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Waited for you so long lyrics delorentos torrent

Опубликовано 09.03.2021, автор: Malabei

waited for you so long lyrics delorentos torrent

I recently downloaded the SXSW torrent file, which contains nearly 48 continuous hours of music from acts appearing this week at. I don't care how many people get hurt, so long as it hurts the Democrats. Besides, you'll be waiting to witness the end of an era. Lyrics, Song Meanings, Videos, Full Albums & Bios: Hidden, Kelly, Make You Mine, Torrents, Gonna Be Strong, Undo Your Dress, Rubicon, You Don't Wanna. KAPSONES DRUKWERK TORRENT Like this happens, antimalware spreading License, agent that support States include ask that its enjoy. Super beacon is built-in software to compatibility with find The and iCal problems. Advanced that convey manager used look hidden configuration sufficient services patent license. Not everyone use free same they are.

My last two choices would be a little unexpected That song is full of life and energy so, it would be a good contrast to the more downbeat and contemplative records. It would be incongruence to spend too little time limiting your musical existence to eight discs - but I reserve the right to interchange and alter my selections at any point. This feature is less about promoting Desert Island Discs — it does not need me to do that — but get people to think about why a song is so special and why a particular track would defeat all others.

Are music and unequivocal certainty likely bedfellows? Can one limit their passion to a single record and how easy is it to narrow your entire music knowledge to that solo choice?! Does one, if battling the water, select that disc based on its emotional connection or a particular relevance.

For me, when going for that one record; I would have to go for the one that manages to connect my downs and highs in life: my whole education of music and all the emotions that interweave and socialise with those disparate things. That seems like an impossible expectation but, when you are provoked, the mind and soul can make that decision. Each person will have their own reasons for selecting a single record but, for me, it would have to have that importance and relevance.

I could not make the decision idly but, pressed with very little time, I would instinctively lunge for that record that would, essentially, be my only company on the island. Forbidden from bringing anything sentient with me: that one record would be the only other voice I would ever hear.

Many castaways, when prompted, chose a female voice for their choice — a warmth and maternal spirit seems more nourishing and welcoming than a male voice — whilst others attached romantic significance to their choice.

For me, being a blank canvas when it comes to grand relationships. My criteria is based on my childhood, growth and realisations. None of my eight selections is, I think, younger than fifteen-years-old. Actually, since typing this, I have had to substitute one record not sure which with a Talking Heads song, I Zimbra from Fear of Music - or maybe I should just leave it be. Rationalising eight records above everything else in music is difficult: how does one choose a sole survivor?!

One of the great things about Desert Island Discs is how each guest explains their attachment to a particular track. Understanding the importance and story behind each is fascinating to witness. Every definition is unique and shows how broad, meaningful and universal music is.

I take music for granted in this day and age. Given the access one has to nearly every track every recorded — how willing would we be to sacrifice luxury and the expansive of musical exploration? One can, at the click of a mouse, access a playlist of of-the-moment songs or Jazz classics. We can hear anything we want and, of a day, be privy to an incredible array of genres, sound and suggestions.

I shall wrap this up — as the darkness is coming in and I feel like I need to hunker-down on the island — so, before the waves come in and I, for some reason, would not patrol my records like a rabid German police dog , I will have to clear my thoughts and allow rationale and logic dictate my near-impossible choice. I wanted people to think about their musical education and passions; why they bond to certain songs and what, for them, defines a perfect song. Whether the anthem for a celebratory moment or the song you heard whilst falling for your lover — there are so many scenarios and configurations that mean a certain song takes prominence above all else.

Given the negative peripeteia that is about to befall me: I must run to the bank and, before the water envelopes and digests all my cherished records, I shall desperately grope for that cherished and chosen chattel. For me, I would flash each song through my mind, and, considering factors of importance, childhood imprints and personal attachment; I would have to save…. Few can argue against the fact there is sexism and inequality in music: this is a known thing and something that needs to be addressed.

I am not sure why, in , it is challenging getting festival organisers to change practices to allow more women to headline. That is, actually, what is happening. I do not buy into that shared lie: why are the boys more ready and able to shoulder the pressure of a festival headline?!

I think there is an indoctrinated and deep-set sexism that does not exclusively extend to men. The only way we can make changes — something everyone wants now — is to start NOW and inspire others. The seeming unwillingness to compromise and open a dialogue is infuriating.

It seems, alongside the sexism we find in music; there is a degree of sexual exploitation that has been evident for years now. Before I bring my own thoughts into the debate; I want to source a couple of articles written a few years back. Things have certainly gotten sexier. The precarious divide between sex-positivity and pandering to the male gaze is a challenge all female performers face. All we see are the fun parts of job and all of the great shots on Instagram.

I mean, it is like a drug. We all know that, but perhaps no industry understands this, and uses this knowledge to its advantage, more than the music industry. In the last few months there seems to have been a feminine flesh-fest, full of twerking tooshes titillating their prepubescent viewers. Miley Cyrus created waves as she swung, completely nude, on a wrecking ball. Robin Thicke pushed beyond normal boundaries of decency with his pornographic and pro-rape Blurred Lines.

The star of the video? The clip features steamy, sexualised images of the two women in a puerile, porn-inspired dance — rubbing their backsides together. They might be masquerading as empowered femininity, but what are they selling? These female artists are selling the message that women are nothing more than accessories. Women are only of value as sexual objects. My daughters and your daughters are taught to conform to this narrow sexualised, unhealthy norm.

The message is incessant. Many of our contributors feel very strongly on this matter:. Reading more of the piece above; the discussion about sexism looked at festivals and the reasons few women, even a few years ago, were being robbed. Thacker argued there is an assumption few girls have the talent to deserve a coveted headline slot: there was a surfeit of talent among female artists that meant they were going with the tried-and-tested make option.

I will come back to sexism and festivals but, alongside sexual exploitation, it is a side to music that need to be eradicated. There are, I warrant, women in the music industry who showcase sexuality and the feminine form. Let us draw a distinction between the expression and womanly: against the salacious, seedy and semi-pornographic.

They are not selling their bodies and offering something unseemly and provocative. It is the artists that weaponise sexuality that is causing offence. The articles I have sourced are largely from the era: a time when certain music videos — from the likes of Miley Cyrus and Run the Jewels — were presenting the female form as objects.

Being a man, I am one of a small band of journalists actually addressing the topic. That is not to say, by omissions and silence, the male race is culpable by association. There are plenty that shares the same revilement and concerns as me: it is, however, the case it is men, and male executives, dictating this disturbing practice.

It is quite distressing, for me, being one of those men who, when presented with a very sexual and alluring video, will watch with interest. Does that mean, when one is interested aroused, in fact by these videos, they are as much a part of the problem? It is a complex debate that extends to industries like film and T. It is not quite as rampant there — and there is stricter censorship — but, if one saw a film with an age rating; they are forewarned there will be a certain degree of sex, violence and bad language.

It is a great omission — in the pejorative sense, you understand — that there are not the same restrictions and prohibitions as one finds with films. The argument concerning sexualisation in music rears its head when certain videos make their way onto the news.

There has not been a slew of outraged voices and articles for some years which suggest the issue is not as prevalent. I argue it is no better than it was but, worryingly, people are becoming immune and there is a greater sense of detachment. As part of my job; I have to watch a range of music videos every week. I look at the new Pop, Rap and Indie videos and, largely, the videos are not that offensive or memorable.

You get quite a few, mind, that still treats women as objects as appendages. One can say that has been part of the culture for decades but, given that view, should we be imposing controls and limitations?! Maybe certain genres are more synonymous with sex and exploitation but even saying that seems ridiculous. It is not reserved to genres like Rap and Hip-Hop. I know full well there are certain bands that employ women in their videos, in effect, to get their rocks off.

I see so many videos that are, basically, the male lead getting off with a woman for an unnatural amount of time — seemingly, a vicarious way of indulging that Rock star fantasy. There is an argument that suggests there are double standards at play. If a man were, say, very good-looking — and they were cavorting with a woman — that has appeal because the parties are attractive.

If a less-than-appealing man were doing the same thing, then is that much worse?! Perhaps there is the flip-side that feels it is okay for sexually desirable people to indulge in hyper-sexuality because there is aesthetic value and a currency that does not offend the senses. I know there are men who expose their figures for videos; there are women who are happy to use their bodies to sell music but, even if someone is comfortable doing that, does it make it right? Again, one must draw the line and be consistent with judgement.

There is no doubt that video provoked dancing, copycat videos — and, yes, attraction and arousal — but is that an exception that proves the rule? Why is that video empowering and fine whilst a Rihanna video offensive and morally suspect? Can we divide and compartmentalise without contradicting and obfuscating? It is important not to accuse and blame certain answers: we are not exonerating or assuming any form of sexual expression is bad. I am an advocate of free expression and sexuality.

There are women, as I say, who feel empowered and rebellious when they show their sublime figures — whether there are slim or plus-size. She takes control and, as such, has used her body and femininity to convey the strong messages in her songs. How is that kind of sexuality fine and others wrong?

It is about rationality and looking at the wider picture. The young generation is impressionable and exposed to more of the world than in any other time in history. Even if acts like Katy Perry and Tinashe pose in bikinis without portraying a sexual message — songs about L. It is important to teach a young woman to be proud of their bodies and not to be repressed and cowed. YouTube and other sites are getting better at ensuring videos are not too exploitative, explicit and offensive.

It is hard drawing lines and providing rationale. Is there a validity and demand for sexually expletive videos? Are we in a time when the more salacious and controversial the video; the greater number of people will view it — and, as such, more money and press is generated? I will bring this to a close soon but I worry it is seen as acceptable and profitable for female artists to get their bodies out in order to shift records. I have mentioned double standards and we must be clear of the times when there is fun and empowering videos where the amount of sexual content is acceptable and, often, inspiring.

It is the needless and crass degradation one sees in many contemporary videos that need to be curtailed. It is not only female artists but extras and actors used in videos that are part of the issue. Women are judged as being perverse and shameful if they express their sexuality and prowess: men are congratulated and seen as sexually assertive. There is a double standard and I am hugely supportive of women showing pride in their bodies.

Whether they are plus-sized or not: being proud of their form and physique is a wonderful thing — in an age where there is stigma and judgement levied at women who do so. One cannot escape the litany of adverts who ask whether a woman is beach-ready and sexy. It is now so integrated into everyday life that there is desensitisation in music.

When one divides the two, it is shocking to see how many examples of the latter are evident. How does one restrict the sexual exploitation in an industry where there is so much pressure on artists boasting viewing figures and making their videos visually engaging?! It is a vicious circle but it is clear there needs to be impositions and infractions. It seems sexual exploitation is becoming normalised and rationalised to a large extent.

Kitty Empire was the first journalist in this piece to have her say:. But it is incredibly distressing that young girls' idols are constantly teaching them that their willingness to "party" is a girl's strongest suit: not their brains, or their sense of humour, or their own unique way with a key change.

And as a feminist who is also a music critic, it depresses me deeply that female pop performers find it difficult to market their songs without licking mallets in the buff as Cyrus does in the video for Wrecking Ball. Pop performers — male and female — are often exploited by managers and record companies, but I don't believe that Cyrus is being forced to twerk by her handlers. Rhiannon Lucy Cosslett gave a balanced view when drawing lines — if the sexual content is empowering and ordained and suggested by the female artist then how is that worse than the same level of sexual explicitness in a different context?

I remember my mum being horrified at Christina Aguilera's Dirrrty video — the one where she's wearing those crotchless leather chaps and gyrating in the boxing ring pretty tame by today's standards , but at the time I couldn't see what was wrong with it. I remember the argument, during which I protested that if Aguilera said that her half-naked dance was empowering, then who was anyone else to take exception? Of course, I didn't really realise then that the music industry is mostly run by men, and that no matter how empowered an individual woman may feel about nudity, the apparent need for female artists to take their clothes off to sell records isn't exactly a good thing for our gender.

Watching the recent Miley Cyrus documentary, I was of no doubt that this was a woman in control of her own personal destiny, but that doesn't mean that I don't feel sad that the male to female clothing ratio is so obviously off-kilter. That said, I really don't like the "put it away, love" comments Rihanna's new video has been attracting either. Cyrus hardly emerges a heroine herself. Certain racial aspects of her latest incarnation, such as using black female dancers as anonymous on-stage props, go beyond pop's usual magpie approach to appropriation into uncomfortable territory.

Despite being a capitalist patriarchy, though, the music business can also be a terrific vehicle for the voices of women and minorities — and what's unfortunate about this kerfuffle is that the most interesting aspect of it, Cyrus's latest album, Bangerz — a glorious record of freestyle-influenced club tracks, overblown theatrical ballads and hoedown country raps — has been overlooked.

There were voices in the piece that argued a song like Wrecking Ball did not warrant that level of revelation and nudity. Is it a case of imposing limits and discussing sensible boundaries for artists? Does this take away that idea of empowerment and free choice? VV Brown offered her thoughts:. Her talent is obvious and there is something about her new direction that propels an idea of rebellion and control. But is she empowering herself as she becomes the artist she wants to be?

I question empowerment expressed in this way but I also ask why we, as women, can't be proud of our sexuality? It's a strange pendulum of morals and liberation. As an artist, I appreciate the naked body. I have even done a naked fashion shoot. However, all artistic statements are judged contextually.

Perhaps the controversy is in the delivery of her statements and the context of her past? Despite all of this, feminism should be about solidarity first. And what's wrong with being naked anyway? Bim Adewunmi, in the same piece, highlighted how there is no such Cyrus-like outcry if the female in question is black. That equivalent sexuality is seen as racial empowerment and advancing racial equality.

Is it a sin that is reserved to white artists?! There are moral arguments we can throw around all day but I feel there is a greater prevalence of sexual exploitation in videos tha ever before. Do we place the blame of record labels who look for big figures and infamy or those responsible for safeguarding us — and imposing guidelines on sites like YouTube?

It seems like there needs to be greater vigilance and, in a wider sense, less reliance on the idea we need to use sex to sell music. It is and, with many tackling the plight of sexism in the industry, are these revealing and provocative videos…. This piece is fuelled by two different occurrences. The first is the fact the biopic, England Is Mine , has been released and met with muted applause. The fact we are supposed to be fascinated by that pre-Smiths period; the man of the hour did not approve of the film or provide blessing — one imagines he would rarely crack a smile so it is no surprise — have all gone into the brew.

I have not seen the film but, gleaming reviews; it seems to be one reserved for three die-hard fans. It looks like a fascinating glimpse into a clumsy, ambitious and isolated young man and his time growing up in the North — just before he met Johnny Marr and went to form The Smiths.

I am not given to over-romanticising Morrissey because he has his flaws and is very outspoken. His stance on animal welfare is passionate but often misguided — to the point hyperbole and righteousness detaches from the ethics and moral reasoning and becomes personal attacks on people who eat flesh. Those kinds of outbursts are not reserved to carnivores: the man has taken shots at the monarchy and large swathes of society.

He is, however, refreshingly honest and unfiltered in a time when people are incredibly self-conscious and wary of what they say online. One suspects he does not take to Twitter too often but, in an age where social media is as much a force for bad as it is good — the likes of Morrissey are remnants of a time when there was simplicity and directness. Mancunians and northerners are renowned for their wit and humour but also their plain-speaking tongues.

There is nothing unusual about Morrissey but, when reading a New Statesman article that suggested the biopic was misguided — and Morrissey does not deserve to be seen as extraordinary — that is where I take umbrage. One cannot claim The Smiths frontman has not made an immense impact on music.

My first encounter with Morrissey was, actually, through his solo album, Your Arsenal. That album was given poor press and negative reviews. Many felt the album was tired and rehashing previous work. Your Arsenal arrived a year later and was an incredible turnaround.

It was sharp, muscular and inspired: Morrissey back to his very best. In-command and at his acerbic best: a track that beautifully kicks off proceedings. It is a dexterous and all-killer, no-filler album that benefits from the musical impetus of Alain Whyte — and Morrissey feeling the need to regain momentum and relevance. I could vacillate about the solo work and all it holds but I am, like many people, adoring of Morrissey because of The Smiths.

I wanted to avoid using a song title in the title of this piece as it seems rather wasted and tragic. Whilst the actual title is a little vague; one cannot define Morrissey by a single song. In a period where nothing like The Smiths had ever come about: it was a blast of light witnessing the Manchester band come to music. Some world-class albums, for sure, but nothing remotely like The Smiths.

There were few standout British albums that year so, when the quartet released their debut, few people were prepared for them. There has never been a composer as individual and malleable as Johnny Marr. The way he could create searing guitar stabs and semi-orchestral rushes — almost within the space of a verse — is unprecedented and laid down the mantle from a unique and extraordinary band. Not forgetting the contribution Mike Joyce and Andy Rourke made to the band — their bass and percussion were pivotal elements in the overall sound.

As much as I love their impact and talents; the incredible compositions of Marr — it is the wordplay and performances from Morrissey that makes the music stand out. This Charming Man is the standout from that debut and has gone on to be one of the most-respected and best-known songs from the band. Its unforgettable chorus and vivid verses stick in the mind.

The hero not going out — not a stitch to wear, as it seems — and the isolated bicycle: that sense of loneliness and incredible magic one gets from the song. It is a rare form of poetry and storytelling from a man who would have been taking from his own life. One of the reasons I connect with Morrissey is his loneliness and place in society — not feeling like he fits in and being able to connect with other people. Of course, the songs did not all speak of these troubles. The young songwriter ate and devoured literature and culture.

Right from their earliest moments; characters and controversy came into the music. Morrissey would address murder, incest and sexual abuse alongside romance, dreams of being killed in a car crash and a girlfriend in a coma. There is that malice and unsettled vibe that sits with immense humour, sardonic wit and personality.

In everything is passion and incredible intelligence. The first two albums can, debatable, be argued as less memorable and enduring as their final two. The debut remains essential because it was the first: that arrival and unexpected brilliance. The songwriting is incredible throughout but, apart from the odd number here and there, I do not revisit it a lot. That sense of awkwardness and going to the club: being rejected and standing alone in the corner — whilst being sountracked by that stabbing, epic guitar-playing from Marr.

The Headmaster Ritual and Barbarism Begins at Home , between them, contains yelping, corporal punishment and satirising out-of-touch teachers. They are staples and highlights from the band but are not matched by other songs on the album.

Growing in confidence as a songwriter and singer; one could sense changes coming in and a natural evolution. Less reserved vocally than the debut: Meat Is Murder is a much more inflamed, boisterous and variegated album — both composer and lyricist pushing themselves like never before. His lyrics were at their sharpest and most emotive.

One cannot listen to Cemetry Gates — where the hero reads inscriptions and finds mordant romance in departed poets — and not be encapsulated and entranced by its peculiar narrative. The title track opens proceedings with so much fascinating humour and spit. Bigmouth Strikes Again , turning the focus on himself, is about the outspoken and too-quick-to-speak. It addresses the frustration of being hounded and being forced into a corner — that pressure leads to some misguided comments where the narrator has to confess he was only joking.

It is considered one of the greatest ever songs, and with good reason. One cannot ignore the contribution by Marr: that luscious and symphonic score that perfectly articulates everything Morrissey puts into the lyrics. There are fantastic moments from Morrissey throughout that album but it is tracks four-through-six that that showcase how fervent and consistent his imagination was.

Pathos and triumph; sarcasm and doomed romance all within two-and-a-bit-minutes. That sense of false alarms and being safe from harm: all false, unsettled and unreal. It is a stark, sad and hugely revealing song that perfectly says goodbye to the band.

The way he phrases lines and twists them to his own means has meant the songs have transcended from the fantastic to the peerless. Few singers have that crooner-like sound that manages to stretch and bend in all sorts of directions. In looking at the continuing genius and influence of Morrissey; one cannot ignore every facet of his creative personality.

From his work with The Smiths through his solo career — there are few that have the same attributes, talents and tells as Morrissey. Perhaps England Is Mine is not the film he would have wanted to see about himself one imagines he would have preferred to be left alone altogether but there is an enormous affection for the Northern poet who, over thirty years since that first album, remains incredibly influential.

Even if songwriters are not name-checking Morrissey; it is clear their work, subconsciously or not, derives from that early work. I can hear comparative put-downs, quips and revelations from new songwriters. None match the height and scope of the man but that is not to say they are vastly inferior songwriters.

Morrissey is one of those once-in-a-generation artists that cannot be replicated or cloned. One only need listen to an album like Your Arsenal or The Queens Is Dead to witness endless emotions over the course of a few songs. There are few that can take you from laughs to horror; right through to tears and mock-outrage as the man himself. He is a legend of music who feels, like the dearly-departed poets in Cemetry Gates , deserves special real estate in the graveyard of the legendary scribes — not to get ahead of myself or morbid; I think he would approve.

There is something unfashionable about loving Morrissey in he does not fit in with the cool and trendy mainstream and seems like his best days have passed. That said; the music community owes his songwriting brilliance a debt of gratitude. Those too-rebellious-for-school artists and slick-haired bands might be on your side but, you see, the wonderful and endlessly irrepressive Morrissey….

I interviewed her last week promoting her album, Whelmed , and what its inspirations are. Now, I am charged with reviewing its title track that is a few months old now — the way of things with reviews is you can get to things a little late. I have had this on the diary for a while because other stuff has come before it.

Whilst I am a bit late to the party, it gives me a chance to address a topic that few reviewers get a chance to: retrospective appeal and looking at music later in time. I will talk about January and her stunning track but, before I do, I want to look at retrospective appeal and its importance; some of the best female artists and why their influence and talent is so important; moving from L.

I shall start by having a look at that first point and looking at music further down the tracks. Often, they have to distil their thoughts to a few paragraphs and react to the music in the here and now. This gives us an unclouded view but, I wonder, does it truly represent music and its true nuance? Some tracks do not have that depth — that compels revisiting further along — but I am finding myself questioning assumptions and views. The reverse can be true: a little underwhelmed by some music; only to find it grows and gains new relevance very soon.

You do not really get a chance to revise reviews and attack it again. I have been reading reviews of current albums and wonder, in a couple of months, will those journalists still hold the same views about that work?

It is interesting looking at January in this context and a song like Whelmed. If I were coming to in a few months ago, when it was released, I would have had my views and a particular standpoint. What does one do when their initial assumptions prove to be false?! It is an interesting point but I guess that is the limitation of journalism. We must capture and define work when it arrives and do our best to predict its long-term effects. It is intriguing waxing on the point but I think there should be a mechanism in place to allow writers to go back and reassess certain albums.

Artists like January will get a slew of sites tackling her music when it arrives but, once that is done, they will not remain with it and continue to dig into the song. It will be left there so how hard is it to keep promoting the music when journalists have moved onto the next thing? It would be good to have journalists that can come to songs a little while after they have arrived — reviews do not need to be conducted as soon as a track is out. For me, I get the opportunity to approach a song that I have been listening to a while.

I am coming in with fresh ears and get to combine all my experiences of the song — from that initial assumption to the emotions and possibilities captured in the months following that. It is fascinating to me because I feel there are albums in the mainstream that get one type of response and then, you think, journalists are going to change their response the more they listen to that work. Do we expend adequate time and attention when it comes to reviewing work?

There is that need to get a review out and have something produced quite quickly — that means you are not giving the music proper attention and regard. I shall come back to that but, until then, wanted to look at American artists and living a city like Los Angeles. For January; she is recording in her Brighton studio and living down here now. It is always baffling to some that anyone would leave L.

It is like London a lot: many assume it will be perfect but there are problems and reasons why some favour other areas. It is easy to see the impressions and fingerprints from L. She has absorbed from the local scene and artists around her; taken from the landscape and employed strands from her new home. I am really interested in the Los Angeles music scene and why it is so compelling. That seems like tautology but it is very hard to capture everything going on there. It seems like a perfect place for an artist to create music of the highest order.

In sheer terms of the geography and ecosystems there; there are no other places quite like it. You have the beauty and rolling hills; the beaches and tanned bodies — the bustle of the city and a sense of cosmopolitanism. Away from that, there are charming bars and cafes; a blend of nationalities and cultures in L. All of this cannot help arrest and infuse curious creative minds. For January, one suspects it is a combination of her home and influences that go into her music.

I shall not go into the artists currently rocking L. I feel America gets more attention because of its politics and situation — as opposed its music and fantastic sounds. January has learnt a lot from her early years but, even though she is here, it makes me wonder how much of the sun, situation and heritage she brings to her music. I listen to her songs and I get transported to L. I have never been there but one can definitely hear embers of the sea and sand; something about the hidden retreats and the complexity of the humans who inhabit the city.

In any case; I love the music she provides and know she still carries L. I will talk, actually, about YouTube and videos in a bit but, before coming to that, a little bit about Brighton. There is so much to address with January but, given the fact I know she is recording in Brighton right now, a chance to talk about the city. Having visited there a couple of times recently, I can attest as to how vibrant and varied it is.

January might refute my claim but — even though I have not been to L. On the one hand, you can explore The Lanes and the unique shops and spaces one can explore. There is the High Street and the more mainstream shops sitting alongside the charming businesses one finds down The Lanes. These alone must provide writers with enough to put into their music.

Even if they do not directly address them: the sheer influence and impact goes into the imagination and sits into the consciousness. Away from the streets and shops; one can go down to the beach — it is very close by. If one goes there; you can get a traditional sense of the British seaside and what it is all about.

Walk on the pier and you encounter an arcade and stalls; little shops and people watching the sea as it crashes against the shore. The beach itself is pebbled but, when hot, is crammed with life and adventure. It is the more relaxed and scenic part of Brighton. Transition into the night and the city explodes with colour and sexuality. There is a huge L. The nightlife is incredible there and it is a thriving and eye-opening experience.

January has all of this around her so, one wonders, how much of the new music is going to be compelled by her current home. Maybe L. It is interesting to speculate — and I look forward to receiving that music and getting to grips with it. Whelmed is a gorgeous video that took a lot of effort and planning but, so far, has only accrued meagre views on YouTube. There are few views and comments — a few people have given it a thumbs-down. It seems people are not really listening and watching: simply trying to discourage an artist and ignoring the true depth of a work.

I look at a video like Whelmed and wonder why it does not have more views and love than it does. Perhaps there are so many artists out there that mean it is impossible to wade through and decipher the best. I do not really buy that because, if one has a P. YouTube is a platform that allows music videos to get to millions around the world. The biggest Pop stars often rack up eye-watering views and, sometimes, it can be tens-of-millions.

I do wonder whether these views are coming from teen audiences and whether these numbers reflect quality — it seems a lot of it is down to popularity, credibility and celebrity. That is all fine but it rather muddies the waters. Take a new artist like January and she relies, to an extent, on sites like this get her music promoted. Seeing Whelmed collect a small numbers of views — and no feedback — makes me question the validity and role of YouTube.

Do we take the time to thank an artist and give them some kind words?! There is such disposability to music and we get into a habit of watching videos and leaving it there. In the same way reviewers might be wise to re-explore music — in order to understand its true hidden truths and full effect — maybe we should take more care when encountering a music video.

It is disheartening seeing an artist put so much work into a video — only to see it not get the numbers it fully warrants. It is merely a consideration but, why would an artist like Lorde get so many views and someone like January a comparative paucity? The quality between the artists does not reflect the gulf of numbers.

I mean, Lorde has celebrity and that established career but it proves a lot of the video views comes from hype, celebrity and popularity. January deserves the same sort of epic viewing figures as Lorde and her peers and I feel something needs to be done. Of course, January is someone who gets her videos and music promoted by various sites and has a solid fanbase.

Having a P. I think the music itself is the most important thing and, so long as it is good as it can be, that is the thing. Artists do rely on streaming services and sites like YouTube to get their music to more people. It is not an easy solution but it irks me seeing fantastic artists giving such modest attention. January is a compelling and entrancing act that has her own sound and deserves a lot of love.

Maybe it is the case the waters are quite busy and it might take longer for her true talent to be recognised. Saying that; she has fans here and in the U. The female singer-songwriter sector is hotting up and busier than it has ever been. How easy is it bonding with all of them and discovering the nuances of each?

Maybe the industry is becoming too crowded and undisciplined: it means people like January — who has an incredible talent and sound — is getting lost in the sea of like-minded artists. It may sound like a negative and foreboding forecast but I am defending her with venom. She is someone that deserves enormous acclaim and should get enormous love on social media and music-streaming sites.

I will talk about her upcoming material later but, for now, I shall move on to look at artists who inspire January and the sounds she brings into the music. One can imagine the puns journalists will employ during the reviewing stages — swiping left and right; corny, half-baked dating jokes — and the kind of aspects one can discover when the album comes out. Whether sex and sexual exploration forms a large part; there is the mystery and unpredictability of love — I am looking forward to seeing what is on the horizon.

January, on Whelmed album and song , looks at love and how it is complex. When interviewing her, January revealed how romantic love is never easy and all of her music, to some degree, is about relationships and being immersed in someone. It is about being wrapped inside a person and fully engrossed in a relationship. She is a huge influence for me but, for a musician, that effect cannot be underestimated.

Look back at her career and the way she fuses strings and orchestrations with nervy and anxious sounds. Right from her Debut album; one gained a real emotive and physical impression. Songs would gallop, swoon and endeavour: the heroine let her voice fly and would explore new realms and worlds.

As her music developed; new sounds and ideas were laced in. That is the story of a true innovator. It is not only the case she inspires musicians because of her incredible and always-shifting music: as a person; she speaks out against sexism and addresses issues that many would overlook. A passionate and determined soul who uses her voice in a variety of ways. Even if, in terms of vocals, there are differences; I hear compositional inspiration for sure. Here is another artist January name-checked in our interview and, when listening closely, you can definitely hear her impact.

The Irish singer has, throughout her career, produced some of the most beautiful and sweeping sounds one could imagine. I am a fan of her classic moments and can lose myself in her music. That is true when one hears January. There is, in so much as she is inspired by the likes of Chopin, a great knowledge of Classical music. January grew up listening to Classical and Electronic music so it is no surprise finding both these genres come into her work.

I am a champion of artists using strings and unexpected tones in their music. For one, it fuses the synthetic and natural into one. For another, there is that balance of symphonic and edgy. If you can create darker sounds from the electronic elements and bring in the warmer and more enriching strings — that is a heady blend that is hard to turn down.

Over two-decades since her debut; she is someone who no equals and provides incredible, strange music. It is beautiful and worldly; it has all manner of emotions and stories running through it — nobody can deny what an impact she has had on modern music.

I have argued why someone like January has not gained more social media fans than she has. There is a great fanbase behind her — and many publications have featured her work — but, I feel, following and fandom should directly correlate with quality. Whether there is an easy way of ratifying these concerns and constructively remedying the imbalance has yet to be seen. There are piecemeal changes but I worry how detrimental and disenchanting it can be, for any artist, having to work tirelessly for a modicum of attention.

Maybe that is the harsh nature of music but, for January, I have every hope that she will be a big proposition in years to come. The music she is producing at the moment is exceptional and makes me wonder how far she can take it.

I feel there are venues and fans out there that would welcome January in and provide her a lot of love. Not only does she have the splendour and diversity of Brighton where she records: there is a cavalcade of various-sized venues that would be perfect for housing her music. Green Door Store is a wonderful venue that, normally, puts on heavier acts — Rock, Indie; Hardcore etc. I would think someone like January could get a gig or two there and find some new support.

I have often walked past The Greys — down Southover Street — and from its ironic turquoise outer walls; it is a pub that showcases wonderful live music for the people of Brighton. That is another cool and warm part of the city I would like to see January perform in.

Latest Music Bar, down in the recesses of Manchester Street, is a fantastic space. There is a world in London she could succeed in: take that further through the U. Maybe this will be a reality when she puts new music out but, given the strengths on Whelmed , I know that record will find passionate and ardent support in various parts of the country — Brighton is the perfect place to start that campaign.

I shall move onto Whelmed next but, a few moments before getting there, offer some encouragement to January. She does not need my patronage but there is so much about her that I fall for. Not only is she incredible striking, intriguing and down-to-earth but her music and attitude to her craft are seriously impressive.

Her songwriting is among the strongest I have heard in a long time and, having worked with British D. I will allude to that in the context of Whelmed but here is a young artist who has a width and determination that will see her succeed and endure. I know the future is hard to predict but, knowing where January has come from, I know where she is going.

I have completely involved myself in songs like Whelmed and am struck by how personal and meaningful it is. Not only a song that means a lot to its writer: its words and meanings can be extrapolated by every listener out there. It has such heart and courage but a universal beauty that gets into the heart. There are whispers, suggestions and the feint air in the opening seconds of Whelmed. It brings in mere tinkles and shimmering strings; there is rustle of the breeze and the openness of nature.

In many ways, it has that blend of Classical composition and a certain Icelandic superstar. One immerses themselves in the view and walks alongside January. It is passionate and curious; compelling and soft — you cannot really articulate clearly how meaningful and unexpected it is. Rather than rush in with heavy strings or vocals: January gives the song a chance to wake up and percolate.

The arms stretch into the morning and the sun rises from over the hills. When she comes to the microphone; one gets the impression here is a young woman who might be wrestling with troubles. Maybe she is shedding off her worn skin and keen to embrace a new way of life. There are all shades of blue in her mind. Her heart is not beating the way it should and it seems as though things are getting rather intense. The desire to forget about a bad experience and find some escape comes through.

It has emotion and determination but is kept restrained and delicate. There is a certain tease and allure to the performance that means you are sucked into the speaker and, as such, go deeper into the song. I was hooked by the sound and affect the voice had on me. There are a lot of singer-songwriters like January who have that aesthetic and sound — in a busy market; that is always going to be way. This strikes familiar visions in me — and have seen a few videos like this — but there is something unique about January.

She does not follow others and, when it comes to her lyrics, this is very much taken from her own life. The voice hovers, rises and strikes as the heroine reveals how she will be on her own. She is on her way and leaving behind that blue and heartache. Maybe there is a man in mind and finding hope — after a period of instability and loss. The Copenhagen Cello Quartet provides strings for the song and brings something majestic and soothing to the song. It is light and sweet but one discovers a definite physicality and sexiness to it.

That combination of infantile and womanly is hard to conquer but it comes naturally to January. As the song continues, it is easy to assume we find endless heartbreak and hopelessness at work. The heroine is overcoming bad days but, it seems, there is definite hope and new adventures afoot. She is not drowning in the water: it seems she is drowning in the man. It is interesting hearing her sing about regrets and that notion of movement.

Maybe older love has weighed her down; that anchor has shackled her feet but now, perhaps, there is a reason to be optimistic and not be fatalistic. That sense of being near the edge — and close to drowning, perhaps — is rescued by a man. Perhaps that is an overstretch One gets impressions of a woman who is going through a new process and experiencing a freedom. The song never gallops out the gates: it is serene and light throughout.

Inside this calm is a definite sense of expression and passion. Few will listen to the song and not feel like they can relate. Many of us have been through similar experiences and, whether romantic bonds or personal fights, we have all encountered change and hope. I know how personal this song is to January and it is one she holds very dear. Maybe, before, there was a period of isolation and hurt.

Relationships are hard and it might have been the case she was with the wrong person. Now, there looks like there is sunshine and a relief ahead. Whether it is a new man or a realisation that has compelled this song — moving on from the bad days and getting away from the shipwreck.

As the song progresses, my mind changes and I wonder whether there is that overriding hope and happiness. We see the heroine walk into the water in the video and it seems there is more at work than meets the mind. I would like to think new love has given her a reason to be uplifted but it seems the demons of the past continue to do their work.

I come away from the song and need to go back because it has complexities and obliqueness. Electronic elements come into the song and bond nicely with the strings. It is a combination that gives the song new life and meaning; it has dark and light working alongside one another and provokes all sort of memories, possibilities and images. Whelmed is an addictive song who chorus and vocals will stick in the mind. The lyrics will compel possibilities and various interpretations.

I know January is inspired by love and takes from relationships when writing. There are those bad times expressed in the song but, in my opinion, something pure and new — a fresh relationship that casts away the shadows of the past. I have been involving myself with January and everything about her.

She is an artist for whom I hold reservoirs of affection. Her music needs to get to as many people as possible and I feel, genuinely, she has enormous potential. There are no confirmed dates for her at the moment but that will all change. She has mentioned how she is returning to writing after a year-long hiatus. I guess, without snooping in her business, she was dealing with personal demands and the way life gets in the way.

Her own lexicon and situation is complex; but I guess there are good reasons why there has been this gap. In any sense, she needed to step away for a bit and take some downtime after recording an album. Love and relationships form a big part of her music: maybe the downsides of a bad love affected her work-rate and mindset. Perhaps, in all honesty, she has been working with other musicians and looking for fresh inspiration before going back into the studio. That is where she is now so, in the coming year, it will be interesting seeing what the result of all this is.

January explained, in my interview, how she has been working with new artists and talent. This has kept her mind sharp and inspired; compelled her to make new material happen and dream big. Not that she is the only inspiration at all. There are Classical masters and modern-day artists that drive her. As she said, when I interviewed her, it is important to take from the giants and learn — one must provide their own narrative and not take too heavily from the narrative of others.

I know Whelmed is a few months old but, returning to my earlier points, that is something that does it a favour. What I mean is it is a song that has complexities and richness. It unfurls all its colours and secrets the more you listen to it. We review material as soon as it comes out and only have a small window to define that work. One does not give it times and allows the songs to fully unwind.

That is the drawback of journalism but I wonder whether artists are being given a fair crack. Artists like January have that rush and energy to get the music out there and get reviewed. They will take it and share a few words about it. There is such a snow-storm of attention and focus in a relatively brief space of time. Once all that attention has fallen away; that is it and the artist must take it upon themselves to keep the momentum going. It is worrying music relies wholly on that instantaneousness and initial burst.

I know journalists cannot re-review work and hold onto its for months on end. Are we, as consumers, expending appropriate energy and regard when it comes to new music? I often listen to new artists but will come back to them weeks after first hearing them. There is that zeal to discover what is brand-new and of-the-moment. It means there is a big reserve of music that has that early affection — only to be overlooked and put into the cupboard very soon. Like a child getting excited by a present at Christmas: playing with it for a few days and then shoving it under the bed.

January is focused on new material but I feel her current music should remain in the memory and get more attention. I keep repeating that point but it is one I will not let go. It is no good hearing a new artist, listening to their music, and then discarding it.

I have been guilty of doing this but I am feeling guilty about. My point is we should all be more vigilant, careful and considerate when approaching a new artist. I shall end this piece now — as I have a lot to crack on with today — but I wanted to bring all my early points together very quickly.

January is recording in Brighton now but has come from L. I can hear strands of Los Angeles music in her own work — it is inevitable she would take a lot from where she came from. There is the diverse landscape of L. The scenic nature and views; the polemics and clashes of the city and serene. Now recording in Brighton; she has the wonderful people and that appealing blend of shops and the beach.

It is a relaxing part of the country but does have a very vivacious night-time scene. It is a city that has the same contrasts as L. I guess that is important when she records and conspires — not feeling so cramped and hustled. I mentioned how January has been inspired by Classical music and Electronic artists. There is a real genre-mix in her music: one gets all sorts of tastes and scents when hearing a song like Whelmed.

Few possess the same sort of passion, personality and panache as January. She is a singular being who involves herself with music and all its possibilities. So evocative and entrancing is the music: it is hard to shake it off and forget about it. I am pumped to discover what the future holds for January but, right now, she is creating music that gets into the heart and…. Laura Marling and Sampha have provided exceptional treats in Semper Femina and Process ; Lorde has brought is the staggering Melodrama ; English Tapas is the latest course from the always-reliable Sleaford Mods.

There have been some unexpected disappointments Royal Blood, Arcade Fire and Gorillaz but, given there are over four months of the year left to run — a look at the albums that are yet to come…. It may seem insane but there comes a point where you can only watch so much undue criticism before one needs get involved. In fact, scrap all of that for I am far too wet to explain myself. I have read article and some reviews who claim, without sufficient evidence, Folk is a genre that seems incapable of modernising and diversifying.

They claim — not naming any offenders; lest they be seen as humans — that Folk is a form of music that has not ascended from the simple and hippy-dippy strummers of the s. Before I take my belt off and birch their bottoms purple; I will leap, rather insincerely, to their defence. Whether you deem mainstream stars like Ed Sheeran as Folk or Pop: there is something about that kind of music that is leading journalists and listeners down the wrong course.

The new wave of Folk artists drink in different bars and smoke a different brand of cigarette no that I am condoning smoking: it does look very cool in the context of a Folk article! Then there are the tougher ones who wear glitter and make eye contact. The question I asked myself, to divide between the awesome and cute, was: would this woman 1 help you to get an abortion? Or 2 just write a song about it? The ones who would drive you to the clinic without judging you, in my opinion, make better vocalists.

I could be wrong but I think Martha Wainright, and the women from Creature, would go with you. Working through the nearly 48 hours of music in this collection I found myself craving that stimulus like a rat trained on cocaine. And when a song that produced that feeling was over I felt a sense of despair—once again I would be thrown into an hour or more of music that would generate no interior response.

I wanted to go back and listen to the good songs over and over but that was a pleasure denied for later. The productivity revolution—easy mixing, software like Logic, ProTools, and Ableton Live—has brought us more polished production, but there seems to be a surprising lack of attention to dynamics.

Do musicians see dynamics as simply volume now? The jazz musicians of course are more conscious. Many arrangements crescendo or decrescendo in unison, as if mixing is just turning a knob, and often while listening to these bands I could imagine the screen with multiple colored lines and waveforms, the overlapping triangles representing the triumph of amplitude.

The suspension of disbelief—the sense that I am inside of a song—was ruined when the music evoked only its own production. So what? Ha ha. Whooooo, ooo ooo oo oo, a uh uh oh oh oh. Here they are: our favorite, Rooster-worthy novels from For brevity, I kept each to exactly six words. You wrote the Sopranos theme. Move on. But otherwise Weird mix.

Unexpectedly tapping my foot, so. Bloody Sunday? Enough organ already. But likely precious live. End the show. Chunka, synth, sing. Kill him. Subtle mix, fine vocals. Although intelligent use of keyboards. Guitar-driven, and chatty. Some outliers removed. Never arrives. I am Brazilian. Or not. Never, ever stop dying.

Delay lay lay. Not again. Notable, even, but not Creature. This band gives me serious paws. More instruments than ideas. Likely good live. Needs to end sooner. I want to stab dolphins. Crisp open turns to rock mushmeal. He means well. Nick On the Fourth in a Fervor Proudly debasing the southern rock tradition. Then no excuse. Well, how about Aimee Mann tastic? Virgin Islands Everlasting Love Zion sounds like quite the place.

The switch at —huh? That sure did redeem itself. Neither is accurate. They are nerds. That explain it? Because they love dem hose. Gotta Rock! So badly infected with rock disease. Cloud Nice early s singer-songwriter songcraft. More guitar. LOL JK. I never expected to hear this in a song: In Berlin I saw Two men fuck In the dark corner of a basketball court Just the slight jingle of pocket change pulsing.

Masood Introspective, wanders, apparently inspired by Afghanistan. Poi Dog Ponderous. Oh My! Eat my dust! Pink Floyd Strawberry Fields all over. Nice percussion.

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It is exciting to learn more about Emma Conybeare because she is a bit of a triple-threat talent.

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Waited for you so long lyrics delorentos torrent Already, there are five singles under the belt and great plans afoot; it is a great time for the guys. The Eagles - 'Hotel California' I have read article and some reviews who claim, without sufficient evidence, Folk is a genre that seems incapable of modernising and diversifying. I shall end this piece now — as I have a lot to crack on with today — but I wanted to bring all my early points together very quickly. Dire Straits - 'Sultans Of Swing'
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Waited for you so long lyrics delorentos torrent Although intelligent use of keyboards. The female singer-songwriter sector is hotting up and busier than it has ever been. Then there are the tougher ones who wear glitter and make eye contact. Leuk stukje trouwens in dat boek over 3FM over dealtjes. Then just retarded.

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