6,814,643 Photos and Videos

50 seconds ago

HEY! What are you doing Friday night?? Cuz I'm playing with my band at the Hi-Fi Wheres Narwhaldo will be on at 9:15 for the challenge, come see us if you got a free night and $10 bucks, and VOTE FOR US of course Get your tickets quick before they sell out Also if you're like waitsince when is Jacob in a band? The answer is since last month and were stinking amazing. Those of us that entered in the random drawing last month were paired with other random musicians to create our random band, and now were having a show to see who did it best! So come see us, ONE NIGHT ONLY music livemusic indymusic indymusicscene indianapolis indiana indy hifi fountainsquare downtownindy randomband perform musician musicislife musicismylife band competition randombandchallenge singersongwriter sing singing

2 minutes ago

Baseball Gregg performs tonight (Tuesday) with Caleb Lindskoog and Par. Tickets are only $8! Baseball Gregg is a Pop duo from Stockton (California) by way of Italy. Founders Luca Lovisetto and Samuel Regan met in Bologna, the former a native of the city and the latter a math student studying abroad. — Buy tickets at the link in our bio! — bunkhousesaloon music musician singer songwriter producer singersongwriter song newmusic artist love instamusic vocalist guitar singers musicislife rock band singing recording concert musicproducer live localmusic livemusic concertphotography photooftheday picoftheday photography potd

2 minutes ago

Presto in tutti i digital store il mio secondo singolo da cantautore 🎉✌️ KEEP TUNED 🔥🚀💯 Grazie stemastermaind & domenico_cambareri per condividere il vostro talento con me per creare dei veri e propri pezzi d’arte 🔝😍🙏 Il prossimo singolo in uscita è dedicato all’indifferenza e il cinismo dell’uomo. Nonostante ci sia rimasto poco tempo per reagire continuiamo a sbattercene e a vivere la nostra vita frivola parlando dei problemi senza fare niente realmente per risolverli ⚡️ L’unione fa la forza 🌪insieme potremmo cambiare il mondo 🌍 ma invece songwriter singer music musician song producer pop artist newmusic singersongwriter musicians songs soundcloud rnb musicproducer musica musiclife musicvideo musiclover songoftheday goodmusic musicislife spotify studio love instamusic bhfyp newsong

4 minutes ago

Other than our dope merch, we have a new weekly series starting next week 🙌Dropping “Phonetic. Hype Trax” - so what is it? well a music genre or theme gets picked for the week and you help us add to the weekly playlist. Let us know what you’re listening toowhat’s your fave! And you may just see your song on the weekly playlist (and we’ll tag your IG too) Budding artists, musicians share your own trax and all well pop them on the phonetic. hype playlist. Easy. Letsgo! *Theme: Kickin it Old Skool 90s* • • • musicislife

4 minutes ago

🎼”I just want you to love me better, I've been drinking our liquid courage, Solo quiero que tú, tú me ames, All you gotta love me, love me, love me, love me, love me better”🎼 musicislife whatevs hereyago

5 minutes ago

We talkin’ ‘bout practice

8 minutes ago

Thanks for you support Reverbnation! Little Black Dress had just been curated! 🎶♥️👍 jennyvinatieri lyrixchange

8 minutes ago

Congrats to Meek Mill, he will be receiving the a state key to Connecticut for his efforts to reform criminal justice. Meek is performing in Hartford tonight & Connecticut State Rep. Brandon McGee will give him a key to the state, as well as a state-level proclamation declaring March 19, 2019, as "Meek Mill Day" in CT. • • • • • • • • MEEKMILL MEEKMILLDAY KEYTOSTATE CONNECTICUT CT MUSIC RAPNEWS RAPMONSTERS HIPHOP RAP HIPHOPNEWS HIPHOPFANS HIPHOPMUSIC FIRE HIPHOPJUNKIES HIPHOPCULTURE CULTUREVULTURE RAPCULTURE CULTURE NEWS CULTUREXCLUSIVEREPORT MUSICISLIFE CULTUREXCLUSIVEE NEWMUSIC RAPPERS

11 minutes ago

The Cinematic Orchestra To Believe Lovely Project MusicIsLife

56 minutes ago

Avevo bisogno di nuovi stimoli. Cercavo qualcosa che mi rappresentasse, qualcosa di nuovo, ma diverso dallo sport e la scrittura. Qualcosa che mi aiutasse a rimettermi in gioco e funzionasse anche come crescita personale. Così, dopo anni da chitarrista, ho deciso di investire nuovamente su una delle mie passioni: la musica. Due settimane e un pianoforte su cui imparare da zero. "Tempo perso" diranno i maligni. "Ma perché non pensa a studiare", quelli che mi conoscono poco. Eppure vi sorprenderà sapere che in realtà è stata proprio una frase di uno dei miei docenti ad ispirare il mio completo cambiamento. "Per essere un ottimo medico, dovete imparare molto di medicina, ma anche molto di tante altre cose. Arte, musica, letteratura, cinema, politica. Perché la medicina è una scienza nobile, ma è anche arte."- E a me non sono mai piaciute le cose facili e banali. • • • 📌Home. • • • • • homesweethome doyoutravel exploremore passportable artbynights artistoftheday artlovers artsviral carveouttimeforart bloggerlove bloggersgetsocial blogsociety blogginggals bloggervibes bloggersofinstagram bloggerstribe dailydoseofcolor stilllifephotography pursuepretty personalblog lifestyleinspo lifestyleblogger lifestyleblog audioloveofficial concertjunkie gigphotography livemusic musiclife musicislife naturegeography

1 day ago

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.

2 days ago

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.

3 days ago

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.

4 days ago

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.

4 days ago

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.

4 days ago

“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.

5 days ago

While not the first single from Nina Nesbitt‘s The Sun Will Come Up, The Seasons Will Change, "Loyal To Me" received the most buzz partly because it best signified a radical shift in musical direction. An instantly catchy ode to knowing your worth, with ’90s R&B influences abounding and distinctly more poppy production than we’re used to hearing from the singer-songwriter, this song’s only crime might be to promise something that the album doesn’t consistently deliver. "Love Letter" continues in that vein, trap 808s and more throwback R&B – Jamelia’s "Call Me," anyone? – accompanying a fiery kiss-off to a guy who “couldn’t get it to-to-together”, but there are also plenty of more understated songs, which range from powerful (such as album opener "Sacred") to pretty but forgettable. Penultimate track "Last December" is a particular offender: saccharine nostalgia about a relationship that was so good until it ended, a sparse guitar figure failing to maintain interest and little electronic flourishes here and there that feel limp in the context. It’s hard to tell which of these contrasting styles is more “authentic” for Nesbitt at this stage, but the schmaltz of a tune like this certainly feels contrived. Elsewhere on the record, "Somebody Special" incorporates a brilliantly minimal pop-drop, and "The Moments I’m Missing" utilises the reminiscent tone of "Last December" to far greater effect, but it’s the title track that is most powerful. “The sun will come up, the seasons will change” is repeated, mantra-like, as a safety net for life’s disorientating changes over electric piano chords and modern pop’s ever present vocoded harmonies, a fitting end to an album that finds Nesbitt in the midst of personal and artistic self-discovery. She’s almost there, just a few more seasons.

6 days ago

מה הדיבורררררר אונ׳ ת״א ( telavivuni ) - היו אווירות ריגושים עם ניחוחות של טירוף! ☄️☄️💥🎵🎶 תחנה הבאה: שבוע הבא, 20.3, שוברים כהוגן את במת רמת-גן באירוע המרכזי של חגיגות פורים בווייבים של הכוסאוחתוווווו! הכניסה חופשית, תהיו עמנו! ————————————————— מחממיםמנועים HipHop LiveShow דילי השולףמבגדד מיסטר_טרנקילו NewEP Upcoming 🕺🏻🕺🏻🕺🏻🕺🏻 🎤🎤🎼🎼🤳🏼🤳🏼🤳🏼💃🏼💃🏼💃🏼💃🏼

1 week ago

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.

1 week ago

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.