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johannesviii · 3 years

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Top 10 Personal Favorite Hit Songs from 2020

You know, when I finished my latest list and realised every decade had the same pattern and that we were slowly going towards a series of great years for pop, I didn’t realise how good that year would be.

What’s at the top? Am I boringly predictable because I already said I loved that song all the way back in January 2020? Let’s find out.

Disclaimers:

Keep in mind I’m using both the year-end top 100 lists from the US and from France while making these top 10 things. There’s songs in English that charted in my country way higher than they did in their home countries, or even earlier or later, so that might get surprising at times.

Of course there will probably be stuff in French somewhere on this post. We suck. I know. It’s my list. Deal with it.

My musical tastes have always been terrible and I’m not a critic, just a listener and an idiot.

I have sound to color synesthesia which justifies nothing but might explain why I have trouble describing some songs in other terms than visual ones.

So. Uh. How was your 2020?

Mine was actually surprisingly good, considering. I’m lucky enough to have a job that I can partially do from home, and I was extremely paranoid from the get-go and nobody got sick under this roof so far. Turns out I’m even better at my job from home and I got permission to work from home one day per week even after the health crisis is over! My first name was also finally officially approved and I can’t tell you how happy I feel about that. I almost feel bad to have had such a good year considering the circumstances. I feel like an asshole just because I’m happy, haha.

The only frustrating part was that I was supposed to see Hatari in concert in Paris in early April which, as you can guess, was cancelled. I’m not too mad about it though, since their tour was called “Europe will crumble” and the message saying the tour was cancelled started with “since Europe is actually crumbling due to Covid-19″ and that’s hysterical.

Good or interesting albums that came out in 2020 now, let’s see.

Nightwish released Human/Nature, which was a huge letdown compared to their previous album, but I will relisten to it at some point to make sure I wasn’t just in a bad mood that day.

The Birthday Massacre released Diamonds, which might be their weakest album since their debut, but contained some real gems (I listened to The Last Goodbye on a loop, it floored me. Flashback and Enter are also very good).

The 1975 released Notes On A Conditional Form, and let’s be real, it’s a f█cking mess. You could cut half the tracks and end up with an excellent album, but as it is it’s like, yes, a collection of notes ; however there’s some truely excellent shit on it (see unelligible songs).

Thanks to a friend on a discord server I was exposed to Dorian Electra’s music and I haven’t been quite the same ever since. I’m so happy to be alive to see other enbies making such great music with an insanely good aesthetic surrounding it and asking so many interesting questions about gender. Also the arc the ‘gentleman’ character goes through over the course of the entire tracklist of the 2020 My Agenda album is absolutely hilarious, don’t @ me.

I also discovered 100 Gecs this year. Why are most of you guys saying it’s unlistenable garbage. It’s just as abrasive and over the top as industrial music is, but with none of the edginess or drama. I love it. What the hell. But yeah Tree of Clues was released this year. Good.

Speaking of industrial, in March 2020 Nine Inch Nails were like “hey remember when we released Ghosts I-IV a decade ago entirely for free and how amazing that was? Well we’re all in lockdown and bored as hell so here’s Ghosts V-VI and it’s also free. Enjoy” and I f█cking died instantly. And it’s even better than I-IV. What the hell was that year

Jonsi released Shiver. It’s strange and highly experimental. I’m pretty sure it’s a good thing I was into hyperpop this year, otherwise going from his previous material straight to this album would have been brutal.

Yadda yadda yadda After Hours by the Weeknd good yadda yadda.

I’ve joked about that already but if you had told me in 2019 that 2020 would have fires, a pandemic, riots, monoliths appearing and disappearing, and also a super good Machine Gun Kelly album, guess which part I would have found the most ridiculous. But yeah uh. Tickets to my Downfall good

So uh this year I tried to listen to some hyperpop and liked it a lot, and I also dipped my toes timidly into screamo and listened to Svalbard, who released When I Die this year, and the entire album was a very beautiful, very intricately decorated punch to the face. It sounds like God Is An Astronaut except with a shit ton of yelling. I love it. Open Wound is my favorite track on it.

But no, despite all of this, my album of the year was from a band I had never even heard about before that year, called Spanish Love Songs. The album is titled Brave Faces Everyone and it’s line after line after line of extremely relatable generational angst but yelled with complete sincerity and it’s so propulsive and energetic you can’t help but feel both exhausted and ready to fight the entire universe. I don’t know how it works, but it’s incredible. The entire album is wonderfully brutal, so it’s kind of difficult to pick my favorite songs on it, but Beachfront Property and the title track stand out.

Unelligible songs, now, and there’s, uh, quite a few of them too so I’m also gonna use bullet points. Good lord this post is gonna be long.

First, let me say I have literally no idea why Midnight Sky by Miley Cyrus wasn’t a bigger hit. It’s not on the year-end US top 100 and it feels extremely wrong. Would have made it to #4 on this list otherwise.

I still entertain the vague hope that stuff from Machine Gun Kelly will chart higher in 2021 but I doubt it will happen so I might as well tackle it now and say that Bloody Valentine and especially Forget Me Too are both excellent and that it’s a shame radios aren’t playing them more often.

Heaven by the late Avicii featuring Coldplay should have charted in 2019 and still didn’t chart in 2020 and that’s a real shame.

If the world was a bit less unfair, Lovesick Girls by Blackpink would have been a hit rather than the awful Ice Cream.

One day I will stop complaining about my bafflement concerning the lack of mainstream pop charts success of The 1975. Today is not that day. I just love how they keep making songs about extremely awkward relationships full of weird details, and I haven’t grown tired of that yet. So yeah If You’re Too Shy is about a guy who’s crush is asking him to get naked on Skype in his hotel room and he’s, uh, not too sure about that idea.

And Me & You Together is about a guy who never finds the right moment to tell his best friend he’s in love with her, and he manages to do so at the end and it’s cute as hell. My fave part is “I'm sorry that I'm kinda queer / It's not as weird as it appears / It's 'cause my body doesn't stop me (Stop me) / Oh, it's okay, lots of people think I'm gay / But we're friends, so it's cool, why would it not be?”. Relatable as f█ck.

And now for an international hit that should have been bigger in the US and/or in my country but wasn’t: Head & Heart by Joel Corry and MNEK.

I’ve heard Nos Célébrations by Indochine extremely often on French radio for months now so I was very surprised to see that it didn’t crack the local year-end list. What happened.

I can finally hear the appeal of Bring Me The Horizon. It took me ages. And also Death Stranding. The song Ludens isn’t in the game per say, but it’s among the ones you can pick to broadcast briefly when people drive by your constructions, and long story short it's been living rent-free in my head for months now.

Phew.

It’s time for a round of Honorable Mentions for elligible songs, containing a couple of guilty pleasures, which is saying something considering the kind of shit I put on some of my previous lists.

Ne Reviens Pas (Gradur et Heuss l’Enfoiré) - Heuss is a French artist that kept baffling me while making my lists for the previous years, and I was like “??? ok, that’s it then, I guess I’m getting too old to get what teenagers find funny”. This one worked for me, though. And the music video doesn’t hurt. Really dumb and really fun.

Adore You (Harry Styles) - Perfectly good little pop song, very pleasant to listen to, never outstayed its welcome for me.

Mood (24kGoldn) - This doesn’t sound like a very good relationship, my dude, but that’s still a super pleasant song.

WAP (Cardi B & Megan Thee Stallion) - This song is absolutely hilarious and I will hear no argument from any of you.

Control (Zoe Wees) - Was clearly a hit here. Should have been even bigger though. What a powerful but comfy voice. If I had better taste it would be on the list.

Hot Girl Bummer (Blackbear) - I. Uh. Listen. I keep saying I have bad taste and nobody believes me. Do you believe me now. But yeah. “F█ck you, and you, and you~, I hate your friends and they hate me too” is gonna pop in my head every single time someone is being a jerk anywhere near me now. It’s been happening all year already. Someone trashed my documents at work? Someone isn’t wearing a mask in public? That guy has filled his car with rolls of toilet paper? Brain goes “F█ck you, and you, and you~”. Every. Single. Time.

Come & Go (Juice WRLD & Marshmello ) - Damn, that’s a pretty good little song. I’ve seen plenty of people saying it’s ruined by the drop, but may I remind you I’m the person who loves Blue by Eiffel 65 with all my heart. If the song was ramping up consistently until the end instead of ending like that, it would have made the list, definitely.

And now, the actual list. This one actually feels pretty solid, I genuinely like everything on it, there’s no filler here for once.

10 - The Box (Roddy Rich)

US: #3 / FR: #23

Now this is a weird case, because for the longest time I couldn’t figure out why this song was so popular and I was completely neutral about it. Then, one morning in September, my mental jukebox (which always, always puts a song on a loop in my head when I wake up) decided to play it. And I was like oh wow?? I never noticed the atmosphere in that song before? It’s so great. And that hook too. Let’s listen to it.

So yeah, I don’t know what happened. It just clicked one day and everything fell into place, I guess.

9 - Alane (Wes & Robin Shulz)

US: Not on the list / FR: #93

Come on. You can’t do a remake of one of my previous #1 songs and let it chart in 2020. That’s cheating. Even with this subpar drop, I have to put it on the list, now.

I’ve already said my piece about the original, so I’m just going to send you back to my 1997 list.

8 - Kings and Queens (Ava Max)

US: Not on the list / FR: #76

[BBC documentary voice] After Lady Gaga decided to make piano balads and left her musical niche vacant, Ava Max quickly took her place as the top predator pop diva. Even after Lady Gaga was re-introduced to her natural habitat in 2020, she still hasn’t fully recovered in Europe, where Ava Max still reigns supreme on the charts -

(tldr I think it’s hilarious that this isn’t on the US Billboard while Lady Gaga isn’t on the French year-end top 100)

7 - Roses (Saint Jhn & Imanbek)

US: #19 / FR: #3

What an earworm. It doesn’t even bother trying to have an intro or an outro, so it loops almost perfectly. It’s like entering a party that started long before you arrived, and it will go on long after you leave it to go back home. Kind of hypnotic in a way.

And yes, my mental jukebox was very fond of using it to wake me up this year, so this is another song that’s here almost solely because of that.

6 - Physical (Dua Lipa)

US: Not on the list / FR: #69 (hehehe)

“Hey I’m not that old” says the guy who’s definitely a sucker for this kind of retro throwback that was so popular this year. Oh well.

I don’t have anything interesting to say about this one, though. Apart from the fact that everyone seems to have a different fave song on that album. Guess that’s quality for you.

5 - Rain on Me (Lady Gaga & Ariana Grande)

US: #48 / FR: Not on the list

That is far from being Lady Gaga’s best song, but it was a joy to listen to everytime it was on the radio anyway. Also Ariana Grande has surprisingly good chemistry with Gaga! This year was full of strange duets mostly made for commercial reasons, and this one isn’t an exception, but unlike a lot of them, it really, really works.

4 - Dynamite (BTS)

US: #38 / FR: Not on the list

I’m still not 100% sold on k-pop even if a ton of it sounds super good, but come on. Even if some bits of this song (especially the beginning of the second chorus) sound a bit like they were made on autopilot, it still sounds just as happy and fun several months after I first heard it and I never got tired of it. That’s quality. You hear it and you can’t help but tap your feet and smile.

Actually, I’m sure there’s people somewhere that don’t smile when they hear this song. And they must be avoided at all costs.

3 - Godzilla (Eminem ft Juice WRLD)

US: #62 / FR: Not on the list

What are you doing so high on this list, old man. Why are you still here in the year 2020. I thought we left you in the previous decade. Who gave you the right.

I’m gonna tell you who did, and it’s actually Juice WRLD. Because that chorus is incredible, and like a lot of people I’m pissed off because the guy died super young and this shit shouldn’t happen to anybody. No, his early material wasn’t great, but I’m sorry I’m gonna say it again: have you heard this damn chorus? It’s suspenseful and dark, it’s got this lowkey menacing quality, it’s an earworm and a half, and it’s more convincing in like six lines than Eminem’s own flexing is in the entire song.

The beat is extremely good as well, and the flow, obviously, impressive. The weakest link is Eminem’s writing, which is as usual full of puns and weird wordplay, except here a lot of it isn’t great, and that last ultra fast part at the end is technically impressive but it also drives the song up a cliff and stops it dead in its tracks once it’s over. But frankly the lines fly by so fast it’s difficult to be too annoyed by them.

Can I sincerely put this extremely flawed song so high on my list? A better question would be “did I spend hours trying to learn how to sing this shit without choking on my own spit?”. The answer is yes. To both.

2 - Heartless (The Weeknd)

US: #28 / FR: Not on the list

I’ve said it on my 2015 and 2016 lists already, but just for the record I’ll say it again: it took me ages to like The Weeknd, mostly because I found most of his songs fairly boring, or disliked the lyrics, or both. Also I never really liked the general vibe of his “sexy” songs like The Hills, they felt dark but in an unpleasant creepy way. Felt like miserable hedonism, if that makes sense.

So, because I’m a person with extremely consistent and logical tastes, here’s the exact same shit he was making before, except that this time I absolutely adore it.

What is he doing differently that makes the whole After Hours album click for me whereas almost all of his previous material failed to do so? Is it the energy? Is it the reverb? Is it the fact that the narrator sounds properly unhinged and, frankly, scared to be spiralling out of control? Why are the colors so beautiful yet full of anxiety? Why is that bridge so fantastic? How can you make your voice look like a glowstick in the dark?

I give up. I have no clue. At least I’m done talking about-

Oh.

1 - Blinding Lights (The Weeknd)

US: #1 / FR: #1 (listen sometimes something’s just that good, ok)

Surprise. Or not.

Wow, look at that, Johannes has put this year’s number one pop song at number one on their personal playlist. The audacity. The edge. What a hot take.

I discovered that song when it first came out at the end of 2019 and I adored it instantly. And I was so scared it wouldn’t be a hit. Which means I’m a f█cking dumbass considering it ended up breaking all sorts of records in 2020. But what can I say, overplay can be a blessing when you love a song that much.

Like every single song I put at number one on one of my lists, I will draw this one at some point and you will understand how incredibly satisfying it is to listen to a song called Blinding Lights, talking about city lights looking blurry when you’re driving at night, while looking itself like a bunch of blurry city lights passing by super fast. Perfect in every way.

Also it sounds exactly like A-ha, and that never hurts.

See you next year! Pretty sure it will be even better music-wise.

#Johannes’ bad not good pretty terrible music lists #music #long post #eye contact tw

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pescadodepatio · 4 years

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The Bithday Massacre sigue brillando en su octavo album, "Diamonds" (Nota de Tina Benitez, Billboard) -2020-

El guitarrista, Rainbow, describe al último disco de la banda de rock alternativo como "un poquito de escapismo".

"De a poco esto se está convirtiendo en un raro mundo de Howard Hughes donde usamos cajas Kleenex como zapatos", señala Rainbow. "(Pero) la vida podría ser peor."

No, el guitarrista de The Birthday Massacre no se está volviendo loco (no tadavía) por la isolación autoimpuesta. De vuelta a casa, Toronto, tras haber pospuesto el tour por Reino Unido presentando el octavo disco de la banda, Diamonds (llegando hoy a Metropolis Records); debido a la pandemia del Coronavirus; su ciudad, como gran parte del mundo, está confinada. En Toronto, las cosas se están deshaciendo en vez de arreglándose, dice él, ya que más y más tiendas cierran cada día.

"Las calles están bastante despobladas, y hay casi como una especie de vibra a lo Escape from New York / Kurt Russel", dice Rainvow. "Es muy tranquilo de noche, lo cual es algo bueno. Soy un buo de la noche, así que me gusta la paz. De gira hay ruido todo el tiempo, así que realmente aprecio mis silenciosos momentos nocturnos."

Estando todo más tranquilo en el Easter Front, Raibow pasa la mayor parte de su tiempo en su casa (Incluso llama a sus padres). "De alguna manera es algo lindo saber que todos están en casa", dice. "Es casi como una extraña pijamada virtual por un par de semanas en la que todos están en pijama en sus casas llamándose unos a otros. Es tierno de alguna manera."

Sin embargo no es inmune a los horrores del momento. "Intento no concentrarme demasiado en las noticias," confiesa. "Sino, no haces nada y te la pasas trepando por las paredes."

Por lo tanto, Rainbow está usando este tiempo para conectarse con fans vía online, tocar las nuevas pistas de Diamond y experimentar con algunos covers, incluyendo una canción sin nombre del drama de fantasía de Jim Henson, 1986, con David Bowie como un rey duende: Labyrinth, que él admite que tal vez no vea la luz del día, y "Neverending Story" de Limahl, que recientemente ha sufrido una resurrección debido a la tercera temporada de la serie de Netflix de ciencia ficción, Stranger Things.

"Eventualmente vamos a hacer el tour, pero mientras tanto hacemos pequeñas presentaciones en vivo en el estudio, en un ambiente casual y casi de práctica para que así la gente pueda escuchar las canciones y probar un poco de lo que está por llegar en un contexto distinto," dice Rainbow sobre los sets de streaming planeados. "Estamos realmente emocionados por ver como le resuena a la gente y como reaccionan. Es divertido mirar desde casa. Es como ver una bola de cristal en la pantalla de tu laptop."

En Diamonds, la continuación de Under Your Spell de 2017, The Birthday Massacre entra en un nuevo y oscuro portal de ensueño. Proyecta algo instintivamente mítico y misterioso desde el atmosférico inicio "Enter" hasta el enigmático y rítmico "Flashback", la pista bailable y "The Last Goodbye" y pasa por la neblinosa observación de estrellas que es la melodía de "Mirrors" y "Parallel World".

Es tan fácil perderse en en el sombrío paisaje de Diamonds que tal vez simplemente sea el album para el momento: un libro de cuentos cohesivos separados en nueve pistas que se filtra en nuestros sueños. "Hay un poquito de escapismo," observa Rainbow. "Es lo mismo que escaparse por una buena película o libro".

Después de 20 años, The Birthday Massacre (que también incluye a la vocalista Chibi, guitarrista lider Falcore, bajista Nate Manor, tecladista Owen y baterista Rhim) sigue reteniendo algo de las sensaciones místicas en sus letras, pero Rainbow admite que Diamonds es un album más personal para la banda. Raramente conceptualizando y sobrepensando su música, dejan las canciones abiertas a la interpretación para así evitar pintarse a si mismos en algún rincón.

"Parte de lo que encontramos divertido sobre escribir es ser más soñadores y surreales en nuestra forma de abordar las cosas," dice Rainbow. "Es más sobre tener la mescla y balance correctos de diferentes elementos y vibras entre canciones, musical o textualmente con el sonido o palabras que usamos. Es más un acercamiento artístico y menos un 'esto es sobre lo que trata la canción'."

Líricamente, escriben apropósito de forma fragmentada. "Tendemos a mesclar nuestra experiencia personal con referencias a la mitología y cultura pop, y escribirlo de forma que más o menos cuente una historia visual pero nada demasiado linear", explica Rainbow. "Nos gustan nuestras paradojas, metáforas y colores. Está este lenguaje de The Birthday Massacre que hemos desarrollado. Si yo explicara sobre que tratan las canciones, se desharía el secreto. Es casi como si estuvieramos escribiendo en código."

Trabajar en Diamonds por un año les dió tiempo para jugar con texturas y melodías y traer colaboraciones, incluyendo al antiguo bajista de TBM, O.E., quien contribuyo con melodías vocales y letras para varias pistas; Brett Carruthers de A Primitive Evolution; y Kevin James Maher de Fake Shark. Amir Derakh y Ryan Shuck de Julien-K, quienes iban a acompañas a The Birthday Massacre en el tour, también colaboraron en Diamonds. En Los Ángeles, la banda había empezado a experimentar con la música en el hogar de Shuck, y Derakh terminó grabando el solo en "Flashback"

"Hay un sonido suyo muy particular que nos gustó, y pensamos que quedaría muy bien por si mismo en esa canción", dice Rainbow, quien espera que las dos bandas puedan ir de gira tal como estaba planeado originalmente. "Fue genial ver como él trabajó con esa parte, sacando diferentes partes de ideas para el solo, cosiéndolas juntas y entonces tocándolas. Entonces vino el dilema: '¿Quién lo va a tocar en vivo?'"

El problema fue resuelto de forma inadvertida cuando el coronavirus alteró todo. Otoño es el momento predicto para reprogramar la gira, aunque Raibow dice "es difícil siquiera programar fechas ahora mismo, así que simplemente estamos acomodandonos de a poco. Lentamente va llegando. Todo está algo atascado en una parada por el momento, pero el mundo debe seguir girando."

El mundo de The Birthday Massacre se originó como una entidad que sus miembros crearon para celebrar sus intereses en común en una banda. Rainbow encuentra increible que hayan pasado más de 20 años desde que TBM se formara en 1999y debutara con Nothing and Nowhere en 2002. Pareciera haber pasado una vida entera (y así es). En el camino, The Birthday Massacre ha tenido cuatro títulos en los Billoboard 200, además de vender 243.000 unidades entre sus álbumes y conseguir 60.7 millones de streams en EE.UU, acorde a los datos de Niesel Music / MRC.

"Es insano porque todo empezó sin ningún tipo de agenda o plan real para hacer esto por tanto tiempo", dice él. "Simplemente era algo que hacíamos entre amigos para matar el tiempo, y fue algo que nos permitió poner todos nuestros intereses creativos bajo el mismo techo. Pensar que han pasado tantos años es bastante loco."

#the birthday massacre #rainbow #traduccion

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fuckyeahffm · 4 years

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Updated tour dates for The Birthday Massacre's 2020 US Tour. All previously purchased tickets and VIP's will be honoured.

#the birthday massacre

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punk-chicken-radio · 5 years

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New Music Monday

Good morning chickens,

We have a fantastic line up for you today. @loveaxiomatic and I have selected new releases from six artists for you. Some are debut albums and I think one tops out at the 18th release form the artist. Whichever it is, it is a great variety of music for your enjoyment.

Power Chords was released January 25, 2019, described by Dagger as "hit[ting] a nerve here with some real classic catchy, garage rock.". It is the fourth studio album released by Mike Krol an American musician.

There Will Be No Intermission is the third solo studio album by American musician Amanda Palmer. It was released on March 8, 2019, through Cooking Vinyl. It was crowdfunded through Patreon and recorded by Palmer in collaboration with John Congleton over the course of a month. It will be supported by a 2019–2020 tour. The vinyl version of the album will be released on March 29, 2019.

Weezer, also known as the Black Album, is the thirteenth studio (and sixth self-titled) album by American rock band Weezer. Produced by Dave Sitek, it was released on March 1, 2019, through Crush Music and Atlantic Records.

Groove Denied is a studio album by American rock musician Stephen Malkmus. It is the third album credited to Malkmus and the first to not feature his band The Jicks. It was released on March 15, 2019 by Matador Records and Domino Records.

The Brian Jonestown Massacre is the self-titled eighteenth studio album by American band The Brian Jonestown Massacre. It was released on March 15, 2019 under A Recordings.

Birthday is the debut album from the Norwegian Band Pom Poko, released on February 22, 2019 on Bella Union records.

There you have it. We hope you find some new and old favorite artists in today’s batch.

Just because they have been around awhile, doesn’t mean they can be new kisses,

Love Axiomatic and the Punk Mummy

xoxoxoxoxoxoxoxoxoxoxoxoxoxoxoxoxoxoxoxo

#New Music Monday #pcr

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planetmosh · 2 years

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THE BIRTHDAY MASSACRE: 'Fascination' - new album and UK Tour Dates

THE BIRTHDAY MASSACRE: ‘Fascination’ – new album and UK Tour Dates

A Canadian darkwave ensemble who incorporate elements of electronica, goth and new wave into their lush and atmospheric dark-pop sound, The Birthday Massacre have enjoyed success over the last decade with albums such as ‘Hide And Seek’ (2012) and ‘Under Your Spell’ (2017), both of which charted at home and abroad. The early spring of 2020 then saw the release of the brooding and mystical…

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#Metropolis Records #new album #The Birthday Massacre #tour dates #Tracklist #Vanilla Sugar #Witch of the vale

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rockrevoltmagazine · 3 years

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SHARONE Releases Official Music Video for "Diamond"

Denver based, Dark Rock artist SHARONE has released the official music video for the fourth and final single, “Diamond,” off of her upcoming LP, Morbid Illusion, due out May 28, 2021 via Devil Inside Records. Directed by Kyle Lamar, and SHARONE herself, “Diamond” features Johnny Romero on drums, Zach Barrera on bass, and Spencer Simpson and Travis Owen on guitar.

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“When I wrote ‘Diamond’, I was trying to remain hopeful in a hopeless situation. I learned that the effort you put forth in those types of instances can cause serious damage to your soul and your mind. Sometimes when we feel lost we try to convince ourselves that there’s a light at the end of the tunnel. ‘Diamond’ is about realizing that light doesn’t exist.” – SHARONE

Click HERE to Download / Stream “Diamond” Online!

Sharone erupted onto the Denver music scene as a solo artist in 2014 playing local DIY venues; since then she has gone on to play venues such as Marquis Theater, Bluebird Theater, and Gothic Theater, playing festivals, and opening for bands such as One-Eyed-Doll, The Birthday Massacre, Fuel, Saving Abel, Davey Suicide, Tantric, Hell’s Belles, Stitched Up Heart, and Puddle Of Mudd. The atmospheric and melodramatic music of Evanescence and the psychedelic blues of Black Sabbath inspired Sharone to start performing her music live with a full rock band backing her. Despite sustaining a dark and melancholy tone on recordings, the gothic artist’s live shows are nothing short of energetic, full of heavy piano riffs, pulsing rhythms, and enthralling theatrics. From emerging from a coffin to jumping off of monitors and captivating contortions, Sharone captures the interest of each audience member through her piercing stage chemistry with her live musicians, and her ever-growing theatrics. In the spring of 2017, the singer left her mark on the Denver music scene with the release of her first rock album ‘Storm’. Following the release, dove deeper into her writing, and came back stronger than ever with the reincarnation of her dark sound: ‘Enchiridion of Nightmares’ (2018).

“Like a series of dark fairy tales, Enchiridion of Nightmares the new album from dark [rocker] Sharone, captivates, seduces, and haunts. Each of its notes, let alone songs, comes with a shadow to [her] beauty, melancholy to [her] light, and intimacy to [her] grandeur with it all colluding in an adventure which just steals the imagination from everyday reality. There is a rich cinematic and theatre-esque feel to Enchiridion of Nightmares which equally adds to its captivation; indeed its songs entwine an influence of horror movies, vintage and modern, into their personal nightmares. With just as richly layered and dramatic sounds to its exploration, the album is a persistent unveiling of new twists and shadows listen by listen. On our first meeting intrigue soaked the pleasure, through a couple more captivation, each subsequent listen leading to the inescapable bewitchment these words spring from.” –The Ringmaster Review

Sharone followed up the release with three exhilarating summer and fall tours, reaching audiences across the western, central, and eastern United States, and spent the remainder of 2019 recording her third studio album ‘Reflection’, which was released December 7th, 2019.

“[Sharone] showed that she was adept at harnessing the chaos on her previous couple of albums and she’s really turning the gothic-art-pop-rock up on her latest long-player. It’s packed with dark fairytales and swooping riffs as well as more theatrical invention that you’d find at the Royal Shakespeare Company.” – The Crack Magazine

In summary absolute female power, which reminds of Evanescence and Tarja Turunen. This talented singer makes you curious about her live performances!” – Stormbringer.at

Sharone really pushes out the emotions and passion she has for music with this album. It is full of fantastic piano chords and guitar riffs that really show off her band’s talent as a whole. I am excited to see what she releases in the future and will keep an eye out for it. In the Spring of 2020, Sharone signed with Devil Inside Records, and began working on her fourth studio album. The first single “Can We Pretend” was released July 24th, and has been the young rocker’s most successful release to date.

This unique rock artist is destined for success in the metal and goth rock realm. Look out for more new music from Sharone coming very soon.

Connect with SHARONE: Official Facebook | Twitter | Instagram

SHARONE Releases Official Music Video for “Diamond” was originally published on RockRevolt Mag

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secondsocietyreport · 3 years

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Quarantine Questionnaire: Vanilla Sugar

Quarantine Questionnaire: Vanilla Sugar (@iamvanillasugar) chat with us about 2020, touring plans gone awry and how they are staying busy while creating new art

2020 was supposed to be Vanilla Sugar’s year. After releasing their debut album She in January, Vanilla Amber was slated to join Canadian electro-rock band The Birthday Massacre on a world tour. However these plans were quickly put on hold as the COVID-19 pandemic shut down the touring industry seemingly overnight- resulting in a cancelled North American tour and a postponed UK tour. But this…

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thertrockshow · 4 years

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“The night is short. It weighs heavy, but the light always awaits us,” begins the darkly poetic tagline from vocalist Chibi about ‘Diamonds’, the eighth album by The Birthday Massacre. In these current troubling times that have forced the Canadian post-punk goth act to postpone a North American tour that had been due to commence on its release date, we can only look forward to brighter days ahead. To this end, the band have today announced a nine date ‘Diamonds’ UK tour for November 2020. The full list of dates is as follows: 05.11.20 NEWCASTLE Cluny 2 06.11.20 YORK Fulford Arms* 07.11.20 EDINBURGH Opium* 08.11.20 GLASGOW Ivory Blacks 11.11.20 MANCHESTER Night People* 12.11.20 NOTTINGHAM Rescue Rooms 13.11.20 WOLVERHAMPTON Slade Rooms 14.11.20 LONDON Garage 15.11.20 BRISTOL Exchange * limited capacity shows! The tour will be the first opportunity for UK based fans to see two new group members - drummer Phil Elliott and bassist Brett Carruthers - perform with the band. Carruthers is also the frontman of fellow Toronto-based act A Primitive Evolution, who released an excellent album of industrial tinged rock entitled ‘Becoming’ on Metropolis Records in 2018 and will remain an ongoing concern. Their bandmates state: “Welcome to the fold! We have our dear friend Phil, who is now our permanent drummer, while joining us on bass guitar is our long time friend Brett. After ten amazing years, we’re sadly parting ways with Nate Manor. He is starting a new chapter in his life and we wish him all the best. You always were and always will be a true friend for life and we will miss you.” ‘Diamonds’ is released on 27th March and has been preceded by the single ‘The Last Goodbye’. Typical of the band’s trademark sound, it explores the lower octaves with minor chords and midnight dance beats, but always with a shining beacon of hope and light within. An exciting series of dark and light moments, ‘Diamonds’ explores themes that range from heartbreak and anguish and lust to love. Commencing with the epic and majestic ‘Enter’, with its pounding bassline and soaring guitar textures, to the chugging guitars of ‘Run’, the propulsive beats of ‘Mirrors’, right thr https://www.instagram.com/p/B-J4NsTDi-X/?igshid=1v1bpy3jx3l8h

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indiepulserocks · 4 years

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JULIEN-K JOINED BY ORIGINAL DRUMMER ELIAS “BONES” RODRIGUEZ FOR NATIONAL TOUR WITH CLOSE FRIENDS THE BIRTHDAY MASSACRE, SPRING 2020

Industrial/electro rockers Julien-K, founded by original Orgy members Ryan Shuck and Amir Derakh have signed on to a massive national tour with The Birthday Massacre (dates below). The band will be dropping their new album titled Harmonic Disruptor in early April. The title track off of the album, “Harmonic Disruptor,” was released as a single on January 24th. Their second single “Shut Down Your…

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rockrevoltmagazine · 3 years

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SHARONE Spotlights Depression with Dark Horror, Whodunit Music Video for for "Screaming Into Oblivion"!

Nearing the release of her upcoming LP, Morbid Illusion, Dark Rock artist SHARONE has released a darkly cinematic official music video for the third single, “Screaming Into Oblivion.” Directed by Kyle Lamar and Justin Purvis at Digital Myle, with cinematography and editing by Kyle Lamar and Spencer Macy, “Screaming Into Oblivion” features the enigmatic Denver based artist with bassist Zach Barrera.

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“Screaming Into Oblivion is about depression. I wrote the song when I was feeling very alone. It seemed that no matter where I turned, all I was seeing was emptiness, and my brain was taking over me. I’ve dealt with mental illness for many, many years. It’s a reoccurring part of my life. I try to shed light on it in my music when I can, because I know I’m not the only one who deals with it. And it helps those people, knowing that they’re not alone.

For the music video, I went with a ‘Clue (board game) meets The Grudge‘ theme. The idea was to show different characters trying to figure out who it was who killed me, and at the end we discover that I was the only one there the whole time. That I imagined all these different people in my head and there was no one else around.” – SHARONE

Click HERE to Download / Stream “Screaming Into Oblivion” Online!

In summary absolute female power, which reminds of Evanescence and Tarja Turunen. This talented singer makes you curious about her live performances!” – Stormbringer.at

This unique rock artist is destined for success in the metal and goth rock realm. Look out for more new music from Sharone coming very soon.

Connect with SHARONE: Official Facebook | Twitter | Instagram

SHARONE Spotlights Depression with Dark Horror, Whodunit Music Video for for “Screaming Into Oblivion”! was originally published on RockRevolt Mag

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rockrevoltmagazine · 4 years

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SHARONE Releases Official Music Video for "Can We Pretend"

Following the critical success of her 2019 released Reflection LP, Denver, CO based, dark rock artist SHARONE has revealed the official music video for her new single, “Can We Pretend.” Mixed and mastered by Nick Nodurft at Rusty Sun Audio and the video directed and produced by Kyle Lamar at Digital Myle, “Can We Pretend” is the first single off of the enigmatic artist’s upcoming album, Morbid Illusion, due out 5/28/2021 via Devil Inside Records. The second single, “Fade Away,” will be revealed on Halloween.

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“‘Can We Pretend’ is about living a lie, and hiding behind a facade that’s destroying you from the inside out.” – SHARONE

Download / Stream “Can We Pretend” Online: iTunes | Spotify | Amazon | GooglePlay

In summary absolute female power, which reminds of Evanescence and Tarja Turunen. This talented singer makes you curious about her live performances!” – Stormbringer.at

This unique rock artist is destined for success in the metal and goth rock realm. Look out for more new music from Sharone coming very soon.

Connect with Sharone: Official Facebook | Twitter | Instagram

SHARONE Releases Official Music Video for “Can We Pretend” was originally published on RockRevolt Mag

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