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dustedmagazine · 5 years

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Dust Volume Five, Number 11

Cold rain, dead leaves, political corruption, diplomatic betrayal…it’s been a bleak couple of weeks on the home front, but at least the music is good. This time out, we check in with the estimable Ezra Furman (pictured above) and his blistering punk rock album, as well as a smattering of shoegaze, a low frequency trio, a black metal endurance test, acoustic entropy and the sound of black holes colliding. You know, same old, same old. Our contributors include Andrew Forell, Bill Meyer, Jennifer Kelly, Jonathan Shaw and Ian Mathers.

Blushing — Blushing (Wallflower Records)

Blushing by Blushing

Blasting out of Austin, Texas come Blushing (married couples Michelle and Jacob Soto on guitar/vocals and drums, Christina and Noe Carmona on vocals/bass and guitar) with their self-titled debut album, an impressively sophisticated addition to the shoegaze landscape. Blushing displays finely tuned dynamics, a keen sense of melody and joyous rushes of controlled noise. The interplay of twin vocals adds an ethereal Cocteau Twins sheen to the songs but Blushing aren’t afraid to let rip with layers of guitar. Producer Elliott Frazier of Ringo Deathstarr achieves space and separation in the mix that elevates this album above the basic quiet-loud-quiet formula. Underpinning all this is simply terrific songwriting and musicianship. Opener “So Many” starts with whispered vocals over strums and washes of guitar before the rhythm section enters, there’s a slow build before the track blossoms into a widescreen squall of almost psychedelic guitars and pounding drums then wanes into a feedback outro. Highlights “Dream Merchants” and “The Truth” bring classic shoegaze tropes and add a dreamy panoramic depth. Blushing is a band to watch and this is a gem of a debut.

Andrew Forell

CARL — Solid Bottom (Astral Spirits)

Solid Bottom by CARL

“Bass, how low can you go?” CARL’s flow differs drastically from Mike D’s, but the question is undeniably pertinent. The Houston-based trio comprises three low end instruments — Damon Smith (since departed) on double bass, Andrew Durham on electric bass and radio, and bandleader Danny Kamins on baritone saxophone — hitting sonorities that range from ankle high to sub-sub-basement. But bulbous pitches can still be nimble, and so it is here. The interaction pits genre against genre, bow thrust against amp buzz, melancholy phrase against floor-rattling rumble, resulting in music that never feels at ease. Hey, Texas needs some opposition, and these folks are ready to show the way.

Bill Meyer

Ezra Furman—Twelve Nudes (Bella Union)

Twelve Nudes by Ezra Furman

It was about the time that Ezra Furman started expressing his distinct identity—queer, cross-dressed, devoutly Jewish—that he turned into one of rock’s great songwriters. Today, freed of the need for self-abnegation, his songs balance a razor-stropped wit with sharp, assaultive hooks; he is not afraid to tell you his story, though he’s too literate and clever to deliver it unadulterated. His songs have a shape and a sting at the end like a good short story, but a punch that is considerably more visceral. “The kids are just getting started/they’ve only just learned to howl, and most of them throw in the towel/by the time that they turn 23,” he shouts raspily in “Evening Prayer aka Justice” and it leads into the kind of stirring, anthemic chorus that Titus Andronicus used to be so good at. “What Can You Do But Rock and Roll” rampages in a short-circuiting stop-start attack, like Green Day before they got so serious about themselves. In short, it’s a rock and roll of the sort that the culture has mostly abandoned, the kind that large men push to the front of Hold Steady concerts for, that causes Japandroids fans to punch the air. And yet it is not wholly of this man-centric tradition, simply because of who Ezra Furman is – lipsticked, cocktail dressed, smarter than you and willing to talk Torah. In short, here is a songwriter who has been killing it since Day of the Dog and Twelve Nudes, his latest, punk-est album (inspired equally by Jay Reatard and the Canadian poet Anne Carson) may just be his best. He is of the zeitgeist and also not, and you kind of wish more people were paying attention.

Jennifer Kelly

Great Grandpa—Four of Arrows (Double Double Whammy)

Four of Arrows by Great Grandpa

“That’s why I hate you-ou,” cries Alex Menne in “Digger,” their voice catching in a hiccupping way that invites intimacy even at high volume. Her confidences are couched in an explosive swirl of country rocking countercurrents, concocted by the band’s two main songwriters, bassist and singer Carrie Goodwin and guitarist Pat Goodwin and executed alongside Dylan Hanwright (also guitar) and Cam LaFlam (drummer). The Seattle band’s second full-length is less brash and rock-centric than the 2017 debut Plastic Cough, which, perhaps because of their northwestern roots, elicited the term “grunge” from critics. This one is fuller, more elaborate and entirely devoid of Soundgarden references. It is decorated with lush, multi-voiced singing and baroque instrumental counterparts, and critically, uses a warmer more organic palette of instruments. That’s a violin and a banjo building out “English Garden,” not the buzz saw guitars of “Teen Challenge.” This rich, tuneful, grounded experiment might remind you of Ohmme, Hop Along or the Moondoggies, sleek but vulnerable, blown out but in control.

Jennifer Kelly

Hatchie — Keepsake (Double Double Whammy/Ivy League/Heavenly Recordings)

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Could it somehow be the fact that Harriette Pilbeam (late of Aussie indie rock band Babaganouj and here aka Hatchie, a family nickname) plays bass instead of the more standard frontwoman guitar that makes the singer-songwriter’s debut LP of new wave dream pop confections so singularly striking? Probably not, but Keepsake is assured and ingratiating enough it does leave one looking for the secret ingredient. Whether it’s the swooning likes of “Without a Blush” or “Secret” or the rougher emotional and sonic texture of “Unwanted Guest,” whether it’s playing against a sampled loop of her own voice on the chorus of “Obsessed” or achieving a particular kind of downward gazing transcendence through drum machine and synthesizer on “Stay With Me,�� all of the songs here manage to hit on just the right combination of genre-appropriate beauty in texture with genuinely impressive melodic songcraft that whether Pilbeam sticks with this sound or not, she’s one to watch.

Ian Mathers

Imperial Cult — Spasm of Light (Amor Fati/Sentient Ruin Laboratories)

Spasm of Light by Imperial Cult

This record consists of a single, 34-minute, largely improvised track, captured live in the studio. It’s all about endurance: the band’s, who must gamely thrash and bash at their instruments, with all of black metal’s requisite speed and intensity; and the listener’s, who has to commit a fairly significant amount of attention to the thing. Hailing from Holland, Imperial Cult are a new band, subscribing to the minimal web-presence policy of some other hyper-obscure acts, so it’s tough to say if they are of the “Satanists-and-we-really-mean-it” variety of continental black metal. If they are, the record’s grandiose gesture makes a certain sense. “Spasm of Light” may thematize the notion of eternal hellfire and torment. That, in turn, would raise other theological questions (do these guys imagine that declaring themselves devil worshippers and making this sort of music is their ticket out of forever in Bedlam? or are they looking forward to it?) that this reviewer isn’t all that interested in. More immediately concerning is the music. It’s pretty good, though to these ears, it’s more evocative of the epically inclined USBM bands of the Cascadian school — especially the early records of Ash Borer — than purposefully underground European occult acts like Novae Militiae (yes please) or Deathspell Omega (no thanks). Musically, that’s a good thing. Ideologically, who knows? Do these dudes wear cowls and sacrifice small mammals? Do you really want to know? Jonathan Shaw

Minor Pieces — The Heavy Steps of Dreaming (FatCat)

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Just gorgeous. Tape hiss master Ian William Craig and a Vancouver-based songwriter named Missy Donaldson join forces in an album that hangs right in the spectral other-space between conventional song and ambient soundscape. Craig, who is a classically-trained singer, sings lead most of the time. His clear, vibrato-laced tones with clouds and miasmas of electronic wash, mass-y harmonies and fragmented bits of guitar and piano. The effect in opener “Rothko” is both luminously polished and dream-like. “Bravagallata” reaches further up the register, twining Craig’s androgynous, unearthly tenor with the warmth of nestling, caressing harmonies; it shimmers in the interstices between icy modernity and comforting folk song. “The Way We Are in Song,” arises out of glowing, shifting electronic tones, yet feels wholly natural and unaffected. The way we are in this song is beautiful, touchingly human, but more so.

Jennifer Kelly

The Pheromoans — County Lines (ALTER)

County Lines by The Pheromoans

The Pheromoans look at the world sideways, buttressing a workman-like rock and roll sound with murky embellishments of violin and synths. With a wobbly, wavery flavor of post-punk that might remind you, a little, of Blue Orchids, they match up dense woozy riffs with literate mumbles. They are the sort of band to ask “Sharia or Sheeran” and leave you shrugging, what’s the difference? This is the Pheromoans’ fifth full-length; their diaspora previously landed them on Upset! The Rhythm; but here the edges aren’t sharp enough, the punches not hard enough to evoke that label’s other bands. Yet there’s a disconsolate appeal to these wandering tracks. “Troll Attack” eviscerates electronic interaction against a Casio beat; both the music and the lyrics poke at unsatisfactory surfaces to find darker, truer muck underneath.

Jennifer Kelly

Matthew Revert — The Inpatient (Round Bale)

The Inpatient by Matthew Revert

Some people get ready for surgery by making a bowl of Jell-o and making sure that the Hulu bill is paid up. Not Matthew Revert. His preparation for a date with the surgeon involved pitching himself into a new creative endeavor. None of his recordings to date, which have mostly involved acoustic entropy and electro-acoustic construction, will prepare you for The Inpatient. The album comprises ten improvised but structurally sound songs, all sung in nakedly emotional Spanish. Imagine Alan Bishop adopting a persona that is not immune to shame, and you’ve got an idea where this stuff goes. Prepare to be bemused.

Bill Meyer

Marcus Schmickler — Particle/Matter–Wave/Energy (Kompakt)

Space is a place that has been exercising the minds of composers of late with recent releases by William Basinski (On Time Out of Time) and The Kronos Quartet (Terry Riley: Sun Rings) being two examples that use recordings from the deep cosmos. German experimental producer Marcus Schmickler, best known for his work as Pluramon, imagines the sound of galaxies colliding on his new piece Particle/Matter-Wave/Energy, a 37-minute block of immersive ambience based on Schmickler’s use of an algorithm to model gravitational data as a tool for sonification, a process that translates information into sound. The result is huge waves of tones that rumble, whistle and bleep like a swarm fleeing a storm. Through headphones this is an almost vertigo inducing experience as Schmickler evokes the sense of plummeting through a vast endless expanse of darkness. A fascinating and often unsettling piece, Particle/Matter-Wave/Energy works as a soundscape experiment rather than a casual listen, perhaps more to admire than enjoy, but it has a fluid physicality that rescues it from mere abstraction.

Andrew Forell

Stein Urheim — Simple Pieces & Paper Cut-outs (Hubro)

Simple Pieces & Paper Cut-Outs by Stein Urheim

John Fahey barely made it into the 21st century, but his influence looms as large as ever. Stein Urheim, a guitarist from Bergen, Norway, is merely the latest to commit his confrontation with Fahey’s legacy to wax. He tips his hat to The Yellow Princess and other recordings of that vintage in this album’s accompanying book of tablature, but even if he hadn’t put it down in writing, you could hear it in his playing. Urhein is no rooky. He’s been recording with various bands since around 2004, working with singers and playing jazz, but this is the first time he’s anything quite like this. Urheim seems to be drawn to Fahey’s most virtuosic and lyrical work, and he has the chops to back it up, but also the performative confidence to let the music develop in its own time rather than chase after it. One has to put a bit of yourself into the music if you want to transcend the “sounds like Fahey” blanket that covers so many American Primitive guitar LPs. Urheim gets this, and he doesn’t take the easy way out by, say, applying his bluesy, acoustic picking to rustic themes or folkloric sources. Nor does he go for Fahey-esque textual obfuscation or faux-mythologizing. Instead he incorporates some samba gestures into the tunes, keeps them pithy and presses them on vinyl (by no means an assured thing on Hubro, which usually markets music via CDs and the internet). The album title proclaims this music’s simplicity, but Urheim’s is not simplistic so much as clear.

Bill Meyer

#Dust #Dusted magazine #blushing #andrew forell #carl #bill meyer #ezra furman #jennifer kelly #great grandpa #hatchie #ian mathers #imperial cult #jonathan shaw #minor pieces #the pheromoans #matthew revert #marcus schmickler #stein urheim

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northcountryprimitive · 5 years

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The North Country Primer #4: Nick Jonah Davis, Nottingham, England

Originally published at North Country Primitive in April 2015

The fourth edition of the North Country Primer takes us closer to home to interview a man who lives a mere 70 miles away, in Nottingham, England. Nick Jonah Davis is the first, but hopefully not the last, British guitarist to feature at North Country Primitive. Tompkins Square included him on the fourth volume of their excellent Imaginational Anthem series, and liked his music so much they released his album, Of Time and Tides . His new album, House of Dragons, has just been released in a limited vinyl edition by Shropshire's top shed-based record label, the wonderful and ever-eclectic Lancashire and Somerset - and to these humble ears, is his best offering yet.

Tell us a bit about yourself and the musical journey that took you to a place where you concluded that playing an acoustic guitar on your own was a good idea... Well... I was a guitarist from the age of fifteen and the first solo acoustic stuff I heard was on Led Zeppelin records. That led me to Bert Jansch and Davy Graham, and from there I found that playing acoustic guitar in DADGAD was a very compelling thing to do. I did this in the background of other musical endeavours for a long time, maybe fifteen years. What I was really focused on was trying to do electronic music, with mixed-to-poor results. Then I stopped completely. Following a failed attempt to carry out CPR on a woman in a car park in 2006, I impulsively bought an acoustic I'd spotted in a junk shop to cheer myself up. Around this time, my brother gave me a Fahey album and I saw Jack Rose play: I realised that there might be a context for my acoustic playing that wasn’t just doing it for myself at home. I decided to record a few pieces in 2007, and put them on the internet to try and get some local gigs. Josh at Tompkins Square was into it and got in touch, which was absolutely improbable to me. If you’d told me when I was checking out the first Imaginational Anthem compilations that I’d have a tune on the fourth volume and be putting out an LP with Tompkins Square and playing the New York Guitar Festival, I really would not have believed you. The positive reception for the Of Time and Tides album was really pleasing. What has influenced your music and why? The most direct ‘famous guitarist’ type influences are John Fahey and Bert Jansch: to me, they represent two really important streams of excellent guitar music which will always be bubbling away. Really, though, the best influences come from the people that playing has brought me into personal contact with. C Joynes and Steve Malley aka the Horse Loom have had a huge influence on both the music I’ve made and the course I’ve taken with it. I’ve been lucky to play gigs with players that I really admire and that’s a direct influence that’s hard to quantify - just watching them up close and then also being able to say ‘How did you do x or y back there?’ Ultimately, when you set off on a particular route with the guitar, such as in this case ‘I’ll use weird tunings, play solo and try to get inside people’s heads,’ the possibilities and limitations of that approach become your core influence. I know a really disparate range of musicians who are all deeply into their thing and it’s a constant inspiration to have these people around me. What are your thoughts about being a UK based musician steeped in what could be argued is a largely American form? I suppose what draws me to the American Primitive approach to guitar is that it lets you explore ideas from a variety of musical cultures at the same time, using techniques drawn from a folk style as the basic platform. Despite the intensity of focus on American players who have done this, I don't really perceive this as wildly different to what people like Davy Graham and Bert Jansch were doing. A lot of what I dig on guitar has an American accent, a lot has a British accent, but there are a whole host of cultural reference points that weave in and out of my playing. I don't find it straightforward to play entirely within the constraints of any one tradition. What have you been up to recently? As ever, I'm always trying to get deeper into my playing - that's ongoing. We've just put out my new LP, House of Dragons, on Lancashire and Somerset Records, a lovely little label operating out of a shed in Shropshire. I’m extremely pleased with the gorgeous package they’ve put together - they are great people to deal with. I’m now halfway through the sessions for the next record. I’ve also been collaborating with my friend, the violinist Jo Cormack, on some semi-improvised electric guitar and violin music as Fains. I like her playing a lot, she can really kick an idea around without needing to be too precious about things, dropping things or picking them up according to the moment, which really works for me. What are you listening to right now, old or new? Any recommendations you’d like to share with us? Here's some random people I really like that other people may be unaware of and are all worth investigating: Ellen Mary McGee, Raul Garcia Zarate, Kogumaza, Dead Rat Orchestra, Suzuki Junzo, Antigoni Goni, Lungfish, Cath and Phil Tyler, Alasdair Roberts, Zia Mohiuddin Dagar andForever Sound. In the fingerstyle world, two young British players who are worth checking out are Toby Hay and Jim Ghedi. The guitar nerd bit: what guitars do you play and what do you like about them? Is there anything out there you’re coveting? My main acoustic is a custom Fylde Falstaff, which I picked up recently. It's a dream instrument and has all but replaced my Martin. I play an Ermanno Pasqualato Style 3 Weissenborn guitar for lap steel, it's a sweet sounding and responsive beast. On the electric side, I have a much customised mid-90s telecaster. It sounds great - it's got a lot of attitude. For electric lap steel I have a 1948 Selmer, which is a historic and utterly beautiful instrument. C Joynes presented me with it as a surprise gift last year, and I'm still surprised. I have a bunch of other guitars and a little collection of other instruments. Coveting: I'd really like a Brook Hurdy Gurdy. There's basically an endless list though - ask my wife about it... Banjos: yes or no? Absolutely yes. I have one that I like to fiddle around with from time to time. Anyone who says they don't like banjos needs to listen to records by Shirley Collins, Nathan Bowles, Paul Metzger and Phil Tyler to ensure that they have an informed perspective on the situation. What are you planning to do next? I'm planning to finish my next solo guitar album. Jo and I are talking about doing a Fains record. C Joynes and I have a split electric LP that's at the mastering stage. Other collaborations are possibly bubbling up. I'll just keep playing, see what happens. I keep a fairly open mind - it seems to help... What should we have asked you and didn't? If you find out, let me know.

You can download Nick's music from his Bandcamp page, here.

#nick jonah davis #american primitive

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bronovatwelve · 6 years

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Nina

Nikolina Bronova Mori, professionally known as Nina, is a brazilian and naturalized american, bulgarian, japanese and south korean singer-songwriter, rapper, composer, multi-instrumentalist, record producer, dancer, choreographer, television host and actress under Million Market and Columbia Records, also serving as the vocalist of the brazilian supergroup Tribalistas. She is amongst a small group of entertainers who have been honored with an Emmy, Grammy, Oscar and Tony Award. Nina holds the record for the artist with the most singles to top both the Billboard Hot 100 and the Gaon Music Chart. She is also the only artist to have all south korean albums debut at the top of the Gaon Album Chart and all american albums debut at the top of the Billboard 200.

Profile

Full name: Nikolina Bronova Mori (Николина бронова 森). Stage name: Nina (니나). Birth date: December 7th 1998 (19). Birth place: São Paulo, Brazil. Nationality: Brazilian. Zodiac sign: Sagittarius. Chinese zodiac sign: Earth tiger. Height: 1.68cm. Weight: 51kg. Blood type: O. Voica type: Soprano. Vocal analysis: Well Rounded Vocalist and Star.

Curiosities

Animals: Miku (pomeranian) and Misha (rottweiler). Body type: Romantic (medium height, hourglass and voluptuous figure, medium to big bustline, small waist, fleshy arms and legs, small and delicate bone structure with a soft sharpness). Cup size: B. Ethnicity: Brazilian, bulgarian, italian and japanese. Face type: Classic (balanced and symmetrical). Family: Shigeru Mori (father), Ekaterina Konstantinova Bronova (mother) and Karolina Bronova Mori (youngest sister). Hobbies: Reading, drawing, listening to music, singing, dancing, watching movies and television series, exercising, traveling, collecting pens and notebooks, taking pictures, riding her bycicle and writing music. Instruments: Acoustic guitar, banjo, banjo ukulele, baritone guitar, bass guitar, clarinet, classical guitar, drums, electric bass guitar, electric guitar, flamento guitar, flute, harmonica, harp, keyboard, piano, synthesizer and violin. Languages: Bulgarian, english, french, japanese, korean, mandarin, portuguese, russian and spanish. Religion: Catholic. Sexual orientation: Heterosexual. Shoe size: 7.5 (US).

Early life

Nikolina was born in Ribeirão Preto, São Paulo, the daughter of a bulgarian lawyer and a japanese farmer. She lived in Brazil until the age of seven, when she moved with her mother and sisters to Bulgaria, following her parent’s divorce. From the age of five, she wanted to become a singer, and took various musical classes throughout her early years. She moved to South Korea as an exchange student in 2013 and was discovered by a representative of Million Market after posting music covers on YouTube and signed to the label. In 2018, she made her american debut after signing with the label Columbia Records.

Personality

Positive traits: Adventurous, brave, broad-minded, charming, compassionate, creative, determined, diplomatic, faithful, freedom-loving, friendly, good-humored, honest, humanitarian, independent, intellectual, intuitive, jovial, loyal, magnetic, modest, optimistic, philosophical, realistic, self-confident, sensitive, sympathetic, warmhearted and well-liked. Negative traits: Competitive, compulsive, greedy, escapist, idealistic, irritable, obsessive, resentful, restless, selfish and a worrier.

She is known for being very nice to her fans. Many of them report being well treated by her whenever they meet.

Physical appearance

Black and straight hair. Green eyes. Fair skin. Curvy. Dimples. Two piercings on her left ear and three on her right ear. One tattoo on her left ribcage (written “to the stars to the moon”), one tattoo on her right shoulder (japanese writing of “Mori”), one tattoo on her right wrist (written “honey”).

Vocals

Critic Of Music

Vocal type: Spinto-soprano. Positives: Legendary interpretive wit, thanks to incredible knowledge of musical phrasing and vocal pedagogy. A defining, trademarked voice. Incredible breath support, showing no signs of fatigue and carrying extensive legato passages with ease. Incredible utilization of dynamics, using all volumes from fortissimo to pianissimo and everything in between to craft incredible phrases. Great control of her passagio and incredibly balanced instrument. Powerful, resonant belts that are mixed with head voice, that are well-supported and healthy, projecting massive resonance with ease. A master of breath support. Able to rapid fire mid and upper belts. Her low notes are also well supported, dark and full. The head voice is resonant and piercing, full and fluid. Her vibrato is well developed and rolling, and can be executed with ease. Her timbre is velvety and luscious and makes for a perfect midrange. She is also able to sing complex melisma in all registers, with every register well connected. Her falsetto is light and sweet. She also has unparalleled register transitions, switching from chest to head, head to whistle, and even chest to whistle without as much of a pause. Pitch perfect in 99% of performances. Technically, a brilliant singer. Negatives: Occasionally raises her larynx in upper-belts.

K-Pop Vocal Analysis

Voice type: Soprano. Strengths: The strongest female singer in South Korea and arguably the entire current music scene. Consistent support, very well connected head voice, transitions are flawless, extreme control of dynamics and mixing, runs are precise and well articulated, nasality is almost never present in her singing. Points for improvement: Head voice can show issues with upper-belts, complicated vowels can create tension in her voice. Agility: The top vocalist in terms of agility and precision amongst korean singers, able to keep control of and flexibility in her runs and melismas. Her runs are precise in pitch and generally very well separated, every note is clear and the overall flow is good and natural. Musicianship: Arguably her second strongest virtue, Nina is not one to be labelled as a “karaoke” singer. Taking note from the general idea of self expression and vocal freedom, she always shows creativity and never delivers vocal performances that are exactly the same as another, being generally filled with new vocal melodies, playing with rhythm and vocal runs added by Nina herself, notably being able to always deliver accurate and precise changes to covers and her own original song performances.

Albums and singles

Chat-Shire (2014) 11:11 Every End Of The Day I (ft. Verbal Jint) Instagram Pilot (ft. Woo Jiyoon) Why?

Relax Your Mind (2015) Automatic Galaxy Half Moon (ft. Gaeko) One Of These Nights Serendipity What To Do (ft. Crush)

Modern Times (2016) Don’t Say No Free Somebody Good Day I Feel You (ft. Yubin) Nineteen Peek-A-Boo

A New Empire (2017) Bad Boy Gashina Home (ft. Yoon Mi Rae) Playing With Fire Really Really (ft. Mino) Whistle

Yours Truly (2018) Into You Love Me Harder One Last Time Problem (ft. Big Sean) The Way Too Little Too Late

Vivid (2019) All I Want For Christmas Emotions I Wanna Dance With Somebody Love On Top No One Physical

Revival (2020) Bills, Bills, Bills Bootylicious If I Were A Boy Independent Women Say My Name Single Ladies

Here, My Dear (2021) Attention Can’t Feel My Face Diamonds Let’s Groove September Sexual Healing

My Voice (2022) Baby Baby (ft. Young K) Eyes, Nose, Lips Loser (ft. Leo Yang) Missing You Palette (ft. G-Dragon) Why So Lonely (ft. Yezi)

Lemonade (2023) Hold Up How Can I Ease The Pain Million Reasons My Immortal Perfect Illusion Sorry

Fever (2024) Bad Liar Dangerous Woman Do I Wanna Know? Psycho Killer Take Me To Church Wild Thoughts

Portrait (2025) Back To Black Chandelier Drunk In Love Love On The Brain Stone Cold Un-Break My Heart

Who I Am (2028) Because Of You Bleeding Love Fallin’ Halo If I Ain’t Got You I’m Not The Only One

Spirit (2030) Hello Rolling In The Deep Send My Love Set Fire To The Rain Someone Like You

Time (2032) Can’t Make You Love Me I Have Nothing I Look To You I Will Always Love You When We Were Young

How Does That Grab You? (2035) Bang Bang (My Baby Shot Me Down) Dust In The Wind Every Breath You Take Killing Me Softly The Sound Of Silence

Katerina (2038) Bohemian Rhapsody Come Together I Want To Break Free Sign Of The Times Somebody To Love We Are The Champions

Waiting To Exhale (2040) Always On My Mind Don’t Let Me Be Misunderstood Hurt The Blower’s Daughter Wonderwall

A Flower Bookmark (2042) Autumn Morning Last Night Story Let’s Meet On Friday (ft. Jang Yi Jeong) Secret Garden Sleepless Summer Night Through The Night

The Diary Of Nina (2045) Can’t Help Falling In Love From This Moment On Here Comes The Sun Loving You Yesterday You’re Still The One

Glassheart (2048) A Change Is Gonna Come All The Man I Need Cruisin’ Greatest Love Of All Let’s Stay Together Say A Little Prayer

Bird Of Happiness (2050) Dreamlover Hero Love Takes Time Someday Vision Of Love We Belong Together

Last Fantasy (2052) Ending Scene Fine Hold Me Please Don’t Rain You Were Beautiful

These Are My Blues (2055) At Last Feeling Good I Put A Spell On You Respect Something’s Got A Hold On Me This Is A Man’s World

Albums and non-title tracks

Chat-Shire (2014) Across The Universe Chocolate Don’t Like Her Everyday With You Glasses Heart I Would Peach Someday Stay Sweet And Easy (ft. Kisum)

Relax Your Mind (2015) Answer Cactus Flower If You I Need Somebody I Wait Lately, I (ft. Ant) Love Alone Moonlight Melody Night Reminisce (ft. Yang Da II) Star (ft. Heize) Take Me Where Are You?

Modern Times (2016) Faded Love Gemini Gone (ft. Jessi) John Doe (ft. Jiyoon) Knees Look Magic Rebirth Rewind (ft. Moonbyul) Sailing Talk To Me

A New Empire (2017) Back To You (ft. Leo Yang) Bae Black Out (ft. Ravi) Dance Dance Fool How Why (ft. L.E) I Just Let Me Know (ft. DPR Live) To Him Velvet Walkin’ (ft. Hash Swan) You&Me

Yours Truly (2018) Baby, I Bad Decisions Be My Baby Closer Fools For Him Gone And Found Greedy Higher How I Want Ya (ft. Jordan Fisher) How To Be A Heartbreaker I Don’t Care Just A Little Bit Of Your Heart Let Me Love You Never Wanna Know Only One Paper Heart Right There Sometimes Tattooed Heart Tears (ft. Clean Bandit) Touch Me Wild You’ll Never Know

Vivid (2019) All That Baby, I’m Yours (ft. Miles Kane) Body Language Boy Problems Can’t Sleep Love Come Alive (ft. Toro Y Moi) Cry Dorothy Dandrige Eyes (ft. Esperanza Spalding) Dust Is Gone Finesse First Time Gimme Love Hard To Say No I Didn’t Just Come Here To Dance Maiden Making The Most Of The Night Primetime (ft. Miguel) Run Away With Me Say You’ll Be There Schoolin’ Life Sir Greendown Store The One Too Good To Say Goodbye We Were Rock & Roll Your Type

Revival (2020) 10-20-40 Be Alright Bound Countdown Cyber Stockholm Syndrome Ego Fantasy (ft. Amber Liu) Gave It Away Glow If I Ever Fall In Love (ft. Janelle Monáe) I Got The Juice (ft. Pharrell Williams) Kiss Me Better Knew Better Listen No Mythologies To Follow No Tears Left To Cry Oh No! Primadonna Girl Red In The Grey Ridin’ (ft. A$AP Rocky) Rose Gold Simple Things Slow Love Tears (ft. Clean Bandit) Ugly West Coast What An Experience

Here, My Dear (2021) 6 Inch (ft. The Weeknd) Adorn After The Love Has Gone A Lonely Night Broken Clocks Coffee Done For Me Emotion Every Kind Of Way Falling For You Fetish (ft. Schoolboy Q) Fire Rides Heart Less High By The Beach In Your Bed Love On The Weekend Lovely (ft. Khalid) Ocean Eyes Passionfruit Perfect Sad Girl Somebody Else Something About Us (ft. Daft Punk) Sure Thing Thinking About You Too Good (ft. Alan Love) Touch Me

My Voice (2022) Boy (ft. Miryo) Can’t Love You Anymore (ft. Dean) How Can I Say? I’ll Try I Wish Jam Jam Perfect 10 Secret Too Good To Me (ft. Jeon Soyeon) Weekend (ft. L.E) Wine (ft. Changmo) Woo Yoo

Lemonade (2023) All The Way Down And I Drove You Crazy Daddy Lessons (ft. Dixie Chicks) Don’t Hurt Yourself (ft. Jack White) Drowning Forward (ft. James Blake) He Don’t Love Me How Long I’m Your Doll In Time Landfill Lies Love Drought Me, Myself And I Mother Earth My Boy My Mind Numbers Phase Me Out Pray You Catch Me Sandcastles Secrets This Is Not About Us Video Girl Waiting Game Watch What Kind Of Man

Fever (2024) After The Storm (ft. Bootsy Collins and Tyler, The Creator) Are You Satisfied? Baby Boy Birth In Reverse Black Sheep Cupid’s Chokehold Empty Nesters Faster Forrest Gump I Wanna Be Yours Locked Inside Miracle Alligner Night By Night No Control One For The Road Puppet Love Redbone Run Baby Run Self Control Someone New Stockholm Syndrome Strange Mercy To Be Alone Why’d You Only Call Me When You’re High? Yeah Right Your Teeth In My Neck Zombie

Portrait (2025) Belly Ache Betsy On The Roof Bored Cake Copycat Django Sambo Eyes On Fire Hostage I Don’t Wanna Be You Anymore If These Walls Could Talk Liability Love Is A Losing Game Nicest Thing Pilgrim Reality Russian Roulette Serial Killer Something In The Way Talk Me Down Tears Dry On Their Own Teen Idle Tunnel Vision (ft. Shamir) Victory Until We Bleed Use Me You Don’t Do It For Me Anymore You Know I’m No Good

Who I Am (2028) Almost Is Never Enough As Long As You Love Me Bad Religion Cannonball Crave You Draw Your Swords Every Little Thing He Does Is Magic Fireproof Freak Home Just A Boy Let’s Get Lost Listen Malibu Midnight Bottle Moonlight Older Chests Only You Start Of Time Talking To The Moon Tell Me That You Love Me Training Wheels Valentine Volcano Whatever You Like When Your Mind’s Made Up

Spirit (2030) 57821 (ft. Deep Cotton) All I Ask Dark Paradise Hometown Glory I Can’t Get Started I Don’t Know You It Takes A Lot To Know A Man Love In The Dark Lucky Million Years Ago Never Been In Love Before Oh, Maker! River Lea Rumour Has It Salvation Speechless Sweetest Devotion Tightrope (ft. Big Boi) Turning Tables Venus Video Games Vultures Water Under The Bridge You Young And Beautiful

Time (2032) 9 Crimes All Of You Can’t Pretend Caught Don’t Look Back Emotion Illuminated I Miss You Jealous Little Boy Blue Love Nick Of Time Nirvana Nitesky (ft. Robot Koch) Nostalgia One (ft. U2) Palace Pink (ft. Grimes) Religion Remedy The Chain Wolves Wondaland

How Does That Grab You? (2035) All I Have To Do Is Dream Build Me Up Buttercup But Not For Me Can’t Live Without Your Love Heal The World I Fall In Love Too Easily If I Had You I’ll Be There I’m A Ruin I’m Gonna Find Another You Immortal It’s My Party Look For The Silver Lining Look Into My Eyes Make You Feel My Love My Funny Valentine Only Hope Pink Matter Quickie Solo (ft. Andre 3000) The Touch Of Yours Lips Want You Back Wonder You Don’t Own Me

Katerina (2038) Bloodsport Boogieman Come To Mama Holding On Ivy Japanese Denim Killer Queen Land Locked Blues Leave Me Lonely (ft. Macy Gray) Like Real People Do My Favorite Faded Fantasy Neon Valley Street Please Don’t Leave Me Regret Sally Ride Sinner’s Prayer Sober Slow It Down Somebody Told Me Stop The World Touch When You Were Young Who Knew Yellow Brick Road

Waiting To Exhale (2040) A Heartbreak Blood Dazed In Daydreams Delicate Elephant Everywhere I Go Freedom (ft. Kentorey Johnson) Guiding Light Heart Beats Slow I Don’t Want To Change You I’m Afraid In Chains Love Me Like I’m Not Made Of Stone Medicine No Such Thing One Flight Down Pink + White Put Your Number In My Phone Rootless Tree Run Say It To Me Now Ship To Wreck The Animals Were Gone You Don’t Have To Go

A Flower Bookmark (2042) All Alone By The Stream Dear Name Draw Me (ft. Yoon Mi Rae) Full Stop How Can Someone Be Like This? Lonely Nights Love In Color Now Try Your

The Diary Of Nina (2045) Big Jet Plane Blackbird Burning Love Clementine Color Me In Creature Fear Dogs Don’t Know Why Falling Slowly Flightless Bird, American Mouth Gravity Happily He Was Too Good To Me Love Has No Pride Lua My Ideal Paper Aeroplane Slow Dancing In A Burning Room Stand Tall Strong The Long Day Is Over The Moon Song Time After Time Waiting On The World To Change

Glassheart (2048) All This And Heaven Too A Woman’s Worth Believe In You And Me Crazy, Classic, Life Follow Rivers Hardest Of Hearts Honeymoon Avenue I Am Every Woman It’s Always You Like You’ll Never See Me Again Never Let Me Go One Night Only Picture Me Gone Radioactive Run To You Screwed (ft. Zoë Kravitz) The Light Is On Tired Of Being Alone Tomorrow (ft. Tame Impala) Valley Of The Dolls Want You Back You’re Still My Man

Bird Of Happiness (2050) Alterlife Always Be My Baby Anytime You Need A Friend Can’t Let Go Cosmic Love Dirty Computer (ft. Brian Wilson) Drumming Song Falling I Don’t Wanna Cry I’m Not Calling You A Liar Lay All Your Love On Me Like Someone In Love Living Dead Make Me Feel My All One Summer Night Shoot The Moon Suspicious Mind Take Me To The River The State Of Dreaming Wildest Dreams Without You

Last Fantasy (2052) Dreamer Falling Out Foolish Goodbye Lean On Me Letting Go Make Me Love You Meaning Of You (ft. Kim Changwan) My Medicine Only I Didn’t Know Voice Mail Zeze

These Are My Blues (2055) Ain’t No Way Buy The Stars Code Cold Cold Heart Don’t Judge Me Do You? Embraceable You How Deep Is The Ocean? Hypocrates I’d Rather Go Blind I Get Along Without You Very Well (Except Sometimes) I Want You I Was Here Lipstick Long Long Way Love T.K.O My Future Just Passed Take A Bite Too Much Heaven Valerie Voila What’s New? You Light Up My Life

Collaborations

2014 Bom Bom Bom (ft. Roy Kim)

2015 Dream (ft. Junho)

2016 Sseudam Sseudam (ft. 10CM)

2017 Whisper (ft. Ravi)

2018 Hymn For The Weekend (ft. Coldplay)

2019 You Know You Like It (ft. DJ Snake)

2020 Anti (ft. Leo Yang)

2021 Digital Love (ft. Daft Punk) I Feel It Coming (ft. Daft Punk)

2022 Loyalty (ft. Kentorey Johnson)

2023 Sensual Seduction (ft. Cardi B)

2025 Slide (ft. Calvin Harris, Childish Gambino and Offset)

2026 Yesterday (ft. Crush, Dean and Leo Yang)

2029 Lost On The Way Home (ft. Chromeo)

2034 Stay (ft. Mikky Ekko)

2036 Beautiful (ft. Miguel)

2043 Empire State Of Mind (ft. Kentorey Johnson)

2047 You, Clouds, Rain (ft. Shin Yong Jae)

2058 How Deep Is Your Love (ft. The Bird And The Bee)

Soundtracks

Cheese Trap (2015) If It Is You I’m Serious (ft. Day6)

Goblin: The Great And Lonely God (2017) Lost Love You Are

La La Land (2022) City Of Stars I Won’t Say I’m In Love The Audition

Call me By Your Name (2024) On My Own

Breakfast At Tifanny’s (2031) La Vi En Rose Moon River Once Upon A Dream

The Hunchback Of Notre Dame (2033) The Bells Of Notre Dame

Pocahontas (2037) Colors Of The Wind If I Never Knew You Just Around The Riverbend Savages (Part One) Savages (Part Two)

Funny Girl (2041) A Piece Of Sky Don’t Rain On My Parade My Man The Man That Got Away Why Don’t You Do Right?

Anastasia (2046) Journey To The Past Learn To Do It Once Upon A December

The Nightmare Before Christmas (2049) Finale Kidnap The Sandy Claws Sally’s Song

My Love From Another Star (2053) I Will Come To You We Loved (ft. 20 Years Of Age)

The Prince Of Egypt (2057) Deliver Us When You Believe

Filmography (MC)

After School Club (2015-2017) Alongside Eric Nam and U-KISS’ Kevin (from 2015 to 2016) and Day6′s Jae and U-KISS’ Kevin (in 2017).

SBS Inkigayo (2017) Alongside GOT7′s Jinyoung and NCT’s Doyoung.

Filmography (movies)

Architecture 101 (2016) La La Land (2022) Call Me By Your Name (2024) A Bittersweet Life (2029) Breakfast At Tiffany’s (2031) The Hunchback Of Notre Dame (2033) Funny Girl (2041) Two Days, One Night (2044) Anastasia (2046) The Nightmare Before Christmas (2049) I Am Love (2053) A Moment To Remember (2054) The Prince Of Egypt (2057) Amour (2084)

Filmography (television series)

Pocahontas (2037)

Theatre

Lés Miserables (2027)

Competition

King Of Masked Singer (2015) “Somewhere Over The Rainbow” against Son Heon-soo. “Hurt” against Kyungri. “Con Te Partiro” against Lee Hae-ri.

Covers (on YouTube)

2011 Everytime by Britney Spears. Like I’m Gonna Lose You by John Legend.

2012 E.T by Katy Perry. Paparazzi by Lady Gaga.

Cover performances

Gayo Daejun (2015) Bridge Over Troubled Water by Simon & Garfunkel.

Golden Disc Awards (2017) Will The Circle Be Unbroken (with Lee Hi).

Super Bowl (2020) Star Spangled Banner by Francis Scott Key.

BBC Radio 1 (2022) Bad Romance by Lady Gaga.

American Music Awards (2024) Got To Be Real by Cheryl Lynn (with Cheryl Lynn).

Grammy Awards (2027) Hallelujah by Leonard Cohen (with Pentatonix).

BBC Radio 1 (2031) Hands To Myself by Selena Gomez.

NBA All-Star (2034) Star Spangled Banner by Francis Scott Key.

BBC Radio 1 (2042) Hold It Against Me by Britney Spears.

MTV Music Video Awards (2049) My Heart Will Go On by Celine Dion.

Super Bowl (2052) Star Spangled Banner by Francis Scott Key.

Partners

Tidiou M’Baye (2012) Sho Wara (2018-2023) *married in 2022, divorced in 2023 Bill Skarsgård (2025-) *married in 2028

Children

Dario Skarsgård (2031) Isabela Skarsgård (2033) Luna Skarsgård (2035) Anton Skarsgård (2035)

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bronovaten · 6 years

Text

Nina

Nikolina Bronova Mori, professionally known as Nina, is a japanese and naturalized american, bulgarian, south korean and swedish singer-songwriter, composer, multi-instrumentalist, dancer, choreographer and actress under JYP Entertainment and Columbia Records. She is amongst a small group of entertainers who have been honored with an Emmy, Grammy, Oscar and Tony Award. Nina holds the record for the artist with the most singles to top both the Billboard Hot 100 and the Gaon Music Chart. She is also the only artist to have all south korean albums debut at the top of the Gaon Album Chart and all american albums debut at the top of the Billboard 200.

Profile

Full name: Nikolina Bronova Mori (Николина бронова 森). Birth date: December 7th 1998 (19). Birth place: Tokyo, Japan. Zodiac sign: Sagittarius. Chinese zodiac sign: Earth tiger. Height: 1.68cm. Weight: 52kg. Nicknames: Goddess Of Music, Million Dollar Smile, Nation’s First Love, Queen B, Songbird Supreme, The Voice and True Visual. Blood type: O. Voice type: Soprano. Vocal ranking: Star and Great Vocalist.

Curiosities

Animals: Miku (pomeranian) and Misha (rottweiler). Body type: Theatrical romantic (medium height, hourglass and voluptuous figure, medium to big bustline, small waist, fleshy arms and legs, small and delicate bone structure with a soft sharpness). Cup size: C. Ethnicity: Brazilian, bulgarian, japanese and portuguese. Face type: Classic (symmetrical and balanced features). Family: Shigeru Sugahara Mori (father), Katarina Montes Bronova (mother) and Karolina Bronova Mori (younger sister). Fandom name: Beehive. Hobbies: Reading, drawing, listening to music, singing, dancing, watching movies and television series, exercising, traveling, collecting pens and notebooks, taking pictures, riding her bycicle and writing music. Instruments: Acoustic guitar, banjo, banjo ukulele, baritone guitar, bass guitar, clarinet, classical guitar, drums, electric bass guitar, electric guitar, flamento guitar, flute, harmonica, harp, keyboard, piano, synthesizer and violin. Languages: Bulgarian, english, french, japanese, korean, mandarin, portuguese, russian and spanish. Nicknames: Goddess Of Music, Million Dollar Smile, Nation’s First Love, Queen B, Songbird Supreme, The Voice and True Visual. Religion: Catholic. Sexual orientation: Heterosexual. Shoe size: 7.5 (US).

Early life

Nikolina was born in Tokyo, Japan, the daughter of a bulgarian lawyer and a japanese farmer. She lived in Japan until the age of seven, when she moved with her mother and younger sister to Bulgaria, following her parent’s divorce. From the early age of five, she wanted to become a singer, and took various musical classes throughout her early years. She moved to South Korea as an exchange student in 2012 and, after staring in the Broadway production of Lés Miserables and winning a Tony Award for her performance, she was discovered by a representative of JYP Entertainment and signed to the label. In 2020, she made her american debut after signing with the label Columbia Records.

Personality

She is known for being very nice to her fans. Many of them report being well treated by her whenever they meet.

Physical appearance

Black and straight hair. Green eyes. Fair skin. Curvy. Dimples. Two piercings on her left ear and three on her right ear.One tattoo on her left ribcage (“to the stars to the moon”) and one tattoo on her right shoulder (japanese writing of “Mori”).

Vocals

Critic Of Music

K-Pop Vocal Analysis

Albums and singles

Chat-Shire (2015) 11:11 Every End Of The Day I (ft. Verbal Jint) Instagram Pilot (ft. Woo Jiyoon) Why?

Modern Times (2016) Free Somebody Good Day Insane Monday Afternoon Seventeen The Red Shoes

Invitation (2017) Don’t Say No I Feel You (ft. Yubin) Night Rather Than Day (ft. Hani, Moonbyul and Seulgi) Peek-A-Boo Playing With Fire (ft. Kasper) Spring Day (ft. Dok2)

Relax Your Mind (2018) Automatic Galaxy Half Moon (ft. Gaeko) One Of These Nights Serendipity What To Do (ft. Crush)

A New Empire (2019) Bad Boy Come Back Home Gashina Home (ft. Yoon Mi Rae) Really Really (ft. Mino) Whistle (ft. Kisum)

Yours Truly (2020) Into You Love Me Harder One Last Time Problem (ft. Big Sean) The Way Too Little Too Late

Vivid (2021) All I Want For Christmas Emotions I Wanna Dance With Somebody Love On Top No One Physical

Revival (2022) Bills, Bills, Bills Bootylicious If I Were A Boy Independent Women Say My Name Single Ladies

Lemonade (2023) Can’t Feel My Face Diamonds How Can I Ease The Pain? Let’s Groove September Sexual Healing

My Voice (2024) Baby Baby (ft. Young K) Eyes, Nose, Lips Loser (ft. Yang Ye Ming) Missing You Palette (ft. G-Dragon) Why So Lonely (ft. Yezi)

Fever (2025) Bad Liar Dangerous Woman Do I Wanna Know? Psycho Killer Take Me To Church Wild Thoughts

Portrait (2026) Back To Black Chandelier Drunk In Love Love On The Brain Stone Cold Un-Break My Heart

Who I Am (2028) Because Of You Bleeding Love Fallin’ Halo If I Ain’t Got You Million Reasons