#amelia meath

[queer-musician-tournament]

[melodiaafricana]

Sylvan Esso - Ferris Wheel

[singlethread]

This is the same woman who dedicated the song amelia to me before singing it

[stairnaheireann]

#OTD in 1929 – Death of historian and nationalist, Alice Stopford Green, in Dublin.

Born Alice Sophia Amelia Stopford in Kells, Co Meath, she lived in London where she met the historian John Richard Green. They were married in Chester on 14 June 1877. He died in 1883. John Morley published her first historical work Henry II in 1888. In the 1890s she became interested in Irish history and the nationalist movement as a result of her friendship with John Francis Taylor. She was…

[dustedmagazine]

Nathaniel Russell — Songs of (Psychic Hotline)

Nathaniel Russell sings with a warbly sincerity, his melodies wandering sleepily through hedges of scraped guitar and soft, murmured background vocals. A sax blows through from time to time, a bass plunks subliminally, bells, woodblocks and tuned drums tap out tonal cadences. A refrain catches Russell’s imagination and he repeats it, quietly, insistently, until the words transform from their literal meaning into sonic blocks of color.

Russell is a printmaker and musician based in Indianapolis whose home-spun transcendentalism links him to out-there folk artists like Michael Hurley and K Records minimalists including Karl Blau and Beat Happening. This is his second album as a solo artist, and while not exactly polished, it has the air of being exactly what it was intended to be.

Consider, for instance, the beautiful, completely unassuming “Let’s Stop, Listen,” made of the simplest, roughest ingredients: a scrape of guitar, a smattering of bells and the talismanic repetition “Stop, let’s listen to them sing.” Russell croons this by himself for a bit, then picks up extra sustenance from female voice (not credited by likely producer Amelia Meath). Now a saxophone (that’s Matt Douglas) stirs up the air, breathy and sinuous. A glockenspiel or something similar plinks and plunks in the background. The song is simple in the way a shaker chair is simple: 100% of what it needs is there, along with 0% of what it doesn’t.

Or take the equally charming “Wonderful to Be in Love,” which describes, in detail, the act of lying in tall grass watching the sun hit it. The mood is indolent and utterly content, and you might find yourself suppressing a yawn as Russell sings about sunshine and vegetation and romantic bliss. But it also links to something nearly mystical, this song, some life force that runs through nature and the world and even us, if we only slow down enough to feel it.  

These songs feel like parables, earthy enough on a literal level, but vibrating with hidden spiritual matter. “Wish I Was Born an Animal” toys with reincarnation and pantheism and love in the multi-verse, in short, vivid spates of verse. “Wish I was born an animal, you were born a bird,” he poses, “Fly higher than the trees, swimming with the fishes, fly higher than my long lost friends ever did go.” And finally, near the end, “I found a picture in the pocket of a coat I hadn’t worn in a year, it felt good just to listen, just to look, just to be alive, just to be on the breathing, reeling of the world.”  

Songs of is a very slow burner, an album that sounds like nothing the first time you put it on, but gradually takes on weight and meaning and resonance as you repeat.  Give it a little time, and it will bloom.

Jennifer Kelly

[noloveforned]

we're back on wlur tonight at 8pm after an unexpected week off due to illness (i'll spare you the details but let's just say it wasn't pretty). the last show (see below) has also been posted on mixcloud for your streaming convenience!

no love for ned on wlur – july 7th, 2023 from 8-10pm

artist // track // album // label cool blue halo // too much kathleen // kangaroo // no fort not // tell me nothing // depressed for success // meritorio eaves wilder // better together // better together digital single // secretly canadian pardoner // my wagon // peace loving people // bar/none grandaddy // summer here kids (early demo) // under the western freeway (deluxe edition) // friendship fever upset // she's gone // she's gone // don giovanni soft on crime // i won't try // in the terrarium cassette // eats it it thing // p.c.h // constant state 7" // feel it lysol // clean living // on the corner // deranged mesh // potato head // benefit for prevention point split 7" // strange mono lifeguard // ten canisters (ofb) // dressed in trenches ep // matador cia debutante // a dove // down, willow // siltbreeze loopsel // öga for öga // öga for öga // dfa graciehorse // run ricky run // l.a. shit // wharf cat workhorse // desert // desert digital single // dinosaur city amelia meath and blake mills // neon blue // neon blue 7" (split w/ sam gendel) // psychic hotline chuck johnson // night of the disappearance // music from burden of proof // all saints dorothy ashby with frank wess // there's a small hotel // hip harp // prestige andreas røysum ensemble // lalibela // fredsfanatisme // motvind muriel grossmann // go ahead john // muriel grossmann plays miles 7" ep // third man chester watson // fish don't climb trees // fish don't climb trees // pow clbrks and yungmorpheus // officer dibble // a place i got lost in // tuff kong lord jah-monte ogbon // third times a charm // i’ve really never been better // copenhagen crates georgia anne muldrow // husfriend // seeds // someothaship fatlip and blu featuring mc eiht // street life // live from the end of the world (deluxe edition) // nature sounds martha and the muffins // i start to stop // mystery walk // current mega bog // love is // end of everything // mexican summer laura branigan // self control // self control // atlantic the dentists // both sides now // janice long session on april 2nd, 1987 10" // precious jeanines // tilt in your eye // each day 7" // slumberland entrez vous // beach boys (don't live in vermont) // entrez vous! // (self-released)

[computerexploder]

thank you amelia meath for stepping on a basket of rocks

[littleoblivions]

abelia and papyrus for the asks!! <3

abelia ⇢ do you have a particular piece of jewelry you always wear or can’t part with?

i definitely have a few pieces of sentimental jewelry!! a gold heart locket & a gold moon necklace, both from my gf! i also have a quite a few pairs of handmade earrings (2 examples: a pair of white clay clouds and a pair of pink & white frosted animal crackers lmao they’re so cute) i’d hate to part with even if they aren’t things i wear every day

papyrus: if you put your ‘on repeat’ playlist on shuffle, what’s the first song that comes up? what do you like about it / associate it with?

amelia by samia 💙 it’s such a FUN song that has a great buildup and really encapsulates a feeling of hopefulness. i always think of the song’s namesake, amelia meath from sylvan esso! the second verse describes her performing (i’m like how’d you get your leg so high up fuck!!!) and since i’ve seen sylvan esso a few times i can clearly connect the imagery to my own memory which is so dope. she really kicks her legs up so high and is such an incredible performer which adds to the electricity of the song for me!!

[brawn-gp]

i'm giving you a song from my emotional support playlist: caught a long wind by feist!

jay i have no idea how, but you managed to find a song that matches exactly my personal vibe for this past few days im !!

i will assign you one of my favorites of that vibe because i think it actually matches you as well, which is Wild Geese by Lady Moon <3

the rest of the list is here if you’re interested in folk!

- A Drive Through the Countryside by Lowland Hum

- Under The Water by Hand Habits & Amelia Meath

- Light Light Up by Fenne Lily

- Vines to Make it All Worth It by Runner

- FULL GROWN by Field Medic

- House Song by Searows (!!!!!!!!!! biggest rec i could give)

[jazzcathaven]

The A’s     Tiny Desk Concert

Amelia Meath &  Alexandra Sauser-Monnig

[musikblog]

MusikBlog präsentiert Sylvan Esso 2023 Wer da? Sylvan Esso, ein US-amerikanisches Elektro-Pop-Duo, bestehend aus Amelia Meath und Nick Sanborn. Und was machen die so für ‘nen Sound? “Auch sonst ist abzüglich vom sanften LoFi-Akustik-Closer “Coming Back To You” und den vielen, in Klammern gesetzten, Interludes viel Platz für Eskapismus und Katharsis. Die findet selbstverständlich unter der Disco-Kugel statt…” (MusikBlog, Aug. […] #SylvanEsso https://www.musikblog.de/2022/11/musikblog-praesentiert-sylvan-esso-2023/

[desertdreamingariver]

This is a post for no one, but the one thing I desperately want to know about is the connection between Grey House and Amelia Meath’s music (Mountain Man/Sylvan Esso)

[chasenews]

Sylvan Esso Release full-band and orchestralLive At Electric Lady EP

Photo credit Graham Tolbert with the release of Sylvan Esso – Live At Electric Lady, Amelia Meath and Nick Sanborn have further reimagined a set of music that already “challenges all expectations” (The New York Times).  Out now on Spotify, followed by a series of stunning in-studio videos coming to YouTube on 26th May HERE, the exclusive EP features sweeping new renditions of five favorites…

[singlethread]

Samia posted this talking about what the song Amelia is about and my heart is so soft

“Amelia”

“This song is about my friends teaching me how to be okay. We wrote it on our last night in the studio after having the most fulfilling and beautiful couple weeks together. We’d been working in Slyvan Esso’s studio in North Carolina so a lot of this song is an homage to Amelia Meath but it also mentions my friend Muriel who did so many visuals for the record and my friend Caleb who produced the record and co-wrote/inspired so much of it. Especially this past year, I’ve learned to accept myself by watching my friends. It’s probably the happiest song I’ve ever written”

[biglisbonnews]

Sylvan Esso Isn't Making Their Mirror Face Anymore Sylvan Esso, the North Carolina-based electro-pop duo, kicked down industry doors in 2014 with their eponymous debut studio album, Sylvan Esso. It's one of those special captures-a-moment-in-time records, where escaping into the rousing, body-moving tracklist, a folksy mixture of skillful (yet unpretentious) electronic production, felt like discovering an untapped reserve of talent. The album has since accumulated over 250 million streams on Spotify and propelled the band into mainstream success.Ten years into their career as Sylvan Esso, singer Amelia Meath and engineer/producer Nick Sanborn have gotten married, toured the country and sold out shows around the globe. Yet somehow they feel like they're just getting started.I meet Meath and Sanborn — "Sandy," as she calls him — for lunch at preppy Upper East Side institution J.G. Melon. Squeezing puffer coats and backpacks through the tightly arranged floor plan, we wedge ourselves into a corner table with views of East 74th Street. The band is in town for a whirlwind visit of record signing, an Electric Lady Studios Spotify session, a CBS Saturday Morning live show and, most importantly, to see the physical release of their most recent record, No Rules Sandy. Even in the mustard-tinged lighting, the two glow with the frenetic flush of maneuvering a tightly scheduled press trip. No Rules Sandy, Sylvan Esso's fourth studio album, which dropped this summer, was immortalized on January 20th in its physical form. Now, the band is gearing up for their summer tour (with major venues like Red Rocks and London's Electric Brixton already selling out) and has newfound confidence in the longevity and durability of the band."Can I have a dirty Beefeater martini?" Meath asks the aproned waiter. She turns back to us and says, "I know it’s only three, but we did TV already." They’ve just come uptown from a CBS live taping in Times Square. "Fucking genius," Sanborn says, smiling from across the table. They decide to split a cheeseburger with a "fuck yeah" and a satisfying menu pile. "Your hair is just crazy," Sanborn says jokingly to Meath, who tousles her wispy, blonde hair into a more chaotic position."There's something exciting about being a band, coming up on 10 years old, and feeling like there’s still so much for us to discover together," Sanborn tells me. There was a period of time before they started working on No Rules Sandy where he began to worry about playing decade-old songs and fighting to reclaim and relate to a distant version of himself. "This feels like a completely new way of working together, like cracking the knuckles of our band," he says. In January 2022, Meath and Sanborn road-tripped from North Carolina to Los Angeles to attend the Grammys, as they'd been nominated for Best Dance/Electronic Music Album. With a spike in the Omicron COVID-19 variant, the Grammys were postponed, plans and hangouts dashed and the pair was left in their California rental with nothing to do. Three short weeks later, they had recorded the first version of No Rules Sandy. "It was a complete accident," Sanborn says. "It began as just something to do that day," Sanborn says, sipping his Budweiser with raised eyebrows. "We were just playing around to make the other laugh or to be impressed.""They're the most personal songs I've ever written," Meath says. "The first taste of every idea we had, we would just follow." Sanborn recalls that he’s never seen her write lyrics so fast, explaining that nearly all of the vocals on the album were from the first take, even sometimes the first time she ever sang them aloud. "Whatever microphone we had, wherever she was sitting in the house, we would record there. There's like leaf blowers and shit on the album," Sanborn says, laughing. "And birds!" Meath adds. "I would write something and we would both be shocked by it," Meath says. "And then I'd be like, 'Well, we need to change this because it's too close." After multiple rewrites in hopes to distance herself from some of the more vulnerable lyrics, Meath says the songs would always end up worse. "I had to stop doing my mirror face at them," she says. "And even if it wasn’t as ‘cool,’ it’s what I was feeling.""If we re-recorded anything, it just wouldn’t be the moment," Sanborn says. "It was true improvisation. And with improv, if you're doing it right, I think you’re being your most honest, raw self." Witnessing how the polishing and refining of their improvisational work was always to the detriment of the track, both Meath and Sanborn relaxed into the process and let go. "The craziest thing... is that it worked," Sanborn says. The two sneak a glance across the table, a check-in or a shared moment of gratitude. The waiter comes over and Meath orders the cheeseburger. "Just from the tone of your voice, I’m detecting you want your own," Sanborn says with a chuckle. The symbiosis of the pair can be felt in the adventurous nature of the record, intensely intimate and uniquely experimental, created by a partnership that thrives on trust and playfulness. The name of the album, partially an homage to Sanborn's nickname, is a representation of the band's new mentality that accepts and even welcomes the uncertainty of sonic risk-taking and improvisation. If their first record embodied joyfulness and exultation, this album invites unabashed exploration. The epitome of Sylvan Esso's new ethos can be found in the track "Your Reality," an enigmatic synth-pop song with a swelling string quartet that holds the prophetic and titular hook, "Surreal but free?/ It's your reality (no rules lately, no rules Sandy)."When Sanborn first produced the track, the two discovered that each had heard the downbeat differently. Meath had already written lyrics exploring the individual experience of one’s perceived reality and so, in an audacious gamble, decided to protect the disputed downbeat, constructing the baseline and vocal track in a way that validated both interpretations. The song quickly became the symbolic apex of the album — evidence of the duo's playful philosophy and keen experimentation. "Ninety-nine percent of people who listen to the track won't ever think about this. But it made the song both really simple and massively complex. And I think that's the hallmark of our band at this point," Sanborn says. "There's a way to hear our band and kind of dismiss it. For better or worse, we write the type of songs that allow you to enjoy them on a surface level if you want. But if you want to dig into it, every step you go, there’s something for you to find," Sanborn says of the album. "I'm too Midwestern to be this cocky, but it’s a song I don't think any other band could have written."It’s a stark contrast to their last album Free Love, an earnest and tidy project that relied dutifully on the structured tradition of indie-pop. "In a lot of ways, it feels like this record is deeply a return to our first record, in that our first project was really asking, Well, what sounds good? What does this mean to me?" Sanborn says. "I really don't feel like we're confined anymore," Sanborn says. "It feels like we can keep changing because no matter what we do, if the two of us make it, it's gonna sound like a Sylvan Esso record. And knowing that makes all of the other questions go away," Sanborn says. The album still remains acutely close to the two, as it’s yet to be performed in front of their fans. "Songs creep up on me. And I’m still so deeply in the record because we haven't gotten to tour it yet," Meath says. "There's so much more to be discovered."Photos by Alessandra Schade https://www.papermag.com/sylvan-esso-no-rules-sandy-2659297999.html

[kraftwerk113]

Life´s too short for weird music - Tagesempfehlung 21.01.2023

Album of the week (KW 3/23): Sylvan Esso – No rules Sandy

Tatsächlich hatte ich das in 2022 veröffentlichte vierte Sylvan Esso Album No rules Sandy völlig zu Unrecht mit Missachtung gestraft. Vielleicht hatte ich mich zu sehr vom Übertitel Didn´t care (Platz 23 der Life´s too short Jahrescharts 2022) leiten lassen. No rules Sandy ist ein Album, welches Sie sich erarbeiten müssen. Die 10 Songs und 6 Soundfragmente pendeln zwischen gebrochenen Electro-Beats (Moving), knackenden House Grooves (Echo Party, Alarm) klassischem Indie-ElectroPop (Didn´t care) und fast akustischem Folk (Coming back to you). Das mitunter diffuse Album wird wie bei einem roten Faden durch den Gesang von Amelia Meath zusammengehalten.

Zentrales Stück auf No rules Sandy ist No reality, welches die Band zur zentralen Frage des Album führte: wie verrückt können wir das Album gestalten, wie weit können wir gehen, wie fremd kann ein Sylvan Esso Album ausfallen? Nach mehrfachem Hören muss ich gestehen: Experiment geglückt, der Sound von Sylvan Esso hat sich dramatisch erweitert, der Mut zur diffusen Improvisation hat sich gelohnt. Wenn Sie sich die Mühe machen, No rules Sandy mit Ruhe, in einem Kontext zu hören werden Sie vielfach belohnt. So etwa mit meinem Highlight Echo Party. Mehr elektronisches Pop-Gefrickel geht derzeit nicht....