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epic-song-lyrics-showdown · 8 months

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Random Assorted Artists with songs in the showdown Pt. 2

This is the second list of random artists that have been submitted. This is pretty much anyone that didn’t get many submissions. If you see a song and are like hey this should be somewhere else the answer is no. Unless there is a repeat of a song somewhere or the artist shows up on another list they are meant to be here. Check out the other lists here.

Somebody - Age of Madness

Finale (The Magic Shop) - The Muppets

Komm, süsser Tod - Arianne Schreiber

If I Didn’t Believe in You - Jeremy Jordan (The Last Five Years)

Iodine - Icon for Hire

Can’t be Erased - JT Music

My Ordinary Life - The Living Tombstone

An Unhealthy Obsession - The Blake Robinson Synthetic Orchestra

Welcome to the Family - Watsky

Infinitesimal - Mother Mother

You’re Gonna Go Far, Kid - The Offspring

Walking Disaster - Sum 41

Small Blue Thing - Suzanne Vega

Wolf in Sheep’s Clothing - Set It Off

Finale (Can’t wait to see what you do next) - AJR

Top Picks for You - Injury Reserve

Good News - Mac Miller

Gopher Guts - Aesop Rock

Close your eyes (And count to fuck) - Run the Jewels

That Scrooge - Team Starkid

Rule #9- Child of the Stars - Fish in a Birdcage

A Million Gruesome Ways to Die - Daniel Ingram and Black Gryphon

Chicken Man - Evelyn Evelyn

Open the Sky - The Stupendium

Poison Pop - qbomb

I.D. - go! child

These Hallowed Wings - The Stupendium

Finding Mr. Midnight - Random Encounters

End of the Rope - They Might Be Giants

Lo-Fi Children - Wild Party

Brass Goggles - Steam Powered Giraffe

Hypothesis - Penny Parker

What Will You Leave Behind - Max II

Light of the Sun - Rustage ft. Johnald

DONTTRUSTME (don’t trust me) - 3OH!3

Vulture - Bear Ghost

Pale Blue Eyes - The Velvet Underground

Suicide Romantics - Des Rocs

Sleep Now in the Fire - Rage Against the Machine

Never Let Me Down Again - Depeche Mode

Selfless - The Strokes

The Loneliest - Måneskin

Back to Black - Amy Winehouse

The End of the World - Sharon Van Etten

Who said anything (about falling in love) - The Hoosiers

Live and Learn - Crush 40

Choices - The Hoosiers

Sometimes - Nick Lutsko

Hellbent - Mystery Skulls

When the Chips are Down - Hadestown

Trials - STARSET

Take Control - Old Gods of Asgard

Ricochet - STARSET

Symbiotic - STARSET

Aura - Thomas Bergersen

Asking For It - Hole

Softer, Softest - Hole

Banks - Lincoln

Bury Our Friends - Sleater-Kinney

Unwritten - Natasha Bedingfield

Planet of the Bass - Kyle Gordon

Bi Bi Bi - Sub-Radio

VS SAYU - James Landino ft. Nikki Simmons

Teal - Wunderhose

All My Friends - LCD Soundsystem

Bad Bad Things - AJJ

Since I saw Vienna - Wilbur Soot

Brain Power - NOMA

THE MOST FASHIONABLE FACTION - The Stupendium

Superman - Ivory Lane

New York - St. Vincent

Old Friends - Scott Helman

Even My Dog - Katheryn Gallagher

Way Less Sad - AJR

IT’S OK - Nightbirde

Vienna - Billy Joel

Breaking Out - The Protomen

Atlanta - go! child

Enigma - go! child

Atlanta - go! child

I’m Enough - Early Eyes

Melody from the Past - The Megas

The Will of One - The Protomen

build a giant robot out of trash - qbomb

Believe - Hollywood Undead

If I Believed - Starkid (Twisted Soundtrack)

The Night We Met - Lord Huron

Hearing Damage - Thom Yorke

A Better Son/Daughter - Rilo Kiley

Nothing Left - John-Allison Weiss

Along the Road - Radical Face

Learning to Fly - Hills x Hills

Habibi - Tamino

HYACINTHUS - Aidoneus

Into the West - Annie Lennox ish

Two Birds - Regina Spektor

Sticks & Stones - Jónsi

Where No One Goes - Jónsi, John Powell

Together from Afar - Jónsi

Throw Me in the Water - WILD

Welcome Home Son - Radical Face

Hey Brother - Avicii

Here’s To Us - Kevin Rudolf

Hungover in the City of Dust - Autoheart

Burned Out - dodie

In Our Bedroom After The War - Stars

Glory - Radical Face

Older Than I Am - Lennon Stella

Brother - Kodaline

Devourer - Aidoneus

Forever Young - Youth Group

The Village - Wrabel

#epic song lyrics showdown #songs in the showdown

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iamebonybones · 6 years

Photo

Huge Delight Speaking With The Guardian’s

Brilliant Nadja Sayej About The Upcoming New

Album

Written by - Nadja Sayej

With a blonde afro and a London accent, Ebony Bones is a visionary artist who works across genres and disparate sounds. What sets her apart is that she writes, composes, produces and releases her own punk-inflected, alternative soundtracks, many of which are graced with dark pop undertones. Studying alongside Amy Winehouse Bones has been enlisted by Yves Saint Laurent and Alexander Wang to score campaigns and runway shows, and is also noted for her collaborations with Yoko Ono. With a forthcoming third album featuringThe Beijing Philharmonic Orchestra, Bones is a self-produced artist and one of a few women in the male-dominated production world. Making her one of the most prominent female producers and redefining voices in the music industry today.

Bones was born to an immigrant father from the Caribbean who ran a vinyl stall in Brixton Market in London, and her mother, a fashion agent for top fashion designers, including Moschino. She studied at London’s Sylvia Young Theatre School alongside classmate and friend Amy Winehouse. At 12-years-old, Bones was discovered by Oscar-winning actor Sir Mark Rylance, then the artistic director of the Shakespeare Globe Theatre, and enlisted for his production of Macbeth as the First Witch.

At 15-years-old, she starred as a rebellious teenager in the British TV show Family Affairs. Starring alongside Idris Elba, she stole the spotlight as the feisty young character - Yasmin Green. She garnered nominations for British Soap Awards as one of the longest-running actors on the show, which was syndicated globally, staring from 1998 to 2005.

Becoming friends with punk legend and drummer Rat Scabies, from 70s punk band The Damned, Bones began writing songs alongside Scabies in 2005, who gave the artist her eponymous stage name and taught her a DIY punk ethic and “trial and error” approach to making music. “It’s perfection comes from its imperfection,” said Bones. “In an age where human flaws are erased from music, the imperfect can be very striking.”

In 2008, Bones uploaded an anonymous demo to MySpace. The Orwellian-themed anthem “We Know All About U,” was premiered by BBC Radio 1 Dj Zane Lowe, as ‘Hottest Record in The World,’ garnering millions of radio plays and raving reviews, becoming the BBC’s most played record by an unsigned artist.

In 2009, Bones released her debut album Bone of My Bones to critical acclaim. With tracks like ‘W.A.R.R.I.O.R’, ‘Guess We’ll Always Have NY’ and ‘The Muzik’, the album was used for runway shows and campaigns by Yves Saint Laurent, EA Sports FIFA and various Citroën car commercials including the controversial commercial featuring John Lennon.

Photographed by legendary photographer Jean Baptiste Mondino for New York Times T Magazine, her concerts were heralded by the publication as a “riotous jungle-punk stage act”. Bones goes above and beyond with a high-watt stage presence, bringing a whirl of energy to the stage with her fashion antics. Known for her multiple costume changes, she can often be spotted donning designer pieces by Iris van Herpen and Manish Arora

Her music, however, isn’t the traditional punk trio. Pushing boundaries as one of the first and few female music producers to work alongside orchestras, there is a real cinematic feel to her work. Traveling the world collaborating with symphony orchestras from India and China she asks classical musicians to step outside their comfort zone to perform her unconventional compositions.

“It’s about changing people’s perspectives. By breaking down existing genre boundaries, my approach to music including collaborations with The Mumbai Symphony and The Beijing Philharmonic Orchestra, reimagines orchestral music while challenging the prevailing mainstream mentality, that classical music is an art form that can only be performed by, for and about white males such as Beethoven” said Bones.

“I’m always pushing myself into unknown territory, I enjoy the challenge of stepping outside my circumference and learning from other cultures. There’s always a huge risk of recording alongside musicians you’ve never met, and don’t even speak the same language. Will it work? will you be able to communicate? In many ways it could be a recipe for disaster but these are all the elements that drive me as a creator. Music is the galvanizing force that brings people together.”

In 2013, her sophomore album “Behold, A Pale Horse” was released on her label 1984 Records. Premiered by NPR, who described Bones as “a major player for years to come,” the apocalyptic inspired album was recorded in India at YRF Studios aswell as Miloco Studios, London and featured tracks alongside The Mumbai Symphony Orchestra, and The New London Children’s Choir on a playful cover of The Smiths' ‘What Difference Does It Make’.

With its stringed percussion and harmonious chants, Behold, A Pale Horse is said to have “jagging guitars, jungle-inspired drums, and fierce vocals that seem to taunt as they go,” according to SPIN Magazine. The Independent praised the album as “a beguiling blend of chants, afrobeat, and the darker end of post-punk,” the self produced album also featured contributions from Liquid Liquid’s Sal P for the remix of ‘Bread & Circus’. The video, directed by Al Pacino’s daughter Julie Pacino and Jennifer DeLia, was premiered by Jay-Z via his lifestyle website Life & Times, heralding Bones as a “producer with a wide variety of influences, inspiring others through that journey."

In 2015 Bones released Milk & Honey, Pt. 1, her debut EP, which included the catchy disco-punk track ‘Oh Promised Land’. The song was used by Ray-Ban for their summer campaign which also featured Bones. She then headlined ‘Pop-Kultur’ festival to a sold out audience at Berlin’s legendary Berghain venue, that same year. Speaking to The New York Times about music production, Bones explained “It was an ambitious thing; I saw a deficit of female producers, and it’s still that way,” she said, noting that every non-classical Grammy Award for Producer of the Year had gone to a man.

Catching the attention of Yoko Ono with her avant-garde approach, Bones was enlisted by the art legend to re-work her song ‘No Bed For Beatle John’, for Ono’s ‘Yes, I’m A Witch Too’, her first album in nine years. Released in February 2016, it was heralded by The Guardian as “a brilliant track produced by Ebony Bones that pairs Ono’s eerie falsetto with majestic horns.” Featuring artwork by designer Karl Lagerfeld, the song was originally recorded by John Lennon in 1969.

vimeo

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As a self-produced artist, Bones is one of a few women in the male-dominated production world, making her one of the most prominent female producers in a burgeoning feminist movement within the music industry today. Given that less than 5% of solo music producers are women, Bones alongside Grimes, Linda Perry and Tokimonsta were the few producers featured by HBO/VICE for their 2017 special. Her production is as important as the music itself, and her skills are informed by self-produced musicians like Kate Bush, Missy Elliott, Linda Perry and Lauryn Hill. “Gender and ethnic diversity are markers for many of the key things that make music and art vital and resilient,” says Bones. “However, with the frighteningly low proportion of female music producers, there is currently only one dominant voice that determines what we all hear, and what music gets made.”

Her highly anticipated forthcoming album Nephilim, released July 20th sees Bones continue to push her musical ingenuity. She makes her directorial debut with the breathtaking new video of ‘Nephilim’ released May 4th, which may possibly be her most stunning visual yet. Featuring collaborations with The Beijing Philharmonic Orchestra, Bones took time away from touring to write and produce the new album, recorded in Beijing, New York and London. Collaborating alongside the orchestra at Beijing’s Tweak Tone Labs Studio, the album explores several themes including censorship; the conspicuous kind in China vs the more insidious kind in the west; as well as the emergence of nationalism in the world, post-Brexit and post-Trump.

Unafraid to break down existing genre boundaries, the songs on Nephilim have an otherworldly, futuristic sound. She demonstrates an electronic avant-garde prowess, with experimental jazz, a sophisticated symphonic sense, teamed alongside afrofuturist overtones. There is a real cinematic feel to Bones' productions, displayed on orchestral tracks like 'Nephilim' and instrumental passages like 'Truth or Treason' that serve almost as a soundtrack for a film.

Bones reached out to the orchestra following her collaborations with Yoko Ono and The Mumbai Symphony Orchestra on Behold A Pale Horse. “China boasts some of the worlds best classical musicians and it was an honor to collaborate with them. I sent the Beijing Philharmonic the scores I had composed, and they were excited for the collaboration,” said Bones, who was invited to perform at the World Exposition in Shanghai 2010, which saw over 73 million visitors.

“Many people asked about recordings in Beijing and censorship in China, and while I didn’t directly experience any, it got me thinking about all the ways in which censorship manifests itself in our culture,” says the artist. “It takes on covert forms, like who gets to speak and who doesn't get to speak, and all the ways we silence the voices of people we don't want to hear” said Bones. “Beginning with the theme of religious censorship, I made ‘Nephilim’ conscious of the fact that these were not subjects females usually write about.”

The manifesto-like lyrics in the punk-inflected track ‘No Black In The Union Jack’ begins with an audio clip of British Member of Parliament Enoch Powell’s notorious ‘Rivers of Blood’ speech attacking immigration in 1968. “This hate speech was so vile, it has never been broadcast in full,” said Bones. “It is one of the most incendiary racist speeches of modern Britain and this year marks it’s 50th anniversary.”

The new album also explores the emergence of nationalism in the world post-Brexit and Trump. “Xenophobia aswell as fear of immigrants and foreigners was strongly associated with support for leaving the EU; post-Trump and Brexit have created a hostile environment for immigrants, fanned by nationalist bile and scapegoating as displayed throughout these songs.”

Bones expanded on the larger issue of censorship “While writing the album, I began thinking about how women have been erased historically and all the ways we silence the voices of people we don't want to hear,” she said. “While I have accomplished a level of success in my art, I am not ignorant to the fact that for the majority of women, and especially women of colour, invisibility, not being seen or heard is a through-line for most of our careers.”

The album was engineered by Grammy Award-winning masterer, Mandy Parnell of Black Saloon who also engineered Behold A Pale Horse. Bones enlisted a host of musicians for the album, including a horn section featuring saxophone legend, Jimi Hendrix and James Brown collaborator - Lonnie Youngblood. Among the new 11 tracks on the album, there is a stunning cover, of the Junior Murvin/The Clash classic ‘Police & Thieves,’ which is performed by The Bones Youth Choir.

Speaking truth to power, the afrofuturistic anthem ‘Kids of Coltan’ touches upon the subjects of neo-colonialism and human rights violations. “The song is about the culture of complicity, as I began thinking of the young child laborers who make our smartphones and electronic devices,” said Bones. “Modern day communication is built on coltan mining, by young children in the Democratic Republic of Congo. From picking cotton to picking coltan, I realised this is today’s modern slave trade, of which we are all complicit.”

From ‘Kids Of Coltan’ and ‘Police & Thieves’ to ‘I See, I Say’ and ‘What Difference Does It Make’, children are a constant theme in Bones’ work. “A child's innocence allows for greater perception. Kids tend to be good at expressing their creativity, but then as adults people tend to lose this as they grow older, it’s something we have to protect and nurture.”

The giant themes and futuristic sounds of Nephilim are a reference to Bones’ own avant-garde approach, and as science fiction author Philip K. Dick once said, “Artists have the capacity to accidentally predict the future, it’s in their essence as creators.” Bones proves to be a step ahead.

New single ‘Nephilim’ featuring The Beijing Philharmonic Orchestra is out digitally May 4th

Written by Nadja Sayej

Photo Credits:

Photo by: Antonello Trio

Hair: Ernesto Montenovo

Styling: Ramona Tabita

Make-up: Elena Pivetta

#EbonyBones Bio Nephilim BeijingPhilharmonicOrchestra NewAlbum

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