this is like my favorite song off this album

Love Sick // Arctic Monkeys Songs for the Venus Signs

Did it for The 1975, now enjoy the Arctic Monkeys version! Taken from my favorite albums, “AM” and “Suck It and See.”

Aries venus: She’s Thunderstorms 

I’ve been feeling foolish
You should try it
She came and substituted
The peace and quiet
For acrobatic blood.

Taurus venus: Fireside 

There’s all those places we used to go
And I suspect you already know
But that place on memory lane you liked still looks the same
But something about it’s changed.

Gemini venus: The Hellcat Spangled Shalalala

Just when things are getting complicated in the eye of the storm
She flicks a red-hot revelation off the tip of her tongue
It does a dozen somersaults and it leaves you supercharged
Makes me wanna blow her candles out just to see if you glow in the dark.

Cancer venus: I Wanna Be Yours

If you like your coffee hot
Let me be your coffee pot
You call the shots babe
I just wanna be yours.

Leo venus: Knee Socks

And you were sitting in the corner with the coats all piled high
And I thought you might be mine
In a small world on an exceptionally rainy Tuesday night
In the right place and time.

Virgo venus: Love Is A Laserquest 

Now I can’t think of air without thinking of you
I doubt that comes as a surprise
And I can’t think of anything to dream about
I can’t find anywhere to hide.

Libra venus: No. 1 Party Anthem

She’s a certified mind blower knowing full well that I don’t
I may suggest there’s somewhere from which I might know her
Just to get the ball to roll
Drunken monologues, confused because
It’s not like I’m falling in love I just want you to do me no good.

Scorpio venus: Suck It and See

Your love is like a studded leather headlock
Your kiss, it could put creases in the rain
You’re rarer than a can of dandelion and burdock
And those other girls are just Postmix lemonade.

Sagittarius venus: Why’d You Only Call Me When You’re High?

Now it’s three in the morning,
And I’m trying to change your mind,
Left you multiple missed calls
And to my message you reply.
Why’d you only call me when you’re high?

Capricorn venus: Do I Wanna Know?

I dreamt about you nearly every night this week
How many secrets can you keep?
‘Cause there’s this tune I found that makes me think of you somehow
When I play it on repeat
Until I fall asleep.

Aquarius venus: Reckless Serenade

Illuminations
On a rainy day
When she walks her footsteps sing
A reckless serenade.

Pisces venus: Arabella 

Arabella’s got a seventies head
But she’s a modern lover
It’s an exploration, she’s made of outer space
And her lips are like the galaxy’s edge
And her kiss the colour of a constellation falling into place.

-Admin L

ok so i went to the listening session earlier and now im gonna try to type out everything i remember from each song. dont expect this to be too coherent as im still extremely overwhelmed from it all. im putting this under a read more bc spoilers obviously but yeah here we go!!!!!

Keep reading

masterpost of iconic lines/moments in Froot (2015) by Marina and the Diamonds

Happy: 

  • when the chorus effect starts on the line “melted away like I was free” and my soul escaped my body, went to hell, and was immediately forgiven by the benevolent god that is marina diamandis
  • “I realize to be happy, maybe I need a little company” and I started crying one minute and forty seconds into the album
  • the sheer force with which my head was ejected from my body when she hits the high note on “I believe someone’s watching over me”
  • the chord changes in the bridge making me feel melancholy realness, honey
  • invented the piano, invented happy songs that sound sad, invented music
  • I’ve fallen asleep crying to this song an uncountable amount of times

Froot:

  • THE FUCKING BASS RIFF IN THE FIRST TWO SECONDS which precisely and methodically severed my ear canal from my cranium
  • everything about this song
  • “ju-u-u-uice, la la la la la la la” >>> the entire discography of the rolling stones, the beatles, led zeppelin, and all of your dusty-ass “iconic” faves 
  • the sultriness of the fucking low G she hits perfectly and consistently throughout the verses
  • “but I ain’t in a patient phase” probably the most iconic modern music will get
  • the way she sings “come on fill your cup uuuuuuuUUUUUPP” shattering my femur
  • “i’ve been saving all my summers for you” assassinates all of the poetry by William Shakespeare combined
  • every part of the second verse, especially “baby I am plump and ripe, I’m pinker than shepard’s delight, sweet like honeysuckle late at night” which was better sex-ed than I received throughout my entire adolescent academic career
  • “birds and worms will come for me, the cycle of life is complete” making fucking DECOMPOSITION the sexiest thing anyone has ever said in the compendium of human history
  • The Fucking Bridge Melody that she sings well beyond the troposphere, above the stratosphere, and sitting sexily in the mesosphere
  • “oh my body is ready, yeah it’s ready, yeah it’s ready”

I’m a Ruin

  • marina single-handedly addressing the complexities of young-adult relationships with “I could treat you better but I’m not that smart”
  • the insane degree to which I scream “yeah yeah, uh huh, woo hoo, yeah yeah” at the end of the chorus, thus startling my neighbors and setting off car alarms
  • “It’s difficult to move on when nothing was right and nothing was wrong” making me spray tears out of my eyes like a machine gun
  • the way the back up vocals come in on “I’ve had my share of beautiful men, but I’m still young and I want to love again”
  • the dichotomy of “I’ll ruin you” and “I’m a ruin” are proven to be one and the same, thus ending the careers of marriage counselors across the world

Blue

  • the iconic and instantly-memorable backing track
  • the continuity between the themes of the last song with the opening line “we’ve broken up and now I regret it”
  • the FORESHADOWING of “and I don’t know why but I can’t forget it” which alludes to the themes of the NEXT song, Forget, basically proving Marina doesn’t need references to any body of literature but her own goddamn songs
  • “gimme love, gimme dreams, gimme a good self-esteem” ejecting my wig at mach 3 into another dimension
  • the sheer craftsmanship of the pre-chorus, which is perfectly catchy and memorable while refraining from cliches
  • the way the beat picks up on the chorus and I demand my non-existent ex to “gimme one more night”
  • “I’m sick of looking after you, I need a man to hold on to, I’m bored of everything we do, but I just keep coming back to you” proving marina is just as fed up with fuckboys as we are, but is just as flawed and hypocritical as us, showing her imperfections and making her more worthy of our worship
  • ending the song on the pre-chorus like the fucking INNOVATOR of MODERN MUSIC she is??? like please tell me WHEN will your fave

Forget

  • this list doesn’t include the visuals from the music videos but I will make an exception for the ICONIC wig she wears in the video
  • the vocals for “never heal” sending me into a tailspin and crashing into a ditch at 70 mph
  • 50% of the chorus is the word “forget” and it is STILL the height of modern literature
  • after her mention of an “abacus” in the second verse, abacus sales went up 2000% and surpassed their unprecedented popularity in ancient Greece
  • “yeah it’s time to be letting go, yeah baby you know what I’m talking about” probably the most iconique start to a bridge physically possible in this dimension
  • “YEAH I’VE BEEN DANCING WITH THE DEVIL I LOVE THAT HE PRETENDS TO CARE IF I’LL EVER GET TO HEAVEN WHEN A MILLION DOLLARS GETS YOU THERE OH ALL THE TIME THAT I HAVE WASTED CHASING RABBITS DOWN A HOLE WHEN I WAS BORN TO BE THE TORTOISE I WAS BORN TO WALK ALONE” is not supposed to be a high-intensity part of the song but I don’t fucking care obviously
  • the way she fucking develops the lyrics of the chorus throughout the song and makes each line the best life lesson you ever heard??? who is this woman?????

Gold

  • by FAR the most underrated song on the album for no goddamn reason like, have you demons even listened to it?? hmmmmm????
  • i have no idea how the accompaniment was made for the song but whoever did it was a genius and needs to be remembered for the rest of time
  • “doesn’t matter long as I am your star, sta-AAARRRR” melodically groundbreaking, please take notes everyone
  • “don’t think i want what I used to want, don’t think I need what i used to need” addressing the pains of growing out of old friendships and passions in a fun approach
  • “you can’t take away the Midas touch, so you better make way for a GREEK GOLD RUSH” YES MAMA REPRESENT YOUR COUNTRY LIKE THE GODDESS YOU AAAARE
  • knew she could rhyme “El Dorado” with “Colorado” and fucking did
  • the fade out at the end of the song painting her as a con-artist or corrupt gold-dealer being hauled off to jail while reveling in the near success of her schemes is what???? I C O N I C

Can’t Pin Me Down

  • this song is direct proof that marina is a straight up motherfucking KUNT in charge of her destiny. the album is labeled as explicit because of this ONE song and only ONE line: “you might think I’m one thing, but I am another. You can’t call my bluff, TIME TO BACKUP MOTHERFUCKER” like not only is this the most badass line in the history of language, but this line was so important to her that she made the album explicit JUST FOR THIS ONE LINE. SHE IS AN ICON. END OF STORY.
  • she is a feminist! BUT! “Do you really want me to write a feminist anthem, I’m happy in the kitchen cooking dinner for my husband” proving that you do NOT know this bitch. she is nothing you think she is. except that she is an I C O N.
  • the meter of “just another girl in the twenty-first century” has me unpredictably and immeasurably shook because she is just! that! kind! of! girl!
  • “You think I’m like the others, boy you need to get your eyes che-e-e-e-e-e-ecked, che-e-e-e-e-e-e-ecked” blew the skin clean off of my face
  • “i can be your russian doll” like,,,, gag
  • the entire concept and existence of this song is revolutionary and cements her position as the strongest female artist of our generation

Solitaire

  • holy FUCK you guys love to hate amazing songs, don’t you?? this song is without a doubt one of my favorites and you fuckers have the NERVE
  • the production on this song is one of a kind and continues to prove her versatility in style on this album. any reservations you had about her from electra heart better be EVAPORATED by this point.
  • the melodies on this song are, besides Froot, the catchiest on the album for me. they are so well crafted and inventive, i am shaking
  • “hard like a rock, cold like stone, white like a diamond, black like coal, cut like a jewel, yeah I repair myself when you’re not there” is such an amazing pre-chorus for this song like it could no possibly be better than that
  • the way the mood shifts from the verse to the chorus cut off my arms with raw blunt force
  • the flourish on the line “and I’ll admit all I wanna do is get drunk and silent” gave me an aneurysm
  • holy fucking SHIT the end of the bridge is for sure a highlight on the album. “but I’m not cursed, i’m not cursed, I was just covered in dirt” like damn marina go all the way off
  • the extra-dimensional high notes on this song are second to none, babes

Better Than That

  • “You’re just another in a long line of men she screwed” is the FUCKING WAY TO START A SONG, GIRLS. ARE YOU JOTTING THIS DOWN??
  • “So why’s she looking like a cat who got the cream?” ugh marina is so perfect I cannot deal with this bitch anymore
  • the sheer vocal talent on the chorus, like how high can this girl go? someday she’s going to rupture my eardrums and I will thank her personally
  • “with an angel voice, devil in disguise” the vocal production for this is perfect and successfully made me shit myself
  • “and she’ll network till her dreams come true, even if it means getting in a bed with you” miss marina is out for BLOOD everyone, the music industry is cowering in fear of her objective talent and lack of fucks
  • “i’m not passing judgment on her sexual life, I’m passing judgement on the way she always stuck her knife in my back” whoever this woman is she is getting READ for FILTH by lady diamandis and you all need to watch your backs

Weeds

  • this song is straight out of a sappy rom-com and I am fully living for it
  • “but it keeps growing back like WEEDS” I am currently screaming please give me a moment
  • “and God knows what sex is, a way to feel a bit, a little bit less lonely” marina chose sex to be a prominent theme on this album but she has shown she can handle it in the moment mature way any woman in the industry can. it’s subtle, it’s methodical, it isn’t vulgar, it’s just straight real and honest and such an important thing to discuss! this song is another aspect of how sex can be important in our lives. she better preach tbh
  • the aesthetics can reserved character on this song are a beautiful contrast that the album needed. filler tracks who???

Savages

  • full disclosure, this song blew a hole right through my body with the sheer impact of its lyrics and chorus
  • there are so many fucking good lyrics on this song, it’s truly baffling that anyone has a career in the music industry after this was dropped
  • “I’m not afraid of God, I am afraid of man” I am Screeching
  • the first beat of the chorus, my bodily fluids are already dripping from the ceiling and my bones are crushed into a fine powder
  • “underneath it all, we’re just savages hidden behind shirts, ties, and marriages” she is prophet, the chosen one, the woman who will deliver us from our mortal coils
  • “another day, another tale of rape, another ticking bomb to bury deep and detonate” Marina is fully aware of the important problems our nation is facing at the time the album was released and even to today. she isn’t a shallow artist like the persona she created in electra heart, she has become almost the exact opposite. She is taking on these issues with a clear judgment and grace and I am so proud and appreciative of her work.
  • “are you killing for yourself or killing for your savior?” YES YOU BETTER ASSASSINATE THESE MOTHERFUCKERS
  • the buildup in the last chorus to the E T H E R E A L ending is clearly the climax of modern pop music

Immortal

  • you could play this song for me and tell me it’s a message from an angel and I would 200% believe you
  • the melody on this track is so fucking pristine it’s like a glacier melting in your mouth
  • it continues the themes of humanity from Savages but looks at a completely different issue about it. this album is cohesive, planned out, and a complete and full body of work
  • the moment the chorus hits with “I’m forever chasing after time” my limbs are being forcibly extended by a device of love and torture
  • “but if the earth ends in fire, and the seas are frozen in time, there will be just one survivor, the memory that I was yours and you were mine” ok not kidding anymore this is STRAIGHT up MOTHER fucking POETIC genius and innovation at its most concentrated and talented moment
  • when she says “twice” on the high note in the chorus, it’s like the most beautiful bell shattering in my ear, tbqh
  • THE FUCKING BRIDGE is actual art. “I just wanna be able to say the I live my life” the way she executes this melody is cold-blooded and frankly she should be charged with manslaughter for it


bottom line, Marina Diamandis released the biggest breakthrough in pop music to date in 2015 and all of you demons let it flop. if you have the nerve to call this album a failure, I have literally 0 respect for you and no one is ever going to love you

Flower
Liz Phair
Flower

every time I see your face I think of things unpure unchaste

anonymous asked:

Yesterday when Harru said that his favorite song off the album was "A little bit of my heart", I remembered "Two Ghosts", "Do not let me go" and stockholm syndrome. Harry looks like that poet in a relationship in which after a fight, he takes a bottle of drink, a cigarette and a guitar and writes his wounds. And Louis from his writing, is the one who comes home, sees him fall, and says "ok baby, I love you, let's solve this.

I think about:

1. Their tattoos. Louis is the one who finds the way out. He is the compass home.
2. Harry is the Rose. Louis is the Dagger.
3. Louis was the one who confronted Savan Kotecha about getting more control of their music, and by extension of their image.
4. Savan acknowledged Louis as the de facto leader.
5. Harry has a tattoo of a bird cage. Of hangers. Of the Bible. Of an eagle.
6. Louis “It is what it is” Tomlinson. Rolls up sleeves and gets to work.
7. Louis: 28
8. Harry is the Little Spoon.
9. Louis watching over Harry on the bed during the “Perfect” music video shoot
10. “The wind makes nice waves.” “That is true, Harry.”
11. Achuoo = Harry + Louis in Doris talk (this is from @larry-god-mother)
12. The shared costume closet during OTRA
13. Louis’s hand on Harry’s back
14. In that iconic video where they’re walking backstage during OTRA, and Harry’s fixing his hair and Louis wipes his mouth, Louis is walking behind Harry. Always walking behind Harry.
15. Louis brings bottles of water onstage for Harry. Kicks away empty bottles for Harry.
16. SBB is the GROOM

Should I go on?

If you don’t think Silver Springs is one of the most cold-blooded songs ever, then you’re wrong. Stevie Nicks could have replaced every single lyric in that song with “fuck you” and it literally would have been the same song. If you can’t hear how much she fucking hates this dude and wants him to die, you’re not listening hard enough. She would not care if he was dying, gasping for his last breath, at her feet. She’d probably look down at his sorry ass and just sing “tell me, was it worth it?”

Silver Springs is the most eloquent, angriest, pettiest break up song of all time. She literally wrote it with the intent of him having to not only have to hear it, but play it constantly and be reminded of just how much he fucked up. Not only did she have that intent she had the audacity to explain her evil intent. She gave no fucks. “You won’t forget me. The sound of my voice will haunt you. You’ll never get away from the woman that loved you.” Tell me you would not take that as a threat. Like…bitch, you’re gonna what? She says “never” which means she was planning to fuck up this dude’s entire life for the rest of his life.

The song was so badass that the fucker kept it off the album and I 100% believe it was because he was scared for his life

Silver Springs has been my favorite song for years. I just listened to it for the first time in a while and was once again struck with the fact that it’s the best song of all time.

In my heart of hearts, I truly think Stevie silently chuckles to herself every time she hears it or performs it because her prophecy came true. That song will haunt him for the rest of his life. He’ll never escape it. Which means she won. And that’s what life is all about: winning.

The End

Lust For Life - so far

Cherry - (live / more)
White Mustang (snippets)
Summer Bummer - Ft A$AP Rocky (snippets)
Groupie Love Ft A$AP Rocky (snippet)
Change - (snippets) 

 “I wrote a song called, 13 Beaches which talks about how I do it, last summer, I had to go to 13 different beaches before I could find one without paparazzi, where I laid down with a book. But we can get used to anything. And then maybe it’s worth it. What I can’t get used to, is systematically finding my songs on the internet before they’re supposed to come out. It takes so much time to make a record… a year and a half! When leaving the studio, I always have to hope that they’re secure.”

I have a song that’s quite aware about the collective worry, about whether this is the end of an era. It’s called “When the World Was at War We Kept Dancing.” But I actually went back and forth about keeping it on the record, because I didn’t want it there if it would make people feel worse instead of better. It’s not apathetic. The tone of the production is very dark, and doesn’t lead to a fucking happy feeling. And the question it poses: Is this the end of America, of an era? Are we running out of time with this person at the helm of a ship? Will it crash? In my mind, the lyrics were a reminder not to shut down or shut off, or just don’t talk about things. It was more like stay vigilant and keep dancing. Stay awake. “God Bless America,” and another song called, “When the World Was at War We Just Kept Dancing,” which is about what we’ve been talking about: trying to stay positive, and just believing that things are going to be okay. And if it feels like they’re not going to be okay, we’ll try and make them okay individually and then together.”

Tomorrow Never Came - ft. Sean Lennon
Beyond the meta-awareness of the lyrics and rich instrumentation [Lennon added “acoustic six- and 12-string guitar, electric guitar, lap steel, upright bass, vibraphone, harpsichord, orchestra bells, drums, and Mellotron strings, and shaker”], a particularly resonant lyric repeats itself a handful of times: “You weren’t in the spot you said to wait.”  I ask Del Rey if there are running themes of stasis or waiting elsewhere on the record. “I think that’s why I felt that of anything on the record, that wasn’t my song,” she considers. “I didn’t feel like I was waiting for anything. It’s really not about anything personally, except that I love the sonics of it; the filters. I try to be as careful as I can that I’ll want to sing stuff on stage that I write. And that song will be an easy one to do because it doesn’t pull at any heartstrings or anything. And I know it’s special to Sean as well, because he’s his dad’s biggest fan. And so I like that, in a small way, they had a moment, in whatever surreal way that could happen. Notably, there is a track on Lust for Life, recorded with Sean Lennon, a layered and playful number that explores, among other things, John Lennon and Yoko Ono – a canonical deity of lust and artistry if ever there was – that sees Del Rey refreshingly step outside her own paradigm. “I felt like it belonged to someone else,” she says of the single, “Tomorrow Never Came.” “And I never feel that, because I like to keep everything for myself. I thought it might be strange for Sean to sing a song about John and Yoko as well. But I think the fact that I sing, ‘Isn’t life crazy now that I’m singing with Sean.’ It points to the fact that we’re both aware. I didn’t want it to come out exploitative in any fashion. Not that it would. Still, I wanted to be as careful as possible. I wanted it to come across layered with this sort of meta narrative mixed in. In a way it’s a song about a song.”  Sean Lennon - “I felt like it was my job to simply highlight and accentuate what was already there in her voice and melody, and in her lyrics.

Beautiful People, Beautiful Problems - where she trades verses and coalesces on the chorus with the one and only Stevie Nicks, “I didn’t know what to except or that I could even ask her, Del Rey remarks. “When I went through ideas of women that could really add something to the record, she was the one we kept coming back to.” - Lana   “That’s where “Beautiful People, Beautiful Problems” comes from, because we are trying to ride above all the problems and have hope in everything else, but it’s still a world filled with problems no matter how hard we try to change it.”  - Stevie Nicks  

God Bless America,” an unbridled spanker of a song that’s title refrain is followed by, “And all the beautiful women in it.” “Yeah, I went there. It has some strong messaging. Some iconography, with Lady Liberty, fire escapes and the streets, and I do get a little New York feel when I listen back to it.” I tell her the song feels grandiose in production, anthemic in verse… very New York in fact. And while New York (and its banks) have churned out the free world leader and a boys club not so concerned about everyone therein being blessed, moreover the “beautiful women in it”—reminding us that grandiosity has its pitfalls—“God Bless America” could easily ascend the ladder as a 2017 rally cry. “Well, it’s the God word, but the phrase has wider meaning. It’s more of a sentiment. When I wrote it I didn’t feel like it was confined to a traditional portrait of the Lord, as some sects might see it. It was more like, ‘Fucking God bless us all and let’s hope we make it through this. When all the Women’s Marches were happening, I had already written this song, because I had been hearing a lot of things online. And I have a sister, and a lot of girlfriends, who had a lot of concerns about things that were being said in the media by some of our leaders. And I saw an instant reaction from women, and I was like, ‘Wow. There is no confusing how women are feeling about the state of the nation.’ And so without really trying to, I felt compelled to just write a song and say we are all concerned. And it really made me think about my relationship with women. And I felt proud of myself, because I do love the women in my life. And I take care of them, and I ask them what they think about music, and guys, and problems, and I thought it was so cool that I’m really right there in the same boat with them. And sometimes I’m not. Sometimes I feel like I’ve got my finger right on the pulse of what’s going on, and then some of my music comes out and it’s like, ‘Fuck, that was a miss. Fuck, that’s not what people feel, at all. But with this, I was right there with everyone.” In “God Bless America”… ‘Take me as I am, don’t see me for what I’m not… Only you can save me tonight.’ It’s about seeing people: what they’re actually doing. Who they actually are.”

Love - The last 16 months, things were kind of crazy in the US, and in London when I was there. I was just feeling like I wanted a song that made me feel a little more positive when I sang it. “ I knew that the first song I wanted to put out was “Love” because of everything you and I have been talking about so far. It’s just the age-old thing: love is all there is. And I really was feeling that way. I made a lot of records for myself, chronicling my own stories, and I’ve played so many shows now, I’ve seen all the same kind of kids and grown-ups coming to the shows, and I really wanted to make a record for them.” (x)

Lust For Life -  “I’ve been friends with Abel [Tesfaye] from The Weeknd for a long time, and I knew I wanted to put the title track, “Lust for Life,” out second because we have so many mutual fans and I knew they would love it.”I love the new song, too. I’m glad it’s the first thing out. It doesn’t sound that retro, but I was listening to a lot of Shangri-Las and wanted to go back to a bigger, more mid-tempo, single-y sound.” “I have let myself go a little with the song ‘Lust For Life’… I have worked on it on multiple days a week for one and a half years. It has passed every stage, it started with a futuristic and dark vein like Blade Runner. Also, I decided to return to a radiant Shangri-La like style… After working for some months, Abel (The Weeknd) joined to add his part. This song became my baby, an unmanageable and maleficent baby which made me crazy. I quickly understood that this album would sound like a trip, a mix.” (x)

“I kinda want to dig into a little bit more of the acoustic side of the record. I have a track called ‘Yosemite’ which i really like, which is just a little bit more laid back, it’s kind of a love song that I did all in one take in the room.” The co-existence of different songs on the same album, like the very complex ‘Lust For Life’ with the desert-like ‘Yosemite’, it is not very reasonable. One tries to put me off, one tells me the contrast is too extreme, but I love the two songs too much to exclude one because of the other one. These are the songs which make me life, and more than that, as well: they have some experience.” “Songs like ‘Tomorrow Never Came’ and ‘Yosemite’ pick up the sounds of 70s folk, and if I would have to create an album concept in a day, it would surround the legendary Laurel Canyon particularly.” “ It just goes back to my favorite song on the record, “Yosemite,” and doing it for the right reasons.” “I think one of my favorite tracks on the record is called “Yosemite.” The chorus is [begins to sing] “We did it for fun, we did it for free, I did it for you, you did it for me, we did it for the right reasons.” -  possibly changed to Get Free

Coachella - Woodstock in My Mind - “I wrote on my way home from Coachella when things were getting hostile between North Korea and the U.S., and all those failed missile launches, which happened the day after the first night of the festival. I feel lucky to be able to speak my mind through music right in the present moment.”

Roses Bloom For You (Snippet)
Architecture

Playlist: Left Eye

Left Eye died 15 years ago and I wanted to collect all of my favorite verses from her in one playlist.

I might be in the minority, but I’m a much bigger fan of Left Eye earlier in her career.  The longer she was in the game, the lower her voice got and the more philosophical her rhymes became to the point where, honestly, some of her most classic rhymes I still be like “…what?”  I don’t she was getting the respect she deserved as a lyricist because she was cute, in a group, and sounded like a little girl.  The other women in rap were a lot harder than she was and instead of staying true to what I thought made her unique, she changed her style to meet theirs and it wasn’t quite as successful, to me anyway.

I put these songs in chronological order, but I wanted to put this video for “Freedom” (1995) at the top because you can really see how unique she was alongside other Queens of Rap at the time.  "Freedom" was the theme from Panther and the original R&B version featured artists like Monica, Vanessa Williams, TLC, En Vogue, SWV, etc.  An alternative Rap Version was produced and shot as well featuring Queen Latifah, Yo-Yo, Patra, MC Lyte, Me'Shell Ndegeocello, Salt N Pepa and another artist I don’t recognize.  Unfortunately it’s not on Spotify so I can’t add it to my playlist, but you should find it and download it.  It’s one of my favorite moments in Left Eye’s discography.

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ALBUM REVIEW: Frank Ocean - Blond

As his visual album, Endless, dropped in dissonance to Channel Orange, fans scratched their heads, asking themselves, “Is this our Frank?” The angelic voice seemed to be directing his art away from the groovy, hip-hop timbre of the first album, toward a more cathartic R&B tonality. Three days later, what seemed to be a sonic transformation proved to be only an addition to Ocean’s skill set, when a second album broke through the surface. Blond was released on an independent label and is anything but a carbon copy of Endless. Stylistically, it’s more similar to Frank’s flair on Channel Orange, which brought him into the spotlight.

Blond’s first song, “Nikes,” begins with an organ-like synth and Ocean’s voice comes in a few octaves higher than normal. For me, the “little” voice appears as Ocean’s conscience and it wanders from heavier content, like police brutality and materialism, to more whimsical lines about little mermaids by the pool and b***** wanting Nike. The stream of consciousness is a more fluid approach that almost says, “These are my thoughts, but it’s just me.” Ocean does this to recognize himself as part of the movement, but reinforces his role as a storyteller who starts conversation. In times like today, being queer, Afro-American, and in the spotlight is difficult because people look to you to be the leader. Instead, Ocean chooses to provide his thoughts, but doesn’t lay them down as the law. The song tells the story of glittery fame, juxtaposing the realities behind that fame with an obvious distaste for materialism in our modern world. Three minutes into the song, the register drops and Ocean begins addressing the audience. The message remains similar, preaching to live in the moment (“living so that last night feels like a past life”) but tends toward personal experience as opposed to a comment on our world. Lyrics in the bridge lament having something special with someone that isn’t love, or what they have with someone else, but still is something meaningful, setting the tone for the next song and the content of the album as a whole.

“Ivy” chronicles “the start of nothing new” with an old lover and the problems that arise due to confusion of emotions and changes that happen with time spent away from that person. The manifestation of confusing emotions, as the feeling deep down is “still good,” but “it’s not the same,” is a motif carried throughout the album. There are a lot of songs out there about breakups and new love, but on this album, Frank does a marvelous job of telling the stories behind those imperfect, undefined relationships: the ones that aren’t right out of a fairytale. When I started this review, I asked many of my friends what their favorite songs on the album were, and I was confused when each person came at me with a different song. Usually, there is some sort of consensus, or a song that comes up a few times (probably the banger off of the album), but pretty much every song on the album got a shout out from my pals. This is most likely because each song talks about a very specific sort of relationship or situation, rather than finding a unique way to talk about the same cliché set of love stories. Channel Orange had a similar approach to discussing love, which is partially why I thought it was such innovative songwriting. This quality also contributes to the album’s ability to grow on you, because the complexity of the lyrics and the situations discussed takes a few listens to fully capture. There also may be a situation described that is too specific for someone to relate to currently, but they can come back to it in a year with greater sympathy. The reverb on the guitars is reminiscent of a slow-moving, California beach rock love song. By the end of the track, Ocean’s voice has been transformed via production to an aggressive, pseudo-robotic cry, as the anger and frustration in the lyrics grows. Then, cut music and just the echo of the last word, “dreaming,” resonates in the space left by the instruments. This is killer, as it generates the feeling of trying to grasp something that can really only be a dream, being left emptyhanded instead and the frustration that comes along with that.

“Pink + White” follows this song, setting the pace for the ebb and flow of the album. The triplet feel in the base line with the minimalistic piano counterpart creates a groove similar to that set by older songs like “Sweet Life,” which makes sense because both songs were produced by Pharrell. I am mentally taken to lazy walks that I like to take when the sun is setting in summertime because everything is brilliantly-colored and sits still for a moment before the craziness of the evening picks up. Frank paints a picture of the rosy haze surrounding experiencing a new kind of love, wherein instead of walking grounded, you waltz (¾ time) through the clouds. This is definitely one of those songs you should play for your s.o. when you’re lounging around in bed, with the shimmers of light coming through the shades of your window. The cloudscape is completed with the glittering voice of Beyoncé, the sunshine, who is also included on backing vocals.

Following, “Pink + White” is a female voice sample whose monologue sharply contrasts the lazy summer vibe of the previous track, warning whomever she is addressing to not use drugs and alcohol. Repetitively, the voice tells her audience to be themselves and continues preaching regarding typical temptations of a young adult. By the end of it, I was definitely thinking about my mom, and my feelings were validated when the voice signs off, “This is mom, Call me.” Ryan Ocean, Frank’s brother, later confirmed on Twitter that the sample was Auntie Rosie, who was also featured on the song “Not Just Money” from Channel Orange. A good family friend, the recording is an actual voicemail that one of Ocean’s friends received. The sample balances the copious drug references used in other songs and seamlessly introduces “Solo,” the next song. The primary instrument in “Solo” is an organ synth, thus the succession of tracks mimics a sermon followed by the church music, but of course, the lyrical content is far from the typical church experience. The track talks about being alone, getting high, and essentially coping with loneliness. Instead of the strong psalm of solitude one might expect from the title, Ocean’s melancholy melodies soar over the organ in a ballad, discussing the little things that are okay when you are alone; the heaven that exists within the hell that is separation.

“Skyline To” follows the night of ridin’ “Solo” with a story of summer love. Homoerotic musings brush the audience in Biblical references like, “Makin’ sweet love, takin’ time, ‘til god strikes us,” which I love. I love that he slips in his sexuality in such a normalized fashion, with pride, but just going on with his day-to-day life. This is how it should be. The song rolls through a druggy haze with a psychedelic synth accompaniment. Kendrick Lamar lends his vocals and none other than Tyler the Creator is the producer – guess it’s OFWGKTA for the win. The end result, tonally, is of a similar leaf to “Pink + White” with images of sun slipping through the window, turning into beams of moonlight. Finally, the mention of what no one wants to think about: the end of summer. Somehow, I don’t care that he made me think about starting school, though, because the melody and lyricism in this song slay me.

The whimsical voice of Frank’s conscience returns for the hook of “Self-Control” as he recalls a pool-side conversation, questioning whether he and the person he’s with and he can “make it shine.” The hook lets way to an acoustic guitar and Ocean croons, spilling his heart out over a past lover. This song digs into the stereotypical situation that starts over lust, but the flame within one of the people dies, causing disproportionate interest and eventually an end. Swedish rapper Yung Lean is featured on the chorus with Austin Feinstein of Slow Hollows, saying, “Keep a place for me, for me I’ll sleep between y'all, it’s nothing, It’s nothing, it’s nothing.” The repetition of “It’s nothing” mimics the repression of the other thoughts in one’s head; trying to play it cool. This lyric also pays a small amount of homage to Prince’s lyric “…I didn’t care…when he was there, sleeping in between the two of us” from “When U Were Mine,” which Frank covered on his last tour. The perspective is different because Prince talks about the person coming between he and his lover, whereas Frank wishes to be the one coming between his significant other and the person with whom they’re sleeping.

After pouring his heart out, Frank recounts a blind date he had in New York city, set up by one of his mutual friends, on the track “Good Guy.” This mini-track is cut from the same emotional cloth as “Self-Control;” Ocean ripples from emotionless hookup to emotionless hookup. It’s nice to know that even superstars have problems with finding someone who wants something real. Then, at the end of the song, there is a clip of two men in a car, talking about girls wrecking their hearts, but it cuts midline to my new cruisin’ anthem, “Nights.” It’s as if the Frank, whose feelings weren’t returned, hits that “snap out of it” wall, vibin’ onto a more up-tempo track.

Although “Nights” dissertates the hustle, it also references other parts of Ocean’s “everyday shit,” including the people he’s seeing on the side of his work. He reminisces on days where he had less money and worked night shifts. Manifested is the feeling of wanting to have someone there to come home to, but also being married to the grind and not being able to keep up something more serious. The cyclical thoughts build to waterfalls of notes echoing into a phone ringing, then silence. This felt like when I lie in bed at night and thoughts bounce around until finally I go to sleep, but in a tempo change that screams Frank Ocean. The change signals the entry into dreamland: deep bass kicks in and the mix feels like bubbles of rolling piano chords, slowly finding their way to the surface – perfect for a final verse about memories deeper in Ocean’s past. The hook returns over the same production, cessation echoing into a “Solo Reprise” by André 3000.

The halfway point in the album coincides with the tempo change so it makes sense that the reprise comes after, returning to themes from the beginning of the album. André’s rapid flow blew my mind the first time I heard the track, accompanied by just piano for most of the song. He bemoans police brutality and materialism, touching on his unhappiness with the music industry, asking at the end, “Was I working just way too hard?” Cut immediately to “Pretty Sweet,” which has an intro that’s anything but sweet. More of an auricular experiment, what starts as complete chaos and dissonance within the synth chords turns into less dissonant guitar, but there remains a lack of structure. Ocean’s flow is at times melodic, but the phrasing of the verse is syncopated and some lines remain unfinished. A chorus of children at the end turn the sonic trip into a shimmer of major chords, sunshine, and happiness: disharmony resolved.

The next voice on the album has much too thick of a French accent to be Frank Ocean, and that’s because it’s French DJ and producer SebastiAn. He actually “programmed” several of the tracks on Endless, including one of my favorites, “Rushes.” He spoke about Frank recording the story when they were just hanging out in an interview with Pitchfork, confirming the skit to be a true story. “Facebook Story” echoes previous mentions of technology bending what people consider to be reality, making them “crazy.” After all, the relationship ended when the DJ wouldn’t immediately accept an official request on Facebook when he was with the friend. A similar message rests in the lyrics of Wolfgang Tillman’s track, “Device Control,” that premiered at the beginning and end of the visual album: people are unable to live their reality without their technology intertwined.

Next is a cover of what originally was “(They Long To Be) Close to You” by The Carpenters. It truly sounds more similar to a live Talkbox cover of the Carpenters song done by Stevie Wonder due to the production of Ocean’s voice. A talkbox is one of the original tools used by musicians for vocal modification, so covering a cover, adding even more technology and production, is playing even further into the picture of virtual reality that Ocean continues to paint. It is a nice compliment to the last skit, as Ocean sings of longing to be close to an anonymous lover in this lyric collage cover.

Remember a year ago when A-Trak hinted that in a few weeks we would hear a song called “White Ferrari” that would be the best thing we would hear that year? Then how it really stunk when it didn’t come? Well, ladies and gents, here it is, THE “White Ferrari,” track 14 on the album. Lennon/McCartney are credited on this track for a similarity in lyrics to the song “Here, There, and Everywhere.” The tone is nostalgic, the content being an old relationship and the purity of the love he found. The melody stands strong in front of major synth chords that eventually change to guitar while still remaining predominantly low texture. The last lines of the outro are sung by James Blake until breaking through to the clarity of “Siegfried.”

“Seigfried” is obviously a break-up song, but it dives into the world of Ocean’s other life experiences and musings on the nature of his mind. He pays homage to Elliott Smith’s haunting song regarding substance abuse, “A Fond Farewell,” in saying a “fond farewell to a friend,” and through the lo-fi quality of the guitars. The repeated references to bravery make me think that the title refers to the warrior Siegfried (slightly different spelling) of Norse mythology who often symbolizes bravery, and his story ends in the perfect fairytale with a princess. Ocean believes that the suburban, settled life is not for him and that he’s not brave. Additionally, the warrior could be representative of Ocean’s ex-boyfriend, Willy Cartier, who looks similar to depictions of Siegfried with long, flowing locks and a “speckled face” that Ocean mentions in the first verse. There is also the possibility of the title instead referencing Siegfried Sassoon, a British poet and soldier, who is actually more similar to Ocean in his bisexual experiences. Sassoon also had a romance with Wilfred Owen, who fell madly in love with him, but the love was not returned. The conclusion of thought is that Frank Ocean would do anything for whomever he’s talking to, in a desperate final cry for the lost relationship.

“Godspeed” has a fitting ecclesiastic organ accompaniment and Kim Burrell, who many consider to be one of the greatest gospel singers of all time, sings the outro. The song matches titles with a story that Frank wrote in the Boys Don’t Cry magazine, and I think that the following quote he shared with fans speaks for itself:

It’s basically a reimagined part of my boyhood. Boys do cry, but I don’t think I shed a tear for a good chunk of my teenage years. It’s surprisingly my favorite part of life so far. Surprising, to me, because the current phase is what I was asking the cosmos for when I was a kid. Maybe that part had its rough stretches too, but in my rearview mirror it’s getting small enough to convince myself it was all good. And really though… It’s still all good.”

He shared this as a note, reminiscing about the making of the album in two Tumblr posts that you can read here. The note containing the quote is shared in the form of a collage with an image of a gold BMW. “Futuara Free,” the final song on the album, has a title reference to Stanely Kubrick’s favorite typeface and is divided into two parts by a silent interlude. If you thought there was a problem with the audio, you better go back and listen again. The beautiful melody recounts all of Ocean’s accomplishments and from where he came. The verse moves in a stream of consciousness, free-falling through pop culture references and lamenting the stress that comes with being famous. The second part, post silence, is a clip of an interview with Illegal Civilization, a skater gang that hangs with Odd Future in LA. The interview was conducted by Ryan Breaux, Ocean’s brother, years ago and includes silly interview questions, lots of background noise and interview clips with Mikey Alfred, Sage Elsesser and Na-kel Smith. The video ends the album, fading into a lighthearted rosy haze, in the hands of the youth. It also works well with the large amounts of sampling and collaboration that Ocean uses on the album, truly showcasing that an artist pulls influence from everywhere.

Overall, it was worth the wait. Each track stands as artwork and they are sewn together with the motion of the Ocean, into a masterpiece.

-Erin Jones

anonymous asked:

Ahhh the cheating one was so saddddd!!! Could you do one of the band catching their S/O dancing to the member's favorite songs off of the new album

That one still hurts me to think about tbh 


Murdoc Niccals:

  • You’d be dancing alone in his room, holding one of his jackets as a prop. “She’s My Collar” is without a doubt Murdoc’s pride and joy of the album, so you’d better believe that’s his favorite.
  • You toss his jacket around your shoulders seductively, pretending the sleeves are his hands as you waltz around the room. He walks in on you like that, quickly replacing the jacket sleeves with his own arms and spinning you around. 
  • You playfully dance circles around him and lip sync Kali Uchis’s part to him, and he’s got his eyes glued to your lips the whole time. You grab him by the waist and he grinds up against you like the two of you were at your own private club. 

Stu Pot (2D):

  • The two of you are sitting on his bed, bored and trying to think of something to do. You turn on the CD player in his room and take his hands, pulling him up to meet your lips with his. “Busted and Blue” begins it’s slow chimes and you sway to the music, with his arms holding you close.  
  • He spins you around ballroom style and dips you back, taking the opportunity to place a kiss on your collarbone. The chorus plays and his hands slide down your waist and settle right on your hips. For someone so lanky, he’s an excellent slow dancer. 
  • He sings the song to you in a whispered tone, holding you tightly and still moving with you to the music. When the song ends, it transitions directly into the next with a stark change in beat, but he doesn’t stop dancing with you in that slow romantic timing. He may never let go. 

Russel Hobbs:

  • He walks into the house after some light grocery shopping to find you raving to “Ascension,” perfectly mouthing all the lyrics and using various household items as a pretend microphone. You don’t realize he’s home and jump onto the couch, still pretending to sing.
  • He busts out in laughter and you freeze in place, smiling back at him after you realize how funny you must have looked. He sets the groceries down and moves to join you on the couch, urging you to keep going as he joins in some simple dance moves.
  • The chorus kicks in again and you both attempt twerking (which neither of you can do) and start laughing so hard at the other that you fall off the couch and collapse on the floor on a giggly heap. He scoops you up and kisses you on the cheek, still laughing and giddy from the whole thing. 

Noodle:

  • She’s got several songs on the album she just can’t decide between, but today her favorite is “Out of Body.” Not only because it’s good, but also because she walks in on you trying to follow the dance instructions as closely as possible. You stumble around quite a few times, until you see her quietly laughing at you in a mirror.
  • This turns quickly into a dance lesson. She shows you step by step what to do, and even teaches you some improv moves for the chorus. You guys work on that for an hour, giggling together when you get it wrong. She insists you look sooo cute when you mess it up. 
  • Eventually you set it to the music again and the two of you dance in perfect harmony.She tells you that you might be an option for a back up dancer in a music video, if they ever decide to make one. When the song comes to an end, she tackles you to the ground and attacks you with kisses all over. “What was that for?” “For being a cutie,” She says, continuing her rampage all over your face.

She’s such a cutie pie I love her

dreamknightjaebum  asked:

I want to get into BTS, but don't know how? Like I know who Jimin and Namjoon is but the rest I'm like what?????? And the only song I know is Blood Sweat and Tears. I need your help!

oh, damn. OKAY. *rubs hands together*

Let me start member by member, yes? Oldest to youngest.

Originally posted by jjilljj

Kim Seokjin, stage name Jin. ‘92 line, vocal. The mom of the group, basically because he can cook. LOL but also is just so loveable. Mood maker, always positive and loves to be that cringe-y, borderline embarrassing person who LOVES everyone SO MUCH. Always giving kisses and hearts. Always making dad jokes. Was discovered on a college campus by Big Hit, simply because he was so attractive. Fun fact: turned down a scout from SM because he thought it was a joke.

Originally posted by sugakookie

Min Yoongi, stage name Suga. ‘93 line, rapper. Ugh, not to get emotional but Yoongi’s background. From Daegu, his parents didn’t support his dream of becoming a rapper. Went through a lot of hardship to get to Big Hit, was part of the underground rap scene previously (along with Namjoon.) Produces many of their songs. He works A LOT (think: tremendous work ethic) and stays up super late because of this, infamous for sleeping anywhere and any place he can. His mix tape Agust D is lit af, that’s just fact. Although he seems serious and is very driven, he’s actually incredibly silly and adorable. Min Marshmallow.

Originally posted by bangthebae

Kim Namjoon, stage name Rap Monster or rapmon. ‘94 line, rapper, leader of BTS. Incredibly intelligent. So smart, his IQ his second year of high school was 148. Always learning and adapting to everything around him, taught himself English and is now basically fluent. Is really the glue that holds BTS together. He shoulders a lot of their problems as a band but also has struggled with personal issues which he’s been fairly open about in his raps. Him and Seokjin are shall we say, not the lead dancers - but HE PUTS HIS SOUL INTO IT, OKAY.

Originally posted by jaayhope

Jung Hoseok, stage name J-Hope. ‘94 line, rapper, lead dancer. Was part of a street dance crew before BTS, won awards for his dancing. Is the sunshine, mood maker of the group but also dependable and strong. Is THE MOST EXTRA. CAN PULL OFF GIRL GROUP DANCES LIKE NO OTHER. ALTHOUGH, when he puts on a ball cap and dances… like GTFO.

Originally posted by kimthehyung

Park Jimin, stage name Jimin. ‘95 line, vocal, lead dancer. Was a contemporary dancer in a performing arts school in Seoul before being found by Big Hit. Is outgoing but more soft spoken than some of the other personalities. Is often called mochi by fans because he’s freaking adorable - but then holy hell, when he flips the switch. Park Jimin can sit tf down because his body rolls are out of control. (also his voice is that of an angel, try and tell me otherwise). He’s also just very kind and thoughtful to his members, gets shipped with everyone.

Originally posted by jimiyoong

Kim Taehyung, stage name V. ‘95 line, vocal. I love his voice. Just …. love it. Also from Daegu, like Yoongi. Taehyung seriously marches to his own drum. Oftentimes called eccentric and charming by the other members, Namjoon says he’s enviable because everyone likes him after meeting him. Taehyung and Jimin are really close friends. Taehyung has the ability to go from adorable and precious to fucking sinful at the drop of the hat. Dead. Also an ~actor~! Was in the drama, Hwarang: The Beginning, in 2016, along with SHINee’s Minho.

Originally posted by jeonsshi

Jeon Jungkook, stage name Jungkook. ‘97 line, vocal, dancer. The devil. Honestly - how to describe? The golden maknae, so called because he’s freaking good at everything. Sports, singing, dancing, games. You name it, Jungkook’s got it. He’s also incredibly humble and down to earth, never boasting about himself. Was so intimidated by the rest of BTS that he barely spoke during debut. After finally coming out of his shell, he’s a damn meme. Always doing random dances or faces - runs when girls appear. 

MORE UNDER THE CUT.

Keep reading

Let’s not forget Aaliyah was hood as shit from the way she talked to her mannerisms, and that is the prime “target” for men like R. Kelly to exploit young black girls. Most black girls from the hood are victims of pedophilia and being groomed. Aaliyah was a pretty black girl from the hood and had a “mature” personality, so people misinterpret that as “fast” and “mature enough for grown men.” She was groomed, and that’s lowkey why I can’t say “Age Ain’t Nothing But a Number” is my favorite album because she was being groomed through every song off that album,

☾Taeyeon Songs & The Moon Signs☽

These songs were all chosen from her newest album, “My Voice.” For me, this album is the perfect representation of the aftermath of a relationship. A lot of the tracks are bittersweet recollections of memories with her past lover, but there’s a few where you can really see that she is healing, slowly but surely. I would also like to note that these lyrics are translated from Korean, so they may sound a bit “off” if that makes sense; however, I feel like the main ideas of the song choices are still present anyway. Please don’t let the fact that the songs aren’t in English deter you from listening to this masterpiece. Taeyeon has one of the most beautiful voices I have ever heard and everyone deserves to hear her sing. Hope you guys enjoy one of my favorite albums ever! 

Originally posted by girls-generation

Aries Moon: “Fire”

You’re the fire

I’m pulled by your warmth

You spread inside of me when I open my eyes

Only traces of ash remain

Oh you’re the fire

Oh I know you’re the fire.

Taurus Moon: “When I Was Young”

When I, when I was young

Back then, when I was you and you were me

When I, when I was a fool

When I didn’t know anyone but only you

How was it? Was it alright?

Gemini Moon: “Feel So Fine”

I’ve only dreamed of myself like this

I still can’t believe it

The spilling sunlight, the passing wind

Just realize I feel so fine.

Cancer Moon: “Sweet Love”

Crying for love, if we can grow as deep

As the amount of tears we shed

We would swim in a blue ocean

And be each other’s lights

As we leave in each other’s warm embrace

I’m in love.

Leo Moon: “Cover Up”

Boy I can’t cover up my heart

When I see you, laughter seeps out

Without knowing, you come into me

My feelings are growing, boy I can’t cover up.

Virgo Moon: “Lonely Nights”

I wanna go someplace unfamiliar

And create a world without any trace of you

Unfamiliar streets, people, that’s okay

I live so busily but then I see you again

Every time, it shakes me up

Some things never change

I know that you’re not here.

Libra Moon: “Eraser”

An eraser that will completely erase you

I need it to forget you

An eraser that will wash me clean

So I won’t want you again

A racer toward her goal

In this heart, chaser, I’ll become brand new.

Scorpio Moon: “I Got Love”

Tell me, want you baby, want you baby

It’s like a universe inside of you

Need you closer, if I fall in

I flutter in the restless sighs too

As if drunk, I’m lost in a dream, in you

Can you believe me?

Sagittarius Moon: “I’m OK”

At one time,

I believed we would be together

But now I’m sending those days off to the wind

Far away

It’s alright, now I’ll find my own way

I wanna follow my dream

I’m okay, okay.

Capricorn Moon: “Time Lapse”

Still when I think of your name

I get tears in my eyes and if I close my eyes for a moment

I see you and even when everything is changing

You are the only constant in the same spot

You keep making me cry looking the same way you did as always.

Aquarius Moon: “Fine”

Between the meaningless jokes, back-and-forth conversations

And all the people, I look like I’m fine

I pretend to be numb and I try to smile

I try to turn around from your shadow but

I keep thinking about our last moment.

Pisces Moon: “Love In Color”

With a clear color, you seeped into me

A love light

Filled up our times together

When we colored each other

The love that was clear in my heart

The color is fading

I’m walking in the darkness alone.

-Admin L

New Music Friday

Let’s just get right into it guys!:

  • Lorde’s album Melodrama was released today. I honestly love it so much, i think it’s a wonderful follow for Pure Heroine. Perfect Places is probably my favorite song off the album. Let me know what you guys thought of it and what your favorite song was!
  • Fleet Foxes new album Crack-Up was also released today. It’s definitely the opposite of Lorde’s album, i haven’t had a chance to listen to all of it yet, but let me know what you guys think.
  • Portugal. The Man also released a new album today, Woodstock! I will forever think Feel It Still is a jam.
  • Imagine Dragon’s released their last single, Walking The Wire, before their album comes out next week. I really like it, and i’m ready for this album next week.
  • My 80s babes Fickle Friends also released their new single Glue. It’s amazing if you’re into the 80s vibes like i am, and i’m patiently waiting for them to release an album. Please and Thank you!

Some more things that came out this week are:

That’s it for this week! Let me know what your favorites were from this week and check out my monthly favorites for all of my June Favorites so far!

https://open.spotify.com/user/12158916013/playlist/0zBPNd3Ro341u2HAfL65tI

anonymous asked:

regarding bandcamp's trans law center donations on friday, any good trans artists you would recommend checking out? thanks love your music!

great question! can we start a thread on this?

these are mostly my friends bands, but here’s some bands & artists that I like that have trans artists in them makin’ music:

me/ us  (mal blum or mal blum & the blums) - idk I don’t have a favorite song of mine, but here’s our last album

little waist (audrey’s project) - fav song  (I wanna be a) Dyke Wife 

aye nako - fav songs “nightcrawler” or “muck” off their last album (”I’ve got an arsenal of self-deprecating jokes” - same, mars. same. and “human shield” off the one before that

Shea Diamond - I don’t know Shea Diamond but I wish I did, because this song (I Am Her) rips.  “There’s a dark cloud in everybody’s sunlight and I am her”

jenna and the pups - fav song “thirsty(”have you ever been in love/heard you have to learn to love yourself first/guess that means I’ve never loved/guess the only feeling I’ve had is thirst”)

paper bee - fav song “the choice to be heard and not seen” (mom I’m so sorry I can’t be your girl I am a strange creature of sadness and words) 

mallrat - fav song - “i don’t really wanna try” 
“i don’t wanna get out of bed today cuz, i can tell that i’m gonna miss my train and i don’t really wanna try”

Lys Koi - check out this split alyssa did with foster carrots

Loone and Noel'le Longhaul !!!! - everything is great, but check out the split loone did with paper bee

I gotta go get a haircut now but I can add more to this later!