#vivid (acoustic mix)

[twise]

ViViD (Acoustic Mix) (2016)

[welcomingdisaster]

For the worldbuilding asks, ship of your choice and a cultural taboo?

well, this took me forever! thank you for the prompt (from this list). daemags, 740 words, T for mild sexual content.

In later days, after all has come to pass, Daeron will think it an omen. 

Maglor the singer wears white. White loose-fitting robes, draped pleasantly over his sharp, tall figure, drawing the eye to the line of his perfectly cut calves. White pearls on his ankles and his wrists. Shining white opal, slightly iridescent, on his low neckline and in his hair.

It contrasts sharply, unnaturally, against the dark hair that falls in loose ringlets down his back. It draws the eye to the splash of freckles over his cheeks, to his reddened knuckles. His pink mouth is brought into sharp focus by the ring of silver and pearl that pieces his lower lip. It all makes him too-vivid, too-real. 

None stare how Daeron is staring. All around them Noldor elves pass by, casting the singer quick, throwaway glances. A few look over the jewelry, the arrangement — one asks something or other about the acoustics of the hall— but none linger. None seem to think this odd. 

To the Sindar white is the color of death. 

Of the death of all things green and growing, buried under snow; of the high peaks where the servants of the darkness make their home; of bone, bared bone, flesh pulled away by scavengers and rain. 

And so it is also the color of funerals. Mourning robes are plain and white; they must cover the hair and arms down to the wrists. They are worn with no jewelry, save betrothal-rings and locks of hair cut from the deceased and woven into chains. 

At times his people wear pearl and opal on gold, or sewn onto bright fabric; they do not shy away from strips of white surrounded by other color, or in detailing. But white dirties easily, and draws unneeded attention in the dark; there is no use for it, except to show the deepest of sorrow. 

But this! 

This. 

Later Daeron will see a truth in it. A warning, which he ought not have been foolish enough to ignore, that at their first meeting Maglor had robed himself so. It is obscene, this strange imposition of beauty onto sorrow, the way the white falls about his body and draws Daeron’s eyes to his calves, his chest, his perfectly-sculpted wrists and long fingers. 

Maglor bends down to pick up his drums, and the loose-fitting robe sags off his shoulder. His nipple, Daeron sees with some strange mix of horror and delight, is pierced through with pearl. 

Maglor straightens, looks up, and finally notices his observer. They lock eyes. 

Later Daeron will have a thousand words for the color of Maglor’s eyes. Gray-blue, he will say, as the edge of the cloud where it meets the sky. Blue-gray, he will say, as reflection of a cliff face in the lake. The color of moonlight upon steel. The color of starlight trapped in ice. 

But now, caught in the rays of the rising sun, they look nearly white. Unearthly they are, both in their strangeness and their beauty, silver light yet bright in them. 

Later Daeron will never be sure if something did whisper to him them, some sliver of foresight. Run, it might have said, for there goes your heart, and what to sort of keeper? 

But now he steps forward, and takes the hand of Maglor in greeting, surprised despite himself at skin warm and living, at the dimples of Maglor’s smile, the pure-white shine of his too-sharp teeth. Now he follows Maglor to the feast and sings with him, learning quick the notes of the songs of his people. Now he laughs when Maglor plays the part of the virgin in their duet, jesting and utterly irreverent — for to the Noldor white means purity and sanctity, and Maglor is known for neither. 

Now he goes afterwards into Maglor’s rooms, and plucks one by one the opals out of his hair — now he runs his tongue over the pink nubs of his nipples and the little pearls that adorn them, now he loses himself in Maglor’s fair, breathy moans and finds himself, uncharacteristically, at a loss for words. 

“I thought you a ghost,” he says, “dressed so all in white.” 

And that isn’t quite it, but now he does not search for other words, for Maglor laughs and winds his hair about his fingers, saying something or other about spirits, and the scattering of freckles just above his hip looks to Daeron as a constellation of stars.

[angst-and-fajitas]

hi hj hi I’m so so in love with the way you draw Dusk <333 I’d love to hear any lil details about their character? :D (only if you want of course!!)

ALWAYS RAINIA MY BRO💖💖 I'm so glad you like her cause she's one of my ULTIMATE FAVES

So this post here gives the general gist of her story about some about her in a quick read if you wanna catch up on the basics! I'll also just ramble more about her because I love her and could go on forever

Dusk uses she/her pronouns, she's 14 at the start of her story when she runs away, and 17 by book two. She's mixed race Pacific islander, or the in-universe equivalent of that! If she was from our universe, she'd be Samoan specifically

She is a complete and utter goofball!! The happier and more relaxed she is, the silly-goofier she gets, with her jokes and pranks and dumb ideas. Calls everyone bro, dude, or man, even if they're very important

Dusk plays both bass guitar and acoustic, though her acoustic is the one that generally goes with her on her outdoors adventures, and her bass is more for recording or performing. She sings alto (ALTO SUPREMACY)

Her favorite color is a vivid marigold yellow-orange, and her second favorite is purple!

She's very socially skilled, and it's a bit of a double-edged sword. On one end, she can be extremely friendly, charming, and good at reading people. On the other, though, she's very capable of being deceitful and even manipulative in order to get what she wants

Also very physically affectionate!! If she really likes you, she will flop across you like a cat or hold your hand and drag you around everywhere

She picked up kickboxing in order to keep up with Norvori when they get into tight spots, so now she can kick butt too!!

She also learned sign language all on her own for him, so she could teach it to him so he'd still be able to communicate when he couldn't speak

[thedarrelljames]

"Captivating Tunes of Hidden Feelings: Darrell James' Original Single "𝗧𝗜𝗠𝗜𝗡𝗚", produced by James Darrell Coligado Laxamana, is a contemporary pop rock gem that explores the delicate balance of unspoken emotions. With lyrics that delve into the intricacies of admiring from afar, the song's captivating melody and relatable sentiments create a vivid portrayal of unvoiced affection. Set against a backdrop of internal struggle, 'Timing' captures the essence of longing and the uncertainty of when and how to reveal one's true feelings."

LISTEN NOW: https://song.link/DarrellJamesTiming

vocals by Darrell James

words and music composed by James Darrell Coligado Laxamana and Wayneson Perez Dandoy

recorded, mixed, mastered, and produced by James Darrell Coligado Laxamana

record production by E-C Mix Records Productions

copyright © and ℗ 2019, E-C Mix Records Productions

Search and follow me on Spotify now for more music.

https://open.spotify.com/artist/0bJcUaOYnixMlHYBXDKChA

𝗖𝗛𝗘𝗖𝗞 𝗢𝗨𝗧 𝗠𝗬 𝗦𝗢𝗖𝗜𝗔𝗟 𝗖𝗔𝗥𝗗 𝗡𝗢𝗪!

𝗧𝗮𝗽 𝘁𝗵𝗲 𝗹𝗶𝗻𝗸 𝗻𝗼𝘄: http://Find.JamesDarrell.com

or https://artist.link/DarrellJames

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#SpotifyVerifiedArtist #iTunesVerifiedArtist #DeezerVerifiedArtist #YouTubeArtist #Artist #Musician #Singer #Songwriter #Producer #Actor #Model #Endorser #Bulge #Borta #DarrellJames #Hey #Stream #Play #Acoustic #PopArtist #Travel #Travelling #Spotify #SpotifyPlaylist #FollowForMore #NewMusic #NewMusicFriday #OPMHits #Timing #DarrellJamesTiming

[votava-records]

YUGEN BLAKROK - Gorgon Madonna

A sorceress who casts hexes with words and sound waves, Yugen Blakrok emerges from the smoke filled dungeons of rap… Growing up in the Eastern Cape and influenced by the political/militant and spiritual aspects of Hip-Hop, her music is firmly rooted in the mind-set of the 90’s, a deep lyrical and audio odyssey into the world around us, both seen and unseen.

Gaining recognition through various features and live shows, Yugen has been on the SA scene for over a decade. After joining indie label Iapetus Records in 2009, home to artists such as the late great Robo, Hymphatic Thabs and Fifi the RaiBlaster, she teamed up with Sampletologist Kanif the Jhatmaster, releasing several videos and singles, leading up to her debut album. 

‘Return of the Astro-Goth’ (2013) was well received by the Hip-Hop community worldwide, receiving several five star ratings, and caught the attention of renowned Hip-Hop veterans such as Chuck D and Sage Francis. It also saw her nominated three times at the 2014 SA Hip-Hop awards, in the best Lyricist, best Newcomer and best Female categories.

Her sound is a mix of sci-fi soundscapes, hard drums and meditative melodies, over which Blakrok’s words command vivid attention. Live the room often moves as one, as in a trance, led through the acoustic void.

[why-so-serious-lucifer]

K-pop Discography Deep Dives: LOONA

A Disclaimer: I was planning, when I first started Tumblr, to be a lurker, but then I began an office job and needed something to listen to to keep myself occupied. And then, I started going through entire K-pop groups’ repertoires, album by album, and jotting down my thoughts. And then, I stumbled into K-pop tumblr and decided, you know what, there’s at least four people on this hell site who would read in depth rants about these discographies and at least five who wouldn’t read it and then get mad because it’s kind of our job as K-pop fans. My lukewarm takes should be taken with an entire silo of salt and the knowledge that this is completely for fun and occupying my very bored, very neurodivergent brain. With that being said, enjoy!

So, here are my credentials: LOONA first appeared on my radar thanks to my Orbit friend, who showed me Paint The Town a few years ago, and while I didn’t know what to think of it the first time, it grew on me, and it’s joined my regular workout playlist. I became an Orbit myself only a few months before they disbanded, due to their great performances on Queendom, and I joined the boycott from when Chuu was kicked out to the present (and may or may not have cried when they were all freed but that’s a story for another time). So, the women of LOONA have a special place in my heart, and obviously, I’m being more harsh than usual because this is a review, after all.

So, as you may (or may not) know, LOONA’s Korean name means Girl Of The Month, since each of the twelve members debuted with a solo in a different month throughout 2016 and 2017, then in sub-groups, and then finally as a full, 12-person group composed of Heejin, Hyunjin, Yeojin, Haseul, Vivi, Kim Lip, Choerry, Jinsoul, Chuu, Yves, Gowon, and Hyeju (formerly known as Olivia Hye). So, I’m going to go in chronological order. Settle in, folks, this’ll be a long one.

Subgroup #1: ⅓ (HeeJin, Hyunjin, Haseul, Yeojin, and Vivi)’s Love & Evil is on the whole a very cinematic and elegant album with highlights being Sonatine and Rain 51Db, that take the best of Haseul’s solo and add a touch of flamenco and a great mix of voices. It also has small spots of brightness like Love & Live thrown in, again giving the early Gfriend energy.

Heejin’s solo, ViViD, is jazzy and upbeat, feeling like a great start; the acoustic version is a bit more interesting: it has a slightly Latin Pop feel with a melancholy guitar. I do like this one, especially the brass, but I don’t like the chorus’ enunciation (which is definitely not the right word). Specifically, the way she says, “I’m like, oh my goodness,” which gets under my skin for no good reason. But otherwise, it’s in the top half of the solos for me.

Hyunjin’s solo, Around You, is more melancholy, but not in as interesting a way as ViVid’s acoustic version, and although her voice is pretty nice, it sounds like a lot of singers. I far prefer the b-side, I’ll Be There, which reminds me of Red Velvet’s Russian Roulette in the choppy, video-game-esque production. Heejin and Hyunjin’s tones work great together, and the song sounds very like the sort of “golden age” of third gen k-pop, and specifically early Gfriend (who’s going to be the next gg I cover, actually).

Haseul’s solo, Let Me In, also follows the trend of melancholy, but unlike Around You, I actually quite like this one. Like my favorite ballads, it distinguishes itself, with the orchestra reminiscent of a ballroom waltz, and Haseul’s powerful but delicate voice, and it feels like the first of LOONA’s songs to be totally unique.

Yeojin’s Kiss Later is peppy and childish, as befits the subject matter and her age. It also has a 50’s / 60’s vibe to it, with the surf rock guitar break and bighearted instrumental bringing some great energy. This one isn’t my favorite, but it definitely has me bopping my head.

Vivi’s Everyday I Love You is good and I do like it, but it’s so similar to a few of the others that I admit I forget about it until it comes up on my playlist. The chorus is great for roller skating though, and I do always sing along.

Subgroup #2, Odd Eye Circle (Kim Lip, Choerry, and Jinsoul)’s Max & Match boasts the excellent track that LOONATIC is (talk about roller skating songs, damn) with its bizarre reverb, a clear departure from ⅓’s ballads and peppiness. Max & Match’s title track, Girl Front, is also odd, with its warped electronic production; other good tracks are Sweet Crazy Love and Chaotic.

Kim Lip’s Eclipse, admittedly, wasn’t my favorite the first time around, which I blame on it being treated like the second coming of Christ, but it is honestly great, and its sleek minimalism soon made it become an earworm for me.

JinSoul’s Singing In The Rain has a sing talk base mixed with electronic music and a slightly deeper voice than the others. The pre-choruses are good but the chorus is a slight let-down with the way it veers into anti-drop territory (which I might not be so annoyed about if it didn’t continue into so much of LOONA’s later work). The b-side Love Letter is great and has a good flow to it.

Choerry’s Love Cherry Motion is basically two different songs, which is the point, but while both are good separately, they just don’t quite gel. Puzzle feels like a better title track to match with the other members of Odd Eye Circle (Kim Lip and Jinsoul), but Love Cherry Motion’s peppier part would feel right at home in ⅓ with the first five solos.

Subgroup #3, Yyxy (Yves, Chuu, Gowon, and Hyeju)’s Beauty & The Beat is the best of the sub group albums, combining the bubbliness of ⅓ and the electro drive of OEC, with a few ballads thrown in there for good measure. Love4eva, the title track, remains stuck in my head on a loop.

Yves’ New is a bit similar to Eclipse, but more upbeat and hopeful. It’s day to night and I like it a lot, but I think it needs a cathartic moment or climax when it just doesn’t have one, although the “always…all my life” comes close. The b-side is fine, but blends in with the rest.

Chuu’s Heart Attack is bubbly and bright and that brightness and youth feel more genuine than in other songs, not coming across as cloying. It’s probably my favorite solo, purely because of the great match between Chuu and the song itself, the inclusivity, and of course, the sheer amount of endorphins.

Gowon’s One And Only also falls into the not-happy, not-sad minimalist electro pop genre, and while it’s not bad, it’s also the same as so many of the others, and doesn’t utilize her vocals the way See Saw does. Overall, it’s…eh

Hyeju’s Egoist is another electropop song, but distinguishes itself with an interesting performance, a whistling hook, and a unique production; Rosy is good, but not great.

And now we reach the full group, almost two years after Heejin’s solo dropped, with the mini album (++) and its title tracks Favorite and Hi High and the repackage album (xx) and its title track Butterfly. Favorite has a good build up, but ends up feeling like what it is: more like a b-side than a title track to me; as with a lot of the b-sides, their vocals aren’t really showcased and the synths are doing the heavy lifting.

Hi High, meanwhile, isn’t representative of the minimalist synth, but is of the other, bubblier, poppier side of their discography, and is best described as a serotonin boost with a gut punch of a high note; overall, not a fixture on my playlist but a welcome listen when it shows up once in a while.

Butterfly is…well, indescribable, but like the top tier of LOONA’s work, its uplifting synth pop will take its time but eventually become an earworm you can’t help but return to; it’s ethereal and balanced in the best way and quite possibly LOONA’s most magical song. It feels almost heavenly, and I don’t say that lightly. As for the b-sides of these albums, the ones that stay in this ethereal category like “Satellite”, “Curiosity” and “Where You At” are almost all good, albeit a bit forgettable.

But now comes (#), and one of the biggest tonal shifts I’ve seen in a discography, with So What arriving like a battering ram. So What has such excellent parts, but just doesn’t quite achieve its goals; it’s just such a drastic change in sound with a great pre-chorus and an especially excellent bridge, but the chorus is a let down of what would be so much more powerful if it lived up to it. I can’t lie though, So What gets my pumped, and I do like it. It lets the singers be angry, which K-pop should lean into more, and in the light of LOONA’s court battle (which they won!), the “Free” at the end never fails to make me emotional.

The shift continues into Why Not? and it’s album 12:00. Why Not? itself is fine but far from their best; it has some of their worst habits (empty choruses, lalala’s, great build-ups with let downs, wasting their best voices, etc). It’s also catchy and I don’t hate it, but I know full well LOONA can do so much better. Voice is great, however; a return to the minimalist synth from the beginning that I admit I complained about, but LOONA does it so well. Unlike many earlier b-sides, it feels like it has drive and ambition, and it uses their voices well.

Paint The Town was actually the first song I heard of LOONA’s, and as I mentioned before, it did grow on me, despite not being my favorite. I far prefer the wuxia inspired Queendom stage of it that made it more interesting and used their voices better. The b-sides of (&) the album, are pretty good, especially WOW (which finally has a full chorus), Dance On My Own (which I wish was longer), and Be Honest (love the clapping).

But after their dynamic performances on Queendom, the next comeback Flip That is just so…nothing, and with it being their last title track, it’s a sad way to end things. The Journey is a good intro and I wish more of it came into the song, because the way it is, it’s so forgettable that I almost forgot to include it. The b-sides aren’t bad (although Pose and its anti drop annoy me, definitely) and Pale Blue Dot is probably my favorite, because I do love a good high note.

After revisiting LOONA’s performances on Queendom for this deep dive, I noticed something: LOONA feels more like SNH48, a dance troupe that sings, than a K-pop group of singers who dance. With the exceptions of a few (Chuu, Kim Lip, Haseul, and Heejin), a lot of their voices don’t feel distinct. That’s not to say that they’re bad, obviously, but they’re fairly standard in the realm of K-pop. Chuu especially has a great voice but it’s very underutilized, which does makes sense given that it’s a group of twelve.

Writing about LOONA is odd because it feels like writing about two totally different groups: the gentler, younger pre-debut years, and the louder, brasher girl-crush post-debut years, after Butterfly. I don’t quite know how to do a ranking, so I split it in two: my top 5 solos and my top 5 after debut. My top 5 solos are Heart Attack, New, Eclipse, Egoist, and Let Me In. My top 5 after debut are Butterfly, Star, Dance On My Own, Pale Blue Dot, and So What. Overall, LOONA gets an 8.25/10 from me, similar to (G)I-DLE. But where (G)I-DLE takes risks that either really pay off or really don’t, much of LOONA’s music takes the safe, expected route, and it all ends up in the middle—good but not fantastic. A lot of this, I think, can be attributed to the fact that, when under Blockberry, LOONA didn’t get to have much input in the creative process. I hope that wherever the girls’ careers take them, they’ll get a chance to be more involved, and I’ll be watching Loosemble’s debut on Friday.

So, see you next time, for a (hopefully less long) boy group!

[7clubs]

ok not a yumimei ask this time but I’m curious to know what you think seb’s childhood was/how blaise treated her

whew. (TW for discussions/depictions of abuse [seriously tread carefully here...] brief mention of death/suicide in AA cases.)

tl:dr: Always walking around eggshells around Blaise. Awful mindgames. Might promote my fic chapter real quick actually since that delves into that a little... And I might talk about some of these more in a later chapter. But yeah...

I'd say she has some faint, nice memories of her mom, but she vanished when Seb was maybe 5-6. I think she was musically minded, though not financially powerful, maybe a teacher. Some of Seb's most vivid early memories are of sitting beside her, watching her play on their nice acoustic piano.

But after that, it was just her and Blaise.

Most of Seb's keepsakes of her mother disappeared except for that piano, only because it was too nice a statement piece to destroy. Though Seb only played it whenever he wasn't listening. (Thankfully, she acquired it after Blaise's incarceration, so she gets to play with her new family now.)

Straight off the bat I'm gonna say: I've seen a lot of people HC Blaise as having been physically abusive to Seb, burn scars, etc, in addition to the canon verbal abuse. Totally understandable, given the horrifying implications of this bit.

Which is to say that I don't see him """actually""" laying a finger on her even once. A big part of it is probably because it feels too heavy for the tone of AA, just for me personally... which is a WILD thing to think about considering the many murders and suicides and "matricide" AA DOES depict!!!

But they've always skirted around that kind of behind-closed-doors physical domestic violence (i'll be using this term in the familial/household sense rather than partner violence) as a serious theme in the games (as slapstick... not so much, unfortunately...)

Relatives do attempt to harm each other, again, see the "matricides" in the series and general Fey family drama... I don't know if this makes sense, but it's just less intimate and easier for the general viewer to stomach when these happen as part of grand schemes with robots and channeling thrown in the mix.

Seb flinching when they see Blaise approach and him taunting them when they do does Not hit that way. Seb willingly putting out the possibility that Blaise "wanted to kill her for being a nuisance" in her Logic Chess does not hit that way.

When I HC for stuff, I tend to find myself trying to match the tone of the original since I'm a boring stickler for canon. But I can't ignore how haunting that scene is, so this is the compromise I've found for myself. It's still really heavy, though.

Yeah, Blaise never ""actually"" laid a hand on her. But Seb was always, always keenly aware he could and was terrified for it. She's still terribly traumatized for it, and a big part of it is the second-guessing and guilt over how it "wasn't actually that bad."

One aspect of Blaise's deplorable character I find interesting and very characteristic of him is how he constantly dresses it up in being jokey and playful and, basically, layers of plausible deniability. It's a fucking mindgame minefield and I feel so bad for Seb.

Alongside the terrible verbal abuse and controlling her finances/life path/etc, one thing I could see him subject her to a lot is, yes, making a show of destroying stuff. Wrecking her stuff as punishment, or destruction for the sake of showing his own strength and, again, capability to hurt. I could see Blaise in a temper going on the warpath with Seb as a witness, and doing his shit apology later asking her to understand that his emotions just got the better of him, while Seb just nervously looks over to a chair he's reduced to splinters.

So that's really the undercurrent of their entire relationship: Insults and abuse dressed up as affection and jokes, constant uncertainty and tiptoeing on Seb's part because surely her pops really isn't that bad, he's provided for her all her life, she must understand how hard it is that he's a single father, it's not as if he's actually hurting her. He's scary when he's on a temper but at least it's not them. He's just got a peculiar personality, he's imperfect, but he's their pops. All the while wearing them down mentally so that they'd do anything for his favor, anything so he wouldn't actually cross the line, cling to a false sense of pride for stability. Always, always making excuses for him, to the very end. She eventually comes to terms with how awful it all is, through the 7yg.

(Re: Seb being trans... I don't think she'd describe her journey with the like "trapped-in-a-boy's-body but i was always a girl" narrative, more the "I was a boy for a long while and now I'm a woman" path of transness. She did hold back on some impulses though, wanting to experiment w/ presentation as a teen, because she knew that would Not go over well with Blaise. )

Anyway in the AAI3/AA7 I imagine in my brain the very first victim is Blaise Debeste. world is abundant, goodnight <33

[dustedmagazine]

Stella Kola — S-T (Fountain Flight)

Stella Kola by Stella Kola

“November” wheels out of the mesh with a brash assurance, swaggering with layered stringed parts, sashaying on twangy blues-folk licks and surging with a gorgeous, all-hands chorus. The most mobile and agitated of these cuts, it hugs the curves and fills the rafters. If it sounds a little P.G. Six-ish, that’s because Mr. Gubler is sitting in. And if it resembles an amalgam of Western Mass acid folk’s finest, well, it should. Beverly Ketch, who sings, hails from the twee folk Bunwinkies. Rob Thomas from Sunburned Hand of the Man plays one of several guitars, as does Jeremy Pisani (also Sunburned) and Willie Lane. Willie Lane’s sometime recording partner Wednesday Knudsen is on hand for flute and saxophone flourishes, while Jen Gelineau fills in the cracks with thick swathes of violin. Stella Kola is not a person, but rather an idea of a music that runs from Vashti Bunyan’s breathy purity to the Incredible String Band’s raucous multi-cultured reels.

These are fragile, delicate melodies, built out to density with luminous textures of sustained sound. Even bare, as in the opener, “Rosa,” the mix of Ketch’s charming, unfussy soprano and clear, resonant acoustic guitar, casts a hypnotic spell. When flute, synths and maybe strings swoon in midway, it doesn’t obscure the precision, merely buoys it up on a tidal swell of sensation. “Epiphany” slants blues-ward, its driving guitar melody recalling axe-men like Richard Farina or Richard Thompson, its skittering rhythm pushing things onward. And “Free Afternoon” with its blowsy sax and breezy air, hardly sounds folk at all; more like the Brit pop revivals of the Essex Green.

Ketch writes her lyrics in vivid, surrealist terms, flashing tarot card imagery of towers and ladies, queens and quests that are, somehow, not archaic at all, but fresh as flowers. There’s even a cut called “Tarot Song,” with clockwork picking and wavery organ drones, but it is full of light and breath and life. Folk music—and even folk revival—can be a musty genre, but Stella Kola blows a flower scented breeze through traditional forms. Whether you like the oldsters like Pentangle and Fairport, or the younger crew like Meg Baird and Red River Dialect, Stella Kola will fit the bill.

Jennifer Kelly

[lizzieehearts]

i love you flip that i love you need u i love you pale blue dot i love you the journey i love you playback i love you pose i love you ptt i love you dance on my own i love you u r i love you be honest i hate you a different night i love you wow i love you & i love you why not i love you star i love you voice i love you universe i love you hide and seek i love you 12:00 i love you so what i love you ding ding dong i love you oh yes i am i love you # i love you butterfly i love you colours i love you curiosity i love you satellite i love you where you at i love you xx i love you hi high i love you perfect love i love you heat i love you favorite i love you ++ i love you not friends i love you yum yum i love you yummy yummy i love you love and evil i love you love and live i love you rain 51db i LOVE you sonatine i love valentine girl i love you girl front i love you sweet crazy love i love you odd i love you add i love you odd front i love you chaotic i love you loonatic i love you loonatic english version i love you love4eva i love you rendezvous 18.6y i love you frozen i love you one way i LOVE you dal segno i love you egoist i love you rosy i love you one and only i love you see saw i love you heart attack i love you girls talk i love you new i love you d-1 i love you love cherry motion i love you puzzle i love you singing in the rain i love you love letter i love you eclipse i love you twilight i love you every day i love you i love you every day i need you i love you kiss later i love you my melody i love you yeojin i love you my sunday i love you let me in i love you the carol i love you the carol 2.0 i love you around you i love you i'll be there i love you vivid i love you vivid acoustic mix i love you loona i love you idalui sonyeo i love you moon girls i love you heejin hyunjin haseul yeojin vivi kim lip jinsoul choerry yves chuu gowon olivia hye i love you 1/3 oec yyxy i love you

[chrisryanspeaks]

Peel's 'Acid Star': A Psychedelic Journey Through Rock and Electronica

Acid Star by Peel is an intriguing debut that taps deeply into the eclectic influences of its creators, Sean Cimino and Isom Innis, both of whom are members of Foster the People. The album showcases a blend of electronic rock, psychedelic dance, and elements of dream pop, echoing the duo’s aim to channel the uninhibited energy of the music they grew up loving, before “any taste or judgment” intervened. Starting with tracks like “Y2J” and “Acid Star,” the album paints a vivid soundscape that traverses from upbeat, psychedelic dance tunes to more reflective, acoustic guitar-driven numbers. “Cycle,” another standout track, exemplifies the album’s mix of psychedelia and electronica, featuring a mesmerizing mantra that evolves into a hauntingly beautiful outro. In their creative process, Cimino and Innis aimed to recapture the rhythms and textures of songs that resonated with them in their youth, resulting in an album that’s both a nod to the past and a forward-looking exploration of sound. With influences ranging from Primal Scream to Happy Mondays, “Acid Star” offers a modern spin on a classic formula, blending dance-music elements with rock’s foundational energy. Peel’s debut is a testament to the duo’s shared musical journey and their seamless collaboration, showcasing their ability to craft songs that are as experimental as they are accessible. “Acid Star” is not just an album; it’s an experience that invites listeners into the vibrant, eclectic world Peel has created. Check out “OMG” below: Read the full article

[audiofuzz]

Peel's 'Acid Star': A Psychedelic Journey Through Rock and Electronica

Acid Star by Peel is an intriguing debut that taps deeply into the eclectic influences of its creators, Sean Cimino and Isom Innis, both of whom are members of Foster the People. The album showcases a blend of electronic rock, psychedelic dance, and elements of dream pop, echoing the duo’s aim to channel the uninhibited energy of the music they grew up loving, before “any taste or judgment” intervened. Starting with tracks like “Y2J” and “Acid Star,” the album paints a vivid soundscape that traverses from upbeat, psychedelic dance tunes to more reflective, acoustic guitar-driven numbers. “Cycle,” another standout track, exemplifies the album’s mix of psychedelia and electronica, featuring a mesmerizing mantra that evolves into a hauntingly beautiful outro. In their creative process, Cimino and Innis aimed to recapture the rhythms and textures of songs that resonated with them in their youth, resulting in an album that’s both a nod to the past and a forward-looking exploration of sound. With influences ranging from Primal Scream to Happy Mondays, “Acid Star” offers a modern spin on a classic formula, blending dance-music elements with rock’s foundational energy. Peel’s debut is a testament to the duo’s shared musical journey and their seamless collaboration, showcasing their ability to craft songs that are as experimental as they are accessible. “Acid Star” is not just an album; it’s an experience that invites listeners into the vibrant, eclectic world Peel has created. Check out “OMG” below: Read the full article

[mrbenvs3000w24]

Tuning into Nature: The Interplay of Music and the Natural World 🎶

When I lace up my hiking boots and venture into the wilderness, there's one companion I always make sure to bring along: music. To me, music and nature are inseparable companions on my journeys, each complementing the other in a beautiful dance of harmony. But where exactly does one find music in nature, and where does nature find its way into music?

Let's start with the first question: where is music in nature? Well, for me, music is everywhere in nature if you listen closely enough. It's in the gentle rustle of leaves in the wind, the rhythmic patter of raindrops on leaves, and the melodic chirping of birds at dawn. And for Gray et al. (2001), it's in the sounds of whales in the ocean and the countersinging of bird species such as the Socorro mockingbird. Nature has its own symphony, a harmonious blend of sounds that ebb and flow with the changing seasons. And now, let's experience a snippet of this symphony firsthand with a video I captured last April:

Immerse yourself in the serene melodies of nature at Starkey Hill Conservation Area in Puslinch, ON. 🌿🎶 Let this video transport you to a place where the beauty of the natural world takes center stage.

Conversely, where is nature in music? Nature's influence on music is undeniable. Many composers throughout history have drawn inspiration from the world around them, infusing their compositions with the sights and sounds of nature (Cooney, 2020). From Vivaldi's "Four Seasons" to Smetana's "The Moldau," nature's influence is woven into the fabric of classical music (Cooney, 2020). But it's not just classical composers who are inspired by nature; artists across all genres have been known to incorporate natural imagery and sounds into their music. Consider, for instance, Zach Bryan's "Smaller Acts," where croaking frogs and distant crickets blend seamlessly with the acoustic strumming of a guitar:

Direct video link: https://youtu.be/dM_aZOAeLso?si=XLqrweq4O2-lwyhd :)

But nature's influence on music goes beyond mere inspiration—it has been used to actually create music itself. For thousands of years, humans have utilized natural elements to craft instruments and compositions. One fascinating example is the discovery of prehistoric flutes made of animal bone in France and Slovenia, some dating back as far as 53,000 years ago (Gray et al., 2001). These ancient instruments provide tangible evidence of our ancestors' deep connection to the natural world and their desire to capture its essence through music.

Now, let's talk about those songs that transport us back to a natural landscape in an instant. For me, one such song is "Vagabond" by Caamp. The folksy acoustic guitar paired with the raw, emotive vocals instantly evoke memories of long hikes through the rugged terrain of Northern Ontario. There's something about the lyrics and the melody that perfectly captures the sense of adventure and freedom that comes with exploring the great outdoors.

Direct video link: https://youtu.be/XK3l7QtYeMA?si=WljC1ht2mmHRa9wt :)

Similarly, several songs by Mt Joy have the same effect on me. Whether it's the hauntingly beautiful "Silver Lining" or the anthemic "Sheep," their music has a way of whisking me away to the tranquil beauty of nature. It's as if each note is a brushstroke painting a vivid picture of rolling hills, towering pines, and crystal-clear lakes.

As for the context, well, I often find myself playing these songs on those long hikes in Northern Ontario that I mentioned earlier. There's something truly magical about being surrounded by nothing but wilderness, with only the sound of your footsteps and the occasional rustle of leaves to keep you company. And when you add the perfect soundtrack to the mix, it's like stepping into a scene from a movie – everything just falls into place, and you feel completely at peace with the world.

Overall, the relationship between music and nature is a deeply profound and endlessly fascinating one. Whether it's finding music in the sounds of nature or discovering nature within music, there's something inherently beautiful about the way these two elements intertwine. This interconnectedness resonates deeply with our ongoing dialogue on Indigenous value systems, which reject the notion of a strict division between culture and nature (Hooykaas, 2024). So the next time you find yourself out in the wilderness, take a moment to listen – you just might hear the sweet melodies of nature's symphony all around you🌷. Until next time!

Madison B.

References:

Cooney, D. (2020, May 15). Inspiration: An NSO Young People’s Concert about Big Ideas and Big Music. The Kennedy Center. https://www.kennedy-center.org/education/resources-for-educators/classroom-resources/media-and-interactives/media/music/ypc/inspiration/

Gray, P. M., Krause, B., Atema, J., Payne, R., Krumhansl, C., & Baptista, L. (2001). The Music of Nature and the Nature of Music. Science, 291(5501), 52-54. https://link-gale-com.subzero.lib.uoguelph.ca/apps/doc/A69270354/AONE?u=guel77241&sid=bookmark-AONE&xid=fb9366a8

Hooykaas, A. (2024). ENVS*3000 Nature Interpretation course notes. Retrieved February 27, 2024, from https://courselink.uoguelph.ca/d2l/le/content/858004/viewContent/3640021/View

[mirandamckenni1]

Melodic Gothic Metal at it´s Best! Kaleidoscope by Ember Sea (Official Music Video) A powerful and emotional melodic gothic metal anthem that captures the chaos and whispers of a restless mind. With its vivid lyrics, the song takes the listener on an intense emotional journey, painting a picture of colliding voices, fear in shadows, and dancing on the edge of time. The track is both energetic and haunting, making it a must-listen for fans of melodic metal seeking raw emotion. The accompanying sexy video adds to the intense experience of the song. Kaleidoscope - Ember Sea (Official Music Video) ****************** Listen to Ember Sea music: https://ift.tt/Xt8ljP0 Bandcamp: https://ift.tt/xDcUnyZ Instagram: https://ift.tt/tsePCOk Facebook: https://ift.tt/J3PbEHy TikTok: https://ift.tt/ksQGql9 Web: https://bit.ly/ember_sea Shop: https://bit.ly/Shop_Ember_Sea Merch: https://ift.tt/70DvMmd ******************* LYRICS A chaos inside me A mess, voices collide Just listen, this soulstorm An exit hard to find I'm fearing the shadows Silence of sleepless nights Adrifting, no anchor Dancing on the edge of time Me to find All colours blinding bright Kaleidoscope is turning 'round Day and night A captive of my restless mind The moments of silence Stillness of an empty room Then haunted by whispers Lost at the edge of time Me to find All colours blinding bright Kaleidoscope is turning 'round Day and night A captive of my restless mind ****************** ABOUT EMBER SEA walk the line between Metal, Gothic & Rock, forging the best of those genres into their own unique style. Razor-sharp riffing, driving rhythms, spheric keyboards as well as the multifaceted voice of lead singer Eva blend into catchy songs that will remain in your head and heart. Tales of adventure seeking voyagers, raw nature, temptation and passion give you an insight into manifold soul worlds. While always keen on exploring and experimenting, the band keeps their songs straight and down-to-earth, making it comfortable to sympathize and go along with them and their music. Their passionate live shows add to their mix of styles when it comes to attract fans of different genres. EMBER SEA also provides an acoustic live set reflecting the band's love for music and the skills of each single band member in an impressing way. It is suitable for a broad audience in any kind of venue. Contact +491714470110 info@ember-sea.de https://ift.tt/VQBeUZf https://ift.tt/mawpTjt https://ift.tt/R4XrO2P Written, arranged & recorded by Ember Sea Mixed & mastered by Green Bronto Audio https://ift.tt/VQBeUZf Videography by Carsten Frank https://ift.tt/u76sGvA Special Thanks to Sven Seidel for catering and allround support during the shooting of this video and throughout the past decade To all our fans: We thank you all for your support! #femalefrontedmetal #gothicmetal #symphonicmetal #embersea #emberseaband #femalesinger #rockband #femalefronted #femalemetalsinger #hannoverbands #germanmetal #rock4climate #melodicmetal #sexy #gothicrock via YouTube https://www.youtube.com/watch?v=sTETIxYuMkI

[lovejustforaday]

2023 Year End List - #9

Paper Cut From The Obit - Celestaphone

Main Genres: Jazz Rap, Experimental Rap, Abstract Rap

A decent sampling of: Jazz-Funk, Psychedelic Soul, Conscious Rap, Jazz-Rock, Disco Rap, Progressive Rock

Counting down the list with yet another weird ass hip hop album, and there's still two more to go after this one, so strap in.

Celestaphone is the project of American rapper/producer Joseph Murphy. The guy raps in the way I might imagine the Joker (no, not that one, the OG one) would sound if he was whacked out on some really hefty stimulants and also an IT tech guy who plays D&D.

The dude's self-portrayal is so goofy and non-threatening that it makes some of the frankly insane abstract rap ramblings go down a lot smoother. Actually, I'm kind of obsessed with his persona - I would play the hell out of a video game staring this character.

According to his Spotify bio (Look, the guy hasn't done a whole lot of interviews), Joseph grew up around total music nerds, listening to Madvillain, Frank Zappa (checks out), and Kate Bush from an early age. And there is certainly a lot of evidence of a musically colourful mind on this latest project of his.

As far as I'm concerned, Paper Cut From The Obit is probably just the unhinged setlist of an in-house live jazz band meant to be playing for the rejected late night show that got cancelled for blatant sacrilege, put to record. Sound-wise, I think Celestaphone might've just invented "prog rap" on this thing, what with the virtuosic, ambitious jazz-funk production and clear prog rock influence, combined with sudden changes in rhythm that keeps me on the edge of my seat (if I'm not already up shaking my ass to the funk rhythms).

Also, just a silly little tip I discovered the other night - playing this while rolling around in Liberty City, speeding down the wrong side of the street is a whole aesthetic moment and the closest I've felt to being invincible in a while.

The jerky organized piano jazz rap chaos of "Jettatura" is disorienting. Feels like banging my head and seeing stars in a seedy jazz club in a city I'm completely unfamiliar with. Completely twisted magic.

"Small World" is a lyrical masterclass, plain and simple - maybe my favourite bars of the year. Musically, I'm getting vivid images of bouncy animated skyscrapers and blinding camera flashes and bright ass flood lights. "Imagine you looked at a tree just the way you look at your penis" is the most hilarious lyric of 2023.

"Tops Turvy" is a mix of classic funky clavinet and a plush, organic jazz beat that feels hella comfy. Floating up on the top cloud in a technical dreamy funk heaven, while giggling with the devil himself as Celestaphone pokes fun at the promises and overzealous claims of organized religion.

The instrumental "Chitauri Chip" is a glittering and mythical jazz-rock, dancing the flickers of an old and sacred flame. Has some desert-wandering merchant energy in the general vastness and mystery of its central riff, plus those golden brown acoustic guitar chimes shimmering like treasure in the sun's massive rays.

Also, would ya look at that? Surprise Armand Hammer feature on the more chilled-out "Tithes", along with underground avant-garde rapper sensation Moor Mother. Funny, I wonder if one of them Armand Hammer dudes is gonna appear one more time on a different entry in this list (hint hint). Incidentally, another one of the best moments on this highly leftfield record.

"Babies" is simultaneously one of the strangest choices for an album closer I've ever heard and exactly how an artist like Celestaphone would choose to end a record. It's, well, it's an ode to babies. There's elements of satire but also he's making a pretty good case for baby supremacy. That twangy guitar solo throughout the whole thing just accents how utterly crazy this guy is. I wouldn't have had it ending in any other way. A comical stroke of genius.

There is one or two tracks I would omit in the mid section, and the sequencing could've been spread out more seeing as how nearly every major highlight is on either end of this 16 track powerhouse. But still, enough of this is balls-to-the-wall crazy and infectious that I don't mind that it's got a longer run tracklisting-wise, and at only 43 minutes total runtime, no song every overstays it's welcome.

Yeah, honestly I'm mostly totally impressed by this record. Between all of the ambition displayed here and the major underground names he's collaborating with, it's really not a matter of if but when this guy blows up.

Paper Cut From The Obit is one of the most creative records I listened to in 2023, and nearly every second of it is teeming with mad scientist energy thanks to Joseph's immense presence as an MC and his immaculate taste in sexy fucking retro jazz beats. I'll have whatever this guys having, thank you very much - dude's got it all figured out.

9/10

Highlights: "Small World", "Tops Turvy", "Chitauri Chip", "Tithes", "They All Con It", "Jettatura", "Babies", "Erfurt Latrine", "Paintings of Panspermia"

[thebandcampdiaries]

Creatives Anonymous Records presents "Creatives Anonymous Various Artists Compilation, CAR VOL.1,”

October 2023 - "Creatives Anonymous Various Artists Compilation, CAR VOL.1,” is a new compilation from Creatives Anonymous Records. This is a true a musical journey that transcends genre categories and embraces the varied creativity of a diverse group of artists, who got together to bring something special to life. This compilation album is a testament to the power of music to unite people and celebrate the beauty of music in all of its forms.

Diversity is the cornerstone of "CAR VOL.1." This compilation offers a little bit of everything -  From big, ambitious arrangements to House music and other EDM. It weaves seamlessly into the ethereal realms of ambient soundscapes and chill-wave, the crackle and warmth of lo-fi, the even the modern punch of trap, hip-hop and R&B. This amalgamation of styles on CAR VOL.1 ensures that every listener will find something to connect with, making it a unique and all-encompassing auditory experience. Cross-contamination of styles is always a fantastic way for fans to discover something new and get introduced to sounds they might not normally come up with!

With a medley of sonic elements, each track creates a new dimension of sound and emotion. You'll encounter everything from mellow acoustic guitars to huge beats that resonate in your bones. There is even room for 808-style drum machines, a wide array of synthesizers, and tracks with vocals.

In a world where musical genres often define and segregate artists, "CAR VOL.1" is a breath of fresh air. It proves that music is a universal language that transcends labels, and that talented artists can coexist despite their differences. The common thread that binds these artists together is their passion, a shared dedication to making great music. Each track on this compilation is crafted, artistry, and an unwavering focus on immersive soundscapes that speak to the heart and soul of the listener.

The artists featured on "CAR VOL.1" represent a wide spectrum of musical talent, and each one brings their own unique flavor to the mix. Dion Kempenk, an orchestral composer, takes you on an epic journey with his masterfully executed arrangements; which evoke powerful emotions. In contrast, artist/producer Astro injects electrifying energy with some killer rap tracks that channel the power and depth of electronic music.

Chris Cruise brings his penchant for crafting textural ambient music to the compilation. His sonic dreamscapes invite contemplation and introspection, and offer a nice change of pace. Meanwhile, Ricardo Alire delves into the world of Latin Tech House, expertly blending hard-hitting four-on-the-floor rhythms with hypnotic melodies, approaching the genre in a different way. Among other artists involved, WETduck is also one of the highlights, as he adds a unique touch with trap that bring a sense of relatability and vulnerability to the flow of the compilation.

To conclude, ”CAR VOL.1" is more than just a collection of random tracks put together in a set list; it's a testament to the possibilities of music. It's a reminder that true musicians are defined by their ability to move the soul, regardless of the genre they focus on. In a world where music genres continue to evolve and merge, "CAR VOL.1" is a testament to the power of creativity, a vivid reminder that the lines between genres are becoming increasingly blurred and there is no point in keeping things compartmentalized anymore. This compilation is a fantastic opportunity for all these amazing artists to showcase what they’re all about. For the audience, this album is like an invitation to explore, to let go of preconceived notions, and to embrace the boundless power of music in all its forms. It's a sonic adventure that celebrates the artists involved, highlighting their shared commitment to crafting something that’s one-of-a-kind, but at the same time, universally appealing. After all, music is like a language that unites us all!

Find out more a"Creatives Anonymous Various Artists Compilation, CAR VOL.1" curated by Creatives Anonymous Records. This release is currently available on Spotify, as well as other digital streaming services.

We actually had the chance to discuss this release with the label, so keep reading if you want to learn more about the thought process and the backstory behind this exciting compilation.

•    Can you tell us more about the vision and inspiration behind "CAR VOL.1," and how it reflects the values and ethos of Creatives Anonymous Records?

To answer this question, I have to give you a bit of a backstory. Creatives Anonymous was the name of a Discord server I had made earlier this year. I had no intention of creating a label. Over time, our community had grown to about 200 people, and I was amazed at the amount of talent in the community. I began to build a team of artists who showed genuine interest in the community, and soon after, we decided to form a collective that snowballed into Creatives Anonymous Records. It was around April we decided to make a debut album to showcase the diversity in talent our community offers. Car VOL. 1 represents us well because we just love good music. We wanted to showcase talent, not a genre. We love music, and we encourage everyone to express creative freedom, I think that is the message within our community. 

•    Diversity and variety are central themes in this compilation. How did you go about selecting the artists and tracks to ensure a broad spectrum of musical styles and genres was represented on the album?

That was the goal, so I’m happy you felt that in the compilation. The artists chosen were artists who showed and expressed interest in wanting to help build the community, inside and outside of Discord. It just so happened to be my luck. These were very talented producers and artists, not to mention great people. We had planned the album for about 3 months, and when it was time to turn in our releases, the track list sort of just made itself. Nothing was forced or purposely made to fit a theme; it all just sort of blended itself together. 

•    Was it a challenging process to get artists on board with such a broad concept?

Not at all, actually. Everyone was pretty stoked about it, really. Our main focus was to make the best music we possibly could. 

•    Cross-contamination of music styles is a key feature here. How do you believe this blending of genres contributes to the overall impact of this compilation?

Absolutely, it does. We wanted to create a body of work that was different but sonically pleasing. I’d like to think that in a perfect world, you can have house, dubstep, rap, and R&B on the same playlist and love it. I know I do.

•    Do you have any plans for follow-up volumes?

 Yes! We are focused on releasing singles starting the first week of November. Our artist, Star Cadence, will be releasing his debut single on November 3rd, so be sure to look out for that! As far as a follow-up compilation goes, we intend on releasing CAR VOL.2 next Summer, so be sure to look out for that as well! ☺

[existentialmagazine]

Review: Nathan Irving’s new single ‘Crossword’ is doused in the torments of loneliness, wrapped between soft acoustic sounds

Yet again putting his heart and soul on the line, Nathan Irving has returned with his newest single ‘Crossword’, bearing a verse-centric writing style similar to that of Leonard Cohen and early Phoebe Bridgers. As one half of Sleeping Lion, Nathan has many years of masterful experience and musical collaboration under his belt, but he really shines in his solo work and ‘Crossword’ is yet another example of why.

Alike all of Nathan Irving’s poetic feeling releases, ‘Crossword’ holds just as much weight in its words as always, a candidly open slice of what it feels like to be left on the outskirts of a world filled with so much love. From the television’s portrayed expectations of overtly-romanticised lovers to the relics of parents and grandparents there to serve a constant reminder of what he’s lacking, ‘Crossword’ doesn’t hold back in picking apart a life that revolves around love when you don’t have somebody yourself. As Nathan sings ‘my mum and dad do the crossword, while I’m watching people fall in love on TV’ , his envy is strikingly clear, tragically doomed to watch as everything around him paints vivid pictures of the colour his life is insufficient of. Continuing ‘daphne and miles won’t kiss for a while’ , Nathan seems to even yearn for the disagreements and uncertainties that come with love, wishing he had someone to overcome turmoil with and laugh through the darkest days. Further lyrics like ‘that waitress back in Aspen, rolled my number on a napkin, finally called four years after’ embody the dejection he’s found himself wallowing in, almost feeling cursed in the constant rejection and unable to do anything but mourn what he’s missing out of. Even a sad sense of acceptance shines through in the line ‘I’ve come to accept I probably won’t get a cool story like my parents had’ , acknowledging what could’ve been and almost letting go of the dream he’s always carried for a love that’s easy. The revelation that ‘eventually they got divorced’ almost shifts everything though, highlighting the impermanence of life and how what we often see is never the full picture. Though brushing it off by saying ‘still it remains to be said’, this slither of reality shines through his rose-tinted visions of the world and sheds a shadow on his perfectionist outlook. All in all, ‘Crossword’ is a lyrical masterpiece with so much to give and so much meaning buried in every line, and that’s without even considering the way it delivers its actual crossword of lyricism through intersecting ideas that are all connected and expanded through each verse.

Paired with such an intricate level of storytelling is of course an equally poignant soundscape, tinged in the aftermath of an aching heart that yearns for another’s love to relight its dwindling pulse. Commencing with just acoustic guitar strums and Nathan’s haunting vocals tinged in quivering emotion and the human emphasis of occasional strain, ‘Crossword’ immediately establishes its intimate and heavy-hearted sound, quick to entangle you within its lingering notes and powerful words. Continuing softly but with a constant realness in every time Nathan’s fingers squeak along the guitar strings or his voice waivers in emotional weight, ‘Crossword’ ensures that even in the simplest of instrumental combinations it is always carrying with it a depth that’s more than meets the eye. Soon, atmospherically mesmerising cello chillingly joins the careful interlacing of instruments, distant but leaving such a resonance in the air following its drawn-out note. A mix of deep, melancholic piano keys and brighter notes create what feels like a hesitance of vibrancy, a flavour of love amidst a woeful dreamer’s hopes to find that in their own life. As the song continues, the cello becomes even louder and more dominant in the sound, building slowly in its significance within the song’s unravelling narrative. The bridge only further pushes this climactic emotional outburst to a cathartic high, spilling out through aggressive cello and forcefully played piano keys, all the while Nathan’s vocals hoarsely crack as they push out the most emotional release that can no longer be bottled within. Though it’s agonising in ways, ‘Crossword’ is similarly beautiful, a touchingly real exploration of what it is to love, to lose and to watch a world so consumed by romanticisation all around you.

Check out ‘Crossword’ here to appreciate not just the emotionally enriching sound but also the living, breathing lyricism.

Written by: Tatiana Whybrow

Photo Credits: Unknown

// This coverage was supported and created via Musosoup, #SustainableCurator.