#FlorenceAndTheMachine

[charmms]

[you-wanna-save-the-corn-nuts]

other people have said this but YELLOWJACKETS WRITERS ADD HUNGER BY FLORENCE AND THE MACHINE TO THE SOUNDTRACK I BEG YOU- trust me bro. it fits. "we all have a hunger?" hell yeah we do???? the song is literally about what you convince yourself you need and how far you go to do it (in the case of the song its about an ED but TRUST ME IT STILL WORKS)

[flosparadise]

Florence and the machine "Mermaids" cover art 🥀

Acrylics on canvas, 40x40cm

FOR SALE 🥀

https://www.instagram.com/olivia.cyan?igsh=MTR6NjltYjVidmJnbw==

[thethingaboutrenas]

The thing about... The Tortured Poets Department:

Is that the real torture is in the organization of this whole album.

When Taylor first announced this album I was actually excited, keeping up with the re-recordings (and *still* patiently waiting for the Rep TV) was very fun, but it started to annoy me a little, and not because of dumb reasons like "it's been years!", but because it was preventing her from doing new stuff.

As if.

Since 2020 doing press for albums, whether that be new or new-old ones, and going on the biggest tour of her career and of the current industry, Taylor still found (or made) time to write many many songs.

"You know in the past few years, I have released more music than I did in the entire decade preceding that, [...] so, I found that the more music I made and the more music that I put out, the happier I was, the more I kept that channel open and just kept creating, kept making things," - Taylor Swift during her AMA's speech (2022)

As much as the fans, and the industry, loves to hear that, as a music fan and somewhat of an artist, i was terrified to hear that. It is important to create, especially when that resonates with how you're feeling or going through. Art is supposed to do that, be a tool, a shoulder to cry, even a kiss if you're sweet enough to vision it.

What shook me up on that speech though was the "the more music i put out the happier i was". That to me showed me that right now music to her is a vehicle of communication that says everything she wants to hear.

I do not know Taylor Swift, I am not her personal secret friend or even someone who's had little hangouts with her - as it is not her fans. But looking at her previous lyrics and previous interviews, Swift has obviously built a fanbase that sees her as a friend, not an idol or family figure, but a friend. They can count on her as much as she can on them. Sure, there are the psychopaths, which Swift has rightfully complained about, but looking at the "normal" ones, Swift does sees them as friends as well.

Release after release, Swift has stated that it is comforting writing songs and seeing people identify with such songs, telling their stories and thanking her for writing them. That's a friend relationship in the Fan World. They can count on her as much as she can on them.

When talking about "The Tortured Poets Department" to an audience of The Eras Tour, Taylor said the album came from "a need to write". And quoting NME "It’s just that maybe we didn’t need to hear it." Rough! Not untrue though, but to me, maybe we could've want to listen, but mostly Taylor needed to hear it.

My excitement for the new album came from the shallow reason of me being noisy and wanting the full on gossip of her previous relationship with Joe Awlyn, but also because the whole aesthetic she created, the name and taking in context how much her life has changed in the past four years, and knowing her ability to use that (we've seen in folklore, reputation and Speak Now, ladies and gentlemen) made me excited for the body of work i would listen to.

Thing is, said body: sounds like Frankenstein with a bunch of loose stitches. The album has so many stories, so many feelings, so many genres, so much information, that one would think that's a good thing but when you listen to it, it's just a mess.

"The Tortured Poets Department" is so clearly an Eras Tour album that it just feels like you're hearing her entire discography. Which is really a shame 'cause she has a great discography, but in this context it's redundant. You get tracks that sound like folklore, red, 1989, reputation with lyrics that rarely don't sound like she didn't read after writing it.

"Now I'm running with my dress unbuttoned Screaming "But Daddy I love him!" I'm having his baby No, I'm not, but you should see your faces" - But Daddy I Love Him (Idk it's just dumb, strike me as a buzzkill but it's so lame)

Whether I'm gonna be your wife or Gonna smash up your bike, I Haven't decided yet But I'm gonna get you back - gonnagetyouback (A bike?)

Was any of it true? Gazing at me starry-eyed In your Jehovah's Witness suit Who the fuck was that guy? You tried to buy some pills From a friend of friends of mine They just ghosted you Now you know what it feels like - The Smallest Man Who Ever Lived (Weak analogy)

Touch me while your bros play Grand Theft Auto - So High School (I just hate it. Don't care i'ts called the way it's called, she could've done something better, especially with the "bros" part

We wished we could live in instead of this I'd say the 1830s but without all the racists and getting married off for the highest bid - I Hate It Here ("But the took out the racists" baby it's a weird lyric that honestly would only work out in a very specific way to a type of activism that Taylor is not)

Had Taylor been a little more crytical on her writing, instead of... listening to a whole bunch of fans that have 0 reference besides her to the point they think she invented synthpop. She could've done a really good body of work, and i know that because out of the 31 (31!!!) songs on the album, that are such great sensational songs - had them been placed on the right album.

After being on several short relationships, Taylor was with a guy for six years, to the point of marriage expectation, it was a relationship way different from the others. She went from no politics to publicly endorsing candidates and many social movements. She went from number one public enemy to somebody no one cares about to renowned artist to "that annoying singer" in the spam of four years.

She's a skilled songwriter, one hell of a instrumentalist, perfect at singing a song exactly how i'ts supposed to be sung and with a big ass baggage to use as material. Yet here we are.

I will say though, there are glimpses of what this album could've been. This was the perfect chance to, just like folklore, experiment with a genre she and her fans weren't comfortable with yet. Not only showing artistic growth but intertwining with how much she has grown with the changes from the past 4 years. A bit afraid to say that, maybe, this didn't happen because she didn't.

"The Tortured Poets Department" to me is: Florida !!! (feat. Florence and the Machine), Clara Bow, Fresh Out The Slammer and The Black Dog.

On hindsight, The Tortured Poets Department is a waste of potential with solid songs but overall a bad album.

BONUS: As a known capitalist, she lost her chance to release a Live Album of The Eras Tour with two bonus songs, one of them being "I Can Do It With a Broken Heart" and "Who's Afraid of Little Old Me".

3/10

[bublinko]

SALE: Lady Gaga & Florence Welch - Hey Girl painting on paper size: A4 #ladygaga #joanne #florencewelch #florenceandthemachine #chromatica

[lemonicebb]

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[stochastique-blog]

hmm...

Art for Morning Elvis live at the Denver Ball Arena by Florence and the Machine ft. @mothercain

[cabin-seven-kid]

I love music sooooo much 😍

LISTEN TO THIS

[charmms]

“The four of us around a campfire. How long has it been?”

“… An eternity.”

[phonemantra-blog]

Pop star Sabrina Carpenter has become a vocal advocate for her friend and frequent collaborator, Jack Antonoff, in the face of online criticism surrounding his influence on contemporary music. Antonoff, a highly sought-after producer and songwriter, has worked with a diverse range of artists like Taylor Swift, Lana Del Rey, Lorde, and Clairo. But his prolific output has also drawn criticism from some who argue his production style homogenizes pop music. Sabrina Carpenter "F**ck Them All": Carpenter Stands by Antonoff's Talent In a recent interview with Rolling Stone, Carpenter didn't mince words when defending Antonoff. She responded fiercely to criticism of his supposed monopoly on pop music with a blunt, "Fuck them all." This passionate statement underscores Carpenter's unwavering belief in Antonoff's talent. "I think he's one of the most talented people I've ever met," Carpenter elaborated. This sentiment sheds light on her personal experience working with Antonoff, highlighting the positive impact he's had on her music career. The Rise of Jack Antonoff: A Collaborative Maestro Antonoff has established himself as a major force in the music industry. His impressive list of collaborators includes established superstars like Taylor Swift, Lana Del Rey, and Lorde, as well as critically acclaimed indie artists like Florence and the Machine and Clairo. This diverse portfolio showcases Antonoff's versatility and ability to seamlessly adapt his production style to fit the artistic vision of each artist he works with. However, following the release of Taylor Swift's latest album, "The Tortured Poets Department," some online commentary began to question Antonoff's widespread influence. These critics argue that his involvement in numerous projects homogenizes the sound of pop music, leading to a lack of individuality and creative diversity. Dispelling the Myth: Carpenter Emphasizes Anton's Raw Talent Carpenter, a rising star in her own right, directly counters this criticism. She emphasizes Antonoff's undeniable musical prowess, stating that "when he's in a room, he's able to touch every instrument in the room and make it sound magical." This description paints a picture of a skilled musician who possesses a deep understanding of music theory and a natural ability to translate his creative vision into captivating soundscapes. Carpenter goes on to highlight Antonoff's work ethic, praising his efficiency in the studio: "He also works very fast, which I appreciate because I work very fast." This synergy between artist and producer can be vital in capturing the essence of a song and translating it into a successful recording. Beyond the Antonoff Debate: Carpenter Reflects on Personal Growth The Rolling Stone interview delves beyond the Antonoff discussion, exploring the impact of Carpenter's recent rise to fame. Her latest singles, "Espresso" and "Please Please Please," have become summer staples, dominating streaming platforms like Spotify. This surge in popularity has undoubtedly altered Carpenter's life, and the interview offers a glimpse into her experience navigating the spotlight. Looking back on her previous album, "Emails I Can't Send," released in 2022, Carpenter offers a candid reflection on a challenging period in her life. "I cried every day then," she reveals, showcasing the vulnerability required to create deeply personal music. Thankfully, she adds, "I don't cry every day now," hinting at a newfound sense of peace and confidence. Her upcoming album, "Short N' Sweet," scheduled for an August 23rd release, promises fresh sounds and artistic exploration. With her undeniable talent and unwavering work ethic, Carpenter is poised to continue her ascent in the music world. Conclusion: A Celebration of Collaboration and Artistic Expression The debate surrounding Antonoff's influence highlights the complex relationship between collaboration and artistic identity in the music industry. While some view his prolific work as homogenizing, others, like Carpenter, celebrate his ability to elevate the music of diverse artists. Ultimately, music thrives on innovation and experimentation. The ability of artists and producers to push boundaries and collaborate creatively is essential for keeping music fresh and engaging audiences. This story serves as a testament to the power of creative partnerships. The synergy between Carpenter and Antonoff has undoubtedly yielded successful music. It also showcases Carpenter's willingness to stand by her collaborators and her unwavering belief in the power of collaboration to create truly magical music.

[eddiesdiaz]

hi. ilu

i literally love you always and forever

[universitycancercentres]

Lung Cancer

According to the American Cancer Society, almost 234,580 new cases of lung cancer are recorded in which, 116,310 in men and 118,270 in women.

[ourmindonmusicpodcast]

Exploring Ethereal Sounds: Azam Ali, Dead Can Dance, and Kindred Artists

I spoke with Matt Hopkins of Whispers of the Dragon and Tilburg for an episode of Ourmindonmusic. https://youtu.be/HXO Matt spoke about some of his influences. Learn about these ethereal artists here.

[rubenrangelart]

...Dance Fever My Love - @florence 🖤

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Print available in my store link in bio 😍🖤😍

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#rubenrangel #rubenrangelshop #rubenrangelart #florenceandthemachine #dancefevertour #dancefever #print #witch #witchart #tarot #witchprint #free #mylove #king #cassandra #artofinstagram #artwork #ai #illustration

https://lnkd.in/dpPtydAM

[reetsmusic]

King - Florence + The Machine (acoustic cover by Reets)

[daemyra-fire]

Taylor Swift/ Florida!!! (Florence + The Machine) / Lyrics + Español / V...