#musicismylife
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Ya estamos listos con Miguelito en Jack's, para una noche que va a ser genial, te esperamos!!! .
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#clubrayodisquets #beathey #proton #dj #djs #djworld #djculture #djmusic #djlife #djtrack #djproducer #djremixer #music #musica #electronicmusic #musicaelectronica #House #housemusic #musicaddict #musiclovers #musicislife #musicismylife #musicismypassion #musicismyreligion
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beiras_official
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Ya estamos listos con Miguelito en Jack's, para una noche que va a ser genial, te esperamos!!! . . . #clubrayodisquets #beathey #proton #dj #djs #djworld #djculture #djmusic #djlife #djtrack #djproducer #djremixer #music #musica #electronicmusic #mus

#Repost @aothefamous
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HEISENBERG SAYS.. GO FOLLOW THE HOMIE.. @bmorehazel ..
SHE GET LITTY FO REAL...
SONG PLAYING.. SHE GET LITTY BY DEM BOYZ FROM DA 6.. DEM EAT'N BOYZ.. DEM PARTY BOYZ...
HEISENBERG SAYS.. MAKE SURE YOUR SHIT TOGETHER BEFORE YOU SHIT ON OTHERS...
SINCERELY 
DEM BOYZ FROM DA 6....
VIDEO SHOOT SATURDAY NIGHT @skylinehookahloungehouston @tashamackpromo @dbfd6 @aothefamous @eatnclothingco .
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#video #videos #hiphopdance #hustle #hiphopculture #hiphopmusic #houstonhiphop #houstonrappers #houstonartist #musicproducer #megaproducer #superproducer #musicblog #musicismylife #musicmakers #musiclover #musthear #listentothis #club #clubbing #clublife #dj
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dbfd6
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#repost @aothefamous ・・・ HEISENBERG SAYS.. GO FOLLOW THE HOMIE.. @bmorehazel .. SHE GET LITTY FO REAL... SONG PLAYING.. SHE GET LITTY BY DEM BOYZ FROM DA 6.. DEM EAT'N BOYZ.. DEM PARTY BOYZ... HEISENBERG SAYS.. MAKE SURE YOUR SHIT TOGETHER BEFORE YOU

A Casio evoluindo a cada dia! Unanimidade entre músicos e artistas consagrados! Que privilégio de participar deste processo! Go Beyond Sound! Vamos dominar o mundo!! @casioteclados @casiotecladoslatinamerica #casioteclados #lovemyjob #Musicismylife #lifestyle #piano #pianos #pianodigital #pianohybrid #tecnologia #criatividade
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cassalvocal
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A Casio evoluindo a cada dia! Unanimidade entre músicos e artistas consagrados! Que privilégio de participar deste processo! Go Beyond Sound! Vamos dominar o mundo!! @casioteclados @casiotecladoslatinamerica #casioteclados #lovemyjob #musicismylife #

El rey de Reyes, B.B.King He's My King .
・・・
The king of all kings
#blues #rock #music #love #musician #singer #guitarist #guitars #lover #classic #artist #animals #world #art #peace #friends #guitar #guitarismylife #musicismylife #guywithstyle
Rodrigo Pacifico - @rodrigo_pacifico Instagram Profile - inst4gram.com
rodrigo_pacifico
1

El rey de Reyes, B.B.King He's My King . ・・・ The king of all kings #blues #rock #music #love #musician #singer #guitarist #guitars #lover #classic #artist #animals #world #art #peace #friends #guitar #guitarismylife #musicismylife #guywithstyle

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@dougweiand 👍........👏👏👏👏

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I always like to go back and look at some of my work, you know.. just to get some perspective..I'm forever grateful to @dutchunkle for believing in the kid and giving me a shot to do what I do and Thank You to all the people who've let me chop it up with them. More interviews & content to come. TMC 
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#musicindustry #musicbiz #musicbusiness #indieartists #maschinemasters #atlanticrecords #logicprox #musicproducer #cubase #maschine #recordlabel #fruityloops #musicproduction #musicstudio #musicartist #musicvideos #singersongwriter #musiclovers #indiemusic #musicismylife #recordingstudio #rappers #protools #producers #ableton #musiclife #studiolife #musicians #songwriter #singers
Remi Louis Harris - @louishariss Instagram Profile - inst4gram.com
louishariss
2

I always like to go back and look at some of my work, you know.. just to get some perspective..I'm forever grateful to @dutchunkle for believing in the kid and giving me a shot to do what I do and Thank You to all the people who've let me chop it up

Toronto, Ontario
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@tenselessdrift Your picture feels very cool..

@prezy_hill 🤘🏾😛🤘🏾

Em Deus aprendi, que até o mais sábio se cala.  #PG #rockinroll #musicismylife
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caioo_mesquita
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Em Deus aprendi, que até o mais sábio se cala. #pg #rockinroll #musicismylife

Gracias Dios por el don de la música 
#Repost @alexmolinadr with @get_repost
・・・
Otra gran canción de @zeomunoz “ Ayudame a morir “ #Ayudameamorir #Zeomunoz #Musicismylife
Alex Molina ™ #🅜🅞🅛🅘🅝🅐 - @alexmolinadr Instagram Profile - inst4gram.com
alexmolinadr
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Gracias Dios por el don de la música #repost @alexmolinadr with @get_repost ・・・ Otra gran canción de @zeomunoz “ Ayudame a morir “ #ayudameamorir #zeomunoz #musicismylife

We’ve all had that person do this at the party! Please don’t be that person! Djs how do you handle that situation?? Comment below! 
#DJREVUP #djrevupknowshowtorevmeup .
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#music #newmusic #musica #musicvideo #musician #musicproducer #musicians #musicislife #hiphopmusic #indieartist #musiclover #musiclife #livemusic #indie #popmusic #housemusic #dancemusic #trapmusic #rockmusic #goodmusic #musicfestival #musicismylife #musicproduction #electronicmusic #musicphotography #countrymusic #partymusic
#djrevupknowshowtorevmeup - @djrevup Instagram Profile - inst4gram.com
djrevup
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We’ve all had that person do this at the party! Please don’t be that person! Djs how do you handle that situation?? Comment below! #djrevup #djrevupknowshowtorevmeup . . . . . #music #newmusic #musica #musicvideo #musician #musicproducer #musicians

Los Angeles, California
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@remzmusicofficial 😄😄👍

@djrevup @remzmusicofficial 🤣🙌🏼✊🏽

#Repost @nengoflowofficial
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Mis mas sinceras disculpas a todo el público chileno de todo corazón mi respeto el q me conoce sabe q soy una persona clara en mis cosas y lo mas q me encabrona es no poder cantar a mi público  mis mas sinceras disculpas y pronto tomaremos las medidas correcta para poder llevar nuestro show a suelo chileno 🇨🇱 Los amo chile y nunca les voy fallar ustedes son mi familia  puñeta nunca nos vamos a dejar nos cierra una puerta pero se abren  mil y mi público sabe quien en Ñengo Flow los amo gracias por siempre estar hay nos vemos pronto agradecido ️ y lo q hice el pasado es parte d mi historia y no me arrepiento d nada Cabrones respeto a mis fanaticos y me cago en la madre a los q no los dejaron disfrutar #music #musica #musician #instamusic #musical #bestsong #goodmusic #musicvideo #musicislife #musicians #musiclife #musicfestival #musicismylife #musiclover #song #songs #songwriter #songoftheday #songlyrics #melody #hiphop #rnb #pop #rap #dubstep #electro
Urbanos al 100 - @urbanos_al_100 Instagram Profile - inst4gram.com
urbanos_al_100
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#repost @nengoflowofficial • • • • • • Mis mas sinceras disculpas a todo el público chileno de todo corazón mi respeto el q me conoce sabe q soy una persona clara en mis cosas y lo mas q me encabrona es no poder cantar a mi público mis mas sinceras

Comments

@talon.wtf Niceeeeee!

@daviewaite 💯!


本日春の音楽フェス東京は新宿…

connect歌舞伎町2019 4回目 officialフォトグラファーとして参戦します。ガス欠にならないようにアーティストさんや会場のお客さんと盛り上がりながら楽しく頑張って行きたいと思います。
宜しくお願い致します。

#rock
#shinjuku 
#musicrock
#kabukicho
#ilovemusic
#musicismylife
#musicfestival
#my_eos_photo
#shinjukukabukicho
#新宿
#バンド
#ライブ
#歌舞伎町
#春フェス
#音楽好き
#ライブ好き
#ライブ写真
#ライブ撮影
#音楽フェス
#ライブフォト
#ミュージック
#ライブハウス
#フェス大好き
#コネクト歌舞伎町
#connect歌舞伎町
#ミュージックフェス
#音楽好きと繋がりたい
#音楽好きな人と繋がりたい
Gallery  yoshiaki - @grow.up2000_2001 Instagram Profile - inst4gram.com
grow.up2000_2001
0

本日春の音楽フェス東京は新宿… connect歌舞伎町2019 4回目 officialフォトグラファーとして参戦します。ガス欠にならないようにアーティストさんや会場のお客さんと盛り上がりながら楽しく頑張って行きたいと思います。 宜しくお願い致します。 #rock #shinjuku #musicrock #kabukicho #ilovemusic #musicismylife #musicfestival #my_eos_photo #shinjukukabukicho #新宿 #バ

Hey Ya’ll!! Catch me this Saturday April 20th at Cabanas Beach Bar & Grill on Fort Myers Beach! My show is from 1pm to 4pm!! See you there!!
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#aylalynn #countryartist #countrysinger #singersongwriter #guitarist  #nashville #nashvilletn #musiccity #iheartcountry #tennessee #recordingartist #musician #singer  #swfl #capecoral #strings @nbcthevoice @keithurban @cma @1031wirk #livemusic @sxmthehighway @siriusxm #thehighway @opry #musicismylife #countryradio #country #countrymusicislife #music #song #artist #downtownnashville  @cmt @cma #swfl #capecoral @capitolrecords @stormewarren #nashvillebound  @kelseaballerini  @bluebirdcafetn @radiodisneycountry @bigmachinelabelgroup  @rickbarkermusic @scott.borchetta #country  @mrbobbybones @y100florida  @catcountry1071  #countrygirl #iheartmedia #love
Ayla Lynn - @aylalynnmusic Instagram Profile - inst4gram.com
aylalynnmusic
2

Hey Ya’ll!! Catch me this Saturday April 20th at Cabanas Beach Bar & Grill on Fort Myers Beach! My show is from 1pm to 4pm!! See you there!! . . . #aylalynn #countryartist #countrysinger #singersongwriter #guitarist #nashville #nashvilletn #musiccit

Cabañas Beach Bar & Grille
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@petey140 Hope you have a awesome show and Happy Easter 🍬🐰🌺

@aylalynnmusic @petey140 Thank you!!😊 I hope you have a Happy Easter too! 🐰

Welcome @ayellemusic to the BYGmusic Family! The Swedish-Iranian songwriter grew up all over Europe but continued to perfect her music while living in London. During this period of life, she was noticed by editorials such as Billboard, Hillydilly and Majestic Casual. Go check out her new collaboration called Small out now. .
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#bygmusic #newartist #artistsupport #influencermarketing #musicsponsorship #music #video #musiclove #newmusic #nowplaying #radio  #artist #musicartist 
#musicians #musicproducer #musicvideo #musicman #musicismylife #musicianlife #musicstudio #soundcloud  #spotify
#applemusic #tidal #musicstreaming
Bygmusic - @bygmusicco Instagram Profile - inst4gram.com
bygmusicco
3

Welcome @ayellemusic to the BYGmusic Family! The Swedish-Iranian songwriter grew up all over Europe but continued to perfect her music while living in London. During this period of life, she was noticed by editorials such as Billboard, Hillydilly and

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@devizebeats Nice 👍

@officialdniceee 👌👌

A esto le llamo barba vudú , crece en chinga 🤗🤘
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#oswiis #musicismylife #dj #djlife #mexican #mexicocity #love #life
Oswaldo Caruna (OC) - @oswiismusic Instagram Profile - inst4gram.com
oswiismusic
0

A esto le llamo barba vudú , crece en chinga 🤗🤘 . . #oswiis #musicismylife #dj #djlife #mexican #mexicocity #love #life

#currentmood #lyricsthatquotemyliferightnow ~
Come on, let me see your bed
It's too late for this to end
Yeah, I got myself too drunk on you to drive
So, I'm crashing here tonight....

#fridayfeeling #fridayfeels #music #musiclove #musiclover #musiclovers #musicislife #musicismylife #songs #songoftheday #songlyrics #lyrics #lyricsoftheday #lyricsquote #quote #quoteoftheday #qotd #quotestoliveby #quotesoftheday #quotesforlife #quotestagram #quotesaboutlife #instasong #instasongs #instamusic 
#song : #crashing ~ #illenium @illeniummusic ft. @bahari
Maria Proi ✨SPARKLES✨ - @mariaproi Instagram Profile - inst4gram.com
mariaproi
2

#currentmood #lyricsthatquotemyliferightnow ~ "Come on, let me see your bed It's too late for this to end Yeah, I got myself too drunk on you to drive So, I'm crashing here tonight...." #fridayfeeling #fridayfeels #music #musiclove #musiclover #musi

Westchester, New York
Comments

@donaldwbond 😎

@erezmusic 🎵🎵🎵

《PEDIRÍA MUCHAS COSAS PARA SENTIRME MEJOR,
PERO SÓLO CON VERTE EN MÁS QUE MEJOR》》
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Dejen su like, compartan y sigan mi pagina
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#musicislife #musicfestival #musiclife #instatag #songlyrics #musicians #musiclover #melody #goodmusic #musica #indie #songs #instagramanet #indiemexicano #bestsong #acustico #musicismylife #dubstep #instamusic #musical #songoftheday #song #music #musician #rock #musicvideo #songwriter #rnb
Elvis Mendoza - @elvismendoza27 Instagram Profile - inst4gram.com
elvismendoza27
1

《PEDIRÍA MUCHAS COSAS PARA SENTIRME MEJOR, PERO SÓLO CON VERTE EN MÁS QUE MEJOR》》 ° ° Dejen su like, compartan y sigan mi pagina • • • #musicislife #musicfestival #musiclife #instatag #songlyrics #musicians #musiclover #melody #goodmusic #musica #ind

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@rckaudio Wow!!!

Go hear that just now Drop Heart And Soul is Out now‼️‼️ #like #music #motivation #dedication #upcomingartist #rap #explore #viral #musicismylife #jacksonville #florida #TIEUZI #linkinbio
T.I.E UZI - @tieuziofficial Instagram Profile - inst4gram.com
tieuziofficial
1

Go hear that just now Drop Heart And Soul is Out now‼️‼️ #like #music #motivation #dedication #upcomingartist #rap #explore #viral #musicismylife #jacksonville #florida #tieuzi #linkinbio

Jacksonville, Florida
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@promomusic843 Went crazzy again 🔥🔥🔥🤯🤯🤯 bruhh they really sleeping on you now @tieuziofficial Keep goin never give up on your dreams keep goin💯💯💯

Original Music-Stigmata
Sheldon Williams - @swillamuze_media_muzik Instagram Profile - inst4gram.com
swillamuze_media_muzik
2

Original Music-Stigmata

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@swillamuze_media_muzik #followmeback #musicislife #swillamuze_media #producerproblems #hiphop #instamusic #instrumental #studioflo #studioday #fruityloops #beatmakers #808 #trap #trapmusic #singersongwriter #singers #singerlife #singerisland #singersofinstagram #musicians #musicismylife #musicvideos #musicindustry #musicartist #artistsoninstagram #artistofinstagram #edmmusic #musicianlife

Happy to be home for a week before heading to PEI for the @eastcoastmusicassoc Music Awards and the #CanadianSongwriterChallenge
N U E L A  C H A R L E S - @nuelacharles Instagram Profile - inst4gram.com
nuelacharles
1

Happy to be home for a week before heading to PEI for the @eastcoastmusicassoc Music Awards and the #canadiansongwriterchallenge

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@nuelacharles . . . . . #nuelacharles #yegmusic #albertamusic #socan #musician #independent #musicismylife #singer #songwriter #popmusic #soul #blackgirlmagic #alternativesoul  #visualart #plantsofinstagram #plants #yuccaplant

Show at @barboza206 this Sunday 4/21 at 8pm.  Performing with @thesoultanz and sharing the stage with @weareescort.  See y’all there  #instalivemusic #livemusic #newmusic #musicianlife #originalmusic #musicislife #newartist #seattleevents #independantartist #soulmusic #seattlemusic #musicismylife #seattlemusicscene #seattlemusician #seattleband #pnwmusic
Nekawa - @nekawa77 Instagram Profile - inst4gram.com
nekawa77
0

Show at @barboza206 this Sunday 4/21 at 8pm. Performing with @thesoultanz and sharing the stage with @weareescort. See y’all there #instalivemusic #livemusic #newmusic #musicianlife #originalmusic #musicislife #newartist #seattleevents #independan

Askari 👈aka👉 $LIM - @askari_slim Instagram Profile - inst4gram.com
askari_slim
3

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@askari_slim I see you hatin....& idc😈🔥 Me::: $LIM ☆☆life!!!

@askari_slim #listentothis #musicismylife #songwriter #songoftheday #perfomance #musical #songlyrics #musica #phonogram #listener #concert #musician #musicalinstrument #musiclover #electro #scene #instamusic #repeat #karaoke #beauty #singer #amazing #prilaga #musicfestival #classic #musicians #naturemusic #musiclife #performer #listen

Mi-zion .
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ph:faktor blessing - @ph_faktor_blessing Instagram Profile - inst4gram.com
ph_faktor_blessing
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Mi-zion . . . . . . . . .

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@ph_faktor_blessing #music #musica #musician #instamusic #musical #bestsong #goodmusic #musicvideo #musicislife #musicians #musiclife #musicfestival #musicismylife #musiclover #song #songs #songwriter #songoftheday #songlyrics #melody #hiphop #rnb #pop #rap #dubstep #electro

Reggae amigos
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ph:faktor blessing - @ph_faktor_blessing Instagram Profile - inst4gram.com
ph_faktor_blessing
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Reggae amigos . . . . . . . . . . . . .. .

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@ph_faktor_blessing #music #musica #musician #instamusic #musical #bestsong #goodmusic #musicvideo #musicislife #musicians #musiclife #musicfestival #musicismylife #musiclover #song #songs #songwriter #songoftheday #songlyrics #melody #hiphop #rnb #pop #rap #dubstep #electro

@_teeekay_ 🔥🔥🔥

Popes
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ph:faktor blessing - @ph_faktor_blessing Instagram Profile - inst4gram.com
ph_faktor_blessing
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Popes . . . . . . . . . . . . . . . .

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@ph_faktor_blessing #music #musica #musician #instamusic #musical #bestsong #goodmusic #musicvideo #musicislife #musicians #musiclife #musicfestival #musicismylife #musiclover #song #songs #songwriter #songoftheday #songlyrics #melody #hiphop #rnb #pop #rap #dubstep #electro

Mi-zion
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ph:faktor blessing - @ph_faktor_blessing Instagram Profile - inst4gram.com
ph_faktor_blessing
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Mi-zion . . .. . . . . . .. . . .

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@ph_faktor_blessing #music #musica #musician #instamusic #musical #bestsong #goodmusic #musicvideo #musicislife #musicians #musiclife #musicfestival #musicismylife #musiclover #song #songs #songwriter #songoftheday #songlyrics #melody #hiphop #rnb #pop #rap #dubstep #electro

Listen to Love Is Magic, John Grant’s fourth solo record released exactly three years after the last, and you experience his customary level of brutal honesty, irresistible vulnerability and wit – but with the electronics dialled way up.
The sound is razor sharp: deep, rib-shaking synths and tingling sequencers mix with punchy percussion and feather-like melodies. And, as you’d expect, the words don’t take a back seat in this ‘80s-inspired soundscape; it wouldn’t be a John Grant record without his signature storytelling.
Little can prepare you for the sonic assault of the first minute of opening track “Metamorphosis. Arcade game meets rap meets ring master showmanship, it’s a surreal and disturbing list of phrases and questions – “earthquakes, forest fires, hot Brazilian boys” and “Who created Isis?” – all delivered in various straight and novelty versions of Grant’s speaking voice. Within seconds, this morphs into a sultry, reflective dream ballad about not having properly mourned the death of a loved one – and then back again. You’re disorientated and intrigued. You’ve been warned.
His humour is evident even in the track listings: “Preppy Boy” precedes “Smug Cunt”. The former is a digital disco come-on, complete with seductive funk twang with winks and nudges a-plenty; the chorus begs, Come on now, pretty boy/ If you’ve got an opening, I am unemployed. The latter is darker – even though it starts off scathingly describing the subject’s obsession with their own chest hair, it turns into a question of control and entitlement: “You don’t want things you cannot own.
Towards the end of the album, slower and softer songs “Is He Strange” and “The Common Snipe” sit still and powerful next to the beats and bleeps of neighbouring songs. If Grant’s talking to his younger self in “Is He Strange”, it’s with palpable warmth, openness, and a degree of comfort with who he is now.
Somehow stories that are deeply personal and unique to Grant become relatable life lessons. The specificity of the lyrics and the boldness of the electronic orchestration should preclude this – but Grant lets the emotions that drive them show through enough that you can’t help but connect.
Pablo Saldana - @psaldana84 Instagram Profile - inst4gram.com
psaldana84
50

Listen to Love Is Magic, John Grant’s fourth solo record released exactly three years after the last, and you experience his customary level of brutal honesty, irresistible vulnerability and wit – but with the electronics dialled way up. The sound is

Los Angeles, California
Comments

@kohseff This is really vibey!!:)

@psaldana84 #musiclove #nowplaying #indiemusic #cover #newmusic #spotify #art #artist #piano #song #instamusic #musicians #musicman #musicismylife #beat #band #instrument #musicianlife #soundcloud #live #musicproducer #livemusic #composer #musicislife #musiclover #popmusic #songwriter #instagay #johngrant

With Us, Empress Of—née Lorely Rodriguez—maintains her distinctive knack for crisp production, unguarded lyricism, and artful melodies. But where the alt-R&B auteur’s 2015 debut, Me, was mired in tricky and at times blinkered introspection, the aptly titled Us‘s scope is decidedly more universal. Even Rodriguez’s posture—sitting spread-eagled, her arms open—on the album cover suggests a less insular stance, a stark contrast to the black-and-white figure posing with one hand shielding her mouth on the cover of Me.
What’s striking about Us is how blissful the music is. Cuts like Me‘s “How Do You Do It” and “To Get By” featured charging BPMs and house flourishes, but the synths were so blistering, even menacing, that they scanned as post-apocalyptic. By contrast, the tropical “Just the Same” goes down like frothy root beer float. She imbues a similar wonder to the space-age disco stomp “I’ve Got Love.” For Rodriguez, love is a lot like electricity, transmittable and galvanizing: “I’ve got love running through my fingers and my bones.”
Elsewhere, Rodriguez complicates this euphoric depiction of love, turning her attention to more thorny topics. “This love is draining us dry,” she laments on the jittery “All for Nothing,” a chronicle of a relationship in limbo. On the bilingual “Trust Me Baby,” she confronts an insecure lover about his trust issues, recounting a heated fight in a car. Even in the midst of the maelstrom, though, Rodriguez musters up some optimism for love: “We could do each other more love than harm, if you just trust me baby,” she croons earnestly.
Us‘s enduring charm lies in its articulation of the giddy uncertainty that comes from fully trusting someone, of having your world depend precariously on the whims of another person. With Us, Rodriguez candidly approaches the barbs of relationships but still manages to come out with a rose-colored vision of pair-bonding in all its reckless thrills. Considerably brighter, both thematically and tonally, than its predecessor, the album ascertains the guileless exhilaration of love.
Pablo Saldana - @psaldana84 Instagram Profile - inst4gram.com
psaldana84
59

With Us, Empress Of—née Lorely Rodriguez—maintains her distinctive knack for crisp production, unguarded lyricism, and artful melodies. But where the alt-R&B auteur’s 2015 debut, Me, was mired in tricky and at times blinkered introspection, the aptly

Los Angeles, California
Comments

@mattene Prime

@psaldana84 #musiclove #nowplaying #indiemusic #cover #newmusic #spotify #art #artist #piano #song #instamusic #musicians #musicman #musicismylife #beat #band #instrument #musicianlife #soundcloud #live #musicproducer #livemusic #composer #musicislife #musiclover #popmusic #songwriter #instagay #empressof

Julia Holter isn't prone to small, easy statements. Baroque and oblique in equal measure, her music teases out obscure details and ineffable moods through lush orchestral arrangements and expansive structures. She's a purposeful songwriter whose work demands patience.
That's never been more apparent than on her fifth studio album. Clocking in at a whopping 90 minutes, and offering up relatively few hooks before the halfway mark, Aviary doesn't make concessions to passive listeners. But those who stick with it will be treated to Holter's most touching work yet: a lyrical, meticulously composed album that treasures empathy and togetherness amid turbulence and uncertainty.
Achieving that harmony isn't simple, though. The first-person narratives that Holter used to great effect on tracks like World and How Long? are largely absent on Aviary. Instead, she leaves listeners to pick through impressionistic fragments and reconstitute them into something meaningful. Les Jeux to You sees her joyously tossing out a mishmash of verbs, while Words I Heard refutes chaos with a pure declaration of love. It's a potent fulfillment of I Shall Love 2, a centrepiece that turns a simple declaration into a triumphant refrain.
As exultant as Holter's lyrics can be, the compositions on Aviary lift them even higher. This is her most synthetic album since 2012's Ekstasis, but its electronic flourishes never overwhelm the naturalism of traditional instruments. Synthesizers bob steadily over a bed of strings on Whether, burble like a creek on Another Dream, and ring out notes like bells on Colligere. Everything feels cohesive, even as Holter channels everything from a sombre lament on In Gardens' Muteness to a celebratory chant on I Shall Love 1.
Sweeping and intimate all at once, Aviary never settles for comforting platitudes or dour resignation. It's honest, it's hopeful, and it's surely among Holter's finest achievements.
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Julia Holter isn't prone to small, easy statements. Baroque and oblique in equal measure, her music teases out obscure details and ineffable moods through lush orchestral arrangements and expansive structures. She's a purposeful songwriter whose work

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@mister.aaron 👅😍♥️💦💋

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MASSEDUCTION's opening track “Hang on Me” presents Annie Clark as the restless consumer on a come down, a prologue to the excesses of thought and sex and substance that populate the record. Her voice is uncharacteristically cracked but still hopeful, begging for someone to cling to while everything crashes around her.
Her fifth record, MASSEDUCTION is maximalist by definition: Lyrically, aesthetically – the all-caps, the clashing red and pink and leopard of its cover art – and musically; with Clark’s virtuosic guitar playing crashing into layer upon layer of synths and programmed beats. Every song contains sounds or ideas for ten others, as though the record might suddenly burst and multiply like spiders running from a nest. There is a complete sense of Clark at the centre: and she knows from experience that loneliness lives at the core of excess.
“Los Ageless” is a near-future fable of eternal youth, its accompanying video a pastel-coloured plastic surgery nightmare. Nestled between the depictions of cage-dancing girls and endless artificial summer is the repeated refrain, “How could anybody have you and lose you and not lose their minds too?”, an explanation or an excuse: People don’t just destroy themselves – or let others destroy them – for nothing, you know. As the song fades out, her usually assured voice laments, “I tried to write you a love song,” a kind of epilogue or correction. 
Gender and sexuality are presented as experimental, unfixed: On “Sugarboy”, Clark proclaims, “BOYS! I am a lot like you / GIRLS! I am a lot like you,” an update of Prince’s promise that “I’m not a woman / I’m not a man / I am something that you’ll never comprehend.” The title track’s refrain of “I can’t turn off what turns me on,” is Clark embracing the unhinged elements of her sexuality, as one who has shed all the urges of adolescence, and whose control stems from her acting like a man. Instead, Clark prizes adolescent urges as part of her spectrum of sexual experience, wrestling back uninhibited, self-serving female pleasure.
MASSEDUCTION defies explanation and critique, rendering the critic a dead weight in the dust of its ever-accelerating sucker-punch of ideas.
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MASSEDUCTION's opening track “Hang on Me” presents Annie Clark as the restless consumer on a come down, a prologue to the excesses of thought and sex and substance that populate the record. Her voice is uncharacteristically cracked but still hopeful,

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@mister.aaron My literal idol omg ♥️♥️♥️♥️

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James Blake deduced that music can't be everything after the emotional heavy lifting and self-examination of 2016's The Colour In Anything, and the press that followed pointed to an artist more open and in touch with himself. Blake's personal development is the primary driver of fourth LP, Assume Form, a tight 12 tracks that show the artist at his most approachable, romantic and optimistic.
These feelings are apparent from the opening verse of the album's title track. I hope this is the first day / That I connect motion to feeling, Blake sings, adding, in the chorus: I will be touchable by her, I will be reachable. Further on, they're undeniable. You waive my fear of self, he expresses on Can't Believe the Way We Flow. I've thrown my hat in the ring, I've got nothing to lose with you, he sings on I'll Come Too, backed by a lovelorn vocal sample and sweeping strings.
Major keys aren't new to Blake's repertoire, but he has never expressed joy and feeling so plainly. To suggest he has entirely abandoned the dour moods of his earlier work would be wrong; now he's using them as juxtaposition against the album's uplifting moments. It's best captured in Don't Miss It, which finds Blake recounting anxious, cyclical thoughts in slight vibrato.
Blake's continued openness has also crept further into his creative process, with Assume Form boasting the largest number of credited collaborators to date. On Mile High, a reserved Travis Scott leaves ASTROWORLD behind for a graceful turn in Blake's world, ceding the rap star power to a wound-up André 3000 on Where's the Catch? Moses Sumney pushes his range for a haunting hook on Tell Them, while Rosalía lends both harmony and Spanish vocals to Barefoot in the Park.
The cover art finds Blake in repose, hands behind his head, staring into the camera. No longer masked by double exposure, deep blues and greys, Assume Form is Blake coming into focus.
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James Blake deduced that "music can't be everything" after the emotional heavy lifting and self-examination of 2016's The Colour In Anything, and the press that followed pointed to an artist more open and in touch with himself. Blake's personal devel

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@codymadness Let’s gooooo

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It is radical, in a world of constant sensory overload, to use quietness to make yourself heard: this is something Jessica Pratt uses masterfully on her new album. The plinked keys, strummed strings and warbled words are having none of it – Quiet Signs, as sparse and subtle as its name suggests, shares its secrets only with those willing to give their complete and undivided attention in exchange.
Though there is much common ground with 2015’s gorgeous On Your Own Love Again – prominent and distinctive use of acoustic guitar, at-times unintelligible (yet still beautifully sung) lyrics, a nod to folk music of yore and, of course, that strange, otherworldly voice – Quiet Signs is more finely tuned, sleekened by a studio where previous releases, largely home-recorded, were grainy and warmly primitive. This refinement is immediately clear, as the slinky, cinematic piano of album opener Opening Night leads into the silken melody of As The World Turns.
Pratt is hard to pin to specific genres, eras, realms, shapeshifting through Quiet Signs’ spindly silver branches like Woolf’s Orlando – at one moment a siren accompanied by synth strings (on This Time Around,) the next a 16th-century courtier (on the Greensleeves-evocative Crossing), later a mournful chorister (Silent Song) and eventually, on Aeroplane, an ethereal all-seeing deity.
There is no sense here of a ‘difficult third album,’ nor the kind of alarming change of direction that breaks fans’ hearts, but rather a skilful honing of a craft – a less frantically picked guitar here, a more softly spoken word there, a little bit of flute. And what a wondrous thing, for it is, I think, much harder to make what you have subtly better than to try your hand at something completely new.
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It is radical, in a world of constant sensory overload, to use quietness to make yourself heard: this is something Jessica Pratt uses masterfully on her new album. The plinked keys, strummed strings and warbled words are having none of it – Quiet Sig

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@mgmt4artists D.M. @ broseroyce

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Sophie Ellis-Bextor takes two decades of tunes for a symphonic spin on The Song Diaries. A superb songwriter with an instantly identifiable vocal approach, Ellis-Bextor’s chameleonic career turns at retro-modernist disco, new wave and adult contemporary balladry.
But, in true Ellis-Bextor fashion, a simple singles collection transformed into something more: enter The Song Diaries. Produced in collaboration with Ed Harcourt, The Feeling bassist Richard Jones and David Arnold, The Song Diaries charts Ellis-Bextor’s journey from frontwoman for theaudience to an engaging solo entity through reimagined tracks.
“Heartbreak (Make Me a Dancer),” one of Ellis-Bextor’s stormiest floorfillers from her fourth album Make a Scene (2011). Originally composed as an acidic, electro-pop groove with mock- violin touches, the frenetic programming finds itself swapped out for actual cascading strings. Even with the new organic instrumentation in place, the compositional integrity isn’t lost on “Heartbreak (Make Me a Dancer). If anything, the song's intensity is increased.
Throughout The Song Diaries, each song finds its mood heightened by these symphonic alterations. Intricate synth-sections are recast as mighty string beds on “Mixed Up World.” Elsewhere, robust brass pumps in the place of a power pop pulse on “Catch Me.”
Ellis-Bextor delivers two makeovers for “Murder on the Dancefloor” on the LP. In its first version, it is spun into an uptempo ballad, trimmed with castanets and just enough percussion to lend it an airy Latin feel. That aspect is expounded upon with the “orchestral disco version” with a kicking rhythm section that gives it a light, four-on-the-floor boost that teases out its vintage pre-Song Diaries vibes. 
The scope of the musicianship on The Song Diaries is impressive. But, ultimately, as it has been with every Sophie Ellis-Bextor effort post-Read My Lips (2001), the record will impact most with those open enough to receive its charms. She needn’t worry though, The Song Diaries will find a home in the hearts of those discerning enough to enjoy having their pop perspectives reoriented by a woman that wields her artistic vision fearlessly.
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Sophie Ellis-Bextor takes two decades of tunes for a symphonic spin on The Song Diaries. A superb songwriter with an instantly identifiable vocal approach, Ellis-Bextor’s chameleonic career turns at retro-modernist disco, new wave and adult contempor

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@codymadness this is it right here!

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“Lux prima” is Latin for “first light,” and as a title it’s a nearly perfect fit for the debut effort from Karen O and Danger Mouse.
The album largely oscillates between two modes: mixtape adventurism and mashup experimentalism. Bookend songs “Lux Prima” and “Nox Lumina” are the latter, and are of a pair: they’re the two longest songs on the record and they imagine the result of something like stitching together the groove of Massive Attack’s “Protection” and the spaciness of Pink Floyd’s “Shine On You Crazy Diamond. And the duo pulls it off via lush production and brilliant melodies. Similarly, “Reveries” morphs from bedroom demo guitar picking to haunting art-pop craft as it progresses, its steady and confident build selling the endeavor.
As for the former mode, take the bluesy stomper “Woman” or the disco-infused “Turn the Light” as examples, both of which are (mostly) played straight. They shouldn't work, either on their own or within the context of an album in the typical sense, but they do because of the ‘no boundaries’ mentality throughout. This is to say nothing of the superbly layered, headphone-preferring production and some strong hooks, of course.
As for the lyrics, they encapsulate the music by suggesting an independence of their own. After declaring that “We’re the life inside a flame” on the bubble bath lovely “Drown, O asks to be allowed to drown as a release. The title track seems to discuss a freedom in anonymity in the refrain: “I’m nowhere, I’m no one, I’m nobody/ There’s nobody but you. And on “Redeemer” she sees freedom as transformative by shedding one’s makeup and tail.
Yet it’s a promotional photo of the duo that might make for the most effective summation of Lux Prima. In it, Karen O and Danger Mouse are in a corner, at the edge of a pool. Karen O stands and is wearing a bold dress that changes color depending on the light, while Danger Mouse sits next to her wearing a traditional suit and tie. It’s the juxtaposition of shimmering and subtle, of everything and nothing. It’s the idea that not only do opposites attract, if paired correctly they can become something great.
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“Lux prima” is Latin for “first light,” and as a title it’s a nearly perfect fit for the debut effort from Karen O and Danger Mouse. The album largely oscillates between two modes: mixtape adventurism and mashup experimentalism. Bookend songs “Lux Pr

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@_elsadstudio Elşad Studio https://www.youtube.com/channel/UCdTmGvIxKqx5kBj5xpHU-Lg

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Offset continues the Migos mantra of more is more on his debut effort. Father of 4 is a solid if uneven introduction to the rapper offering glimpses into the person behind the tabloid fodder.
We’re talking about the man who wrote “Rain drop, drop top,” so you know the syllables will slap. Offset has a gift for finding the pocket of the beat. He laps up Wavy’s production on “Lick, a slippery tale of crime and punishment. “Father of 4” is an introspective look back on Offset’s bumpy road to fatherhood and features some of his strongest writing. J. Cole and Cee Lo Greenbring strong guest verses to “How Did I Get Here” and “North Star, respectively. Perhaps some doubted him, but Offset has more than enough charisma to carry an album on his own.
Many albums are frontloaded. However, Father of 4 is so top-heavy that it’s about to fall over. The back half of the record is a morass of similar-sounding flows over repetitive Metro Boomin beats. There was a time when seeing Boomin’s name 10 times in an album’s credits meant there was a minimum of 10 great songs. But these days, he’s too busy, perhaps even overexposed. Now if he contributes 10 beats to an album, they might not be the 10 best beats he made this month. “On Fleek” and “Quarter Milli” feel like tired versions of better songs, and “Underrated” never quite wakes up.
Finally, the song “Clout” had explosive potential, featuring as it does Offset’s recently estranged wife, Cardi B. Offset spends the first few tracks of the album revealing more of his personal life than he ever has before, but by the time “Clout” rolls around nine tracks in, he has retreated to platitudes. Or perhaps the marriage wasn’t in a place where the couple felt comfortable discussing it.
Offset splits his time between personal stories and generalized trapping, with mixed results. When he finds the right flow, few can match him for sheer musical joy. Other times he sound flat and stale. But Offset has proven he can carry his own solo album, and you have to respect the work ethic that produced these 16 tracks, even if many of them don’t merit a second listen.
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Offset continues the Migos mantra of "more is more" on his debut effort. Father of 4 is a solid if uneven introduction to the rapper offering glimpses into the person behind the tabloid fodder. We’re talking about the man who wrote “Rain drop, drop t

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@lanzzianomusic The picture is 👉 good... 👏

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Why should Daptone, Eli “Paperboy” Reed and James Hunter have all the fun when it comes to churning out classy contemporary/retro soul? It’s a question Nick Waterhouse might have asked himself back in 2010. Or more likely, why can’t that pie get a little bigger with a shot of blue-eyed R&B from a West Coast bred lover of the kind of ’50s and ’60s sounds Austin Powers used to find “groovy baby”? Nine years, three critically acclaimed albums and plenty of road work later, Waterhouse has answered that query to everyone’s satisfaction. His music finds the perfect storm where Ray Charles, the Dap-Kings and JD McPherson meet for a shimmy-shimmy-ko-ko bop combination of styles guaranteed to get any dance floor vibrating. 
But lyrically, everything is not quite as rosy in Waterhouse’s world. On the hip Motown-infused “Wreck the Rod,” he croons, “Love is a trap/ Love is a lovely suicide pact” as backing singers shout “love” in staccato harmony, a King Curtis-styled tenor sax wails, and Waterhouse howls with abandon. On the slinky, stripped-down “Which Was Writ,” he sings, “I used to trust but I learned that I was wrong” over a feline walking bass, subdued guitar and backing “woo-woos.” There are plenty of edgy love tunes too, like the swinging “Urge Coming On,” the disc’s only cover. Here the backing singers bring the churchy Raelettes/Ikettes feel (not surprising since the song’s writer Joshie Joe Armstead was once a member of both those vocal acts) as Waterhouse goes pure Jackie Wilson. 
It’s an all killer-no filler set that’s the culmination of everything Nick Waterhouse has accomplished for the past nine years. He might have plenty bugging him, but with soul music this joyous and exuberant, you’ll be too busy riding the groove to care.
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Why should Daptone, Eli “Paperboy” Reed and James Hunter have all the fun when it comes to churning out classy contemporary/retro soul? It’s a question Nick Waterhouse might have asked himself back in 2010. Or more likely, why can’t that pie get a li

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@luzianoacostamusic 😀🎶🎙👏!

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Twenty years ago, Dido Armstrong released her debut album No Angel with songs that grabbed the attention of the world. With that solid foundation, she released Life for Rent in 2003 which was a decent follow-up. However, a light that was once bright gradually became dull with the blandness that came with her last two outputs, Safe Trip Home and Girl Who Got Away. Although her back catalogue is filled with some monotonous lullabies, songs like Thank You, Life for Rent, White Flag and Here With Me feature the sweet, melodic and atmospheric vignettes that have attracted millions of listeners to her music.
Reemerging, six years since Girl Who Got Away, with her fifth studio album, the British hitmaker has arguably created the most colourful, entertaining and creative album in her discography. Compared to previous materials, Still On My Mind is more seasoned. From pop to dance and electronic, Dido experiments with ingredients she has never used while poetically creating tales that teeter between love and heartbreak. On Still On My Mind and Chances, her voice is wrapped in regret as she reminisces about an old lover. Meanwhile, on the poppier Mad Love and the emotional Have to Say, she describes what it’s like to stay in a relationship through the thick and thin of love: When your words don’t sound as sweet anymore / I’ll listen to what you say, she sings on the latter.
Dido is an artist known for creating simple and beautiful songs. Although her familiar intimate voice is fully present and her caressing rhythm remains gentle, every song on the album is decorated with creative elements that transform the simplicity in her sound to a dynamic piece of art. Still On My Mind is Dido’s most engaging album to date. It’s her first time trying a style of music that connects multiple genres as well as retaining her original sound and she’s delivered a masterful creation in one take.
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Twenty years ago, Dido Armstrong released her debut album No Angel with songs that grabbed the attention of the world. With that solid foundation, she released Life for Rent in 2003 which was a decent follow-up. However, a light that was once bright

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@iamjaysonrex Nice Post! Kindly click the link in my bio and listen to my music #holdme @iamjaysonrex

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If you’ve paid attention to hip-hop in the last few years, you should at least know of Gunna. But you could listen to every Gunna project and feature twice and still have no idea who he actually is. He’s the raisin of rap: unappealing, unexciting, yet somehow still found everywhere.
Given how underwhelming he is on other people's tracks, it’s no wonder that full-length Gunna projects are exercises in tedium, lifted up only by producers like Metro Boomin and London on da Track or fellow rappers, like on Drip Harder, last year’s collaborative project with Lil Baby. His dull flow blurs the songs together, ensuring you’re ready for things to wrap up well before the halfway point. The reassurance of a producer tag at the beginning of a track is just barely enough to power you through. 
Despite its title sounding like another mixtape to throw on the pile, Drip or Drown 2 is actually Gunna’s full-length album debut. It’s largely on the back of vibrant production from Turbo and Wheezy, who provide melodic and textural depth to compensate for Gunna’s shortcomings. Gunna smartly chose One Call as the lead single, and even if his lyrics are surface level (“It's a nine in the bag that I tote/ Workin' hard, we ain't havin' no hope”), he’s able to convey some kind of feeling and tell us more than just about how much sex he gets and how rich he is.
A limited range in lyrical topics isn’t the biggest liability, and it’s something you have to accept as a fan of trap. As bland read as his lyrics on paper, they come across even weaker on record. His flow is unaffected and unchanging, and he seems contemptuous about the idea of even making a record.
There’s so much hype around him, but you’re just left dumbfounded as to why. So many tracks slip through your consciousness, particularly with how much he sticks to the formula of chorus/verse/chorus. His dullness sucks the life out of typically energetic guests like Playboi Carti, whose feature is less Die Lit and more Diluted. On 3-Headed Snake, his mentor, Young Thug, offers this bit of absurd wisdom: “Jeepers creepers, the gators got measles, shit.” Call it nonsense, but it still lands better and says more than Gunna ever has.
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If you’ve paid attention to hip-hop in the last few years, you should at least know of Gunna. But you could listen to every Gunna project and feature twice and still have no idea who he actually is. He’s the raisin of rap: unappealing, unexciting, ye

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@dcdnt beautiful, please post more

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Back in 2017, the music industry was lit up by a rainbow of Scandinavian pop. It speaks to the absolute affect of Sigrid's music that she stood out: aligned enough with her peers to ride the populist wave, but immediately distinguishable, brilliant.
In Sucker Punch, we see confidence crystallised. A concise package of recent singles and flawless new material, the debut LP just confirms the obvious: Sigrid is a total gift to pop music. And the songs on Sucker Punch radiate her particular brand of empowerment: not the sweeping, air-punching kind we might expect from her counterparts, but a more modest commitment to self-love – especially when life throws its inevitable right hooks.
Each track here glitters. Sight of You is the sweetest take: an anthem about how, despite gruelling schedules, AWOL luggage and almost-permanent homesickness, Sigrid feels saved by the sea of adoration that awaits her on stage. Basic conjures that first flush of romantic infatuation: Sigrid nails the lyric here (Let's be real, I'm just saying, If you feel it, don't cage it, Ooh, I wanna be basic) before pulling out the catchy big guns with a brazen 'nah nah nah nah' refrain. And over the skipping '80s vibe of Mine Right Now, we hear her talk herself out of sabotaging a new relationship by overthinking.
On the technical side, Sigrid's arrangements surpass the genre she rode in on: there's a core of deftly-orchestrated electronic pop, sure, but more classical features abound too – the ringing electric guitar solo that lifts Sucker Punch's final bars; the thunderous strings carrying Sight of You's melody; the piano chords that transform Basic's middle eight. With pop currently consumed with references to trap and dancehall, hearing these delicious deviations is a thrill.
Again, it all comes back to Sigrid's character, and how her beaming confidence gives her arrangements a stand-out flair and her stories a relatableness. Aside from being a near-perfect collection of belting pop, Sucker Punch also carries a message of triumphant grace: if you can try to be your own best friend and love yourself a little more, wonderful things will happen.
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Back in 2017, the music industry was lit up by a rainbow of Scandinavian pop. It speaks to the absolute affect of Sigrid's music that she stood out: aligned enough with her peers to ride the populist wave, but immediately distinguishable, brilliant.

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@__her_seyden_1_az_ 😍 Super Paylaşım 😍

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...continued from previous post (3 of 3)
The album volleys between love songs and devastating kiss-offs, starting with the lead single “GTFO,” where Mariah invites someone to “get the fuck out” in a whisper tone so chipper that it was received as instant internet meme gold. On the jagged, jazzy “A No No,” she channels the spirit—and cadences—of TLC’s “No Scrubs” while she exterminates “snakes in the grass;” in the bridge, she riffs on the fact that no is the same across languages. The title track is a hushed threat: “Proceed with caution, don’t be dishonest / I need you closer to love me harder.” For the first half of the album, she calls the shots with the clarity of a traffic signal (“With You” and “The Distance” are both green lights; “GTFO” and “A No No” are reds, and “Caution,” is obviously yellow). But one of Carey’s songwriting strong suits is to verbalize the feelings and moments on the romantic scale that fall between grand declarations of love and loneliness, and for that reason “8th Grade” is a highlight as Carey pines for and fantasizes about her object of desire with the steadfastness of a schoolgirl.
The closer, the piano-driven “Portrait,” grows from a simple ballad to a cathartic release. During the key shift in the last minute, she enunciates her hopes and fears with a raw but strong belt in one of the least polished parts of the album.
Caution’s balance of private longing and public guarded distrust is the perfect axis to pitch a full Mariah Carey record on in 2018. It puts her pride and her pratfalls in perspective, and it adds dynamic depth to the slight, sultry vocal delivery she uses to sell the lyrics.
Following the hit Mariah took in the wake of that New Year’s Eve debacle and the fallout from her break from ex-fiancé James Packer, Caution is a signal that the signer is ready to play the game again. She also wants you to know that she controls the rules this time. People need to hear that sometimes, to know your time is not freely given, that their position in your good graces is contingent upon reciprocating love and honor and respect. Caution is an invitation and a warning. Come through, make yourself useful, or get the fuck out.
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...continued from previous post (3 of 3) The album volleys between love songs and devastating kiss-offs, starting with the lead single “GTFO,” where Mariah invites someone to “get the fuck out” in a whisper tone so chipper that it was received as ins

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@tifotuo Love her 🔥🔥🔥

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... Continued from previous post (2 of 3)
At only 10 tracks long, Caution is the leanest album Carey has released in a while. It’s also both musically and vocally something a bit different from the singer. The singing, for the most part, stays in Carey’s lower and whisper ranges. There are belts and whistles to be found, but they are used sparingly throughout the record. Caution is a contemporary R&B record that keeps Carey current while pleasing her fanbase. The title track is shimmering mid-tempo R&B cut that sees Carey using her whisper range to change-up her lyric delivery as she varies speeds and keeps things pretty low key. In the song’s final minute the belt and power notes come, and Carey sounds magnificent.
With production from Blood Orange on Giving Me Life, it is hardly surprising that this is the defining and most eclectic moment on the album. With echoes of The Roof and The Beautiful Ones from the iconic Butterfly album, the chorus is an immediate classic and the breakdown towards the end of the song is a stunning showcase of that vocal range against a backdrop of electric guitars. 
Elsewhere on the album, she regards romance with open-eyed caginess. I can’t stop playing the single “With You,” even if it’s the sort of thing designed for Carey to sing from a standing position as her dancers bend their backs. DJ Mustard lays down simple piano chords with the air of a benediction or a graduation song, and Carey croons, oh so slowly, about a very particular meet-cute: “He said ‘Yo, I’ve been loving you so long / Ever since that Bone Thugs song.’” Her own side of the story is, naturally, told in the third person: “She was so full of such trepidation / There in front of the whole damn nation.”
Atop effervescent synths that bubble like Coke on “One Mo’ Gen,” Carey exhales, “Did you like when I put my lips there?/’Cause I like when you’re kissing me everywhere/Do you mind if we go back in one mo’ gen?” The unapologetic sexuality of this album is a low-key awakening of sorts.
Caution is a song cycle about clearing out dead weight in your life in order to make room for new faces and experiences. .
Part 2 of 3
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... Continued from previous post (2 of 3) At only 10 tracks long, Caution is the leanest album Carey has released in a while. It’s also both musically and vocally something a bit different from the singer. The singing, for the most part, stays in Car

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@addyehle Love it!!!💪

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A grave mistake is doubting Mariah Carey, over the last three years of analyzing live performances and dismissing one of the most indelible voices and successful songwriters of our time as a nostalgia act beyond her prime. We celebrate music-industry men long after their singing voices decay into dust; Mariah’s instrument isn’t quite what it was, thanks to some natural wear, but it is still a powerful weapon. There are different rules for women. It’s not fair. Part of the reason people acted shady is that Mariah was introduced to us as a total-package artist. She came into the biz writing her own stuff — and singing the holy living shit out of it — and stayed put through decades of radical sea changes. The bar for Mariah is excellence. The New Year’s incident was below par, even though the circumstances weren’t necessarily her fault. Treating Mariah like an artist in the twilight of her relevance was premature, though, another case of the internet playing judge, jury, and executioner before it had reviewed all of the evidence.
Would we have gotten Caution, almost-all-killer-almost-no-filler Mariah Carey album, if she didn’t feel like she had something to prove? And what we have is the tightest, shortest Mariah album in ages, a collection that leverages the singer’s skills, quirks, and history with the sonic architecture of modern mainstream R&B. Caution splits the difference between current trends (alternately ambient and bleepy keyboards that 20 years ago would have sounded more at home on IDM albums, soothing snares whose staccato rolling mimic the sound of ratchets) and her career-long devotion to a lush, high-quality product. As has been the case since virtually her 1990 debut, if modern R&B is a Yamaha piano, what Carey gives you is Bösendorfer. There are pillows of backing vocals, melodies with contours like those of ornate vases, songs with real momentum and solid payoff by way of elaborate emotional crescendos.
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Part 1 of 3
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A grave mistake is doubting Mariah Carey, over the last three years of analyzing live performances and dismissing one of the most indelible voices and successful songwriters of our time as a nostalgia act beyond her prime. We celebrate music-industry

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@thalescr Gorgeous! 😘

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When a band has a career that spans across decades, there’s usually a good reason behind it. In the case of Weezer, their longevity has arguably stemmed from the fact that they released two albums early in their career, The Blue Album and Pinkerton, that went on to be major hits and ’90s landscape changers. When a band raises the bar so high so early on, it can be difficult to maintain upward momentum. Yet, Weezer have largely done just that. They established themselves as a beloved band that churned out work that satisfied the public palette. Therefore, anything less than what listeners know they can bring to the table feels like a step backward.
And that feeling is legitimate when it comes to Weezer’s latest release, The Black Album. Weezer strayed further than usual from what is considered to be their traditional sound, incorporating electronic elements, dabbling in light rap, and even devoting an entire song to zombies. While experimentation is not damning by any means, it can be if it results in an overall loss of quality — something that The Black Album serves as a cautionary tale of. 
The Black Album contains moments where instrumentation and vocal performance truly shine through, and this is perhaps best exemplified within “High as a Kite. With its soft ambiance and introspective narrative, the track serves as a rich oasis amidst an album that can otherwise feel challenging to digest. Unlike other tracks on The Black Album, where it appears that some semblance of rap is being attempted, “High as a Kite” is a reminder of the strong voice that Rivers Cuomo has always had and how well-suited it is for conquering long, full melodies.
What detracts from Cuomo’s vocal performance and even some promising compositions are bizarre lyrical choices that nearly every track falls victim to in one way or another. It’s out of character for a band that have proven themselves capable of writing lyrics several echelons beyond where they’ve landed with The Black Album. 
Their decision to undertake a pop/electronic hybrid sound on The Black Album was intentional, and there’s nothing wrong with that. However, innovation never has to come at the expense of good songwriting.
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When a band has a career that spans across decades, there’s usually a good reason behind it. In the case of Weezer, their longevity has arguably stemmed from the fact that they released two albums early in their career, The Blue Album and Pinkerton, 

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@region82 Amzing content! Really love it!

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Gary Clark Jr. was born in the wrong era. In the 1960s or ’70s, he could easily have forged a career as a first-rank guitar hero: a Texan blues-rocker who can step on any stage and bring the place down with a searing guitar solo.
In 2019, with This Land, the Austin guitarist and songwriter captures the essence of a bygone era.Through his fluid interactions with accompanying musicians, the artist illuminates another vivid set of original songs like “What About Us,” often including co-producer Jacob Sciba. But working with the latter at Arlyn Studios in Texas, Clark was also wise to regularly enlist the rhythm section of bassist Mike Elizondo and drummer Brannen Temple, in addition to guests such as Sheila E. on percussion. Notable too, as a acknowledgment of Gary’s roots, the appropriate songwriting references populate the credits, in the Woody Guthrie and Sharon Jones & The Dap-Kings on the title tune, blues icon Elmore James on “Don’t Wait Til Tomorrow” plus r&b saxophone colossus King Curtis on “Home Cookin’.”
It’s an effective blend superior to earlier attempts at versatility, during the aforementioned “What About Us,” comparable to the absorption of musical elements present on previous efforts. And during the r&b-drenched “I’ve Got My Eyes On You,” the falsetto vocal chants so reminiscent of Prince as well as Curtis Mayfield only slightly camouflage the heavy riffing and a series of wailing guitar crescendos that drives home the impact of those emotive lead vocals.
The edgy Chuck Berry guitar at the heart of “Gotta Get Into Something” is indicative of Clark’s correct prioritizing of the range of musical components on This Land. Gritty horns on “Gotta Get Up” that turns jaunty on “Feed the Babies,” arrangements that might sound repetitive over the course of the album if it were not for the presence of the other players who bring a distinctly human feel, a/k/a swing, to the proceedings. It is then, at just the right time, the man chooses to emphasize the acoustic elements at which he excels: with an abbreviated cut called “The Governor,” in combination with “Dirty Dishes Blues,” Gary Clark Jr. finishes this album with a flourish.
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Gary Clark Jr. was born in the wrong era. In the 1960s or ’70s, he could easily have forged a career as a first-rank guitar hero: a Texan blues-rocker who can step on any stage and bring the place down with a searing guitar solo. In 2019, with This L

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@3acr_ 🧡🧡

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On “Seventeen, the opening number of her 2015 debut album Know-It-All, the then-19-year-old Alessia Cara sang of wishing she could stop time and savour her teens, with a newfound appreciation arriving a little too late.
Now 22, Cara’s self-written sophomore effort finds her grappling with adult life from the perspective of someone in the midst of it. Thematically, The Pains of Growing depicts a stark departure from the confidence that ran through most of Know-It-All. It's a shift Cara herself addresses on powerful first track “Growing Pains”: “and I’ve always been a go-getter / there’s truth in every word I write / but still the growing pains, growing pains / they’re keeping me up at night”.
For the majority of the album, sadness is the central emotion – and it’s one that seeps through to nearly every song. Cuts like “Not Today” and “I Don’t Want To” even depict this distress as a strange comfort, a constant in her life that Cara can’t quite picture being without. She possesses a latent hope for a future where these times have passed, but it is often disregarded as too distant to inspire real change.
Through it all, however, Cara’s lyricism is sharp and self-aware enough to elevate The Pains of Growing above any strains of monotony. “And I talk in circles / but at least I say what I mean” she sings on “Girl Next Door, while on gorgeous single “A Little More, she tells a partner “I’m sorry that I’ve been emotions galore / am I crazy for wanting a little bit more” – even encouraging others to embrace the full weight of their less convenient emotions on “Easier Said.
On “Trust My Lonely” she flips a lyric from “I’m Yours” (“some nerve you have / to break up my lonely”) to move on from a relationship. Her declaration of “oh my, we’ll be alright!” from “Wild Things” is revisited as a burst of relief on “My Kind” – a sort of follow-up to “Here, in which Cara finds herself in a situation that brings her the joy and comfort she craves. It’s a brief period of bliss on an album that makes no apologies about its struggles, but it’s one of many moments that confirms Cara’s journey is as authentic as it is unpredictable.
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On “Seventeen," the opening number of her 2015 debut album Know-It-All, the then-19-year-old Alessia Cara sang of wishing she could stop time and savour her teens, with a newfound appreciation arriving a little too late. Now 22, Cara’s self-written s

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@cliffneptune 👌👌👌

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Betty is everything we could possibly want from a pop record, with massive breakup anthems and romantic, sexually liberated slow-jams, all of which take influence from the 80s and 90s. Although the singles (Ignore Me, Taste and I Remember) have been bop central, the album tracks are honestly on another level.
The tracks see Betty Who honing her synth-pop sound and taking it to new reflective and fun heights. She’s always experimented with an 80’s influenced sound but this record sees her really diving deeper into that world and not holding back on anything which is what she noticeably did on her last record. This may have something to do with her cutting ties with her major label and going independent again which seems to have been for the best. Just Thought You Should Know is a synth ballad that artists like Tiffany would’ve died to release back in their prime. But instead she’s bringing a unique quirkiness to the current state of pop which seems to be driven by over-produced EDM tracks that don’t have the same raw energy and personality that these songs hold. 
The feistier moments occur on Old Me, an uptempo kiss-off to a shitty ex on which she proclaims: “Here I am I made it through, this is me forgetting you. Now something’s different, I’m feeling like the old me, no you cannot control me.” She channels this fiery attitude on the NSYNC-inspired eleventh track, The One, which is without-a-doubt the album’s standout moment and obvious pick for next single. “If I’m not the one, good luck finding something better,” Betty sings on the 90s homage. “You better recognise that you’re wasting all my time if I’m not the one.”
It all culminates with the wistful, yet powerful romantic number, Stop Thinking About You. You know how some albums lose their way after you listen to the singles and whatnot? Nah. Each track could be a single, and we have a feeling this’ll become the next obsession from pop music fanatics. Remember how you felt when you listened to Carly Rae Jepsen’s second album, Emotion? Yeah, this is similar.
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Betty is everything we could possibly want from a pop record, with massive breakup anthems and romantic, sexually liberated slow-jams, all of which take influence from the 80s and 90s. Although the singles ("Ignore Me," "Taste" and "I Remember") have

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@cliffneptune 🔥🔥🔥

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There’s an off-handedness to the title of By the Way, I Forgive You, Brandi Carlile’s sixth album—as though absolution is being offered almost as an afterthought. But that’s not the story the music tells. While many of these songs deal with wounds and betrayals, Carlile inhabits a role of poise and command. Throughout, the singer-songwriter sounds resolved to make amends and move on with her life, letting go of regrets and finally letting those old wounds heal. The forgiveness she offers here isn’t a reluctant or half-hearted gesture, but something powerful and proactive.
It’s fitting that these songs of self-assurance are married to the boldest, most robust production of any Carlile album since 2007’s T-Bone Burnett-produced The Story, which marries acoustic intimacy to arena-rock grandeur. Produced by Americana mastermind Dave Cobb in tandem with singer-songwriter Shooter Jennings, By the Way, I Forgive You frames Carlile’s gnarled roots-rock and folksy storytelling in grand orchestral arrangements.
The result is an album that manages to sound like a wide-screen epic without ever losing sight of the small-scale human drama at its center or Carlile’s country roots. There’s room here for songs like the wistful country-soul of “Everytime I Hear That Song”—where the string section provides subtle accents but never overshadow the plaintive piano or high-and-lonesome harmony vocals—as well as the spare closer, “Party of One,” where Carlile’s voice and piano are bathed in a luxurious symphonic arrangement.
By the Way, I Forgive You can be a heavy listen at moments, and there are times when it’s hard not to miss some of the loose, limber rock of 2015’s The Firewatcher’s Daughter. Then again, channeling haunted, harrowing songs into moments of liberation and catharsis has always been Carlile’s gift. Here, she’s not only created some of her most fully realized characters—tough and vulnerable in equal measure—but she’s found her most sympathetic collaborators, making By the Way, I Forgive You the most emotionally direct and revealing album she’s to released to date.
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There’s an off-handedness to the title of By the Way, I Forgive You, Brandi Carlile’s sixth album—as though absolution is being offered almost as an afterthought. But that’s not the story the music tells. While many of these songs deal with wounds an

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@anahita.7333 بهترین ها در پیج ما

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Neko Case wants to write songs that can’t be tamed. Even her hookiest tunes come with twists and turns that clearly didn’t crib from the pop songwriting rule book. “Hell-On” (Anti-), her seventh studio album and first in five years, is among her catchiest albums and also one of the most elusive and allusive, full of yearning for a planet that is leaking mystery like a punctured balloon.
There’s a yearning at the core of “Hell-On,” but it’s not framed in the more traditional iterations of that term. There’s a distinct lack of melodrama or confessional detail, the self-pity or regret that accompany a broken romance or a broken life. Instead, Case yearns for the unseen. Her persistent themes have revolved around nature as a muse, a predator, a living being, an eternal, unconquerable riddle.
The title track sets a confiding but eerie atmosphere as the storyteller gathers a few friends around a campfire. She unspools a tale about God and her creation, a natural world that can’t be controlled, despite humankind’s efforts to tame and despoil it. “You’ll not be my master, you’re barely my guest,” Case sings.
As usual, Case is not only the singer, but a multi-instrumentalist and producer who treats songs as myths and parables. In “Last Lion of Albion,” she pays homage to the mother of Romulus and Remus, her image and legacy co-opted and embalmed. Yet its discontent comes veiled in a big chorus (the track, like several others on the album, was co-produced by Bjorn Yttling of the Swedish band Peter Bjorn & John).
“Halls of Sarah” is about another forgotten female historical figure, an acoustic folk song augmented by braying baritone saxophone and rhythmic, wordless backing vocals. “Winnie” looks “off the edge of the world” to find “the girl who changed everything” and give her some long overdue props.
The arrangements mirror Case’s concerns as a lyricist: She’s protective of the natural world and also envious of it. Her songs are about a kind of freedom that her narrators can’t always find in their own lives. Little wonder she closes the album with the exhilarating rush of “Pitch or Honey,” a song that yearns to race “out of reach of human hands.”
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Neko Case wants to write songs that can’t be tamed. Even her hookiest tunes come with twists and turns that clearly didn’t crib from the pop songwriting rule book. “Hell-On” (Anti-), her seventh studio album and first in five years, is among her catc

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@progguitarist 😍😍😍

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J Balvin has concocted an inescapable eclectic mix of sounds, textures and sensibilities, which shouldn't have a problem overcoming any language barriers.
Vibras, or “vibes” in Spanish, is defiantly Latin, but it is also in direct conversation with what’s happening in American pop—especially the pop that draws its direct ancestry from hip-hop. If it’s no longer important for rappers to be skilled lyricists, then the vibe rules supreme. Can you ride the beat? Can you nail the melody and make people move? If you can, it really doesn’t matter what words are said. Just set the vibe.
If the words are less important than the vibe, then why should the language matter? While Vibras is rooted in reggaetón, the beats are draped in dancehall and a dash of trap production techniques, with nods to salsa, bachata, and Afrobeat. Even for an American audience, it’s hard to classify this as global music when it often feels strangely familiar.
Music that tries to appeal to everyone often appeals to no one, Vibras' inclusiveness is a plus. It is the most accurate representation of J Balvin as an artist; he’s not just trying to seduce the women in his songs, but us, the listener, as well.
While Vibras is certainly engineered for the mainstream, its diversity is crucial to its identity; a straight reggaetón record softened up for mainstream consumption would feel shallow and cynical. And while the blurring of distinct genres often makes for new, exciting music, in the case of reggaetón it runs the risk of erasing the progenitors in Panama and Puerto Rico who built a counter-culture only to watch it run away from them in the mainstream. And it’s no coincidence that as reggaetón moves from the streets to Spotify, its biggest hits would be delivered by light-skinned artists with family-friendly overtones. But Balvin, who grew up wealthy but was relegated to the slums when his father’s business failed, has long straddled both worlds. On Vibras, he’s poised to take his place on the global stage—mi gente in tow.
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J Balvin has concocted an inescapable eclectic mix of sounds, textures and sensibilities, which shouldn't have a problem overcoming any language barriers. Vibras, or “vibes” in Spanish, is defiantly Latin, but it is also in direct conversation with w

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@artupida nice one :)

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Few songwriters capture the power and the humor of the mundane as well as Courtney Barnett. On her first two releases, the smashing double EP A Sea of Split Peas from 2013 and the uneven Sometimes I Sit and Think, and Sometimes I Just Sit from 2015, that seemed to be her calling — taking droll account of the small crises we face and the subtle personality differences we marry into.
On her new album, Tell Me How You Really Feel, it’s as if Barnett is taking the advice of the title. There’s a more direct quality to her lyrics this time around, and a more honest quality to her delivery, even when she takes on themes she has already addressed in earlier songs — being on the road, dealing with loneliness, looking for home, insecurity, and writer’s block. Her emotions are less muted by clever lines here, less protected by her sardonic talk-singing. On “Sunday Roast,” she is more in touch with a deeper self-awareness and a longer view, closer to what she really feels, as she sings, “I know all your stories/ But I’ll listen to them again.”
On her remarkable 2017 collaboration with Kurt Vile, Lotta Sea Lice, the pair — whose phrasing and love of pretty hooks are perfectly matched — sang about incessant travel as disorienting but in some way charming. On Tell Me, Barnett is willing to be more vulnerable as she notes, in “City Looks Pretty,” “Friends treat you like a stranger and/ Strangers treat you like their best friend, oh well.” The openness and exhausted anger — they’re on the super catchy “Charity,” too — carry with them an air of catharsis and relief. On the tuneful “Nameless, Faceless,” she goes after Internet trolls with a biting takedown and a melody that recall early Liz Phair.
The bottom line is that nearly every song on the new Courtney Barnett album has something to recommend it — a familiar melody that takes distinctive turns, a lyric that grows deeper with each listening, strong backup from a band led by Barnett’s rough-hewn guitar riffs. No, it’s not the Great Perfect Courtney Barnett Album I’ve been waiting for since first hearing her. But given the promise of her earlier work, it’s a thrill to hear her continue to move forward.
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Few songwriters capture the power and the humor of the mundane as well as Courtney Barnett. On her first two releases, the smashing double EP A Sea of Split Peas from 2013 and the uneven Sometimes I Sit and Think, and Sometimes I Just Sit from 2015,

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@kingupbias Awesome page !! Mind visiting my page and showing a little love ? I would really appreciate it 🔥

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Electric Light is alI over the place stylistically, James Bay has weaved together a variety of extravagant differences. But is it too much chaos and not enough calm?
From the indie-rock anthem Pink Lemonade to the pastiche In My Head, Bay ditches the bluesy apparel for ruthlessly efficient pop. Hip-hop style spoken-word skits make up the interludes, while he explores a diverse array of techniques and sounds; from the overall ambient whir of Wild Love, to the gospel float of Us. Fuzzy-toned Sugar Drunk High introduces a Prince-like twist and Fade Out has the former dream-woozy R&B arrangements. The house-funk of Wasted On Each Other quite simply bangs, with its foot-stomping pop elements.
Oozing with confidence, Wanderlust reeks of Fleetwood Mac, as the trippy, drawling lyrical delivery and sweet twang of the guitar recalls legendary tracks Everywhere and Dreams. Laced with a swaggering, velvety guitar line on the opening of I Found You, Bay melts into a lolling, gospel-infused blues feel. Similarly, Stand Up boasts distorted vocals and moments that truly take your breath away. Just For Tonight adopts themes of escapism but almost feels too similar to Hold Back The River — nevertheless still providing a catchy chorus.
While producer Paul Epworth’s contribution is accomplished, adding a dynamism that maintains our attention throughout, the record seems to lack an underlying theme. Bay has been a bit too clever for his own good, and on Electric Light fails to latch onto an identity that makes him truly unique.
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Electric Light is alI over the place stylistically, James Bay has weaved together a variety of extravagant differences. But is it too much chaos and not enough calm? From the indie-rock anthem "Pink Lemonade" to the pastiche "In My Head," Bay ditches

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@addyehle Love it!!!💪

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The tried-and-true adage of motherhood deeply altering your outlook on life is a recurring theme in Glasshouse. This sentiment is palpable throughout the majority of the record.
Jessie Ware's first two albums traded in cool, electronic tones over which her whispered, soulful pipes cooed sweet nothings and gentle heartbreak. Glasshouse, Ware's third and best album, sees her transcending the limitations of that restrained style. It's as if she's finally ready to step into the sunlight and unleash the true potential of her pristine vocals. This is clear right out of the gate: opener and lead single Midnight starts with typical dreamy verses, then lets loose a crisp funky chorus with Ware absolutely belting Maybe I love you!/Maybe I want to!/Maybe I need you! Midnight fittingly sets the stage for an album full of heart-on-sleeve anthems and sincere ballads.
Ware worked with some big names in pop, like songwriter/hitmaker Benny Blanco (on the bossa nova bop Selfish Love) and Ed Sheeran (on closer Sam). Sam, is a beautiful ode to Ware's husband and baby, and it's so sincere and autobiographical in nature it's impossible not to be charmed by the song. Elsewhere, Ware shows that she can elevate even the simplest material with a killer hook: Your Domino is the best synth-pop track in a good long while; and Finish What We Started is the '90s-movie end-credits ballad of the decade. In fact, as the second half of the album cools down into a stretch of slow songs, Ware's strong vocals keep you from getting bored.
Ware's evolution as a vocalist and songwriter is unmistakable. The singer accomplished crafting an album, which delves into the new found love for her child, the changes and reaffirmation for her spouse, and still pushes her musical aesthetic into a new direction. Only three albums into her career, but it's clear Ware's artistry is like the finest of wines; it's only set to become more robust, capturing bold textures, and aquiring tantalizing new flavors along the way.
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The tried-and-true adage of motherhood deeply altering your outlook on life is a recurring theme in Glasshouse. This sentiment is palpable throughout the majority of the record. Jessie Ware's first two albums traded in cool, electronic tones over whi

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@kingupbias Your page has good vibes. You may like my page ! Mind coming over to check out my music ?

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Billie Eilish plans for domination on her latest offering, you should see me in a crown. The 16-year old buzzworthy artist uses a slow building approach on the track as it opens with a muted electronic track which builds to choruses with booming percussive elements. Eilish proclaims watch me make 'em bow down one by, one by one, over blaring synths and delivered with a confidence that comes with age. you should see me in a crown was produced by her brother and frequent collaborator Finneas O'Connell whom also handled most of the production of her EP, Don't Smile at Me. The track is yet another accomplished composition in her arsenal. Previous releases such as Ocean Eyes, My Boy, and Lovely (her duet with Khalid), have already made the teen one of the most streamed artists. you should see me in a crown is set to continue the trajectory, and whet the appetite for her official album release.
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Btw I'm a huge fan of this photoshoot.
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Billie Eilish plans for domination on her latest offering, "you should see me in a crown." The 16-year old buzzworthy artist uses a slow building approach on the track as it opens with a muted electronic track which builds to choruses with booming pe

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@conch_music Awesome

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Oil of Every Pearl's Un-Insides is a record of heightened contrasts; fleeting droplets of silence and crystalline, susceptible vocals interjecting an onslaught of pads, synths, and kick drums. Naturally, this is demarcated by emotional contrasts, by agonised vulnerability and empowering self-possession. Juxtaposition is hardly an original artistic mode, but executed effectively it’s one of the most moving. This is where another contrast presents itself; Oil is a celebration of identity that’ll mean so much to so many on an intimate level, but it’s also, objectively, a triumphant artistic achievement.
Until now SOPHIE shied away from publicity; from a judgemental, voyeuristic, and still in many respects outmoded public sphere that might react adversely to her being a self-confident trans artist. Then came ‘It’s Okay To Cry,’ released last October with a video in which unprecedentedly, presented herself to the world. In both its promotion and musically, it was unlike anything we’d seen of SOPHIE before, an austere feel-bad-to-feel-good ballad. Although stylistically consistent, the song felt like the artifice was being torn asunder. This was SOPHIE.
Contrast, of all kinds, is laid bare in Oil’s opening three tracks. ‘It’s Okay To Cry’ is the sensitive reveal; ‘Ponyboy’ is a transgressive beat-strewn behemoth, with distorted vocals given a metallic splurge and a wailing synth, the indomitable hook at its centre; ‘Faceshopping,’ though more inclined to the latter, is a strong representation of the record as a whole, the central vocal given ample room to deliver its sardonic take on gender fluidity misapprehension; “My shop is the face I front/ My face is the real shop front” and each verse is bridged by a shrieking vulture of a synth and rumbling basslines.
Art isn’t immediately good just because it’s progressive or moral, but Oil isn’t moralising. It’s an invocation, a diarising, the personal becoming political through its own pertinence. Oil's resonance and bravery – underlined by its acutely mapped volatile and enrapturing production – is inspiring, and the conception and execution of its testimony remarkable.
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Oil of Every Pearl's Un-Insides is a record of heightened contrasts; fleeting droplets of silence and crystalline, susceptible vocals interjecting an onslaught of pads, synths, and kick drums. Naturally, this is demarcated by emotional contrasts, by

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@luzianoacostamusic 😀🎶🎙👏!

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Although their previous effort, Ego Death, is a tough act to follow, the Internet manage to outdo themselves on their latest. Smooth, mellow and delightfully warm, Hive Mind is a much-needed feel-good album that is well worth the three-year wait.
Each Internet bandmate has released a solo album since their last group project, and on Hive Mind, the time each member took to develop their individual style results in a collective payoff. There are no weak links on this album: from the production to the songwriting, each Internet bandmate brings a polished, more mature sound to the fore.
Syd's charming, airy vocals shine on dreamy cuts like Come Over and the seductive Stay the Night, while guitarist Steve Lacy and bassist Patrick Paige II display exceptional chemistry on Mood and Next Time / Humble Pie.
It Gets Better (With Time), the album's Kumbaya moment, is moving and has just the right touch of sweetness; it's uplifting without being mawkish. Silky horns add touches of soul throughout the album, and slick drums inject a classic hip-hop feel.
Free of filler and definitely worth repeating, Hive Mind is the Internet we know and love, but tighter and more refined.
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Although their previous effort, Ego Death, is a tough act to follow, the Internet manage to outdo themselves on their latest. Smooth, mellow and delightfully warm, Hive Mind is a much-needed feel-good album that is well worth the three-year wait. Eac

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@djelvissoto 💎 Good pics

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I wanted to conclude my reviews of @florenceandthemachine discography with a rundown of some incredible songs not included on her studio efforts.
@florence has contributed songs to various film projects (some not worthy of her talent), and has lent her vocals to the works of others.
Breath of Life - The song became her first composition written specially for a film, namely Snow White and the Huntsman. Welch drew inspiration for the track from the Evil Queen Ravenna. She was taken by the character's thirst for beauty and life, whilst being dead inside. I was looking for a breath of life / A little touch of heavenly light / But all the choirs in my head sang no, Welch sings as the orchestration swells.
Heavy (In My Arms) - The song was featured on the soundtrack for Twilight: Eclipse, and explores the weight of love, This will be my last confession / I love you never felt like any blessing / Whispering like it's a secret / Only to condemn the one who hears it / With a heavy heart. In Heavy Welch sings of a love so big it has become her partner's burden.
Wish That You Were Here - an epic song with a nearly 7-minute runtime was part of Tim Burton's Miss Peregrine's Home for Peculiar Children. Welch wrote the song about homesickness, and the magical bubble during touring where the days just seem to bleed into one another. The song also addresses the cost of leaving all your loved ones behind for extended periods of time.
Sweet Nothing - working from a song that began during the production of Ceremonials, Welch teamed up with Calvin Harris to finish the song. Sweet Nothing tells a story of a confining love, and the inability to move forward. It isn't easy for me to let it go / Cause I've swallowed every single word / And every whisper, every sigh / Eats away at this heart of mine, she describes the consuming nature of the relationship.
Any of these songs would be a welcomed addition to her albums, but succeed at whetting the appetite of fans between projects.
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Notable covers to indulge in: Addicted to Love, Stand By Me, Not Fade Away and Hospital Beds
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I wanted to conclude my reviews of @florenceandthemachine discography with a rundown of some incredible songs not included on her studio efforts. @florence has contributed songs to various film projects (some not worthy of her talent), and has lent h

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@psaldana84 #musiclove #nowplaying #indiemusic #cover #newmusic #spotify #art #artist #piano #song #instamusic #musicians #musicman #musicismylife #beat #band #instrument #musicianlife #soundcloud #live #musicproducer #livemusic #composer #musicislife #musiclover #popmusic #songwriter #instagay #florenceandthemachine

@bbkean Love this

Florence + the Machine's fourth album cements what was already evident from her debut 10 years ago, the singer-songwriter is an undeniable talent. High as Hope arrives with her most personal and revealing set of songs accompanied by a sound that has become her own, and is impossible to mistake.
An exhaustive breath is drawn as the record opens with the show is ending, and I had started to crack, on June. The song paints an image of an artist expelling her truth through song. High as Hope plays as a diary pulling listeners in, and becoming a journey through vast musical terrains, tonal shifts, dizzying orchestrations, immense multi-layered vocals, and enough confessional moments for a Judy Bloom novel.
High as Hope was produced by Welch with Emile Haynie with subtle contributions from indie virtuosos such as Sampha and Jamie xx. The record creates an atmosphere sounding quite contemporary whilst avoiding the trendy manipulations of mainstream pop.
Songs unfold swaying from exposed to commanding, from hushed to epic and back again, corresponding to the emotional chords of Welch's probing lyrics.
Lead single Hunger finds the singer musing about the search for love, and wrong turns she's taken. It doesn't offer any answers, but in sharing she addresses a universal truth we all experience. Welch sings of a large, all encompassing love on Big God, which she admitted to Billboard was about someone not replying to my text. The End of Love speaks to love that comes from a place of lacking, as opposed to the romantic type.
I gathered you here/ To hide from some vast unnameable fear, she confesses on the closing song, No Choir. Her subject matter throughout is the relationship between life and art, and specifically how she has used music to fill empty spaces in herself.
High as Hope is a release from insecurity. Long gone are the days when Welch hid behind clever song devices. She opts to instead uses metaphors to explore issues of loneliness, allowing others to feel through her art.
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Florence + the Machine's fourth album cements what was already evident from her debut 10 years ago, the singer-songwriter is an undeniable talent. High as Hope arrives with her most personal and revealing set of songs accompanied by a sound that has

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@tiedninc 👍

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Borrowing from The Divine Comedy, The Odyssey is the visual component to Florence + the Machine third effort. How Big How Blue How Beautiful gave listeners insight into the singer’s heartache with earnest, vulnerable lyrics. The music videos allowed the artist to express the same emotions through interpretive dance and abstract images. The Odyssey is a journey into the “purgatory of heartbreak” as guided by Welch into the levels of turmoil.
The first few minutes of the visual album reveal the central themes. The male counterpart describes watching her sleep and seemingly suffering, but not wanting to wake her. He seemingly believes that people who suffer together are more connected. She responds, “Maybe if you’ve gone through something catastrophic, but what if they are creating the disaster within themselves.”
Welch collaborated closely with Vincent Haycock on the project. The film uses an LA overpass bridge as its metaphorical gates of hell. Upon crossing the viewer is immersed without much in terms of narrative. You’re meant to see things through her eyes as she moves through each chapter. The longing of “St. Jude,” the destructive “Ship to Wreck,” the history of mistakes of “Queen of Peace,” the hurt of “Long & Lost” to the rebellion of “Delilah” are all part of The Odyssey.
Haycock explained that The Odyssey follows Florence's personal journey to find herself again after the emotional storm of a heartbreak. Like the layers of Dante's purgatory, each song or chapter represents a battle that Florence traversed and physical landscape that embodied each song or story.
Similar to any good puzzle nothing is obvious, and the complete picture is something that’s frustrating to grasp. The Odyssey is a stunning, emotional companion piece to the most revealing album of her career.
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Borrowing from The Divine Comedy, The Odyssey is the visual component to Florence + the Machine third effort. How Big How Blue How Beautiful gave listeners insight into the singer’s heartache with earnest, vulnerable lyrics. The music videos allowed

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@johnnyhendriks_music Very sweet :)

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[Post 1 of 2] Warning this is a long one. Sometimes an album/song connects with you in a deep, impactful way. @florenceandthemachine last studio effort is a personal favorite, and this review digs a bit into that connection.
How Big How Blue How Beautiful signaled a change as the larger than myth metaphors, the enormous wall-of-sound, and vocal devices that have come to define Florence + the Machine were stripped away. The record became a therapy session as the singer candidly wrote about her dissipating relationship.  We’ve all experienced the pain, longing, and agonizing slow healing that comes with heartbreak, and Welch delves into all of it.
I’ve been listening to the album consistently over the past few weeks reflecting on particular moments. I let it comfort me when I didn’t have the words to express the hurt. Welch’s understated and emotive performance on “Various Storms & Saints,” “Long & Lost,” and “St. Jude,” brought me to tears which begged to be released.
Opening track, “Ship to Wreck” sees the songstress admitting to her own self-destructive behavior, and the role it played in the demise. “Did I drink too much? Am I losing touch? Did I build this ship to wreck?,” is belted with an immediate and powerful delivery. Whereas Welch’s vices led to damaging acts, “Ship to Wreck,” spoke to my own detrimental traits mainly the inability to be emotionally vulnerable. It still hits as hard as when I first heard the song in 2015.
The singer laments, “Without your love I’ll be / So long and lost, are you missing me / Is it too late to come on home,” on “Long & Lost.” Once all is said and done, has the damaged endured, the hurtful words, or wasted moments made it impossible to return. How much can be withstood in a relationship before all is squandered? Is there anything that can be said to ease the hurt or rebuild what has been decimated?
The previous track, Delilah finds Welch exclaiming Now the sun is up and I'm going blind (Holding on for your call) / Another drink just to pass the time / 'Cause I'm gonna be free and I'm gonna be fine, forcefully wanting to believe it.
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...Continued on next post.
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[Post 1 of 2] Warning this is a long one. Sometimes an album/song connects with you in a deep, impactful way. @florenceandthemachine last studio effort is a personal favorite, and this review digs a bit into that connection. How Big How Blue How Beau

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@proquce You slayin this fam🌚 could you check my posts?🖤

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Pop music's best kept secret, Betty Who gives us more to love on Betty, Pt. 1. The 5-track extended play is her first release since parting ways with RCA, and showcases an artist reveling in her freedom.
EPs usually work by giving the audience a peek at what's cooking and drum up excitement for the album. Who does more than simply whet the appetite, she gives a smorgasbord of styles which differentiates itself from her previous output. Not to worry, she's still giving us infectious hooks, danceable tracks, and lots of feels just highlighted by consciously subtle changes.
Confident banger Look Back is for anyone looking for a Feelin' Myself-moment, as she struts knowing the object of her affections won't be able to resist.
On Just Thought You Should Know, Who finds herself awake at 3am wanting to express her feeling to a former flame. Friend Like Me changes the tempo with this touching acoustic ode to friendship.
Betty, Pt. 1 is an absolute feast for purveyors of fun, well-crafted pop music.
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Favorites: come on it's only five songs, just listen to them all .
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What are your thoughts on the sudden EP? How are you loving label-free Betty? What track is on repeat?
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Pop music's best kept secret, Betty Who gives us more to love on Betty, Pt. 1. The 5-track extended play is her first release since parting ways with RCA, and showcases an artist reveling in her freedom. EPs usually work by giving the audience a peek

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@proquce Yeaaa. man would appreciate your thoughts on my content🌈🔥

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In honor of High as Hope dropping at the end of this month, I'm going to offer my two cents on each of @florenceandthemachine studio offerings.
Grandiose is the only fitting word to describe the band's sophomore album, Ceremonials. The record takes the immensely intimidating soundscape of Lungs, and impossibly lifts it to new heights.
As opposed to the mystical, Ceremonials place its focus on the elemental. @florence songwriting is laden with numerous spiritual, mortality, and water references. 
On Never Let Me Go Florence makes drowning sound like a romantic departure. And it's peaceful in the deep / 'Cause either way you cannot breathe / No need to pray, no need to speak, she coos as the track swells. Of course, the act of drowning she sings of is purely metaphorical.
No Light, No Light finds the singer pleading for her lover to stay, but to no avail. While jubilant Shake It Out implores listeners to leave their regret, pain, and hurt behind as means to move on. I don't want your future / I don't need your past, Florence belts as she ask for one grand moment on album highlight, Leave My Body.
Ceremonials is an ambitious leap for the singer as the colossal production would surely overpower most others. Building upon the promise of her debut, Florence adds a successful second chapter in what is an already robust discography. .
Favorites: No Light, No Light, Leave My Body, Remain Nameless, and Spectrum.
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What are your thoughts on Florence's sophomore album? What's your favorite track? Is there a song you don't care for?
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In honor of High as Hope dropping at the end of this month, I'm going to offer my two cents on each of @florenceandthemachine studio offerings. Grandiose is the only fitting word to describe the band's sophomore album, Ceremonials. The record takes t

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@malkimeansking_fanpage 🔥

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