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#mom + pop
stroebe2 · 1 month
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nofatclips · 15 days
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Hurry on Home by Sleater-Kinney - Lyrics video by Miranda July
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august-sysex · 1 month
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porter robinson - cheerleader (2024)
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Gallery: FKJ @ PNE Forum - Vancouver, BC Date: April 28, 2023 Photographed by: Rachael Buckoski
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luuurien · 2 years
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FKJ - V I N C E N T
(Neo-Soul, Alternative R&B, Nu-Jazz)
Vincent Fenton's second album is dreamier than ever, leaning towards a sweeter and warmer sound compared to the snappy electronic beats and jazz crossovers of his debut. V I N C E N T is Fenton fully coming into his own as an artist, subduing the sound he cultivated on his debut and bringing out the best in him as an instrumentalist.
☆☆☆☆
One of the pioneers for French neo-soul and electronica, Vincent Fenton's career has been able to appeal to both mainstream folks looking for some classy background music and those searching for the next groundbreaking artist. His work under the FKJ moniker has resulted in some of the biggest songs to come from the Paris soul and jazz world in years, his Roche Musique debut French Kiwi Juice introducing the world to his jazz-inflected brand of French House, pop and electronica that became an abundant source of energy in the early spring of 2017 when it released. Now, with a Mom + Pop label deal and access to more time, more instruments and more musicians, his sophomore album V I N C E N T narcotize his sound with thick sub-bass, psychedelic guitars, and the dreamier sides of soul to make for his most relaxed and enjoyable album to date. Fenton paces himself more than ever here, and it pays off greatly. All the calling cards of Fenton's sound are still here - his pristine mixes filled to the brim without being overwhelming; the touches of his saxophone, guitar, and piano that always get thrown into a song; the relaxed beats that still have enough oomph to get you moving in time with them - but V I N C E N T sees him let up on the gas pedal a bit to see the world around him. This could easily be explained as the kind of slowdown that's occurred with many artists throughout the pandemic, but Fenton's music doesn't feel stifled by it at all. Rather, he sounds better than ever, able to open up the more atmospheric side of his sound hinted at in older projects like his 2018 Just Piano EP and bring it into his album experiences, too. The trippy side of alternative R&B his music lies on helps greatly in this effort, the Little Dragon assisted highlight Can't Stop lavishly decorated with shimmering guitars and plush synthesizers as Fenton and Yukimi Nagano's voices melt around a honey-thick bassline and soft percussion, and the masterful Different Masks for Different Days blends Fenton's warm saxophone tone around a lurching downtempo groove and trickling piano lines that prove he's just as charismatic when things are as dark as a candlelit room. He picks up the energy on occasion to help ensure the album doesn't become too mushy, The Mission pulling out a fun call-and-response between his guitar improvisations and his singing and the massive Once Again I Close My Eyes the closest he's ever gotten to a gospel tune if it was dipped in liquid gold, but V I N C E N T is by and large a relaxed experience that soothes more than anything else. Fenton never tries to make it be anything but. It's that consistency that makes V I N C E N T such an effective album. Sure, its songs aren't always the most exciting, but there's something so serene about how his falsetto swells around wah-pedal guitars on New Life or how the warped strings wrap around soulful piano improv on the watery opening track Way Out that makes the album's quaint sound just as engaging as any other of the great albums to release this year. It's a subdued beauty, but that doesn't mean the quality of the music is hidden in any way, the delightful slow-burn Once I Close My Eyes making for one of the most romantic songs to come out this entire year and the mellow funk of A Moment of Mystery with Toro y Moi a sweet little respite after the magical Different Masks for Different Days that preceded it. Fenton knows that making soft music doesn't mean it all has to congeal, taking different forms of it from downtempo to atmospheric electronic to intimate jazz and finding ways for them to all coexist within V I N C E N T. It's incredible how well he's able to make it happen. It's an album best experienced in one sitting and without stops, letting yourself luxuriate in its warm production and kaleidoscopically-dense instrumentation that only gets better with time. V I N C E N T is a low-risk, high-reward album for Fenton that only asks you to drink down the music like midnight wine and notice all the little things that make it taste so good.  Music as smooth and approachable as this could never fail, and through having Fenton's musical knowledge and ear for harmonies, V I N C E N T ends up not only standing out from the crowd, but making a peak in Fenton's discography thus far that shows him at his most artistically expansive and musically impressive. He's always been a fantastic musician, and V I N C E N T shows what he can do even when the lights are off, his music a torch in the dark directing you towards the moonlit café Fenton's music has built here. Sure, V I N C E N T might not be the wildest listen out there, but it doesn't need to be - Fenton makes these dreamy nu-jazz tunes more than worth your while.
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superbeans89 · 2 years
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fluffyartbl0g · 1 year
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“It’s very rare, but some powers can awaken and affect objects aside from the wielder!!!”
You see it may look like they’re just running and improvising a plan on the spot,,, but it was ALL PART OF THE MASTER PLAN!!! (lying)
Speedrun/Time Travel AU masterlist
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musubiki · 1 month
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danmarch 🐉💎
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puppetmaster13u · 5 months
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Prompt 115
“Seriously old man?” the rumbling voice nearly caused Tim to jump, his eyes darting away from where Ras was sitting, the Al Ghul almost seeming to perk. It was kind of hard to miss the man… teen… being? It was kind of hard to miss the owner of the voice what with how their hair looked like it was on fire. 
They motioned around at well, everything, crimson eyes looking exasperated. “Really?” They were definitely motioning towards him, interrupting Ras when he opened his mouth to talk. “No, I don’t want to hear it, I swear- Did he kidnap you?” That was definitely aimed at him. 
“N-no?” Tim was feeling slightly unbalanced and may be on hour sixty without sleep at this point, if the hour long nap was counted. “I need help finding my not-dad who's lost in time.” 
The being let out a strangled noise that Tim could nearly swear was almost another one, but couldn’t vocalize his slurred thoughts as the dude muttered something, motioning around as though he was tempted to strangle something or someone. 
Ras cleared his throat, looking almost awkward which was how Tim knew he had to be dreaming or drugged. Probably drugged. “Jordan, how good to see you, it’s been so long-”
“Can it Pops,” the being-named-Jordan scoffed, finger pointing towards the Demon’s Head. “Moms still pissed and isn’t coming back any time soon with you still pulling this shit.” 
Tim felt his brain stall, process for a moment, then process some more over what he just heard before his mouth ran before it could catch up. “Ras is married???” 
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stroebe2 · 1 month
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nofatclips · 1 year
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Good Bad Times by Hinds from the album The Prettiest Curse - Dirigido por Jean LaFleur
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lookninjas · 1 year
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Blows my mind to see people saying shit like “Well, maybe Iggy Pop should try wearing a shirt!” or  “Maybe Robert Smith’s too old for wearing lipstick!”  Maybe you should stop expecting the nonconformist heroes of your youth to suddenly turn Normal just because that’s what you did because you felt like you had to and now you’re second-guessing your life and your choices.  Maybe you should try that.
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Gallery: CAAMP @ Orpheum - Vancouver, BC Date: July 18th, 2022 Photographed by: Bailey Morgan
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luuurien · 2 years
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Beach Bunny - Emotional Creature
(Power Pop, Indie Rock, Jangle Pop)
Beach Bunny's sophomore album smooths out the rough edges of their 2020 debut while not doing much to expand on its sound. They still sound best making big, yearning power pop, but anything outside of that ends up feeling relatively uninteresting. Emotional Creature always plays it safe, and in totality it ends up being barely above par.
☆☆☆
Beach Bunny has always been the epitome of modern indie pop: soft and chewy melodies, warm jangly guitars and punchy backbeat drumming, songwriting centered around relationships and internal emotional struggles. The Chicago quartet's music succeeds because it's such a simple formula that they're able to work in their favor, bolstered by tracks like Sports and Prom Queen early in their discography that were catchy enough to stick with you while having a sensitivity and intimacy to their songwriting that let you build an emotional connection with Lili Trifilio, Beach Bunny establishing themselves as one of the more energetic and bubbly bands of the 2010s indie pop explosion. But their latest album, Emotional Creature, struggles to do anything new with that, Beach Bunny slamming into the fact that their bread-and-butter pop rock formula needs something more to have any staying power. It's easy to listen to and agreeable for the most part, but even at just 36 minutes Emotional Creature has little to bring to the table. The good parts of Emotional Creature are as strong as any of the best Beach Bunny tunes of the past: Trifilio knows how to write a good pop song, and the album's strongest tracks are proof of it. Lead single Oxygen is one killer way to kick things off, Jonathan Alvarado's punchy drum work and Anthony Vaccaro's rumbling bassline laying the foundation Trifilio's soaring lyrics of the intoxicating nature of free and simple love ("Suddenly, everything is easy," she joyfully boasts in the chorus), and tracks with similar energy like the anxious Gone or angsty Weeds make for memorable moments that balance pop gravitas with smart and witty songwriting, the kinds of songs Beach Bunny have been great at for years now. With everything else, though, they seem to constantly struggle: there's a stiffness to the slower tracks largely brought on by Trifilio's limited lyricism and the band's blank slate sound - Entropy and Fire Escape sound like they could have been made by any number of indie pop groups - and it leads the moments on Emotional Creature that connect its bigger tracks together to feel underwhelming and bland. Trifilio's writing is unreasonably nonspecific and garden-variety, achieving for a sort of relatability in the way she ponders heartbreak on Scream or tries to push away her problems on Eventually that never seem like it's giving any deeper insight into Trifilio as a person or an artist. Even on their more casual, laid-back garage rock tunes like Prom Queen or Painkiller, there was a unique backbone to the themes of each song that made them feel distinctly Beach Bunny - is there anything about a line like "Panic attack, there's a weight on my back, but you take it" that only someone like her could have written? There's nothing bad about going for more basic songwriting, but when Trifilio stays so staunchly in her comfort zone and refuses to branch out topically and emotionally as a songwriter, Emotional Creature loses its magic fast. It's just not a very interesting album to listen to or to discuss, Emotional Creature the kind of album treading so much of the same material Beach Bunny have in the past that anything you've said about previous projects of theirs will largely apply here, too. Just like their past albums, Emotional Creature is energetic but unremarkable; Lili Trifilio's writing and performances are well-done but guarded; the instrumentation is the bare minimum. It's all just fine, and Beach Bunny are good at what they do, but it's not rewarding to listen to and the singular focus on heartbreak and romance makes it hard to connect with Trifilio's writing when these are the same feeling she's already gone over time after time in her music, Emotional Creature is easygoing and fun, but that's about it - take that as you will.
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Rihanna
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