. And honestly, I'm not surprised. It's gotten so boring, dry, and repetitive over the past couple of years. And as 39 year old man, not only can I not relate to the content, I find it more and more unpleasant to listen to. There's only so much negative, violent, materialistic, expletive laden garbage talking about "sliding on opps" and clowning you for being broke from the men and ratchet garbage from the women before you get annoyed by it all together and want to put on some Jazz, R&B, Punk, Soul, Reggae, Musique Concrete, Techno, House, Classical, Rock, Metal, Ambient, IDM, Shoegaze, Electro, Jungle, Drum & Bass...literally anything else. There's so much more music out there to just be listening to just rap/hip-hop. The older I get, I just can't believe how insecure some hip-hop/rap fans are towards other genres of music.

And before someone says it, yes there are a plethora of conscious underground rappers that don't receive mainstream love that should be supported that don't rap about those things...and that's why they're underground.

#rap #hip hop #sales #billboard #charts #opinion

10 notes · View notes

theindyreview · 1 month

Text

Check This: Nesbeth - Who's the Man

Check This: @NesbethReggae - Who's The Man A smooth and inspirational reggae bop sure to uplift #Nesbeth #newmusic #KXN #reggae #hiphop #rap #pop #dancehall #whostheman

Artist: Nesbeth Song: “Who’s the Man” Label: KXN Genre: Rap, Reggae, Hip-Hop, Pop, Afropop Jamaican reggae star Greg Nesbeth has faced trials and tribulations on his path to success. Starting his career writing more romantic tracks, the artist grew into more social conscious subject matter. At the pinnacle of his success, with his track “My Dream” being quoted by the country’s newly elected…

View On WordPress

#Afropop #hip hop #Nesbeth #New Music #pop #rap #reggae #Who&039;s the Man

2 notes · View notes

ubuntufm · 2 months

Text

Stonetribe - Locked Away

This bilingual masterpiece, crafted with equal parts Spanish and English lyrics, promises to captivate audiences with its high energy emotive storytelling and infectious rhythms!

"Locked Away" delves into the aftermath of love's dissolution, exploring the protective instincts that arise when hearts are broken. While this introspective period is crucial for healing and self-assurance, it can sometimes trap individuals, preventing them from embracing new connections.

The song serves as a beacon of hope for those navigating past heartaches, encouraging forgiveness and renewal as they envision a brighter future with a new love.

#ubuntufm #reggae #radio

3 notes · View notes

zaphffayrkunialofphinsfable · 5 months

Text

my musical personas

alt rock, ambient, art pop, art rock, avant garde, avant rock, blues, blues rock, britpop, cold wave, college rock, dream pop, ethereal wave, experimental, experimental rock, folk rock, garage punk, garage rock, grunge, hardcore punk, hard rock, heavy metal, indie rock, jangle pop, minimal wave, new wave, noise pop, noise rock, no wave, pop rock, post punk, prog rock, psychedelia, psychedelic rock, punk blues, punk rock, rock, shoegaze, sludge metal, space rock, surf, synth pop, thrash metal

indie folk, indie pop, indie rock, lo fi, folk, chamber folk, folk pop, alt rock, folk rock, blues, rock, gospel, country, trad pop, jazz, psychedelic folk, folk jazz, funk, avant folk, avant jazz

alt hip hop, alt r&b, avant soul, bedroom pop, city pop, cloud rap, conscious hip hop, east coast hip hop (stylistically), experimental hip hop, golden age hip hop (stylistically), gospel, hardcore hip hop, hip hop, horror core, indie pop, industrial hip hop, instrumental hip hop, jazz rap, lo fi, lo fi hip hop, neo soul, plugg, political hip hop, pop rap, dog rap, prog soul, psychedelic rap, psychedelic soul, punk rap, r&b, rage, rap metal, rap rock, reggae, soul, southern hip hop (stylistically), synth pop, trap, trip hop, underground hip hop (stylistically), west coast hip hop (stylistically), witch house

rock, pop, psychedelia, beat, soul, r&b, gospel, jazz, folk, blues, country, trad pop, experimental, Indian classical, funk, classical, electronic

5 notes · View notes

culturedub · 2 years

Photo

🔥🔥🔥 Weeding Dub feat. Vivian Jones – Trod on – Un Reggae Roots conscious et charmant, suivi d’un Dub tout puissant ! 🔥🔥🔥 Weeding Dub présente ‘Trod on‘ en vinyle 7inch, seconde collaboration du producteur français avec le légendaire Vivian Jones sur le label Wise & Dubwise Recordings, un titre 100% Reggae Roots sur lequel le chanteur anglais transmet avec passion et optimisme son envie d’aller toujours de l’avant, suivi d’une version Dub mixée avec talent par le dubber lillois, premier single de son album « Where We Come From » qui sortira le 2 décembre 2022, à découvrir inna Culture Dub : https://culturedub.com/blog/weeding-dub-feat-vivian-jones-trod-on/ Large Up, Alex Dub #reggae #roots #conscious #consciousness #dub #version #dubwise #riddim #vinyl #7inch #music #culture #singer #vocal #chronique #review #culturedub #soundsystem #45tours @weedingdub @vivianjonesofficial @controltowerrecords @talowaprod @culturedub https://www.instagram.com/p/CkYXLtQJUC4/?igshid=NGJjMDIxMWI=

#reggae #roots #conscious #consciousness #dub #version #dubwise #riddim #vinyl #7inch #music #culture #singer #vocal #chronique #review #culturedub #soundsystem #45tours

2 notes · View notes

affairesasuivre · 1 year

Text

youtube

Death And Vanilla reveal new single ‘Looking Glass’ from upcoming album ‘Flicker’

Presenting their unique pop music that defies categorization, Death And Vanilla today release new single ‘Looking Glass’ from their new album Flicker set for release on 17th March on Fire Records.

New track ‘Looking Glass’ unzips with a slow paced intro, it’s organic, a grower that goes modal and multi-layered behind Marleen Nilsson’s evocative vocals; like a fevered Fleetwood Mac dream, lingering in the sub conscious with luscious melodies from the post-future.

Housed in a beautifully austere post-ironic de-constructed sleeve, ‘Flicker’ is a modern reflection on these difficult times. World crises and lockdowns notwithstanding, Death And Vanilla return reborn, re-arranged and revitalised after assimilating dub reggae, the motorik spirals of Can, the modal meander of Philip Glass and The Cure’s dreamier pop sounds; plus the twice removed symphonic ambience of Spiritualized and Talking Heads under heavy manners from Brian Eno. By osmosis their period of transition since 2019’s much darker ‘Are You A Dreamer?’ has hatched new eclectic electronica anthems riddled with melody lines, and layered for lush love.

It’s been ten years since Death And Vanilla formed in Malmö, Sweden, Marleen Nilsson, Anders Hansson and Magnus Bodin – fashioned by the city’s austere

#death and vanilla #looking glass #flicker #pop #fire records #affas #affaires a suivre #affairesasuivre #2023 #Youtube

7 notes · View notes

Last Seen Blogs

thefairfolk

your local kelpie

incestdanish

kutta behn ka

talesofealdancynedom

Tales Of Ealdan Cynedom

th-emptyhearse

...

expeditecommerce

Expedite Commerce