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les-mis-in-space · 1 year

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⭐

I'm just letting you ramble because I'm incredibly indecisive have fun!

Okay instead of one BIG ramble I think I'm gonna do a bunch of little ones

None of the prisoners looked at the guards observing them, keeping their heads low as they worked to repair the ship. Two symphonies played a counterpoint duet— the instruments of nature being the gongs of thunder, the rattling of the rain, the clapping of the waves, with only the whistling of the wind to give melody to the excess of percussion; the music of the inmates being comprised of the falsetto hum of electrosaws, the clanging and clinking of hammers, the twisting wrenches groaning and screeching like kloo horns on fluctuating settings. Immediately to the left of Com Narcom, a Klatooinian gave lyrics to the cacophony in growled Huttese:

Stuka doompa, stuka doompa Hagwa stuka ta hoohah Stuka doompa, stuka doompa Unko uba nee choo,

And in lieu of a final syllable he would spit, quite forcefully, to approximate a rhyme, which would make his green leathery jowls quiver. At the third repetition of this verse, Narcom’s shaggy, sopping head whipped in the inmate’s direction with a snarled “Can you shut up?”

The singing Klatooinian locked eyes with Narcom and growled deep in his throat, like an akk dog ready to snap. A sentry probe zoomed over, its photoreceptor flashing red as a grating electronic bark warned them to leave each other alone and focus on their work.

Narcom’s eyes dropped. “I mean, can you shut up, please.”

If I could have done this with Master of the House I would have, but I could not get the Huttese lyrics to fit the meter. I was already kinda stretching here, meter-wise. I've always wondered how obvious the reference is to those who don't bother consulting a Huttese dictionary for the translation.

I’m sure there have been early mornings where your alarm has gone off and then, after a long session in the sanistream, you’ve sat on your bed wearing only a towel or your undergarments, procrastinating putting your clothes on for no real reason while you check the HoloNet on your datapad or think about how you’re going to get your protagonist out of the nest of gundarks you dropped her into in the last chapter— that or a particularly difficult math problem, whatever people who aren’t writers think about.

Passages you write before you're diagnosed with ADHD lol. Turns out this thing I thought was relatable probably only happens to a certain demographic on a regular basis. Still, I'm sure we've all had at least one experience like this. Com's basically in shock right now; he's a bit slow on the uptake while his brain tries to process the fact that someone is being nice to him.

“This thief says you gave them to him,” the officer sneered. “As a gift.”

Korma blinked. “But I did.”

The prisoner started.

The officer’s eyebrows shot skyward. “What?”

Korma leaned to peer over the officer’s shoulder. “Why is he in binders?" he demanded, throwing up his hand. "You will release him at once!”

"We'll release him at once," said the officer, waving two fingers toward the officers behind him. The policemen deactivated the cuffs. The prisoner rubbed his wrists, staring at the old Cerean with bewilderment.

“Return the knapsack,” Korma ordered. “Those belong to him.”

"These belong to him," said the officer, setting down the knapsack and stepping back.

“I thank you for taking the time to return my property,” said the bishop. “But no crime has been committed here. You can go about your business.”

The lead officer nodded, setting the knapsack on the ground and turning to the other officers. "We can go about our business."

This is not originally how the scene was written. Originally, there was no hand-wavery or repeating of sentences. Some time after I'd finished Part I, I was rereading this chapter and realized I'd missed an opportunity. Always good to add even more of a Star Wars touch. It also foreshadows the (admittedly obvious) reveal a couple paragraphs later.

Halmath picked up the imagecaster, holding the hologram of Kobjin’s head in his hand. He stared at it, as if it were the unearthed skull of someone he had once known. The familiarity was not reflected in the man’s hollow, empty eyes.

“Ah,” Halmath whispered. “Poor Com.”

Yes, this is a Hamlet reference. Thank you for noticing.

“Coming up now.” Adeg reached up and disengaged the hyperdrive. The vortex of lightspeed gave way to view of a round gray ball directly ahead with a thin ring of asteroids surrounding it.

Arkassos looked like a gas giant from space. It wasn’t a gas giant, of course, because it wasn’t gigantic— and its surface was terrestrial, a fact Lieutenant Adeg only knew because he’d been there before.

The young pilot glanced over his shoulder. “You’re going to want to strap in now, Minister,” he advised. “It’s going to get rough.”

Com frowned as the shuttle breached the stormy atmosphere. The rocking of the cockpit prompted him to take the pilot’s advice. He sat behind Adeg, closed his eyes, and tried to muster a meditative state despite the deafening thunder.

Suddenly, something smacked against the shuttle, sending it tipping starboard. Electric sparks arced through the cabin. The copilot swore while Able yelped. Com clutched his armrests as the ship wobbled. “What was that?”

“Shark, probably,” Adeg replied as he righted the craft. “They like to ram incoming ships. Must have slammed into our dorsal wing.”

“A shark… in the sky?” Com furrowed his brow.

“Yes sir,” nodded the pilot. “Arkassoan sharks swim in the air. They’ve got big wings like—”

“Like that,” McKrow pointed.

Com leaned to peer through the transparisteel. There, circling off to the side, was a shoal of creatures with long, slowly-flapping fins, and three dorsal fins each on their backs. They crackled with electricity as if their bodies were supercharged by the storm. Their bodies were ash-grey, except for the black ridge that stuck out over each one’s brow.

Com didn’t like them.

Sometimes, Star Wars locations have a unique feel to them that makes them instantly recognizable. My success in coming up with my own original planets varies in this regard. Trolorn is your run-of-the-mill water world, but the prison gives it an adequately distinctive signature. Dygni is pastoral with small towns— planets like that are a dime a dozen. Ditto with Monderon, although I tried to make Monderon stand out by being described as particularly boring and also containing occasional forests— had to have those woods for the scene where Leela meets Antilles. Montal is another water world— in coming up with a distinctive feel for the capital city, I decided to go with "Minas Tirith in the middle of the ocean." Pasir is not as urban as other Star Wars planets we've seen, but not at all as much of a backwater as most Outer Rim worlds either.

Anyway, all this to say, I seem to come up with my best gimmicks when the location is only briefly relevant. I thought, "Okay, what sets Arkassos apart?" and my brain came up with "giant flying lightning sharks." I laughed with my beta reader about how stupid random that idea was and then it turned out they really liked the sharks, so I *had* to go through with it.

The description of the sharks is intentional. Ash-gray, jutting black ridges over the brow... If you have a good memory, you should realize why Com doesn't care much for them.

As the convict went from house to house, he saw a pair of police officers. Their uniforms were like the guards’ uniforms on Trolorn, except that the guards had worn black caps and ash gray tunics, and the police officers’ caps and tunics were a matching shade of teal blue, with brass rank plaques and cap discs instead of silver.

Also note that the city below is enclosed in a giant cage. On a stormy planet. Surrounded by patrolling entities that will zap you if they catch you outside the walls. Com doesn't miss this parallel:

The shield gate began to open. “It’s ‘cause of the sharks,” the pilot explained as they passed through to land.

Com knew the pilot meant, to keep the sharks out. But between their stern black ridges and fins that crackled like electrobatons, he felt as if rather the sharks were there to keep them inside the cage.

As if to confirm his thought, Adeg added, “You thought it was rough back there, wait until we’re trying to leave.”

Wow. So far I've spent the most time rambling about the lightning shark planet.

Mrs. Bewl continued her testimony. “I’ll never forget that man. Drab clothes, scruffier than a Wookiee, and he smelled absolutely terrible. And he had this hungry look in his eyes, it gave me the creeps.”

Things that make Mrs. Bewl assume a man is dangerous include [checks notes] needing food

A moment later, a dark-skinned young man in a black uniform appeared in the refresher, with a protocol droid right behind him. “I saw what you did,” said Adeg breathlessly. “I’ve never seen anyone do something as brave as you just now, Minister. I sent off the troopers. Let’s get to the ship before they come back.”

“Hold on,” said Kobjin. “You’re an Imperial. Why are you helping us?”

“Because it’s the right thing to do.” said Adeg firmly. “You need a pilot.”

This is an intentional reference to Poe's rescue in The Force Awakens. Adeg only appears in this chapter and the next, but I can tell you that after escaping from the Arkassos fiasco (say that out loud, it's fun) he joined up with the Rebellion as an A-Wing pilot, married one of his squadmates, and had a child after the war who was kidnapped by the First Order at a young age. He and his partner were some of the first Resistance members.

“We’ve got to deal with them or we’ll never get out of here alive!” Adeg insisted. “Alright, Minister! Start firing!”

Com looked at the gun controls as TIE lasers bounced off the viewport. “Where’s the stun setting on this thing?”

“Are you kidding me?!” Adeg exclaimed. “Just shoot them!”

...

Com swerved as soon as they penetrated the clouds, veering away from their pursuers in the opaque mist. The thunder was deafening now. The cabin lights flickered. Com weaved between thunderclouds as lightning beat the forward deflector shields. Adeg looked over at Com as he navigated through the maze. “Are your eyes closed right now?!”

“Trying to concentrate,” Com grunted.

“Wait, they’re what?” Kobjin shook the back of the pilot’s chair. “Keep your eyes open! We’re flying through an atmospheric maelstrom right now!”

“I know,” Com snapped. “Let me focus.”

“Can’t you pray and look where you’re going at the same time?” demanded Adeg.

I don't have much to say here except these are my favorite bits of comedy in the whole chapter. Never fly with a Force-wielding pacifist if you value your sanity. Also—

“Back?” Adeg sputtered. “Back to Arkassos?”

"Why does everyone want to go back to Arkassos?" XD

I think I'm going to ramble about Book II in a reblog!

#the process #lore

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randomvarious · 10 months

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Today's compilation:

Rock Rolls On: Greatest Rock 'n' Roll Hits of the '50s 1984 Rock & Roll / Doo Wop / R&B

Two things you really gotta love about this double-LP release: first, the album art. I mean, who can resist this totally 80s aesthetic here, with all these bright, fluorescent colors placed onto a square-tiled background like this? Certainly not me. And second, you have to appreciate the whole budget nature that went into producing this thing too, because this really isn't your run-of-the-mill 50s oldies comp at all.

See, what this thing actually is, is a compilation that was put out by a label called Pair Records that happens to pull its selections from two other already existing compilations that were released in the 70s. You can't tell from the photo that was taken of the album art here, but if the photographer had zoomed out just a little bit more, they would've captured the disclaimer at the bottom of the front cover that says that all of the songs on the 2nd LP in this set are actually from a rockumentary soundtrack called Let the Good Times Roll, which featured a bunch of live recordings that were taken from two separate 1973 concerts during a rock & roll revival tour that included a whole bunch of 1950s and 60s staples on its billing. That soundtrack was put out on a label called Bell Records, which is owned by Arista.

And the only reason why I know all of this is because I bought this damn release myself and currently have it sitting right in front of me. I came across it on Discogs and saw some *very* strange track lengths—a Bo Diddley song with a runtime of over five minutes?!?—and decided to find out if they were correct. And it turns out that they certainly were.

However, what's not indicated at all on this release is where all of the tracks on the first LP come from. Now, these ones are all studio recordings, so whoever compiled this particular record could just say that they came up with all of these selections themselves; except for the fact that *all* of these songs also appear on another Bell comp from 1972 called You Must Remember These Volume I. So, given that the second LP is also comprised entirely of songs from a 70s Bell release, it would stand to reason that this first LP would be too, even though nothing on the release itself points to that fact.

But does any of this information actually matter, though? No, not really. Of course, at the end of the day, what really matters most is not so much the trivial provenance of these songs, but whether or not they themselves are actually good. And they are; they are *very good.*

The first LP serves up a bunch of spectacular doo wop tunes, leading with a stone-cold classic in Maurice Williams & The Zodiacs' "Stay," a 1960 chart-topper (hey, waitaseckin! Isn't this a 50s comp?! 🤔🤷‍♂️) that features some sudden and glorious falsetto on its chorus that comes courtesy of vocalist Henry Gaston. Then, following that one is a pretty immaculate remainder as well, but two especially sweet dollops are The Channels' "The Closer You Are," which never charted nationally(!), but was a big regional hit in 1956, and The Silhouettes' "Get a Job," which was another national chart-topper in '57. These two songs, to me, represent some of the absolute cream of the all-time vocal doo wop crop. Just powerful, totally electric songs, with vocalists who, together, make up a dynamic range, from low to mid to high. "The Closer You Are" sports both a weaving falsetto and an intermittent onomatopoeically bonging bassline, and "Get a Job" deploys some really catchy doo wop scatting, a fantastic sax solo, and a distinct, watery lead vocal from Bill Horton too. Terrific, deeply satisfying, and very lively doo wop fare in both of those unmissable tunes.

And speaking of lively, the second LP, which, again, only has live recordings on it, really brings it too. But the lone performer who stands out among the rest on this particular record is the one and only Little Richard. Two of his biggest hits in "Lucille" and "Good Golly Miss Molly" get lined up back-to-back here and they're both so irresistibly energetic. A pair of excellent performances that feature his signature "woo"s, as well as his passionate rasp and gravel. It's one thing to hear him do it in studio, but it's really a whole 'nother thing to hear it done live, with a very wanting, appreciative crowd and a full backing band to match all that both he and that crowd happen to give. Lots of infectious reciprocation going around in both of those songs that ends up generating a great and unforgettable atmosphere.

What's unfortunate for you, though, is that I can't actually find *any* of these live recordings on YouTube! 😧 I mean, go figure, right? A seemingly unassuming budget comp of 50s hits from the 80s actually has a bunch of tunes on it that can now be considered rare by today's standards? Funny how that works, eh?

So, yes, this is a cheap and completely unoriginal release of 50s songs that appears to pull all of its material from two other places. But more importantly, because of the music that's on it, it really still is a phenomenal double-LP set, and very surprisingly, it has a slew of tunes on it that you actually can't easily find these days. You'd think that all commercially released live recordings of such rock & roll luminaries as Bill Haley and His Comets, Little Richard, and Bo Diddley would be on YouTube already, but apparently not!

Feel free to message me if you're interested in hearing them, though!

Highlights:

Maurice Williams & The Zodiacs - "Stay" The Turbans - "When You Dance" The Nutmegs - "Story Untold" The Channels - "The Closer You Are" The Silhouettes - "Get a Job" Lee Allen & His Band - "Walkin' With Mr. Lee" The Five Satins - "In the Still of the Night" Bill Haley And His Comets - "Rock Around the Clock" Little Richard - "Lucille" Little Richard - "Good Golly Miss Molly" Bo Diddley - "Hey Hey Hey"

#rock & roll #rock and roll #rock #doo wop #r&b #r & b #rhythm & blues #rhythm and blues #oldies #classic rock #music #50s #50s music #50's #50's music #60s #60s music #60's #60's music

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dojae-huh · 1 year

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https://youtu.be/jEwP_Vywt0A

2.25 i really love how taeil’s falsetto sounds different than Do who sang the same melody right after him. They’re falsetto right? Haha anyway i just want to point out how they sound different with the same melody and i love that. Do’s breathy while taeil is (I don’t have the vocab to describe it)

Somehow for this song, i always feel like they’re telling different stories, each of their stories even when they’re performing tgt. How different their life stories are but they’re hurting the same. I think it’s because each line is equally heavy and painful? Like they’re shouting their pain one after another. If that makes sense. I like this video very much. Their vocals, the emotion they brought in. Watching full videos on youtube really makes me appreciate 127 as a whole. Twitter’s too fast and accounts usually support certain members only. Too much zoomed in clips that the focus is not the song nor performance. It’s the members. But ig that’s the whole point of twt fan acc hehe

Link

Fanaccs focus on one-two members and they also can skew your own perception of things.

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tobbogan-13 · 8 months

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New Pinned Post yay

hi, my name is Teagan!

twas born on the 15th of July

♋️ I'm a sad crab

I am under the age of majority so don't be a creep

I'm a Cis girl, I go by she/her mainly, but they/them is cool

lesbian because women 👭

Asks are always open, notifications give me immense joy

This blog is mainly just me rebloggibg random stuff (I have side blogs now, yay! @spiky-lesbians13 for falsettos and @alottalocomotion for StEx)

I really like Williams Finns Marvin trilogy (especially the 2016 falsettos revival) and Starlight Express

I have very bad music taste. I listen pretty much exclusively for showtunes cause I'm a filthy theatre kid

I like other musicals too (LSOH, Cabaret, Legally Blonde, ect.). I do theatre too (singer/actor first, dancing is the bane of my existence)

I roller blade and Roller skate 🛼

Andrew Rannnells is a perfect human and I love him (not to brag, but I'm bragging about how I won a zoom call w/ him 😃)

I have ADHD yay 💅✨️🔥

Typical DNI stuff, Transphobes, Homophobes, Bigots, Pro-lifers, Trump supporters, Anti-lgbtq, racist, ect.

#about me #hi

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bigfishthemusical · 5 months

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watching the falsettos proshot rn and well tbh I have never met a proshot stage production I actually like. Those cameras need to stop zooming in this is not a movie. Let the lighting do it’s thing

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daddy-long-legssss · 8 months

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Super long post about my experience at the Arctic Monkeys concert in Toronto for night one.

Excuse any typos lol.

First things first, I had trouble with my ticket and nearly had a heart attack (thanks StubHub) but I got my ticket figured out and got to the venue in time while DC Fontaines were performing. It was mostly a younger crowd in their 20’s-30’s but there were some older folks and parents taking their teenage kids. The amount of leather blazers, Converse, Doc Martens and black mini skirts I saw was incredible. It’s interesting how the tumblr grunge aesthetic still carries on in their fan base even though the band has changed so much.

My seats were at the back of the 303 section of Budweiser stage, dead centre and no one was behind me. I’m 6’1 and I wore a little heeled boot (sorry it went with the outfit) but I was so happy I didn’t block anyone behind me.

They fucking opened with ‘Do I Wanna Know?’ around 9:10 pm. I was fully ready to hear ‘Sculptures of Anything Goes’ but I was shocked and happy to hear those opening riffs. It’s just so good. How can you not love it. Everyone went wild and rightly so.

Alex looked handsome as always in his blazer but he did a little Canadian tuxedo with the denim shirt and jeans and those silly glasses but I kinda loved it.

They thundered into ‘Brainstorm’ which sounded incredible. Their sound and talent has truly stood the test of time and he didn’t slow anything down LOL.

THEN THEY FUCKING DID ‘I Ain’t Quite Where I Think I Am’ and I lost my fucking MIND. AND NO ONE ELSE DID. At least not around me. I hate to admit it but the crowd was kinda mid. I feel kinda bad for the band, they deserve so much better, especially the new songs. The crowd only know AM songs and the popular songs from the early albums. I’m a new fan myself but I’m unhealthy obsessed and I studied their discography and The Car specifically beforehand. IAQWITI is so damn groovy and funky, the ‘waahhs’ get me every time and ‘eyes roll back’. The guitar always sounds so delicious and fun.

They did ‘Snap Out Of It’ which isn’t my favourite (sorry) but still a fun bop. But then they did ‘Cry Lightning’ and again, l lost my shit. It sounded so goddamn good. Again, his voice just carries the song so beautifully and it’s already a masterpiece so hearing it live was nothing short of spectacular. He also did the solo at a the regular speed and actually played a little longer.

And Teddy Picker and View From The Afternoon were played and again, they always slap and are such good energy. NO ONE WAS MOVING. AGAIN, AT LEAST NOT AROUND ME. Even looking out into the crowd, it was just upright bodies barely moving like??? Alex serenaded us with ‘Cornerstone’ adding little ad-libs as usual, he says ‘fiddling with the smoke alarm’ now instead of ‘messing’. There was a beautiful piano interlude before ‘Why’d You Only Call Me When Your High?’ and it seems like everyone woke back up and sang along. Alex got on his knees during Arabella and sang straight into the camera which kept zooming into his face. He’s like a cat with a laser pointer.

THEN CAME ‘ONE POINT PERSPECTIVE’. Those opening piano keys started and I I screamed and clapped in utter joy and no one around me seemed to know the song. Like what is going on in Toronto?! Why no TBHC love? I’m so happy it stayed on the setlist, he hits the little falsettos so beautifully and absolutely killed the guitar solo.

‘Do Me Favour’ and ‘Pretty Visitors’ were next. Not a lot of people were waving their arms and casting a snake pit on the wall like hello?

And then. The chord to the ’Suck It and See’ started. And I actually couldn’t believe what I was hearing. I screamed the loudest I’ve ever SCRUMPT. AND NO ONE AROUND ME GOT EXCITED AND IM LIKE YALL HEARING THSI RIFGJT!? ALEX WAS EVEN LIKE ‘COME ON’ LIKE WAKE UP PEOPLE. He started it acapella like other performances last year but it’s so FUCKING AMAZING. THAT SONG AND THAT ALBUM ARE SO SPECIAL TO ME. ITS SUMMERTIME. ITS HAPPINESS. ITS NOSTALGIA. AND THE FACT THAT THEY PERFORMED IT ON THE NIGHT OF A BLUE MOON AND SANG ‘Blue Moon girls from once upon a Shangri-la.’ Like I can’t comprehend it happened. I couldn’t stop smiling and singing the entire time. I’m so fucking happy and grateful and honoured to have heard that song live. I can’t ask for anything else in my lifetime because that was all I ever needed and more. I’m so happy that mahaonthegram got to it hear it live, I know it’s such an incredibly special song for her. She deserved to hear it and have an absolutely amazing night at the concert.

Then, they did 'Knee Socks', another one that isn't my favourite but still fun to hear.

And then, oh my god, ‘There’d Better Be a Mirrorball’. Hearing this song live y’all. He did a beautiful piano interlude before the song started but my god, just perfection. It felt like I was the only person in the room with them, so intimate and transformative. Alex sounds better than the recording which we all already knew. And of course, the mirror all dropped down and illuminated the arena at the end which was so magical.

505 started and the mirrorball was still down. Everyone went crazy (like finally) and sang all the words.

RU MINE started playing and I was like ‘bro, they are SPEEDING through these songs, like we can’t be at the end already?’ Where is Body Paint?? Either way, I fucking jammed out and had the time of my life. The people next to me left during R U MINE and I’m like R U OKAY?! The band left the stage after R U MINE.

They came back from the encore with ‘Fluorescent Adolescent’ which everyone knew which made the energy even better. It’s so fun to sing and hear them perform it live. And then ‘IBTYLGOTDF’ which is always a FUCKING BOP. It was the song that started it all for me and got me down the rabbit hole and into my obsession. The energy it’s so fun. No one was close to me on my left so I was able to move around and dance more. How can people stand still at a concert? Especially like a rock concert? I don’t understand. I know screaming gets annoying after a while but like how will the band know if you are having a good time?

And then they ended with Body Paint which is the perfect closing song. People actually knew the song so they got excited when it started. The falsettos are so delicious and wonderful and he hits every single one. Because they closed with it, Alex played his solo for so long 😭 just grooving out and jamming out for like three minutes straight and loving every second of it. He blew kisses in-between chords and walked across the stage waving to the crowd, he got on his knees looking absolutely etheral. And then it was over.

And I just sat in my seat in utter awe while people shuffled around me to leave the stadium. Staring at the mirrorball. It happened so fast, they really flew through the set list and played for just over an hour and a half. I couldn’t stop singing and smiling the entire time. After hearing SIAS, my life was made for evermore. I couldn’t ask for anything else. Not even ‘Hello You’. It was just perfect in every way. And I’m so grateful and happy that I went and that I fell in love with them only a few months ago. It was truly best concert I’ve ever been to and the happiest I’ve been in a long time. I couldn’t have asked for a better way to have turned 26. Everything was perfect.

Thank you Alex, Matt, Jamie and Nick for one of the best nights of my life.

(I wasn't close to the stage but I took a couple videos that I might upload later but people in GA got all the high quality content).

#personal post #SUPER LONG I'M SORRY #no one probably cares #but I had to share #arctic monkeys #the car tour #arctic monkeys toronto #budweiser stage #concert experience #arctic monkeys concert

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musicblogwales · 9 months

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youtube

Richard Walters - 'Anchor' (Official Video)

Richard Walters is back with new single “Anchor”, the latest track to be cut from his upcoming solo record ‘Murmurate’ (out 17 November, via Nettwerk). Enveloped by Walters’ tender falsetto, “Anchor” is a spacious piano piece adorned with longing string arrangements to stir the soul. A song dedicated to his daughters, it finds the artist opening-up about the intense and transcendent connection we feel with our closest family. As Richard explains:

‘“Anchor” is a song about and for my daughters; I've been away a fair bit the last 12 months, which felt especially hard post lockdown, and it's a song about that familial pull and instinct to protect and support them.”

Co-written with esteemed songwriter Edd Holloway (Lewis Capaldi, Tom Grennan), who had also recently become a father around the time of writing, the resultant single is another fine example of Walters’ exceptional ability for intimate storytelling, captivating vocals, and intricate musical arrangements.

“Anchor” swiftly follows recent teaser tracks “After Midnight” and “Move On”, all of which reveal different shades of Walters’ upcoming solo album ‘Murmurate’, which is released this Autumn.

Written in 2022 as the world recalibrated to the tides of change, ‘Murmurate’ homes-in on those feelings of waking up in the post-pandemic world to the realisation that many of us had changed too. An album that ruminates on our human need for real-world relationships and the importance of meaningful connections with those closest to us, these recurring themes would also play into the palpable intimacy of ‘Murmurate’ and its recording. As Richard explains:

“When it comes to music, throughout lockdown I was desperate to be in the room with other people making things again. In my opinion, Zoom just doesn’t cut it when it comes to finding common musical ground and building things up” says Walters. “That’s where the title ‘Murmurate’ comes from - I just wanted to feel that unison again, to move in time with other songwriters and musicians, to flock and gather and soar a little bit, even if the distance from my homelife made me feel torn from time to time.”

Combining unassumingly complex arrangements and openly heart-on-sleeve songs, it’s an album that graciously shifts from nocturnal piano ballads (“All Over”), to sprightly folk/pop poetry (“Long Way Down”), darkly lilting lullabies (“Open Everything”) to longing, love-lorn duets (“Locked Up Never Fade”).

With all tracks performed and written by Richard Walters, ‘Murmurate’ was recorded, produced and mixed by Eliot James, before receiving its final mastering by Dyre Gormsen. Amongst the myriad instruments performed by the pair, listeners will also be able to detect Eliot’s 11 year old son Leland James on cello, plus guest vocalist Lydia Oliver. ‘Murmurate’ is released on the Nettwerk album on 17 November 2023.

An artist, performer and songwriter based in the UK, Richard Walters has amassed over 100 million streams across his five critically acclaimed albums and four EP's to date. Since his debut release in 2005, his music has featured on a number of TV shows including Grey’s Anatomy, CSI: Miami and Tin Star, while receiving praise from titles including The Guardian, Clash, Line Of Best Fit and other tastemaker press. Richard’s solo releases have also gained notable support from BBC 6 Music’s Lauren Laverne and Guy Garvey, plus BBC Radio 2’s Jo Whiley and Dermot O’Leary.

Sought-out by stars including Grammy-winner Joe Henry, British icon Alison Moyet and Oscar nominated actress and singer Florence Pugh, Walters has also lent his talents to influential electronic artists including Kx5, Solomun, Sonny Fodera, Sultan + Shepard and more.

A member of the group LYR (with poet laureate Simon Armitage and Patrick Pearson, who release their second album 'The Ultraviolet Age' on 30th June); Richard also released the album ‘Shapes In My Head’ under the name Sun Lo, a collaboration with ATTLAS, earlier this year. Catch Richard tour his latest work this November at these UK headline dates:

RICHARD WALTERS - LIVE DATES 2023 24 Nov - BRISTOL, The Louisiana 25 Nov - OXFORD, Jericho Tavern 29 Nov - MANCHESTER, The Castle Hotel 30 Nov - LONDON, The Grace Tickets on sale now: https://www.richardwaltersmusic.co.uk/live

#Youtube

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bringinbackpod · 1 year

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We had the pleasure of interviewing Caye over Zoom video! American Music Supply Sign up for updates from American Musical Supply by texting “BIB” to 800-458-4076 & get $20 off your first order of $100 or more. You’ll receive about 4 messages per month, message and data rates may apply. Consent not required for purchase, reply HELP for help and STOP to opt out. LA-based artist/producer/songwriter, Caye (pronounced KAI), shares his brand-new single, “LOSE SLEEP.” Written and produced by Caye himself, “LOSE SLEEP” is a melancholic, R&B tinged track about being addicted to something you know is bad for you. “LOSE SLEEP” follows the previously released tracks – "SCARS," “MILFORD SOUND,” “DOPAMINE,” “SOME LAKES” and “WE LOVE PT. 1” – which will be featured on his upcoming debut album, We Love. For the first time in his career, Caye is leaning into what makes him unique, instead of shying away from it. On both a musical and personal level, We Love reflects Caye’s own experiences as a creative and as a person. With this project, he feels at home singing over wavy didgeridoo lines, sultry piano, and rock inspired production, but it’s the lyrics, themes, and genre-less blend of influences that truly capture who he’s evolved into as an artist today. Caye recently announced his first ever headlining tour. Kicking off in Los Angeles on Wednesday, March 1st at The Moroccan Lounge, the tour will visit 10 cities across the US including San Diego, CA, Seattle, WA, Washington, DC and New York, NY before wrapping in Philadelphia, PA on Saturday, April 1st at Milkboy. Based in Santa Monica, Caye is an artist/producer/songwriter with an evocative falsetto and a gift for melodic improvisation. He's been steadily winning fans across the US and around the world since breaking onto the scene in 2015. Building on his classical training by experimenting with jazz, hip hop, calypso, and reggae, Caye defies genre to create a signature sound that is all his own. Inspired by the creative freedom of Bon Iver, the soul-moving rhythms of Bob Marley, and the lyrical genius of Kanye West, Caye creates music that’s as captivating as it is technically complex. Caye has always felt at home behind the console and began by rapping over his beats—earning Wiz Khalifa’s attention and ultimately a feature from him on Caye’s single “Easy”. Throughout the years, bars transformed to choruses and verses, as Caye honed his vocal control, range, and his now signature falsetto. In addition to producing all his own records, Caye has continued to hone his sound by producing for Alessia Cara, Meghan Trainor, and Abhi the Nomad. In 2020, he set out on an artistic exploration, traveling to remote regions of California with his instruments, art supplies, and a band of like-minded creatives. The last 2+ years have culminated in a full-length LP that thrives on headphones and speakers but is best experienced when improvised live—in the same method it was written. Grounded in his love for the steel drum, We Love explores Caye’s excellence across instruments that create music that’s emotionally engaging and spectacularly cinematic. 2022 promises to be his biggest year yet, which will introduce his expansive new sound to his ever-growing audience. The full album, We Love, will be released as singles, with a new one out each month for the rest of the year. He intends to continue spreading inspiration and building his reputation, with live shows beginning early in 2023. We want to hear from you! Please email [email protected] . www.BringinitBackwards.com #podcast #interview #bringinbackpod #Caye #LoseSleep #NewMusic #zoom Listen & Subscribe to BiB https://www.bringinitbackwards.com/follow/ Follow our podcast on Instagram and Twitter! https://www.facebook.com/groups/bringinbackpod

#podcast #new episode #music #interview #bringinbackpod

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nwdsc · 2 years

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(▶︎ Imagine I'm Hoping | Paddy Hannaから)

Imagine I'm Hoping by Paddy Hanna

There are few artists who could count Burt Bacharach and Fontaines DC amongst their fans but Paddy is one of them. The Dubliner has long eschewed passing fads in favour of timeless melodies and fine songwriting, leading indie music bible The Quietus to call him “a songwriter with a propensity for wildly infectious hooks and choruses that burrow into your brain with no intention of leaving.” One thing is for sure, since 2014’s debut Leafy Stiletto, 2018’s Frankly, I Mutuate, and 2020’s The Hill, Paddy has been basking in the light of something quite pure, and perhaps unexpected from someone who has previously been influenced by darker subject matter—love. “Everything about this new record is borne out of love, which is the first time I can say that,” he says. “During the pandemic, I got engaged and married. The album was recorded while there was a baby in my wife’s belly. Everyone who worked on the album, I have the greatest affection for. It was just a lovely experience. It was love on top of love. The album, thematically, is about letting go of things.” Album opener ‘Look For Tomorrow,’ with its bright strums of guitar and Paddy’s impressive falsetto, certainly embodies this sentiment of moving on from the past. The song ends on a bombastic note, buoyed by brass fanfare; it’s a watershed moment to prepare us for the rest of Imagine I’m Hoping. ‘A Dancer’ follows with indie fervour: furiously cascading piano, sleigh bells on the chorus, and an ebullience that propels you to the dancefloor. Paddy’s delivery is whisper-soft on the classic pop tune ‘New York Sidewalk,’ made with the help of frequent collaborator Daniel Fox (Gilla Band). “The whole crux of ‘New York Sidewalk’ is that things in life that happen that can be bad can become funny in later life, you know,” he explains. “So, like, going to New York and trying to make a name for yourself out there, but instead making a tit out of yourself. But then the song ends looking back in a bit of a Hemingway situation, where you’re telling the story to someone and it’s like ‘It made you laugh, saw you smiling, that’ll do.’ See what I mean? It’s about not being a victim to the past anymore.” Despite Paddy’s more summery sound on Imagine I’m Hoping, he is still deeply influenced by horror movies and all things macabre. “When people think of music inspired by horror they think of White Zombie or something like that,” Hanna says. “Or a music video where a shaky camera goes down a corridor and zooms in on a doll with no eyes—it’s so cheesy. Most of the best horror soundtracks are, like, Rosemary’s Baby or Enninio Morricone on The Thing; the most terrifying soundtracks are often the prettiest. It’s all about contrast.” The record as a whole is cinematic; ‘Say Goodbye’ and ‘Yellow Buffalo’ would be right at home in a modern Western, thrumming with harmonica and rattling, Americana-inspired percussion. The jazzy ‘Symphony Bacalao’ is positively vaudevillian, and Paddy shows off his unexpected sense of humour here, declaring, “Oh, what a shit show!” Rollicking single ‘Yoko Ono’ is accompanied by an appropriately colourful and bizarre music video featuring a surreal talent show and Paddy himself, of course. Directed and edited by Alex Lynch (who’s previously worked on videos for SOAK, Irish Women in Harmony, and more) and Liam Farrell, the video proves just as playful as the song itself. Paddy says: "I feel the directors and crew captured the fear, anxiety and joyful absurdity of a performer's life. Perhaps the most concerning part is that despite the video's peculiarities, it mirrors reality to an almost uncomfortable degree." “The song started as an improvised rap about Mike love from The Beach Boys, and over time it mutated into a cheerful bop about an identity crisis. There isn’t a day where I don’t feel like an imposter, so why not write a catchy tune about it,” he shares. The much-anticipated follow-up to 2020’s The Hill, this new record has already gained early acclaim with lead single ‘New York Sidewalk’ proving one jangly, jovial chord at a time that it is possible to climb the radio charts with a song that as far from generic as they come. Nialler9 wrote that it “bursts with shimmering piano notes, parps of brass and gorgeous backing” and Stereogum speculating that the “wistful, lush song, all plinking piano and cooing background vocals” may be signalling a new direction for Hanna. With a new, more optimistic Paddy Hanna now in the driving seat, 2022 may well be the year that this idiosyncratic underdog rises up to take his rightful place centre-stage. クレジット2022年10月21日リリース

#2210 #RC #****

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