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cleolinda · 8 months

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(For our purposes, listen to it without the visuals first.)

I wasn't going to keep posting about Unreal Unearth, but something happened yesterday.

It's been five months since I first heard this song, and I'm still astonished by it. You know the tiktok skit about the Star Wars wedding music, and the guy is grooving along until the Imperial Death March filters in, and then he's kind of alarmed, like, wha—? And then he realizes it slaps anyway and he keeps dancing? That is "Eat Your Young."

It's the morning of March 17th. The EP with the first three singles from the new album has dropped. I've got my phone blasting the song on the bathroom counter, I don't understand half what the man is saying nor did I expect to, I'm cheerfully mumbling along in the shower, grooving along,

wait they did what for a war drum

Get some Pull up the ladder when the flood comes Throw enough rope until the legs have swung Seven new ways that you can eat your young Come and get some Skinning the children for a war drum Putting food on the table selling bombs and guns It's quicker and easier to eat your young

What the fuck, this song goes so hard. That's the chorus. The conceit of the whole album is that it loosely follows Dante's Inferno, so this is the third circle of hell, gluttony. Hozier himself says that he wasn't specifically thinking of Jonathan Swift's A Modest Proposal—

“I don’t know how intentional the reference to Jonathan Swift was in this. That essay [Swift’s 1729 satirical essay A Modest Proposal in which he suggests the Irish poor sell their children as food] is such a cultural landmark that it’s just hanging in the air. I was more reflecting on what I felt now in this spirit of the times of perpetual short-term gain and a long-term blindness. The increasing levels of precarious living, poverty, job insecurity, rental crisis, property crisis, climate crisis, and a generation that’s inheriting all of that and one generation that’s enjoyed the spoils of it. The lyrics are direct, but the voice is playful. There’s this unreliable narrator who relishes in this thing which was fun to write.” [Apple Music album notes]

—and I believe him. The song's not a suggestion, a proposal; it's an invitation to atrocity in progress. I also believe he probably wasn't thinking of Greta Thunberg's iconic speech at the UN Climate Action Summit, not specifically, but that's what I hear in the song, like the flip side of a coin:

You have stolen my dreams and my childhood with your empty words. And yet I'm one of the lucky ones. People are suffering. People are dying. Entire ecosystems are collapsing. We are in the beginning of a mass extinction, and all you can talk about is money and fairy tales of eternal economic growth. How dare you! [...] You say you hear us and that you understand the urgency. But no matter how sad and angry I am, I do not want to believe that. Because if you really understood the situation and still kept on failing to act, then you would be evil.

I feel like on some level, even coincidentally, "Eat Your Young" is the answer to the question, what would you sound like if you were that evil? Who would you be? I can think of a dozen possibilities just off the top of my head or looking around my blog, from something as petty as studio executives mangling trees to deprive striking workers of shade (while hoping they lose their homes), all the way up to the US school-to-prison pipeline. The National Rifle Association keeps politicians in its pocket while the US has more mass shootings than days in a year, Nestlé fucks shit up around the world as a way of life, even ChatGPT sucks up water while threatening jobs—and for what? And yet, I promise you most of these things weren't the inspiration for an Irishman’s song—some of them hadn't even happened yet. There's just that much fresh You Would Be Evil to go around. I am certain that Hozier wrote the song partly about (as one article puts it) "Ireland's housing crisis: Millennials, a generation sacrificed," given that time back in the day when he helped occupy a building—a housing crisis happening in multiple countries. There's so much of the world I'm not touching on. I can stuff a paragraph with links and it's utterly inadequate.

I haven't even mentioned war.

There's an overwhelming sense this decade of the future being fed into a meat grinder. That sense is in this song. What would it sound like to be in the head of someone who didn't give a shit about anything but profit? Well, it might sound like this.

And if you haven't heard it, well—I'm going to sound absolutely out of my mind after saying all that, but "Eat Your Young" has a beat and you can dance to it. It's sexy. And I'm certain that's on purpose. You get seduced into the sound of it, as if by something demonic, something that enjoys sucking down the future and is not going to stop. And the sheer fucking catchiness of the song keeps you listening to it—thinking about it—when maybe you push away the dry headlines we get everyday. If you let this song stay in your head, it becomes a lens. Five months later, I still think about it when I read the news. Maui was on fire and tourists stayed. Within days, the prospect of developers swooping in to buy up land reared its head. If there's something still to take, there is ground to break, whatever's still to come. Get some.

I was born in 1978 —I'm late Gen X. In my forties, I'm young enough to worry about the future still; I’m neither so rich that I can just plan to retire to Mars, nor so old that I can know I'll be safely gone before the world might go up in flames. But I'm also not my nephew, whose school year just started back up, or the neighborhood kids who race him home down the sidewalk in the afternoons. Yesterday, he had his very first mass-shooter lockdown drill. He’s six.

I think music can put the feeling back into numb fingers, and I think that's why "Eat Your Young" works so well—Hozier calls the song fun and playful, and I think you have to have that, something you can live with rather than just switch off for your own mental survival. We need music to feed spirit at protests; we need something to keep our feet moving. Don’t give up, don't close your eyes and slip away. Those kids, they have dreams we could try to steal back for them.

Since I mentioned Maui:

Why Hawaiian sovereignty has undeniable context for the Maui fires

The Climate Crisis and Colonialism Destroyed My Maui Home. Where We Must Go From Here

How You Can Donate and Help Support Maui Communities Right Now

The Maui Strong Fund

#music #music discussion #hozier #long post #eat your young #Spotify

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amarriageoftrueminds · 1 year

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Significant aspect of Steve being Irish-Catholic:

As well as having branches of the Nazi party (ie. the German-American Bund), the Brooklyn of Steve’s day also had a big problem of antisemitism amongst the local Irish-Catholic population.

Examples:

There was a Canadian-American Catholic priest and demagogue named Charles Coughlin, who received indirect funding from the Nazi party. Up until 1939 'Father Coughlin’ had both a regular right-wing talkradio programme, and a matching newspaper (ironically called Social Justice), broadcasting pro-fascist, anti-communist, virulently antisemitic diatribes. (He was the inspiration for the character Brother Justin Crowe in the show Carnivale.)

In New York, Coughlin’s writings prompted the creation of an antisemitic organisation called the Christian Front, which held public rallies on the intersecting corners of Jewish/Irish neighborhoods in Brooklyn, with the specific intention of drumming up conflict. And just as in Nazi Germany, this indoctrination started young: there were Hitler Youth summer camps in both New York and New Jersey.

In wider pop culture, the most successful broadway play for a long time was Abie’s Irish Rose, a “schmaltzy interfaith romantic comedy" about the conflict between a Jewish family and Irish-Catholic family when a Jewish boy marries an Irish girl (so, that generation’s equivalent of Guess Who's Coming to Dinner.) It was so successful that it was mentioned in the lyrics to songs of other broadway shows, spawned a long-running series of tie-in movies, and had its own radio show.

Similarly, the musical West Side Story was originally titled ‘East Side Story’ and was about a star-crossed Jewish/Irish-Catholic couple in the Lower East Side of Manhattan (where Jack Kirby lived, and Cap too, before he was later moved to Brooklyn. Those other kids Jack Kirby grew up fighting? Probably Irish-Catholic.)

This is also why, when Jewish writer Norman Lear came to rip off UK sitcom Till Death Us Do Part to make US sitcom All in the Family, in the 1970s, his choice to play the role of the bigoted father -- even though he was inspired by his own, bigoted Jewish father -- was an Irish actor whose face “screams ‘Irish.’ (Lear kept being encouraged to use that and make the character Irish-Catholic in the show, but he refused.)

Context:

That rise in Irish-Catholic antisemitism originated with the Fascist conflation of Jews with Bolshevism, and of Communism with the persecution of Christians.

(All this while Russian-Jewish immigrants to NYC were moving into traditionally Irish-Catholic areas, competing for jobs and housing, and their success was resented.)

This also tied into the Spanish Civil War, when Russian and Communist Front groups in America aided the Loyalist forces instead of the Fascists (the Abraham Lincoln Battalion, for example, was made up of American volunteers who fought for the Loyalists, and was 25% Jewish).

In New York, the fact that the Communist party membership was mainly Jewish was treated as proof that all Jews were Communist, (and therefore enemies of Catholics), even though the majority of Jews in New York were not Communists.

In fact, it was more the case that Jews were drawn to what they perceived as progressivism -- grounded in a history of discrimination -- and since they saw Fascism as their chief threat, they were more likely to accept Communists as allies in the fight against it (just as Catholics were more likely to ally with Fascists against Communism).

Amongst American Catholics there was also distrust of FDR's liberal New Deal policies, regarded as a wave of Communism sweeping the country, since the government’s helping of the poor post-Depression was seen as a deliberate infringement upon what was traditionally the territory of the Catholic Church. (I kid you not.)

And then, since Ireland was a neutral country, the Irish-Catholics in New York were able to continue to espouse such views during the war. Unlike them, the Germans and Italians suddenly became more circumspect (as they had during WWI), for fear of appearing to support America’s enemies, and suffering reprisals as a result.

And all this was not helped by the fact that the Pope shared this view of Communism, and collaborated with Hitler on the Reich Concordat, an authoritarian pact wherein the Vatican vowed to forbid Catholics in Fascist Germany from interfering in politics.

All of which is to say:

It’s a BIG DEAL for Steve’s Jewish creators to make Steve Irish-Catholic.

It means that, on top of being a Nazi’s worst nightmare (disabled, blonde, blue-eyed, turned into a supersoldier and yet still antifa), and fighting Bundists, Silver Shirts and ANP members, as you’d expect, Steve often would've been fighting his own people, as well.

That takes an even greater strength of character and commitment to left wing ideals.

tl;dr: in historical context, Steve being Irish-Catholic is hugely significant.

sources:

https://muse.jhu.edu/book/67077.

https://crimereads.com/forgotten-history-of-the-far-right-pro-nazi-anti-semitic-christian-front/

https://www.jstor.org/stable/25154932

https://www.theatlantic.com/photo/2017/06/american-nazis-in-the-1930sthe-german-american-bund/529185/

https://www.buzzfeednews.com/article/gabrielsanchez/american-hate

https://sites.lsa.umich.edu/bcoppola/2019/01/01/father-coughlin-is-already-explaining-it-to-the-american-people-june-13-1939/

https://twitter.com/TheNormanLear/status/1582494950649757696

https://www.history.com/news/west-side-story-was-originally-about-jews-and-catholics

https://www.smithsonianmag.com/smart-news/captain-america-getting-real-life-statue-some-say-its-wrong-place-180959706/

https://www.wikiwand.com/en/Abie%27s_Irish_Rose

https://www.wikiwand.com/en/The_Cohens_and_Kellys

https://www.vanityfair.com/style/1999/10/pope-pius-xii-199910

#irish steve #steve meta #historically accurate stucky tag #steve rogers #mcu meta #meta #mcu #dat's me #this is JEWISH NEW YORKERS picking this identity for steve this is not a coincidence they didn't just pick one out of a hat it's IMPORTANT #so mcu bucky being based on jewish arnie roth while steve is irish-catholic = HUGE deal #steve and bucky = STAR CROSSED AS HECK #the only way they could've made it any more significant (and explicitly about being an ally to jews no matter ur background)#is if they made steve german-american #yet each man queues the thing he loves

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redstringraven · 2 months

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hey, @bellathetmntgeckolady, thanks for the tag!! ( •̀ ω •́ )✧ i've not done one of these in a long time, so this'll be fun! i think things like this are nice little community builders; it's a shame not to see them as often.

"the rules of the game are to write one song for every letter in your url, and then tag as many people as there are letters in your url." reposting because those reblog chains get longggg.

also, i made a temporary spotify playlist if that's easier listening.

r - reverence ; hammock e - end of small sanctuary ; akira yamaoka d - dúlaman ; celtic woman s - spanish sahara ; foals t - tsunami ; fløre r - rainy day ; alec holowka i - inner universe ; origa n - no turning back ; olivier deriviere, eric maria couturier g - give a fuck ; tezatalks r - resting grounds ; christopher larkin a - apocalypse ; sleeperstar v - voidfish (plural) ; rachel rose mitchell e - empires ; ruelle n - neglected space ; imogen heap

if you're tagged, no pressure to take part! i'll be tagging a mix of pals and folks i've never tagged before but who seem in my orbit. ...if your @ didn't work, i hope you see this somehow. <xD;;; take care!

@plantdonut, @grozva, @joyfuladorable, @sftgnge, @gatorkid509, @mojimallow, @badatusernames, @vdragon-creations, @adenthemage, @roquog, @maddys-nerd-blog, @yellowhollyhock, @figuringitoutasigoalong, @cheesy-che, @sassatello

because i'm insufferable, i'll also put some small character/song relevant thoughts under the cut. as a treat to myself.

reverence: this song gives me the feeling of being out on casey's farmhouse porch on late summer afternoon or at sunset. everyone's just kind of basking in the warmth, downtime, and company of each other. some might be napping, those awake are making quiet, idle conversation. it's just nice.

end of small sanctuary: this one always makes me think of raph and gwyn, specifically, sitting on city high-point at sunset. much like how it's used in SH3 when heather is just being a teenager at the mall and is probably music she'd listen to, this very much gives me the energy and warmth of raph and gwyn sitting in the setting sun, high above the city, with maybe some food and light conversation. a breath between The Horrors™.

dúlaman: i've been trying to find and listen to more celtic/irish music for a lot of reasons (so if you know any pls gib), but one is to better cultivate the sound and energy of liáfsian folksongs and music.

spanish sahara: how could i make this list without one of the songs that never fails to fuck me up. spanish sahara has been the driving 'score' in my head when it's come to a number of story scenes or character moments due to the slow build and emotional release of the song as well as the lyrics. i dunno. this song just moves and inspires me in ways i can't quite articulate.

tsunami: this song just feels so strongly like aislinn to me. the lost-lover part, sure, but especially the feeling of drowning and just... the instrumentals/vocals feel like her, too. i associate her a lot with water.

rainy day: no specific scenario here, but this score makes me think of and want to draw don or leo. the game it's from kind of has a melancholic nostalgia to it, and the vibe sits well with them.

inner universe: this song is all vibes for me, and it always makes me think of entering the territory of one of the liáfsian dragons and crossing paths with it. specifically the dragon i associate with leo.

no turning back: this score is fully for gwyn being on the run. the title, the strings, the faint ticking clock and building drums toward the end, the urgency throughout. it is, for better or worse, a reflection of what so much of her life has felt like.

give a fuck: sounds and feels like a nyxram song. hard to explain, this one just always makes me think of her.

resting grounds: this score's on my playlist for the liáfsian ruins, which is an area in the realm considered to be cursed ground (but no one knows or remembers why). the ruins are beautiful, peaceful. but you never quite have the sense that you're truly alone.

apocalypse: this song always makes me think of PtINL, i can't really explain why. it's on my personal playlist for the fic, and every time it comes on shuffle it just sends me back into thoughts of mikey, aloy, their travels and their bond.

voidfish (plural): first of all: LOVE the voidfish. second, this is another one of those scores that gives me the energy of encountering ancient liáfsian fae.

empires: this song always makes me think of a 'trailer' for gwyn and ash's arc. i think it's accurate not only for how the final conflict between gwyn, ash and darach will go down, but there's a hint at a much older threat in there and "the tides are turned" being that companionship has been found in the turtles.

neglected space: this song, without fail, always makes me think of and want to draw nyxram. there's something sad, lost and desperate to it.

#;radio static #;rosewater park #[ that's gonna be my new dashboard meme & community fun tag i think ]#[ but yeah thank you for the tag!!! :D a fun surprise! ]

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tropiyas · 3 months

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martin o'donnell panel notes (he broke down the Halo CE theme with a music analysis youtuber 12Tone)

was for mac showcase

no audio engine - had to play it in sync manually via audio

knew they wanted orchestra + singing

orchestra: 4 violin 2 cello

vocals: him + 3 guys who did mr clean jingle

backing tracks (percussion etc) were samples

they wanted gregorian/ancient from the start

the start hook-y melody decision (the chant):

4 phrases inspired by....... yesterday paul mccartney.... in dorian scale

dorian scale recap: just the minor scale except a raised 6th (lowkey removes the somber darkness and makes it more ambiguous towards excitement(?))

q: why?

a: atmosphere for halo - ancient+epic+mysterious

he friends with koji kondo and other composers

most music was platform dependent back then (understandable, 8bit and other restrictions) - he didn't like those limitations so mostly jumped in when Halo / Mac / late 90s music could be more like Film

big cello fan

*deserved

Halo CE theme breakdown:

Vibe - ancient+epic+mysterious obv but then

check it out - it was NOT really a fully fledged idea intentionally at first, not even meant to be THE Halo theme - originally it was just a Showcase piece for the Mac World. Funny how that works out!!!!

master chief was originally Future Soldier (more of a hero unit back when the game was a 3rd person strategy one) before he was actually a character

Original Game Goal was Seamless World (1999 pretty insane to think abt - even tho it is more common now [with BotW and RDR2])

original request - 2 or 3 minutes LOL (they didn't know what the demo length was gonna be). So he writes a 3 minute track that has smushiness at the start and back so that nothing is missing (yeah the melody is Slow like that)

Showcase ended up being 3 minutes, good. The structure might not have been that [vague] / smushy if he worked more directly with the demo's sequencing and length.

epic stuff had to be more upbeat - the higher pace one was lowkey irish jig themed

Panelist / Audience vibe that we received from Halo theme: kind of Lonely? Solitude / "ozymandias" style.

before focusing on Future Soldier - the alien planet that he was being chased in and getting into the Warthog, turned out that way

great things abt art -> a lot of meaning is emergent (not originally intended) but that doesn't mean that it CAN'T add depth

he personally conducted the chanting - gregorian chanting is monks in cathedral w/ reverb so no strict meter or tempo for what happens. bravado (vince) - give and take

surprised cat face "halo is a religious game" SO TRUE

Drums Breakdown:

- tone being low register - low DUKUKUKUD DUKUDUNKUN drums

- choice reasoning: "I thought they would be cool"

- rhythm: panelist relates it to america west side story drums

- compound rhythms (instead of splitting it to duples (2), split it into 3, but then overlay the 2 on that end of the measure)

- "polyrhythmic"

- first time it was written; first music was 4:4 with triplets

- then 12:8 and conducted in 4

- (sorry don't remember my high school music classes that much)

Strings Breakdown:

- dun dun dun DUNNN

- melodic structure is "simple," just starts low and goes high

- [kinda reminds me of Megalovania except that one walks down]

- "this makes a great metal piece if you've heard people do covers of it"

- (um YEAH MJOLNIR COVER⁉️)

- in college he did a paper on the inventor of leitmotif - symphany fantastique (referencing his enamored with)

- the melody for that song was complex

- you can't develop with a complicated leitmotif

- Harold in Italy - this next piece was short and could be developed

- "the effect of melody is something that gets in your head and stays in there" (easier to hook audience in)

- [like Megalovania]

- strings keep the compound meter that the drums introduced

- to get the drive and aggression and thrust (pause?) - he wrote the cellos to do the OCTIVE Jump and go back and forth. he wanted to hear the ROSIN

- not classical string playing method... When some people read the music they split the cellos! even though it's supposed to jump on the SAME cello. That's WIPPY

- sloppy in a good way (pause⁉️)

- [but yeah it's very human I agree and that makes the piece IT]

- next string line - the backing whole high notes violins crescendoing

- it's the same walk from E to A but then IT KEEPS GOING

- low cello - minor (not dorian) but then the high strings are back to dorian i.e. that one note C#

- gregorian usually not dorian(?)

- mo likes ambiguous scales - dorian scale and the likes are not so explicitly "minor is sad, major is happy"

- enjoys writing to stick specifically to a scale that gives you chords that are non common in contemporary music

- bringing dorian to the high strings after cello is basically a "we're so back" measure.

- he likes that it's a minor key with major subdominant and a minor dominant

- rock and roll influence

- snsnss

- second string phrase

- full sending irish jig - sea shanty vibe

- halo was a damn water level this whole time??

- tidbit: master chief is the highest noncommissioned role you could reach

vocals

- the high backing vocals are less gregorian but more wailing

- "idk why, but thought it would be more mysterious and alien to have gregoian monks and then adding arabic wailing"

- he asked if one of the singers could do that kind of chanting - this was the last thing recorded for the theme

- martin tried doing it and he was the one who actually kept it in

- he brought them two versions - wailing vs no wailing (bungie loved the wailing one) (martin was embarrassed because it was his high voice)

- [kind of like how megalovania has that countermelody near the end of the song]

rest of the song:

- the UPDOWN violins with no percussion

- harmony

- starts E Dorian then rhythm stop - the string melody is in G minor woah

- panelist: "why a weird chord"

- martin: "I don't know"

- audience: *claps*

- *he just wanted to move off the E

- since we weren't even in E minor in the first place, moving to G minor it's WOAH

last last segment

- looked at the parallel 4ths "dundundun dun"

- inner voice goes down a step, next voice goes up a step

- oblique and countering motion (this is starting to go over my head) makes cool chords as a result of changing the motion of the notes itself

- MUSIC........

- halo 2 OST takes influence from this kind of motion

- basically taking his piano playing style to cello / strings players and forcing motion, making them sweat

- diminution of original theme - it's two bars per thing but then it removes the second sustained bar (more energetic)

takeaways - sometimes your goat just does it

woke takeaways - only very slightly critical abt using gregorian/arabic chants just to add to the Uniqueness / "alien" feel even tho those are just like. Other People. (but it's so far detached and not meant to be a direct correlation, does it even count?)

#extremely scatterbrained live notes #please don't ask me how well I did in college I don't know how I pulled it off

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louistomlinsoncouk · 11 months

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Louis Tomlinson knew where to go on his second album Faith In The Future with rockier and smashing indie songs from Britpop inspirations to modern indie classics. His Place Bell’s Laval show was no exception with a stellar performance and the stage scenic effects on point.

First to hit the stage were Snarls from Columbus, Ohio with their fine twist of indie pop. With their fun guitar chords and dancey rock beats, it was such a refreshing and enjoyable time. The female-fronted band were solid on their first performance on Canadian soil with their jolly and emotive lyrics, singalongs and beautiful melodies.

Snarls set up for what was going to be a magical night, all smile on stage with such good vibes. Those who loves Haim, Tegan And Sara, jangly and strong riffs will be served.

We knew Irish indie- rock is catchy right now with the rise of many bands like Inhaler, Fontaines D.C, New Dad and Louis Tomlinson brought in another one, The Academic. Hailing from Mullingar (yeah that’s why the accent sounded familiar, hello Niall Horan!), the crowd was all over it, singing along dancing and jumping around on the upbeat indie pop songs.

Blending elements of pop with magnificently driven chords, the songs are powerful whether they sing rock songs or emotional ballads. Crowd went crazy on Girlfriends, singing a Capella on melancholic soothing drum snarls and bright riffs. Here’s a little snippet of The Academic performance that brought the magic to the French Canadian city. What a blast!

While waiting for Louis Tomlinson and the band to come on stage, pre-show playlist drove us back in time from Nirvana to Black Rebel Motorcycle Club and Pixies while going in depth into British culture with some Foals, Maximo Park and obviously lots of Arctic Monkeys and never forget Oasis Supersonic banger from Definitely Maybe, a fire throwback to 1994’s Britpop era.

While roadies prepping the set up and Louis Tomlinson’s scribbling Faith In The Future on the big screen, people were so loud even before he hit the stage. Through the huge screams and claps, Louis and his band then hit the first note of The Greatest for a solid intro. Kill my mind followed with such a viral energy and the fans iPhone lighting effects and singalongs. While playing Bigger Than Me on the opening night Uncasville and skipping it the next show, Laval was so happy to get it back on the set list, this is such an anthem and live it’s totally an incredible vibe. Louis Tomlinson energy was all over going from side to side of the stage, interacting with the fans like a proper rock star (and we absolutely adored it!) while teasing and laughing at his amazing musician.

Britpop inspiration floated from every side of the 10,000 cap almost-full arena alongside the live versions of Lucky Again and the slick guitars of Isaac Anderson and Michael Blackwell. Louis Tomlinson’s vocals were solid and very emotional, happiness and smiles flowing all around the people crowd. We were definitely Holding Out To Heartache when the concert finished later on! The Doncaster-born singer never let negativity bring him down and he proved it with Face The Music. Rock and indie was always his thing and he finally step up on his last record to find his genuine sound. He’s thankful for the fans and never forget where he belongs. Dedicating We Made It for his supporters, people sang along loudly to the chorus. Forging his career since 2010 and even from a younger age, Louis Tomlinson is humble, grateful and gave us a very strong and rockier edition of his former band One Direction’s with Night Changes and the crowd was really into it screaming at the chorus.

Emotional and so impossible to describe the feeling, the Yorkshire singer-songwriter got this special bond with his fans. With few words, laughs and drinks, he sang back to back hits from Faith in The Future new album and bonus tracks with soulful songwriting like Chicago, Saved By A Stranger and kicked in with the dance feeling of Foals-esque number Written All Over Your Face, pointing his mic through the crowd with the infamous “SING IT” vibes. Louis Tomlinson knows how to rock in style with his eclectic influences and props to his musicians sparkling some magic with his wonderful new-wave infused mega mix of All This Time and She Is Beauty, We Are World Class. His stage presence and pyrotechnics effects were just incredible and added some spice and energy to the show.

How do you make a perfect setlist? Mix some rockier song with heavy tearful ballads. Following A Copy Of A Copy Of A Copy and the Oasis-inspired first album titled song Walls, Louis Tomlinson surprised the fans with Bebe Rexha’s collab Back To You. Add more guitars, hectic drums and you got a truly better indie version. It was so original and that’s the kind of rendition that could attract brand new audiences. Of course, we can’t skip how his voice truly fits Alex Turner’s shoes on his brilliant cover of 505 by Arctic Monkeys. Indie Louis is a pure gem. The Angels Fly in the room with all the phone flashlights moving in sync and people humming the chorus with Tomlinson. The singer brings hope and joy to the world and the confetti exploded in the room to the jolting guitar riffs of Out Of My System. People jumped around and Louis Tomlinson did his traditional hop in the front pit to interact with fans.

Lights went off and fans shouted and cheered for the encore. Few minutes later, Louis Tomlinson’s offered three last songs, kicking it with Where Do Broken Hearts Go? He gained such confidence slaying on the high notes on some guitar-centred version, inspired by The Who. It was theatrical and emotional just like the beginning of Saturdays and the lights blinking like stars all across the arena. The night closed the Britpop fashion way with Silver Tongues in such a very electric way. Louis Tomlinson presence on stage was so on point all over the show that we would even have take more and more! What a night!

Get Faith In The Future tour tickets, records and more here! Get to know more on Snarls on their website and The Academic here.

#louis tomlinson #press #03jun23

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illusioneddrawer64 · 29 days

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Custo with his fellow military janitorial and cleanup crewmates on Space Riders spaceships were unfortunately caught in the crossfire between Space Riders’ forces and the Prototype’s cult. The recent intense battle had both parties sustain heavy casualties.

Medical staff unfortunately reported that the wounds that Custo has are intense (not able to use surgery due numerous factors) and will have to wear a special mask (inspired by Joseph Merrick’s Elephant Man mask) to cover his sustained disfigurement.

When it was that time for gala events happen again; Custo wanted to help out to set up (and clean up later) but bit concerned how many will react his current appearance. Yet thanks to the encouragement of Dogday and other Space Riders, he showed up as one of service busboys as he usually do.

As a bonus; he had a bit of heart for music entertainment. With the help of other crewmates, they performed songs as part of charity work for wounded military veterans etc.

Proposed Playlist Songs performed at the Gala:

Defying Gravity, The Other Side, Ship In A Bottle, Magic (Mystery Skulls), HBO John Adams’ Opening Titles (Rob Lane), No More Kings (Schoolhouse Rock), Sit Down John (Sherman Edwards), Hamilton’s Satisfied, Shot Heard Round the World (Schoolhouse Rock), Les Miserables’ ABC Cafe/Red and Black, The Wellerman, Everybody Wants To Rule the World, You Know My Name, Another Way To Die, Skyfall, Writings On The Wall (Sam Smith), A Storm Is Coming (Han Zimmer), Rory’s First Kiss (Han Zimmer), Macrotus (Han Zimmer), Astronomia, Do the Hippogriff, Leta’s Flashblack/Ballroom Dance (James Howard), Hot Chocolate (Alan Silvestri), The Snow Miser Song, The Heat Miser Song, Tunes of Anarchy, Rock and Roll (Gary Glitter), Sandstorm (Darude), Into the Groove (Madonna), City of Stars/Planetarium (Justin Hurwitz), Start a Fire (John Legend), O-Zone (Dragostea Din Tei), Chocolate Rain (Tay Zonday), Resonant Chamber (Animusic), Marble Machine (Wintergatan), Old Town Road (Lil Nas X), Star Walkin, Run (BlackGryph0n), Type 40 (Chameleon Circuit), Song of the Sun (Janice Quatlane), Hated By Life (Hatsune Miku), Art Is Dead (boburnham), Weekdays Beatbox (Adym Evans), Human (Rag’n’Bone), Southern Cross (403 Forbiddena), Northern Lights (403 Forbiddena), Kings and Queens (Ava Max), Drum Solo (Neil Peart), All Good Things (Get Up), Break Time (Madeline Queripel), Deja Veju, Running in the 90s (Max Coveri), Blind Justice Investigation (AlterniaBound), Megalovania (Toby Fox), Big Shot (Toby Fox), My Ordinary Life (The Living Tombstone), Waving Through The Window (Ben Platt), Sweet Victory (David Glen Eisley), Blown Away, Damaged (Danity Kane), Power (Kanye Omari), My Drunken Irish Dad (Seth Macfarlane), The Highway Man (Loreena McKennitt), Galway Girl (Ed Sheeran), A Rose For Epona (Eluveitie), Taixu (lasah), Sihouette (Owl City), In the Name of Love (Martin Garrix), Read All About It (Emeli Sande), Hallelujah (Michael Henry), Counting Stars, Classical Gas (Mason Williams), Safe and Sound (Capital Cities), World of Tanks (Alan Aztec), Scatman (John Larkin), Waiting For A Miracle (Stephanie Beatriz), It’s Alright (Mother Mother), and Proud Corazon (Anthony Gonzalez).

For @onyxonline Space Riders AU.

#doodles #onyxonline #poppy playtime #space riders au #music #songs #playlist

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epsilontauri · 2 years

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headcanon for Horizon Fobidden West Squad discovering music

Aloy:

Let’s be real, Aloy would be the slowest to discover music. She listens to a bit of this, a bit of that, whatever the others are letting play over the soundboxes in the base, but nothing really stands out to her. She doesn’t really have the time for this when she’s following up clues and runs around outside. GAIA‘s suggestion to listen to „Road Trip Music“ didn’t help at all, she doesn’t like the distraction when she’s riding through machine herds that are about to attack her and on the Sunwing there’s too much wind and the nagging fear of flying into a Stormbird or Dreadwing to enjoy music. With time (and a lot of pressure from her friends) she starts to take actual breaks when she returns to the base, and really gets into techno. She‘s a bit embarrassed about this because no one else listens to it, feeling like the odd one out again until Kotallo and Alva start listening to it too.

Alva:

That precious bean loves ambient and movie soundtrack music— especially Hans Zimmer. How can music so distant in time make one feel so much??? She likes LoFi too after hearing Beta mentioning it, but she tries not to let it play when Beta emerges from the basement once a blue moon. In general, as long there’s no singing or any lyrics, she’ll listen to it. Everything else is too distracting while combing through Data and that’s the reason why she got into techno. She wouldn’t admit it but she does adjust her music tastes to the liking of the twins, especially Beta because she’s around most of the time. Turns out, some music with singing is really good.

Beta:

While she had access to APOLLO, a lot of it was heavily censored so she doesn’t get inspired to go for any kind of teenage rebellion. She mostly got access to LoFi, pop and classical music, and now she can’t really enjoy it. The moment she discovered My Chemical Romance unleashed all the teenage angst that got pent up in her. Sometimes you can hear her screaming „I‘m not okay“ in the basement. Alva joins her a lot.

Erend:

Oh Erend will pounce like a scorcher on anything metal, punk or rock, but after a while it feels soulless to him. You see, Erend drinks respect women juice like ale so he sticks especially to female lead punk bands, but he also likes Arch Enemy, Nightwish, Frozen Crown, Blondie, Bikini Kill and Baby Metal. Irish pub music is also a favourite.

Kotallo:

He wouldn’t admit it but Erends music taste left it’s marks on him. The whole concept of metal culture is very appealing, we talking moshpits, wall of death etc. but it’s a casual liking until he discovers Sabaton. Songs about the wars of the old ones? Sign him up. He’s so into it. Heaven Shall Burn is also on the list, but mostly for the lyrics. Once he discovers bagpipes and their original use he listens to it up and down at full volume until Zo snaps and limits it to one song per week. Though a bit grumpy about this, he decides it’s better to listen to it like the old ones intended: Standing on a hill, facing all the repressed emotions and machines that got upset by the sheer noise of it. He get’s a bit into techno through Aloy.

Sylens:

Because Sylens is a pretentious little shit he will only listen to things like „Deep Alpha Waves Stimulation Music for studying“ and classical music so he can feel superior for liking Bach, Beethoven and Mozart. All smugness is wiped off his face and replaced by dread when he learns what a catboy is and that Mozart was one.

Talanah:

Only bad bitch music. She loves when the lyrics get explicit and knows WAP by heart. Zo joins her every now and then to embarrass Varl and with enough ale even Erend joins— which is most of the time when Talanah visits. Her duties as sunhawk keep her in Meridian, and whenever she visits it’s a party.

Varl:

Listens to a lot of music that Zo likes, but is very much into indie music and tribal. He likes the drums, ok??? It reminds him of home and the many feasts in the embrace. After some time he dips more into the unknown and discovers kpop. He doesn’t have to understand all the lyrics to know that it’s a bop, and learns all the dances. He swears that it keeps him fitter than any nora brave training he had to do under Sona.

Zo:

Zo doesn‘t care about genres as long it’s a beautiful singing voice and/or good lyrics. Chinese and european opera music piqued her interest for a while, it’s incredible to her what the old ones could do with their voices. Tibetan and Inuit throat singing were strange to her, but she still saw the beauty in it. She argues a lot with Erend and Kotallo whether growling counts as singing. She likes Florence + the Machine, Hozier, Aurora, Enya and ABBA, which led her to a slight preference for disco music.

#horizon forbidden west #horizon zero dawn #headcanons #aloy #alva #beta #erend #kotallo #sylens #talanah #varl #zo

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louisupdates · 11 months

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LONDON CAFE

Let’s have good Faith In The Future with Louis Tomlinson

JUNE 3, 2023 / MÉLANIE LAPIERRE

Snarls set up for what was going to be a magical night, all smile on stage with such good vibes. Those who loves Haim, Tegan And Sara, jangly and strong riffs will be served. Discover them on Spotify below.

We knew Irish indie-rock is catchy right now with the rise of many bands like Inhaler, Fontaines D.C, New Dad, and Louis Tomlinson brought in another one, The Academic. Hailing from Mullingar (yeah that’s why the accent sounded familiar, hello Niall Horan!), the crowd was all over it, singing along dancing and jumping around on the upbeat indie pop songs.

While roadies prepping the set up and Louis Tomlinson’s scribbling Faith In The Future on the big screen, people were so loud even before he hit the stage. Through the huge screams and claps, Louis and his band then hit the first note of The Greatest for a solid intro. Kill My Mind followed with such a viral energy and the fans iPhone lighting effects and singalongs. While playing Bigger Than Me on the opening night Uncasville and skipping it the next show, Laval was so happy to get it back on the set list, this is such an anthem and live it’s totally an incredible vibe. Louis Tomlinson energy was all over going from side to side of the stage, interacting with the fans like a proper rock star (and we absolutely adored it!) while teasing and laughing at his amazing musician.

LINK

#Spotify #louis press #london cafe #louis tomlinson #fitfwt23: laval

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mendelpalace · 1 year

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Siren Spine Sysex, Proc Fiskal's second album sees a reorientation of the source elements of his music. While Insula hung around samples of the ramblings of his friends and sounds of his hometown, SSS is laden with an inner voice of sampled Gaelic, Irish and English Folk Music, contorted and imbued into the futurist body of modern pop; the ghostly anima image of the female folk voice, the lamenting wheeze of the accordion rub against the rush of icey 808s and angles of Grime. Proc Fiskal aka Joe Power’s family history is in Folk Music, his paternal grandfather Archie Fisher was active in the Scottish Folk revival of the 60s, his grandfather Al Fraser a Bagpipe player & his great aunt, the singer in iconic children's Folk group 'The Singing Kettle'. It's this cultural baggage, the ’Caledonian antisyzygy’ of the constructed, earnest folk tradition he was raised under, beside the modernist dance music he makes that brings a personal element to the album. The music of Siren Spine Sysex examines dance music as folk music, rerouting them comparatively. His productions were also inspired by the music of The Cocteau Twins, The Roches and Kate Bush, the prominent chopped and screwed Gaelic vocals, like Elizabeth Fraser cut into a UK Garage Lilt - their wordless emoting echoing into joyous twisted pop songs like '8 megapixel phone' and 'Leith Tornn Canal'." Even though it's fast and detailed, Siren Spine Sysex feels relaxed and pastoral at times. The sino-grime present on Insula are here alongside more folk oriented elements, but the edits and drums are more sensual, swelling and reactive to the music. The album's texture is also influenced by the FM synthesis of computer games and wacky soundtracks. Siren Spine Sysex feels warm, inviting and sunny, exciting thoroughly modern album as well as a manic dissection of personal and cultural baggage.

#Proc Fiskal #Hyperdub #Music #Bandcamp

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oblongblockofsteel · 1 year

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Broken Doll Part 2

Josiah Trelawny could create wonders with his hands; appearing cards, disappearing rabbits, a burst of blue flame or a fluttering bird all from seemingly nothing. But true magic, he felt came from people. They spun and weaved a wonder by simply existing.

In the way they moved, the way they smiled and laughed, in words and mannerisms they made magic. They could bewitch, enchant, inspire, terrify and horrify with simple words and gestures. He called it their song, so easy to move people to tears, to evoke emotion, but one we must all learn to dance to.

And Trelawny loved to dance.

Each step and pace evoked joy, excitement and anticipation for what the next step could be. Over the years he'd become a master. Supping up their gestures, movements, and accents into himself and then incorporating them into different songs and dances he then weaved into his life.

A twist of a smile and lowered eyes evoked endearment, but turn his head another degree it crackled danger. Chest out and chin up puffed up a flair confidence, tilt your head down and it ushered in a mystery. Every step he learned and every one he treasured, because beyond loving the dance, Trelawny loved people more.

The very existence of humans he found to be fascinating, and often, like today, he found himself sitting at the very edge of this marvelous band of merry men, smoking his pipe and watching and admiring people at their best; just being people.

This early morning, Uncle was swaggering across the green, bottle in hand and face flushed red. He noted the stagger, the limp and sway, the uncurled fingers and eyes glassy from drink. It was a common song for old Uncle – the gurgle and gaggle of the alcohol. But when he was not swept up in drink it bubbled like the brook of a water stream with humour and wit, rather than gurgling like a drunkard.

An Irishman and a Mexican sat around the campfire, one with a guitar the other with a voice that wobbled around the sweetness of Irish tunes. Sean’s arms were wide, his smile wider than that, his teasing and silliness almost contagious. Nothing hidden behind a face so open it could be read like a book. Javier was smaller, his song a hum more than a ballad or a lyric, but still so sweet to the world. He noted hunched shoulders, strands of hair falling around a rough face and a tenderness to his features that made his heart ache.

“You should join in, Johnny!” Sean called, his voice filled with mirth.

“No, thank you!” John Marston observed the two under the coolness of a tree, his shoulders hunched and body still, his song was sweet with pipes and a trill, yet deadly like a viper’s strike. It always brought to mind a wolf, beautiful in its environment but wicked in its vengeance.

Like an angry falcon, Abigail swept in and Marson across the head. Marston started, his peace ruined by the tongue of his lady.

“If you’re not going to join in, then go and be useful!”

Strong like stone, she was, he adored her. Steady and firm, rock solid and smooth like a silver flute, she rarely said anything out of place and listened before speaking. Her manner could easily have slipped into a palace had she had the upbringing. Another swat and Marston was on his way to the woodcutter’s block.

“Should have hidden behind the tree, Marston!”

Dutch - warm and resonating Dutch - watched on with a bemused expression. His song enchanted, it could swing murderers to repent, bring courage to the fearful and hope to the lost. Trelawny loved his song, adored his manner and sophistication. It brought to mind an English Lord of high nobility and higher honour – and as versatile as a violin.

“Or just do the damn chores,” Hosea muttered beside their leader. Ah, Hosea. If Dutch was a Lord, then he was certainly his royal advisor. A well of wisdom and kindness, understanding, a harp. It would always be a harp. The instrument of bards, keepers of knowledge.

And there was Charles with his drum-beat words and a buck swinging over his shoulder. Clear, concise, to the point, and nothing to hide - refreshing and smooth. Pearson was far more relaxed, his words rough and crass, not the most beautiful song but one vibrant with life and passionate. He could name them each, their respective places in the orchestra and everyday he watched them perform, using their voices, their manner and song in harmony made from both rhythm and chaos.

Ah, so romantic, he thought not that he'd have it any other way. Trelawny loved to dance, but there was a satisfaction in simply appreciating the music.

Taking a long drag from his pipe he leaned back and turned his head just so to observe their newest member.

Not six feet away sat Mary-Beth. She was a petite little thing, barely sixteen with mousy brown hair tied up in bun. Her face was still covered in light bruising where a blackguard had struck her for stealing a watch. Besides being a lady, she was also an omega he'd learned from Dutch only an hour or so ago, and Trelawny despised anyone who struck omegas. They had enough trouble in the world as it was.

But she was new, which meant a new song, a new dance and there truly was nothing sweeter than learning the steps of a new dance for the very first time.

“What are you reading, my dear?”

Mary-Beth’s head snapped up, her whole body jumping with some fright. Trelawny relaxed his posture and offered a kind smile, “Forgive me, my dear, I did not mean to startle you.”

Her surprise faded into a soft smile and a giggle, “It’s okay, I was just enjoying my book!”

“So I can see!” he sat up and leaned a little closer, “What is it about?”

“Oh…” a pink blush washed over her cheeks, “You’ll find it silly, Mr Trelawny!”

“Nonsense!” he waved a sharp hand, “Any reading is good reading in my opinion, having a nose in a book can only expand horizons! Now tell me a little about it. I’m quite curious and I shan’t give up until you tell me!”

Again he was awarded with a giggle, “It’s just a silly romance…”

He gasped, placing a hand over his chest in mock shock, “Romance is never silly! At the end of the day, it’s really all we have!” he leaned a little closer, “Is it very good?”

She pursed her lips, another pretty blush flushing over her cheeks, “It’s about omegas, and um, soul mates.”

He leaned back in his chair with a contented sigh, “Now that is a lovely romance. Two souls meant for one another, so much so that when they do bond it is of such magnitude that it changes the course of history.” His heart twanged, but he ignored it, “Such a beautiful concept, wouldn’t you say?”

“Oh yes!” she cried shuffling closer on her knees, his skirts becoming soiled with dirt. Not that she seemed to mind. “And this one is so wonderful! A pauper and a prince meeting and falling in love in Paris, and everything is against them to stay together!”

“Oh my, oh my. In Paris?” he asked, noting her eyes sparkling with such joy, her hands curling tightly around her book, such a sweet girl, he thought. “Paris is a wonderful place, filled with life, art and wonder!

Her eyes widened, “You’ve been to Paris?”

“Ouis!” he laughed, “There is no place filled with more splendor and magic than Paris, I’ve found. It is simply magnifique!”

Mary-Beth may as well have been vibrating by this point. Her eyes clear pools of excitement and awe. Trelawny’s heart ached a little at this wonder. He quietly hoped she would keep it for many years yet.

His pipe gasped, he turned a frown on it but quickly reverted his attention back to her. “But, now tell me, how does your story end?”

“I don’t know yet!”

“Well, you simply must come tell me once you do! I do hope for a happy ending!”

“I will Mr Trelawny!”

“Mary-Beth!”

Miss Grimshaw, hands on hips and expressions fierce stood by the fire, her eyes burning as hot as the flames. “Have ya done ya chores yet?”

“Oh!” she scampered up, holding the book behind her back, “Um, no Miss Grimshaw!”

“Well, get to it! The damn potatoes won’t be pealing themselves!”

“Okay!” she said and quickly skuttled to the barrel of potatoes, “Bye Mr Trelawny!”

“Goodbye my dear!” he called waving her off.

“And you!” Grimsahw snapped marching closer. “You should stop filling her head with nonsense! What good do dreams do us when there are mouths to feed?”

“Ah, but dreams feed the soul, Miss Grimshaw!” he laughed, then standing with a flourish he walked over to her to take her hand gently. “And besides, nonsense is what makes life so very interesting, wouldn’t you agree Madame?” and he pressed a light kiss on her knuckle.

The reaction was instantaneous. Her whole face flushed in a mixture of bashfulness and fury. With a huff she ripped her hand from his grip and stormed away, yelling at Tilly to get the washing up. The young girl jumped a mile in the air and quickly rushed for the clothes line. The bustle of the camp washed over him and Trelawny felt a wonderful sense of contentment ease over him.

Really, if he wasn’t such a wanderer by nature, he’d never leave.

“How the hell do you get away with that?” Dutch was standing on the porch, his expression bemused and frustrated in equal measure. Happily pulled from his reverie Trelawny smiled brightly and walked over.

“It’s all in the presentation, my good man!” he tapped his now dead pipe out on the railing, “And giving her something to be flustered about is not exactly terrible, is it?”

“It is if you use it to get out of doing chores,” Hosea said, still sitting on the steps of the small house, smoking a small cigarette.

“Ah! Caught red handed!” he scuffed his foot on the wet earth, “I believe she wanted me to wash the dishes, not really a job for these hands.” He held up both to show off their delicate skin and bone structure. Not that he minded helping out, but wasghing dishes was absolutely not his forte. He always ended up breaking something. He once broke a tin mug, Dutch has never let him forget it.

Dutch snorted and shook his head. “Be that as it may, it’s good that you’re here for once, been meaning to ask you about that house?” he shifted to lean more heavily against the barrister. This close Josiah noted his usual strong face sagging from exhaustion. His perfectly pomade raven hair disheveled and even his delicately waxed mustache was coming apart. It had been a long few weeks.

“Yes! Of course! I just need three men to help out, but if the information is good, we should have a tidy stash by the end of the week.”

Ditch nodded, “Take Javier, Charles and Arthur. They should do.”

“Excellent! Thank you Dutch!”

“Don’t thank him just yet,” Hosea said, “Miss Gramshaw is heading this way again.”

Sure enough, Grimshaw in all her fiery glory was stalking across the camp, her demeanor brought to mind a rather focused bull. Who could, possibly, spit fire.

“Then that is my cue!” He said already reversing his steps, “Good day gentleman!”

“Bye Josiah!” they called just as he slipped around the side of the house –

And rammed into a solid chest.

“Hey!” Two strong hands shot out to grab his wrists, stopping him from landing right on his rear. Josiah looked slightly down into a dark face, brown eyes shining in the sunlight.

“Charles!” he called untangling himself from the man, “I do appologise, my dear boy! I was em…” he peaked around the corner. Grimshaw was rattling something off to Dutch who appeared amused by her antics.

“Avoiding chores again?”

“What?” he turned back, Charles was smirking, leaning against the house with his strong arms crossed. He was new to the gang, a damn tracker and shot, with sharp eyes and a steadiness to him that reminded Trelawny often of the eternal patience of a mountain. But not without a mischief streak, he'd come to learn. Yet, even while he was teasing you it was extremely difficult not to like the man. As an Alpha, Charles had a natural affinity to protect people, and he truly cared. Trelawny would not be too proud to admit that he had a soft spot for the young man.

“No! Well, yes.” Trelawny sighed, “Dishes? Really?”

Charles shrugged, “Someone needs to do it.”

“Well, that ‘someone’ does not need to be me.” He straightened his jacket, adjusted his hat and turned a bright smile on Charles, “I’ll do another chore, like head into town for provisions.”

“Where you can get a hot bath and a meal at a fancy restaurant?”

“Precisely! Now, if you’ll excuse me –“

A firm hand grabbed his arm, yanking his momentum and making his foot dangle before stepping gently on the soft grass. Josiah turned a frown on him. Charles was smiling.

Josiah cleared his throat, “Was there something else, my young man?”

“Grimshaw asked me to catch you if went around the house.” he said with a sharp little smirk, “Sorry, Mr Trelawny."

“Charles!” he admonished, but he was already reaching for a smoke bomb hidden in his pocket, “You are a traitor to your fellow man!”

He shrugged, pulling him to the corner of the house, that sharp little smirk still in place. “Might be, but…” and here he leaned close, breath practically whispering over his ear.

“I don’t wanna do the dishes either.”

He blamed it on the laughter that burst out of him making his hand fumble. The smoke bomb fell out of his fingers and landed softly between the sprigs of grass. Josiah felt it had betrayed him as much as Charles had at that moment.

“There he is!” Grimshaw said already storming closer with a victorious smile pulling over he features, “Thank you, Mr Smith!”

“No problem, ma’am,” he said, nodding his head and studiously avoiding Trelawny’s eye line.

“Come along, Mr Trelawny!” she grabbed his arm and physically pulled him to the dishes. “They won’t be washing themselves.”

“I do declare madam!” he struggled against her hand, but it was like a vice, a damned grip of death! “I do not appreciate this manhandling! Charles! I will have your head for this!”

Charles Smith drenched in the glow of a dipping sun, only smiled back. His brown eyes turning almost black and that smile too sweet to be real.

Trelawny’s ire dissipated almost instantly, and even as he was dropped into a chair and handed a dirty plate, that smile alone made it worth it.

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dearyallfrommatt · 1 year

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youtube

“When I Find My Baby“

This is by Arbee Stidham. He’s pretty much forgotten now, but he was a well-known figure on the blues and R&B scene since the ‘20s way on through to giving college lectures on the topic in the ‘70s. While this is more a typical blues, he was known for mixing jazz in with his singing as well as taking inspiration from the blues before the blues. They called them “reels” back in the day and Arbee’s mom told him he was going to Hell for "singin’ them reels.” Story he tells is he did his first public performance at a music hall in Little Rock at age 12. His mom was in the audience and, Arbee said, “she grabbed me and hugged me and kissed me. She said ‘I’m proud of you in a way, but you��re still going to Hell, singing those reels.’”

As for who’s blowing those dirty harp lines, I’ve read different things. I’ve read it was Snooky Pryor and I’ve read it was Big Walter Horton, and it really could be either. Since it sounds like two different harmonica players going at it, I’m going to say it was both.

For the record, I’m not sure why they called proto-blues “reels.” Those have their history in Irish-Scottish folk dance music, but it’s pretty much similar in spirit. Dance music for the common man. Probably the most well-known practitioner of what we’d call “reel blues” was the late Henry Thomas, who influenced everyone from the Lovin’ Spoonful to the Grateful Dead. You might recognize his song “Bull Doze Blues” was reworked into “Goin’ Up The Country” by Canned Heat. Henry played the quills, a homemade instrument that resembles a pan flute.

Another well-known practitioner of reels was the late Otha Turner, one of the last practitioners of “fife and drum blues.” He played the fife while his grandsons backed him on snares and bass drums. He passed away in 2003 at the age of 95. It’s fascinating stuff, check out his 1998 album Everybody Hollerin’ Goat.

#youtube #Arbee Stidham #blues #Chicago blues #harmonic convergence #harmonica blues #Big Walter Horton #Snooky Pryor #reels #Black History Month #Henry Thomas #Otha Turner #fife and drum blues

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newmusickarl · 1 year

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youtube

Top 50 Albums of 2022

4. Skinty Fia by Fontaines D.C.

Considering their cult-like status and massive global following, it can be quite easy to forget that Fontaines D.C. only founded in 2017. Where a lot of artists after a highly successful debut will sit and stew over their follow-up for years on end before releasing another album, in just five short years the Irish post-punk quintet have already found themselves on record number three.

In that time, they have set a very high bar for themselves too – from their instant classic, Mercury Prize-nominated debut Dogrel to their darker, brilliantly moody sophomore record A Hero’s Death, they’ve already delivered two of the finest albums of the last few years. Both those records landed inside my Top 20 in 2019 and 2020 respectively, but now their incredible third album, Skinty Fia, has earned them their highest spot to date on my annual year-end countdown.

The brilliant teaser tracks for Skinty Fia released earlier in the year heavily suggested Fontaines were about to unleash their best album to date with this latest opus. Now after playing it constantly throughout the year, I am certain that it more than holds up to the extremely high standard set by its two predecessors and that it is for me personally, my favourite of their records so far.

Whilst they may have lost some of the raw punk energy that made Dogrel so captivating, their confidence in what they’re creating has grown and it is coming through loud and clear in the music. The musicianship is more accomplished, the songs more dynamic and Chatten’s poetic storytelling is as entrancing as ever.

In ár gCroíthe go deo sets the tone perfectly – a sermon-like six-minute opener that draws on known modern tales of Irish people living in England and highlighting some of the xenophobia they have faced. With the album largely inspired by the band’s own experiences since moving to London, it is a central theme that runs right through the record.

Big Shot is more classic Fontaines, with the band pondering their newfound fame with genius lyrics like “I travelled to space and found the moon too small.” As great as the original album recording is, the live arrangement of this song is even better, as you can see from the beautiful string-tinged Glasto performance above. How Cold Love Is then features the perfect contrast between a sweet, romantic guitar melody and Grian’s drawling, tired vocals, sonically encapsulating the song’s lyrical subject matter perfectly.

When Jackie Down The Line was released earlier this year it immediately became one of my favourite tracks within their catalogue, and since then only one thing has changed – it is now one of my favourite songs of the whole year too. With a signature jangly guitar melody and an infectious refrain of “I will wear you down in time, I will hurt you, I’ll desert you, I am Jackie down the line” along with the odd “do do do, la la la”, I still think it’s brilliant. The meandering grungy riffs of Bloomsday then make way for other single Roman Holiday, which has a strong, very noticeable Oasis feel to it, both in terms of the Noel Gallagher-esque guitars and Chatten’s own Liam impersonation (which isn't a bad thing).

The Couple Across The Way then sees Grian describing an argumentative couple whilst reflecting on his own relationship. With the track featuring a simple accordion backing for a more Irish trad style feel to it, it divided fans upon release but I have personally always loved it. The accompanying music video is well worth seeking out too, as it really brings the song to life. It arrives at just the right time in the tracklist too, acting as almost a palette cleanser that sets up the final three tracks in quite emphatic fashion. Once the accordion fades and the title track’s brilliantly glitchy synths and thumping drums kick in, you’re suddenly transported into a different zone, and it makes for an utterly exhilarating crossover. With heavy Joy Division vibes, the title track is simply pulsating and another big album highlight.

If that wasn't good enough, subsequent track I Love You then arrives to blow nearly everything else out of the water. Hugely atmospheric, it steadily builds to Grian Chatten’s passionate vocal cries in the song’s outro, with more stunningly poetic lyrics:

“And I loved you like a penny loves the pocket of a priest, And I’ll love you ‘til the grass around my gravestone is deceased, And I’m heading for the cokeys, I will tell 'em 'bout it all, About the gall of Fine Gael and the fail of Fianna Fáil, And now the flowers read like broadsheets, every young man wants to die, Say it to the man who profits, and the bastard walks by, And the bastard walks by, and the bastard walks by, Say it to him fifty times and still the bastard won’t cry, Would I Lie?”

After that jaw-dropping moment, Nabokov then arrives to close the record out perfectly, with some dreamy, spiralling shoegaze riffs that eventually fade the album to black.

Whilst the debate surrounding which Fontaines record is the best will no doubt rage on, and everyone will likely have their own favourite of the three too, there are still some universal conclusions that can be drawn about Skinty Fia. The main one being that this is another hugely impressive and brilliantly crafted work, from one of the finest bands operating anywhere on the planet right now. A worthy addition to their increasingly remarkable discography and without a doubt, one of the year’s very best albums.

Best tracks: Jackie Down The Line, I Love You, In ár gCroíthe go deo

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#new music #best new music #albums of the year #album recommendation #album of the year #best of 2022 #best of the year #aoty #aoty 2022 #best albums of 2022 #albums of 2022 #fontaines d.c.#big shot #glastonbury #glastonbury 2022 #skinty fia #grian chatten #Youtube

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mrsdawg4908 · 2 years

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Loretta Lynn

April 14, 1932 - October 4, 2022

Lynn was born Loretta Webb in Butcher Hollow, Kentucky. She is the eldest daughter and second child born to Clara Marie "Clary" (Ramey; May 5, 1912 – November 24, 1981) and Melvin Theodore "Ted" Webb (June 6, 1906 – February 22, 1959). Ted was a coal miner and subsistence farmer. Lynn and her siblings are of Irish and Cherokee descent, although she is not enrolled with any Native tribe. She was named after the film star Loretta Young.

Loretta's father died at the age of 52 of black lung disease a few years after he relocated to Wabash, Indiana, with his wife and younger children.

Through her matriline, Lynn is distant cousins with country singer Patty Loveless (née Ramey). The former Miss America, Venus Ramey, who died in 2017, was also her distant cousin.

On January 10, 1948, 15-year-old Loretta Webb married Oliver Vanetta "Doolittle" Lynn (August 27, 1926 – August 22, 1996), better known as "Doolittle", "Doo", or "Mooney". They had met only a month earlier. The Lynns left Kentucky and moved to the logging community of Custer, Washington, when Loretta was seven months pregnant with the first of their six children. The happiness and heartache of her early years of marriage would help to inspire Lynn's songwriting.

Loretta and Oliver Lynn had six children together:

Betty Sue Lynn (November 26, 1948 – July 29, 2013)

Jack Benny Lynn, (December 7, 1949 – July 22, 1984)

Ernest Ray "Ernie" Lynn (born May 27, 1951)

Clara Marie "Cissie" Lynn (born April 7, 1952)

Peggy Jean and Patsy Eileen Lynn (born August 6, 1964; twin daughters named for Lynn's sister, Peggy Sue Wright, and her friend, Patsy Cline.)

Lynn's son, Jack Benny Lynn, died at age 34 on July 22, 1984, while trying to cross the Duck River at the family's ranch in Hurricane Mills, Tennessee. In 2013, Loretta's daughter, Betty Sue, died at age 64 of emphysema near Loretta's ranch in Hurricane Mills.

In 1953, Doolittle bought her a $17 Harmony guitar. She taught herself to play the instrument, and over the following three years, she worked to improve her guitar playing.

Lynn began singing in local clubs in the late 1950s. She later formed her own band, the Trailblazers, which included her brother Jay Lee Webb. Lynn won a wristwatch in a televised talent contest in Tacoma, Washington, hosted by Buck Owens. Lynn's performance was seen by Canadian Norm Burley of Zero Records, who co-founded the record company after hearing Loretta sing.

Zero Records president, Canadian Don Grashey, arranged a recording session in Hollywood, where four of Lynn's compositions were recorded, including "I'm A Honky Tonk Girl", "Whispering Sea", "Heartache Meet Mister Blues", and "New Rainbow". Her first release featured "Whispering Sea" and "I'm a Honky Tonk Girl". Lynn signed her first contract on February 2, 1960, with Zero. Her album was recorded at United Western Recorders in Hollywood, engineered by Don Blake and produced by Grashey. Musicians who played on the songs were steel guitar player Speedy West, fiddler Harold Hensely, guitarist Roy Lanham, Al Williams on bass, and Muddy Berry on drums. Lynn commented on the different sound of her first record: "Well, there is a West Coast sound that is definitely not the same as the Nashville sound. It was a shuffle with a West Coast beat".

The Lynns toured the country to promote the release to country stations, while Grashey and Del Roy took the music to KFOX in Long Beach, California. When the Lynns reached Nashville, the song was a hit, climbing to No. 14 on Billboard's Country and Western chart, and Lynn began cutting demo records for the Wilburn Brothers Publishing Company. Through the Wilburns, she secured a contract with Decca Records. The first Loretta Lynn Fan Club formed in November 1960. By the end of the year, Billboard magazine listed Lynn as the No. 4 Most Promising Country Female Artist.

Lynn's relationship with the Wilburn Brothers and her appearances on the Grand Ole Opry, beginning in 1960, helped Lynn become the No. 1 female recording artist in country music. Her contract with the Wilburn Brothers gave them the publishing rights to her material. She unsuccessfully fought the Wilburn Brothers for 30 years to regain the publishing rights to her songs after ending her business relationship with them. Lynn stopped writing music in the 1970s because of the contracts. Lynn joined the Grand Ole Opry on September 25, 1962.

Lynn credited Patsy Cline as her mentor and best friend during her early years in music. In 2010, when interviewed for Jimmy McDonough's biography of Tammy Wynette, Tammy Wynette: Tragic Country Queen, Lynn said of having best friends in Patsy and Tammy during different times: "Best friends are like husbands. You only need one at a time."

Lynn released her first Decca single, "Success", in 1962, and it went straight to No. 6, beginning a string of top 10 singles that would run throughout the 1970s. Lynn's music began to regularly hit the Top 10 after 1964 with songs such as "Before I'm Over You", which peaked at No. 4, followed by "Wine, Women and Song", which peaked at No. 3. In late 1964, she recorded a duet album with Ernest Tubb. Their lead single, "Mr. and Mrs. Used to Be", peaked within the Top 15. The pair recorded two more albums, Singin' Again (1967) and If We Put Our Heads Together (1969). In 1965, her solo career continued with three major hits, "Happy Birthday", "Blue Kentucky Girl" (later recorded and made a Top 10 hit in the 1970s by Emmylou Harris), and "The Home You're Tearing Down". Lynn's label issued two albums that year, Songs from My Heart and Blue Kentucky Girl.

Lynn's first self-penned song to crack the Top 10, 1966's "Dear Uncle Sam", was among the first recordings to recount the human costs of the Vietnam War. Her 1966 hit "You Ain't Woman Enough (To Take My Man)" made Lynn the first country female recording artist to write a No. 1 hit.

In 1967, Lynn reached No. 1 with "Don't Come Home A-Drinkin' (With Lovin' on Your Mind)", which became one of the first albums by a female country artist to reach sales of 500,000 copies.

Lynn's next album, Fist City, was released in 1968. The title track became Lynn's second No. 1 hit, as a single earlier that year, and the other single from the album, "What Kind of a Girl (Do You Think I Am)", peaked within the top 10. In 1968, her next studio album, Your Squaw Is on the Warpath, spawned two Top 5 Country hits, including the title track and "You've Just Stepped In (From Stepping Out on Me)". In 1969, her next single, "Woman of the World (Leave My World Alone)", was Lynn's third chart-topper, followed by a subsequent Top 10, "To Make a Man (Feel Like a Man)". Her song "You Ain't Woman Enough (To Take My Man)", was an instant hit and became one of Lynn's all-time most popular. Her career continued to be successful into the 1970s, especially following the success of her autobiographical hit "Coal Miner's Daughter", which peaked at No. 1 on the Billboard Country Chart in 1970. The song became her first single to chart on the Billboard Hot 100, peaking at No. 83. She had a series of singles that charted low on the Hot 100 between 1970 and 1975. The song "Coal Miner's Daughter" later served as the impetus for the bestselling autobiography (1976) and the Oscar-winning biopic, both of which share the song's title.

In 1971, Lynn began a professional partnership with Conway Twitty. As a duo, Lynn and Twitty had five consecutive No. 1 hits between 1971 and 1975, including "After the Fire Is Gone" (1971), which won them a Grammy award, "Lead Me On" (1971), "Louisiana Woman, Mississippi Man" (1973), "As Soon as I Hang Up the Phone" (1974), and "Feelins'" (1974). For four consecutive years, 1972–1975, Lynn and Twitty were named the "Vocal Duo of the Year" by the Country Music Association. The Academy of Country Music named them the "Best Vocal Duet" in 1971, 1974, 1975 and 1976. The American Music awards selected them as the "Favorite Country Duo" in 1975, 1976 and 1977. The fan-voted Music City News readers voted them the No. 1 duet every year between 1971 and 1981, inclusive. In addition to their five No. 1 singles, they had seven other Top 10 hits between 1976 and 1981.

As a solo artist, Lynn continued her success in 1971, achieving her fifth No. 1 solo hit, "One's on the Way", written by poet and songwriter Shel Silverstein. She also charted with "I Wanna Be Free", "You're Lookin' at Country" and 1972's "Here I Am Again", all released on separate albums. The next year, she became the first country star on the cover of Newsweek. In 1972, Lynn was the first woman to be nominated and win Entertainer of the Year at the CMA awards. She won the Female Vocalist of the Year and Duo of the Year with Conway Twitty, beating out George Jones and Tammy Wynette and Porter Wagoner and Dolly Parton.

In 1973, "Rated "X"" peaked at No. 1 on the Billboard Country Chart and was considered one of Lynn's most controversial hits. The following year, her next single, "Love Is the Foundation", also became a No. 1 country hit from her album of the same name. The second and last single from that album, "Hey Loretta", became a Top 5 hit. Lynn continued to reach the Top 10 until the end of the decade, including 1975's "The Pill", one of the first songs to discuss birth control. Many of Lynn's songs were autobiographical, and as a songwriter, Lynn felt no topic was off limits, as long as it was relatable to women. In 1976, she released her autobiography, Coal Miner's Daughter, with the help of writer George Vecsey. It became a No. 1 bestseller, making Lynn the first country music artist to make The New York Times Best Seller list.

In 1977, Lynn recorded I Remember Patsy, an album dedicated to her friend, singer Patsy Cline, who died in a plane crash in 1963. The album covered some of Cline's biggest hits. The two singles Lynn released from the album, "She's Got You" and "Why Can't He Be You", became hits. "She's Got You", which went to No. 1 by Cline in 1962 went to No. 1 again that year by Lynn. "Why Can't He Be You" peaked at No. 7. Lynn had her last No. 1 hit in 1978 with "Out of My Head and Back in My Bed".

In 1979, Lynn had two Top 5 hits, "I Can't Feel You Anymore" and "I've Got a Picture of Us on My Mind", from separate albums.

Devoted to her fans, Lynn told the editor of Salisbury, Maryland's newspaper the reason she signed hundreds of autographs: "These people are my fans... I'll stay here until the very last one wants my autograph. Without these people, I am nobody. I love these people." In 1979, she became the spokesperson for Procter & Gamble's Crisco Oil. Because of her dominant hold on the 1970s, Lynn was named the "Artist of the Decade" by the Academy of Country Music. She is the only woman to win this honor.

On March 5, 1980, the film Coal Miner's Daughter debuted in Nashville and soon became the No. 1 box office hit in the United States. The film starred Sissy Spacek as Loretta and Tommy Lee Jones as her husband, Doolittle "Mooney" Lynn. The film received seven Academy Award nominations, winning the Best Actress Oscar for Spacek, a gold album for the soundtrack album, a Grammy nomination for Spacek, Country Music Association and Academy of Country Music awards, and several Golden Globe awards. The 1980s featured more hits, including "Pregnant Again", "Naked in the Rain", and "Somebody Led Me Away". Lynn's last Top 10 record as a soloist was 1982's "I Lie", but her releases continued to chart until the end of the decade.

One of her last solo releases was "Heart Don't Do This to Me" (1985), which reached No. 19, her last Top 20 hit. Her 1985 album Just a Woman spawned a Top 40 hit. In 1987, Lynn lent her voice to a song on k.d. lang's album Shadowland with country stars Kitty Wells and Brenda Lee, "Honky Tonk Angels Medley". The album was certified gold and was Grammy nominated for the four women. Lynn's 1988 album Who Was That Stranger would be her last solo album for MCA, which she parted ways with in 1989. She was inducted into the Country Music Hall of Fame in 1988.

Lynn returned to the public eye in 1993 with a hit CD, the trio album Honky Tonk Angels, recorded with Dolly Parton and Tammy Wynette. The CD peaked at No. 6 on the Billboard Country charts and No. 42 on the Billboard Pop charts and charted a single with "Silver Threads and Golden Needles". The album sold more than 800,000 copies and was certified gold in the United States and Canada. The trio was nominated for Grammy and Country Music Association awards. Lynn released a three-CD boxed set chronicling her career on MCA Records. In 1995, she taped a seven-week series on the Nashville Network (TNN), Loretta Lynn & Friends.

In 1995, Loretta was presented with the Pioneer Award at the 30th Academy of Country Music Awards. In 1996, Lynn's husband, Oliver Vanetta "Doolittle" Lynn, died five days short of his 70th birthday. In 2000, Lynn released her first album in several years, Still Country, in which she included "I Can't Hear the Music", a tribute song to her late husband. She released her first new single in more than 10 years from the album, "Country in My Genes". The single charted on the Billboard Country singles chart and made Lynn the first woman in country music to chart singles in five decades. In 2002, Lynn published her second autobiography, Still Woman Enough, and it became her second New York Times Best Seller, peaking in the top 10. In 2004, she published a cookbook, You're Cookin' It Country.

In 2004, Lynn released Van Lear Rose, the second album on which Lynn either wrote or co-wrote every song. The album was produced by Jack White of The White Stripes, and featured guitar work and backup vocals by White. Her collaboration with White garnered Lynn high praise in magazines that specialize in mainstream and alternative rock music, such as Spin and Blender. Rolling Stone voted the album the second best of 2004. It won the Grammy Award for Best Country Album of the Year.

Late in 2010, Sony Music released a new album, titled Coal Miner's Daughter: A Tribute to Loretta Lynn, featuring stars like Reba McEntire, Faith Hill, Paramore, and Carrie Underwood performing Loretta's classic hits spanning 50 years. The CD produced a Top 10 music video hit on GAC of the single, "Coal Miner's Daughter", that Lynn recorded with Miranda Lambert and Sheryl Crow. The single cracked the Billboard singles chart, making Lynn the only female country artist to chart in six decades. Lynn performed at the Nelsonville Music Festival in Nelsonville, Ohio in May 2010. Lynn also performed at the Bonnaroo Music and Arts Festival on June 11, 2011. In 2012, Lynn published her third autobiography, Honky Tonk Girl: My Life in Lyrics. She contributed "Take Your Gun and Go, John" to Divided & United: Songs of the Civil War, released on November 5, 2013.

In November 2015, Lynn announced a March 2016 release: Full Circle, featuring Willie Nelson and Elvis Costello. The recording became Lynn's 40th album to make the Top 10 on Billboard's best selling country list and her album debuted at No. 19 on the Billboard Hot 200. The recording is combination of new songs and classics, and includes duets with Elvis Costello and Willie Nelson. Lynn's Christmas album White Christmas Blue was released in October 2016. In December of the same year, Full Circle was nominated for Country Album of the Year for the 59th Annual Grammy Awards.

Lynn's album Wouldn't It Be Great, the third album of her five-album deal with Legacy Recordings, was released in September 2018 after being delayed by health issues. Her health prompted Lynn to cancel all 2017 scheduled tour dates. Lynn was named Artist of a Lifetime by CMT in 2018. On October 19, 2019, Lifetime aired the highly anticipated movie Patsy & Loretta which highlighted the friendship of Lynn and Patsy Cline. Lynn attended the Nashville release of the film.

On March 19, 2021, Lynn released her 50th studio album Still Woman Enough, the fourth album of her deal with Legacy (and to come from the cash cabin recording sessions). It features Carrie Underwood and Reba McEntire on the title track alongside original tracks and duets with Tanya Tucker and Margo Price on re-recordings of "You Ain't Woman Enough" and "One's on the Way" respectively.

Lynn owned a ranch in Hurricane Mills, Tennessee, known as Loretta Lynn's Ranch. Billed as "the Seventh Largest Attraction in Tennessee", it features a recording studio, museums, lodging, restaurants and western stores. Traditionally, three holiday concerts are hosted annually at the ranch, Memorial Day Weekend, Fourth of July Weekend, and Labor Day Weekend.

Since 1982, the ranch has hosted Loretta Lynn's Amateur Championship motocross race, the largest amateur motocross race of its kind. The ranch also hosts GNCC Racing events. The centerpiece of the ranch is its large plantation home which Lynn once resided in with her husband and children. She hasn't lived in the antebellum mansion in more than 30 years. Lynn regularly greeted fans who were touring the plantation house. Also featured on the property is a replica of the cabin in which Lynn grew up in Butcher Hollow, Kentucky.

Loretta died peacefully in her sleep on October 4, 2022.

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everythingadelaidemusic · 2 years

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I heard this weeks guest on a Podcast. His music tells stories of what it is like living in this great country. Here is my interview with the great Matt Scullion.

Can you tell us a little about yourself?

My name is Matt Scullion and I’m a well traveled Australiana-Folk singer/songwriter. As an artist I have two albums and a Golden Guitar award to my name.

As a co-writer I’ve written with everybody from Lee Kernaghan to Cold Chisel and have had 25 number one songs to date.

I grew up on the South Coast of NSW in a little town called Ulladulla and have pretty much been infatuated with music since I can remember.

What/who inspired you to get into music?

My Mother’s record collection and our next door neighbours who were a very arty/hippie family. My first instrument was the Bass guitar which I bought off the fella next door. He gave me a couple lessons and I caught a bad case of the music bug which I still have.

How, if at all did the pandemic change your approach to your music?

It’s definitely forced me to think outside the box as far as where I book my shows. It also gave me time to learn the Banjo.

Have you got any new releases due to come out?

I have one more single to release called “From The Ashes” a song about resilience after the 2019/20 bushfires. It’s the 5th single off my current album Aussie As Vol II.

I also have a new album in the pipeline. I’ll be heading into the studio this February to record with Shane Nicolson. Shane has produced my last two albums and I totally trust him with my songs.

When you record, how does the process develop? Drums first followed by guitar etc?

We always start with me putting down a guide instrument/vocal track. Shane then builds the music around my groove. We tend to go for a more percussive approach than a full drum kit, so it’s quite a fun process finding things to bang on in the studio to come up with new sounds.

What is your career highlight so far?

Performing at the SCG. I got to sing my song “1868” to a sea of faces. It’s the story of the first Australian sporting side to tour internationally which was an all Indigenous cricket team.

Any upcoming gigs you want to promote?

I’m looking forward to all the shows I have lined up this year, but I’ll give a shout out to The Kangaroo Valley Folk Festival, Oct 14-16. It’s a wonderful festival with a top line up.

What do you think of the Australian/Adelaide music scene?

I can’t speak for the whole Australian music scene, but the circuit I tour in is alive and well. The Aussie Country Music scene has always been really well supported by community radio which is a great way to reach the rural areas, which is where I do most of my shows.

What are\were some of your favourite venues to play?

I haven’t really got a favourite, but I definitely have a soft spot for the Tamworth Country Music Festival.

Who are some other upcoming bands we should have a look at?

An Aussie Folk singer/songwriter named Michael Waugh and a wonderful traditional Irish group called Lynched.

What venues or tours are still on your bucket list?

I’d love to perform at the Sydney Opera House, it’s a beautiful intimate setting with amazing acoustics. Also the Big Red Bash out in Birdsville QLD, I’ve heard it’s a fantastic festival to perform at.

What are your long and short term goals?

Just to keep making music that matters and writing songs that connect with everyday Australians.

If you could only keep one album, what would it be?

That’s not fair!! Can I have two please? John Williamson (Warragul) and Paul Kelly (Greatest Hits).

Finally, where can people find you? Socials etc?

www.Instagram.com/mattscullionmusic

www.mattscullionmusic.com

#Spotify #spotify #australia #music #singer #songwriter #country music #Australians #australiana #goldenguitar #banjo #guitar #bass #drums #Queensland #muster #festival #tamworth #1868

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thejoyofviolentmovement · 11 days

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Formed back in 2020, Austin-based shoegazers DAIISTAR (pronounced Day-Star) — Alex Capistran (vocals, guitar), Nick Cornetti (drums), Misti Hamrick (bass) and Derek Strahan (keys) — have established a narcotic blend of noise and melody that draws from the neo-psychedelic era of the 80s and 90s, but modernizes it with modulating synths, heavy guitars, bouncing bass lines and spiraling hooks. The Austin shoegeazer outfit’s Alex Maas-produced full-length debut, last year’s GoodTime featured the fuzzy The Jesus and Mary Chain-meets- Crocodiles-like “Parallel” and revealed a band that paid a remarkable amount of attention to craft with a penchant for catchy hooks. The band supported the album touring across North America with The Black Angels, The Brian Jonestown Massacre and The Dandy Warhols, and included festival circuit stops at Levitation, Desert Daze, SXSW, Freak Out, Treefort, as well as a KEXP session. The Austin shoegazers are currently on a European tour. Those tour dates are below. But they’ll be releasing the “Clear”/”Velvet Reality (Sonic Boom ” Remix 7 inch through Fuzz Club. Slated for a May 10, 2024 release, the 7 inch will feature “Clear,” a previously unreleased song recored during the GoodTime sessions. “Clear” is a reverb-drenched bliss bomb featuring shimmering synths, Capistran’s dreamily delivered falsetto paired with a slow-burning groove. The song, to me at least, brings road trips on glorious, sunny afternoons — full of hope, possibility, life-altering adventures and laughs. DAIISTAR’s Alex Capistran (guitar/vocals) explained that “the idea behind ‘Clear’ was to write the perfect song for a perfect day. A song that comes to mind on a warm and sunny afternoon; inspiring thoughts of attainable bliss and encouraging you to dream up something nice for your future self.” Album track “Velvet Reality,” closes out GoodTime with a dreamy, washed-out haze. Spacemen 3 co-founder Pete Kember, a.k.a. Sonic Boom gives “Velvet Reality” the remix treatment, further deconstructing the song by making it even more ethereal and hazier than its original while also giving the oscillating and fluttering synths more of an emphasis. The result is an ethereal and narcoleptic bit of shoegaze seemingly informed by doo wop. TOUR DATES 4/19 ES BARCELONA – BARCELONA PSYCH FEST 4/20 ES ZARAGOZA – LATA DE BOMBILLAS 4/21 ES SAN SEBASTIAN – DABADABA 4/23 CH BERN – CAFE KAIRO 4/24 IT BOLOGNA – COVO CLUB 4/25 IT ROMA – GLITCH 4/26 IT FIRENZE – THE CAVE 4/27 IT LENO – PRIMO MAGGIO ROCK! 4/30 DE BERLIN – LOOPHOLE 5/1 DE VIECHTACH – ALTES SPITAL 5/2 DE STUTTGART – DIE WAGENHALLEN 5/3 DE FRANKFURT – THE UP CLUB 5/4 NL EINDHOVEN – FUZZ CLUB FEST 5/5 DE GIESSEN – PITS PINTE 5/6 NL AMSTERDAM – OCCII 5/7 NL WAGENINGEN – LOBURG LIVE 5/8 NL THE HAGUE – MUSICON 5/9 FR ROUEN – LE 3 PIECES 5/10 UK LONDON – STRONGROOM 5/11 UK HULL – ALOFT AT THE HAWORTH 5/12 UK GLASGOW – THE OLD HAIRDRESSERS 5/14 UK SOUTHAMPTON – HEARTBREAKER 5/15 UK BRISTOL – CROFTERS RIGHTS 5/16 UK FOLKESTONE – THE CHAMBERS 5/17 FR PARIS LE TRUSKEL – CLUB 5/18 FR LE HAVRE – FOUL WEATHER FESTIVAL 5/21 FR LYON – LE SONIC 5/22 FR BORDEAUX – I-BOAT 5/24 FR PORTSALL – O’DONNEIL IRISH PUB 5/25 FR ANGERS – LEVITATION FESTIVAL

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#Alex Maas #Austin TX #DAIISTAR #DAIISTAR Clear #DAIISTAR Clear/Velvet Reality (Sonic Boom Remix)#DAIISTAR Velvet Reality (Sonic Boom Remix)#Fuzz Club #New Audio #New Single #Pete Kember/Sonic Boom #remix #shoegaze #Single Review #Single Review: DAIISTAR Velvet Reality (Sonic Boom Remix)#Single Review: Velvet Reality (Sonic Boom Remix)

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